Her Excellency Caterina Angelique Coeur Noir made me a wonderfully repousse brass comb that served as my central hair accessory. It features a dragon (which is in my badge) and some pearled osmanthus flowers. She doesn’t have an SCA blog, but you can see her work on Facebook.
I am so incredibly thankful to all of these lovely artisans for making things for me to use during my elevation, and that enhance my overall wardrobe. They are all excellent people, and I encourage you to check out their other work.
I’ve got two more posts regarding my vigil and elevation in the queue – each about the clothing I wore for my vigil and elevation, respectively. We will be back to the usually expected content soon!
I even found a tutorial on BiliBili, China’s largest video-sharing platform (like YouTube), but when I sat down to try and make it, I was a million thumbs. I couldn’t get the hair to behave at all the way that the person in the video did, and I was getting really frustrated.
That’s when Phaedra de Vere came to my rescue. She offered to make it for me, and I gratefully accepted, sending her money and measurements and crossing it off my list, knowing that I was in good hands.
Phaedra made the hairpiece out of wire and hair donuts, covering it with layers of faux wefts color matched my (current) hair color (Arda CL-070).
She’s absolutely stunning. Heavy – but stunning! And aptly now named “Phae” in honor of her creator.
I’ll be writing another post about the various accessories I wore in my hair, courtesy of some truly awesome artisans.
My first few attempts ended up being too small to wear comfortably, particularly around the bridge of my foot.
The design of the sock is simple enough, with the top seam of the sock cut on the bias, a split at back of the ankle, and a pair of ties to secure the sock on the foot. The Shosoin Repository has two styles of socks – some shorter, and some taller socks presumably intended to be worn with boots. My plan is to wear these with my elevation shoes, since I need a thicker sock to make my boots fit.
I cut my socks out of lightweight linen and used a backstitch to sew the two pieces together, right-sides out. I turned down the top edge and the edges of the ankle split and sewed them with a slip stitch. I trimmed the seams and turned the wrong-side out and ironed the sock before stitching the seam again to enclose it. Since the seam runs down the middle of my foot, I wanted to make sure it was adequately protected from wear.
Heads up – this is going to be a picture-heavy post, hence the use of the “read more” cut.
I’ve had my eyes on some Tang Dynasty styled shoes on Taobao for awhile. The distinct rise of the up-turned or raised toe (高头履, gāotou lǚ, literally “tall head shoe”) seen on the shoes worn by Tang Dynasty women in artwork has eluded me and my amateur cobbling attempts. The much more subtle Han Dynasty shoes, exemplified by Emperor Qin’s Terra Cotta Army and Lady Dai’s shoes, were much easier to figure out replicate. I have a box of in-process attempts at the raised toe shoes, using a variety of “how to make it stick up” methods.
With my impending vigil and elevation, though, I didn’t feel that I had time to do justice to the shoe. I’d already put in an order in early March for a pair of canvas boots similar to what we see Tang Dynasty men in round-collared robes (圓領袍, yuánlǐng páo) wearing, but they didn’t arrive until late May, due to the pandemic. Because international and domestic shipping are so significantly delayed, I was afraid if I ordered a pair from China, they may not arrived in time.
I didn’t have an “elevation chest” of fabric or accessories sitting and waiting to be unsealed when I was given my writ. I honestly thought I was still a good 2-3 years out, so I had time. So over the last 4 months, I have been slowly acquiring all the fabric and other bits to make my vigil and elevation outfit.
I’ll be writing more about this process using the Elevation and Vigil categories, so if you want to see all these posts, you can click on that to see them all together in one spot. Yay metadata!
Ahem – anyway. I am basing my elevation outfit the donor portraits from the Dunhuang/Mogao Caves. The Chinese Historical Costume Restoration Team – the group behind the amazing recreations that often float around the internet uncredited, recreated an outfit worn by the ladies in Mogao Cave 9.
As it is with so much of this research, verifying that this very possibly restored image is from Cave 9 is difficult. It could be that it is from Cave 9/Grotto 167, and these black and white images don’t have enough contrast to fully confirm it. (I also suspect that, if this is the case, the image has been reversed.) Donor portraits in these caves were often in lower border panels of larger illustrations, and not often the subject of interest in comparison to the richly detailed murals of Buddhist art. Some of the caves have been digitized, with high resolution images of each wall and corridor, and some with digital walkthroughs. There seem to have been a rash of art exhibits back in 2016, but finding definitive information about this particular painting – likely a copy made from the mural as opposed to actual removed plaster – is difficult.
These ladies are shown wearing multiple necklaces, hair combs, u-shaped hair pins, and 9-10 larger, decorative hair pins.
As I’ve stated before, I’m not a jeweler or a metalworker, so I reached out to friends who are and asked for help in recreating the fancier bits that these ladies are wearing, while I took on the necklaces.
The Unified Silla period, which spanned 676-935 C.E. is contemporaneous with the Tang Dynasty. Official ties between the two states weren’t reestablished after the Silla-Tang War (668–676) until the 8th century, but it’s not unreasonable to conjecture that fashion trends shared similarites – especially when the make-up of this necklace is not unlike Lady Mi’s rock crystal necklace. The comma-shaped jade in the Korean necklace are known as gokok (곡옥) in Korean and as magatama (勾玉) in Japanese, and suggest that this style of bead came to Korea from Japan, as they date from as far back as 1000 BCE there. There is a chance that the red beads in the Dunhuang necklace are comma-shaped as opposed to teardrops, but given the other Dunhuang images we have to go off of, I think it is the less likely option.
I still had some 6mm clear quartz remaining from my recreation of Lady Mi’s necklace, so I used that as my basis in terms of size for the other two pieces. The jade and red necklaces appear progressively larger than the quartz, so I chose 8mm and 10mm beads, respectively. I was able to source jade beads in the same milky green tone. For the red, I ended up getting “mountain jade,” which is dyed dolomite – actual carnelian, coral, or jadeite was not cost effective. I was also able to find mountain jade pieces that were teardrop shaped, in order to mirror the pattern in the images.
It was difficult to find red mountain jade beads in a teardop shape. If I were to make this again, I’d try to source a larger teardrop bead for the red necklace, to give more visual contrast between the two shapes. The ones I purchased were 8×12 mm.
I used my dress form to work out the proper length of each necklace so that they would each lay correctly.
These necklaces were the first thing I finished in preparation for my elevation – it was an easy project to knock out, once I had sourced what beads I didn’t already have on hand. I’m happy with how they turned out, and I’m excited to see what they will look like once the medallion is attached to the red necklace.