Late 12th Early 13th Century Mongolian Men’s ClothingFor: Griffin Needle Challenge

Team: Kumpania de Umbra09/17/2014

Summary

Team Name: Kumpania de UmbraTeam Lead: Ari da LuccaTeam Members: Arianna da Lucca, Mary of Falcon's Keep, Demona di Rosa, Caoilfhionn inghean Mhaghnusa, Bek Vladescu, Rogan O'DayModel: John Byle McKeeEntry Category: IntermediateGarment Style: Late 12th to Early 13th Century Mongolian

Abstract

The purpose of this project is to create a full outfit for an affluent Nomadic Mongolian man from the 1180’s to the 1220’s, consisting of five main clothing pieces: an under tunic, under pant, over tunic, outer pant/salwar, and a coat/del. When a wealthy man from Outer Mongolia dressed for a celebration, he demonstrated his power and influence via the quality and variety of fabrics comprisinghis attire and decorated accessories. Following that logic, we have selected a variety of fabrics in diverse colors and patterns. The under tunic and under pant are always constructed of fine unornamented white linen, to shield the outer layers. The over tunicis purple cotton held close to the body by a red linen sash, adorned with a large amount of cording and embroidery with a closure on the shoulder. The salwar is green linen with little decoration, held to the body with a single ring leather belt. The del is deep blue cotton brocade, depicting his handling and ownership of Golden Eagles, adorned with cording and appliqué and held closed by bone closures and an orange sash, proclaiming his conviction in Tibetan Buddhism. He wears a workers style hat made from brocade trimmed with fur, a decorated grey wool cloak/burnoose and upturned-toe decorated leather boots, proclaiming his ownership of horses and ability as an archer. The decorated satchel depicts he is a seasonedwarrior and educated, for it is meant to carry a prayer book/journal.

Garment Elements

Under tunic: Constructed of fine undecorated white linen, close fitting and not meant to be seen outside the home. This piece is meant to protect the outer layers from staining due to bodily excretions. Pre-patterned by Arianna da Lucca, Mary of Falcon's

Keep, and Caoilfhionn inghean Mhaghnusa. Created on site by Demona di Rosa.

Under pant: Constructed of fine undecorated white linen, close fitting and not meant to be seen outside the home. This garment is meant to protect the outer layers from staining due to bodily excretions. Pre-patterned by Arianna da Lucca, Mary of Falcon's Keep, and Caoilfhionn inghean Mhaghnusa. Created on site by Arianna da Lucca. Waistband closure pre-made on a Lucet by Bek Vladescu.

Over tunic: A highly decorated piece, depicting the wearers wealth and social status amongst his clan. This garment with a closure on the shoulder depicts the wearer is from a region that reaches sub zero temperatures in the winter months, for it can be closed to keep in body heat and opened to release heat in the warmer months. Pre-patterned by Arianna da Lucca, Mary of Falcon's Keep, and Caoilfhionninghean Mhaghnusa. Created on site by Mary of Falcon's Keep. Closure cord created off site by Bek Vladescu, button prepared by Countess Luce Tolle off site. Salwar: A lightly decorated garment with ample room for the wearer to perform his daily chores and for comfort in the saddle. The waistis not fastened in any way, it is simply held up with a leather belt.Pre-patterned by Arianna da Lucca, Mary of Falcon's Keep, and Caoilfhionn inghean Mhaghnusa. Created on site by Arianna da Lucca.

Del: A highly decorated piece depicting the wearers profession and rank within his clan. The overlap is always fastened with an odd number of closures due to the Mongolians superstitions and Buddhist beliefs. The dress del is closed to the bottom with extra gussets sewn in for space, while the working or fighting del has a variety ofslashes sewn into the lower part for ease on horseback or chores. The sleeves of a del are worn very long and meant to be pushed up over the hand when needed for protection against the elements. Pre-patterned by Arianna da Lucca, Mary of Falcon's Keep, and Caoilfhionninghean Mhaghnusa. Created on site by Caoilfhionn inghean Mhaghnusa.Closures pre-made off site by Bek Vladescu. Bone barrel buttons purchased off site.

Sash: These are worn for both functionality and social/religious statement. The sash forms layers of folds to be used as pockets, andthe colors not only depict the wealth of the wearer but also their

religious affiliation. Created on site by Mary of Falcon's Keep and Caoilfhionn inghean Mhaghnusa.

Hat: This accessory is worn by all Mongolians,hats come in hundreds of styles and all are derived from the four panel pointed top base. The type of material used to line and trim these pieces showed where one stood both financially and socially. Pre-patterned by Mary of Falcon's Keep, created on site by Demona di Rosa.

Burnoose: This lightly decorated piece of garb is used by horseback warriors and constructed in a basic rectangular patterning. Used forprotection from the elements, warmth in the saddle and as a cover when sleeping. Pre-patterned by Arianna da Lucca, created on site byBek Vladescu. Closure and decoration pre-made off site by Bek Vladescu. Button created off site by Countess Luce Tolle.

Boot Liners: These are made of felt and worn in the home and while working. Designed to slide into the boot with ease. Pre–patterned by Rogan O’Day, created on site by Rogan O’Day.

Boots: Leather boots were worn by all Mongolians. The highly decorated upturned toe style was worn by horseback warriors, designedto keep the foot in the stirrup while shooting the bow. Pre–patterned and pre-made by Rogan O’Day.

Satchel: The decorated satchel is meant to carry a prayer book/journal, showing not only a dedication to religion but the ability to read and write. Created on site by Bek Vladescu. Metal rings pre made by James the Smith.

Closures: Buttons were never attached directly to a garment, as button holes were never cut into the fabric, instead hand knotted cords were made and the buttons attached directly to them while a loop is made with another cord then both are attached to the garment.Hemp cord is added for stiffness when needed. All closures pre-made by Bek Vladescu then attached on site. All glass Beads pre-made by Countess Luce Tolle.

Belt: The single ring belt is an undecorated piece that is truly utilitarian. Metal ring pre-made by James the Smith. Belt pre-made and ring attached beforehand by Rogan O’Day.

Mongolian Hat

Pattern

The Mongolian hat pattern was taken directly from this website: http://www.thescorre.org/literature/Mongol_Garb.htm

Some of my pictures here show measurements for the pattern pieces. Please note that these dimensions make a hat which fits my head, and will not necessarily fit you! Check the circumference of your own skull and adjust the sizing to fit.

For the crown: Cut four pieces shaped like the one above, plus four more of both lining and interfacing. Fuse the interfacing to the wrongside of the crown sections. With right sides together, stitch down thelong sides to form a cone shape. Do likewise with the lining sections.With WRONG SIDES together, slip the lining inside the crown, matching seams. Tack the crown and lining together at the point of the crown.

For the brim: you will need, in addition to the brim and its facing, apiece of buckram or millinery felt cut 1" smaller all around for stiffening. With the fabric pieces, stitch the ends of each piece together (right sides facing) making circles out of the horseshoe-

shaped pieces. Next, with right sides together, stitch the brim to thefacing around the outside, matching seams. Trim the seam and clip the curves, being careful not to cut the stitching. Turn and press. You should have something resembling a floppy doughnut at this point. Slipthe buckram or millinery felt into the brim; if using buckram, fuse itto the fabric.

To attach crown and brim: With right sides together, pin the crown, not the lining, to the inside (raw edge) of the brim and facing (remember, the facing should be down, so that when the hat is assembled and the brim is turned up, the facing will be visible), matching rear seams. Stitch. Fold the raw edge of the lining under andpin so the lining covers the seam. Slip-stitch the lining to the brim.Turn the brim up.

If desired, tails may be added to these hats. The tails were usually red silk or satin, frequently embroidered or brocade, and could be self-lined or lined with a plain-woven silk. To make tails, cut two strips of fabric 2 to 3.5 inches wide and approximately 26.5 inches long, and 2 identical strips of lining. Trim one end of each strip to a v-shaped point. With right sides together, stitch one lining sectionto each tail section, leaving the tops open. Turn and press. Fold the raw edges of the tops in and slip-stitch closed. Laying the tails one on top of the other, stitch them to the back of the brim at the base of the rear seam, with right sides facing out.

Trimming: Some of the more common kinds of trim used on these hats are

beads, stone, or knot buttons (a small Turk's head knot made of silk cord) placed at the point of the crown, scarlet silk tassels or fringes also placed at the point, quilted ornamental seams on the crown, and embroidery on the crown, brim facing, or tails. An appliqued "cloud collar" design may be placed over the crown also. Chinese motifs, particularly Shou or Fu designs, bats, butterflies, and dragons, are also appropriate. Chin bands of silk ribbon may be sewn inside the hats (1).

Materials and Methods

The use of brocade, leather, wool, felt and fur were common among all Mongolian tribes for their head coverings. “The traditional hat is a hat for all seasons trimmed with fur, fox fur inmost cases” (3). The wealthy used fox, wolf, or sable; while the poor used dog, camel, horse or even small furred animal skins. Often, the hat was adorned with an owl feather, placement of which depended on the region of Mongolia the wearer was from. “Four panelsof either a brocade, leather, wool or felt cut and sewn together to make a point at the top, the point was used to channel the divine into the wearers body. This arrangement, though widely known, was primarily used by the Khalkha Mongols. Other tribes had different headdresses, but these have proven to be impossible to document to period” (2).

The brim was made of the same heavy material or fur depending onthe wearer’s social status amongst the tribe. Decoration also denoted age or social status. In most of the art depicting this time period, the Khan and his entourage are seen wearing hats which are highly decorated. The lucet was used, along with nail binding and hand knotting, to make the decorative treatments. Many types of hats were worn, varying by social status, age, gender, season, and purpose, such as work, holiday or ceremonial.

All materials were sewn by needle using the appropriate thread for the fabric being used. For example, hats were sewn together withsilk thread when the hat was made of fabric and with sinew when leather was used. Two measurements were taken, brow circumference and front to back over the crown of the skull.

Although various styles of head wear were worn by the Mongolians, this one was chosen since it seems to be the basis for many of the other styles. Essentially, this style of hat was the workhorse of the Mongolian world worn by men, women, and children of all social statures and is seen from the 4th century through the 14th

century in the rudimentary art of the time. Materials used include: brocade, silk thread, and rabbit fur. Rabbit fur was used instead offox, wolf, or sable to defray the cost.

"Face Music - Ornaments of the Turk-Mongolian Tribe - Text in English."Face Music - Ornaments of the Turk-Mongolian Tribe - Text in English. N.p., n.d. Web. 08 Sept. 2014.British Library / Robana via Getty Images A variety of hats and helms of Turkish influence on Mongolian headwear.

"The Red Kaganate - Clothing." The Red Kaganate - Clothing. N.p., n.d. Web. 08 Sept. 2014.http://www.face-music.ch/highaltai/ornaments/ornaments_en.html A variety of Mongolian hats from across their lands.

Under TunicPattern The under tunic pattern was derived from this drawing.

(6) http://t2.gstatic.com/images?q=tbn:ANd9GcTWcHJOKR83cxULa_HytuHHuPtURmV-Hh3XB0IJO_tmIqFmSIaLBrINXqsR

Materials and Methods

The under tunic was the layer closest to the skin, meant to wickaway perspiration and to protect the outer layers from becoming stained. All ages and sexes wore under tunics and they were replacedeither as they wore out or when a child would outgrow them. Unlike most European styles, these undergarments basically stayed the same throughout early and mid period. However, they were worn until they basically rotted off before being replaced, leaving no artifacts for study. “It can be deduced from surviving garments, written sources, and contemporary painting that men in the Mongol period wore the qabā, a long sashed or belted coat either wrapped in front and fastened under the right armor closing in the center worn over long or elbow-length sleeves” (4). Most patterns used to make the under tunic from this period in Mongolia are derived from studying the artwork they left us.

Under tunics were reportedly made of imported Indian cotton or Persian linen, as the Mongols spread their empire in all directions. All woven materials produced by the Mongolians were 20 to 30 inches wide due to the size of their looms, leaving seams, in what most Europeans saw, as unusual places. Still, Mongolian under tunics werestrangely similar in design to the Viking tunic of the same period. “It is characteristic of Mongolian garments that the patterns consistof fewer pieces than is the case in European garments. The garments

were made with as little waste of material as possible” (2). Not only were they constructed with minimal waste of material, they were also able to be added onto as the wearer changed size. Silk or cottonthread was used on this layer and it was devoid of ornamentation, since it was not meant to be seen publicly.

Materials used include: linen and cotton thread. All inner seams were machine sewn, while the neck hole, hand holes, and the lower hem were hand sewn.

http://t2.gstatic.com/images?q=tbn:ANd9GcTWcHJOKR83cxULa_HytuHHuPtURmV-Hh3XB0IJO_tmIqFmSIaLBrINXqsR De arte venandi cum avibus, 1240s The crouched figure is wearing a belted undertunic while tending the eagles.

"Oriental CostumesTheir Designs and Colors." MAX TILKE: ORIENTAL COSTUMES THEIR DESIGNS AND COLORS.N.p., n.d. Web. 08 Sept. 2014.http://www.oocities.org/kaganate/shirt.html A plain reconstructed under tunic.

Under Pant

PatternThe under pant pattern was derived from this picture.

Max Tilke’s Oriental Costumes "Oriental CostumesTheir Designs and Colors." MAX TILKE: ORIENTAL COSTUMES THEIR DESIGNS AND COLORS. N.p., n.d. Web. 08 Sept. 2014.

Materials and Methods

The Mongolian under pant was likely a utilitarian garment designed for everyday use of the nomad whose daily activities included everything from milking goats to being on horseback. “A loose fitting light colored (most likely white linen) pant anywhere from just below the knee to ankle length” (5). Keeping the same basic design from the 4th century through the 15th century, the under pant had voluminous crotch space, allowing freedom of movement both in the saddle and during chores.

Made of imported Indian cotton or linen with cotton thread and adrawstring to hold the under pant in place, this garment was worn until it rotted off and then replaced as needed. The fabric was not decorated as its purpose was to keep the outer pant from becoming stained and soiled by bodily fluids.

Material used include: 100% cotton fabric, thread, and cord. Deviation from period construction consisted of machine sewn inner seams, however, the waistline and leg holes were hand sewn and the drawstring was made on a lucet.

Boot Insert / Sock

Pattern

The boot insert pattern was taken directly from this website: http://greengirlzworld.wordpress.com/2011/06/17/how-to-make-a-mongolian-boot/

Sock pattern and materialsThe sock works best if it is made of 1/4″ or 1/2″ thick felt. If you are not a felt maker, quilt several pieces of wool felt or woven wool together. Do not use Poly Craft Felt, as it will shred after only a few wearings. My husband’s boots had a quilted cotton sock which does not work as well because it falls down inside the boot. I sewed ribbons to the top edges of his socks, just below the appliqué band atthe top, which tied to the top of the boot, which kept them in place when he wore them. Your socks will work best if they are sturdy enoughto stand by themselves in order to support the appliqué at the top, and to stay in place inside the boot.To draft the sole of the sock, trace around your foot and add 1″ at the heel, and 2″ at the toe. The seam allowances on the original sock are 1/4″, I suspect that they used 1/2″ and then trimmed the seams down. The sock still has a pointed toe but it is not a severe of a point as the boot. Cut 2 soles.To draft the upper sock, add 1 – 2″ to your calf measurement. Standingon the floor, measure from the floor to the center of your knee to determine the height of your sock. The upper sock attaches directly tothe sole, so there is no “foot” piece as there is in the boot. Cut 2 calf sections, on the fold of your material.The heel section of my sock measures 5 1/2″ tall, 1″ at the top and about 3 1/2″ at the bottom. bottom. Cut 2 pieces, one for each sock.The toe section measures 7″ tall by 5 1/2″ at its widest point. Cut 4 pieces. Sew 2 pieces together along the top curve.Assemble the sockCut the upper sock so that the straight front line is on the fold of your felt. The band at the top of this pattern is where your appliqué work should be placed. This band of appliqué is about 4″ tall and is executed in glove leather. The top edge is faced with bias cut corduroy. The bottom edge of the appliqué work is finished with a piece of fabric or leather piping. Do the appliqué work before assembling the rest of the sock.Both the heel and toe are sewn into this section as gussets, again allowing for 1/2″ seam allowances. Slit the front fold to accommodate the toe gusset. Sew the heel gusset onto the back of the calf section.Sew the back of the sock halfway, which will leave a 1/2″ wide slit,

half way down the back of the sock. On my sock these edges are whip stitched, and there is no other decorative treatment, facing or finishing. (8)

Materials and Methods

The felt sock or boot liner served as a layer of warmth in the winter and was made of sheep wool which allows moisture to evaporate freely (7). A short version was worn at home in the presence of company or when entering another’s domicile by all ages and sexes. It was considered a great insult to show the bottoms of your feet to another. “Mongol society was actually quite modest. With the exception of the hands and face, the entire body was always covered. Unless you were in a wrestling match you would be fully dressed. Parts of the body below the waist, the feet in particular, were considered unclean. To touch or show the sole of a foot or boot was an insult to the viewer. It proclaimed “I step on you, you are beneath my notice”” (9).

Although the origin of the felt sock is unclear, it is still used today even here in North America as Sorrel boot liners. Hand beaten felt was used in period, the same felt that was used in the construction of the Yurts and armor padding. This felt is one of theonly two materials the Mongolians produced themselves. The liners were hand stitched with a heavy silk thread leaving an extra thick seam allowance at the heel, possibly to alleviate wear-through due tosliding in and out of the leather boot. The boot liners were all made specifically to the wearer’s foot, unlike most Mongolian clothing. However, lengthy processes were not taken in construction.Essentially, the foot was placed on the felt to ensure there was enough material to wrap over the foot and provide the seam allowance and then it was cut and sewn together.

Materials used include: paper for tracing and felt and heavy silk thread for construction. Multiple colors of felt were used to make the socks more festive. Deviations from period construction include: felt was not handmade and a front panel was added, due to the size of felt available, producing an extra seam. These alterations did not change the overall feel of the liner since they are fairly loose fitting.

"How to Make a Mongolian Boot." Its a Green Girls World. N.p., n.d. Web. 08 Sept. 2014.http://sch2mail7.blogspot.com/2012/01/blog-post_17.html A pair of felt boot inserts. Theseare made from one piece of felt pounded together making them seamless.

Boot

PatternThe pattern was modified from:

http://www.personal.utulsa.edu/~marc-carlson/shoe/SHOES/SHOE46.HTM

Made with rawhide sewn into the seams.The sole is four layers of felt or cotton fabric and then a thick layer of leather. The welt appears quite thick as well. Based on what little I can find on these shoes, they might also be made as stitchdowns. As they near the toe, the soleand uppers must be sewn at DIFFERENT increments (i.e., the holes on the sole must be further apart than the holes on the welt), so that the toe will turn up correctly.(11).

Materials and Methods

The Persian influenced boots were made of leather with an upturned toe. “reluctant feet are put into the boots with pointed upturned toes, and her body into a miniature sheepskin "daily," such as her mother and father wear” (7). The upturned toe was believed to return the body energy to the grace of the gods, as all energy flows top to bottom through the body. This type of boot, “with upturned

toes were most commonly used for riding” (2). Used by horsemen and archers, speculation is that the upturned toe helped keep the boot inthe stirrup and helped with the balance one needs to accurately shoota bow from horseback. “It's easier to walk in the grassland and ridehorses, they said. The toe makes ambiguous foot prints and no one cantell what direction anyone is going -- as if everybody in Mongolia needed to move around clandestinely. Besides, they all rode horses. Then there's the Buddhist reason. Mongolians are Buddhist and becausethis type of boot covers less ground, fewer sentient beings, fewer bugs and worms, could be accidentally killed with each step. Mongolians believe in the Tibetan variety of Buddhism” (12).

Traditionally, these boots were made from rough leather using anawl, needle, and sinew to stitch it together. The boot sole was padded with layers of felt and cotton over a soft leather bottom and attached using an awl, needle, and sinew. Adornments were added to the boots according to the wearer’s status amongst his clan. The boots were made large enough to slide the foot and liner into with ease and speed.

Materials used include: leather, felt, cotton fabric, cotton thread, and sinew. Deviations from period construction include: leather was not hand tanned and felt was not handmade. These deviations were made due to both time and money restrictions. Also, rawhide was not sewn into the seams for waterproofing since they willbe primarily used indoors.

http://rouencitejeunes.free.fr/spip.php?article159 A Mongolian style boot, notice theleather appliqués. The Mongolians are very symmetrical in their designs.

Over Tunic

Pattern

(15) http://www.indiana.edu/~librcsd/etext/tilke/plate/018.jpg

Materials and Methods

The over tunic, the most highly decorated piece of Mongolian clothing, was worn by all ages and sexes as a short sleeved outermostlayer in the deep summer months. During the winter, longer sleeved over tunics were worn. Similar to the under tunics, these garments were worn until they absolutely required replacement and they were increased in size as children outgrew them. Upon replacement the decorative embroidery would be salvaged and reused on a new garment. Unlike most European styles, the basic cut of the Mongolian over tunic appears to have remained fairly constant from the 4th-14th centuries, based on surviving art. This artwork shows that the necklines of these garments did vary by region, ranging from a simplehead hole in the south to overlapped with a closure attachment in thenorth. Over tunics with v-necks were also seen and are perhaps indicative of a Western influence.

As the Mongols spread, they were able to acquire materials from the far reaches of the empire. “The fabrics used for Mongolian dressmost often were: cotton, silk, velvet, wool and skins” (14). Also, “Most of the upper class garments were made of silk. The most commontype was like satin, and made in many different colors. The silk sometimes had patterns woven in with silk thread or gold or silver, resulting in a brocade” (2). Silk thread was used extensively on

this layer, not only for binding but also for large amounts of ornamentation, both attached as appliqué and embroidered directly in place. Apparently, the main differences between the over tunic and the under tunic are the extensive decoration and the neck keyhole on the shoulder of the over tunic, which is held by a single closure.

Materials used include: cotton fabric and silk thread for construction and embroidery floss for ornamentation. The sole deviation from period construction is machine sewn inner seams whereas the neck hole, hand holes, and the lower hem were hand sewn. The closure is hand knotted embroidery floss and attached in the traditional manner, with a handmade fastening bead, constructed by Countess Luce Tolle “The Lizard Queen”. As a deviation from period materials, polyester satin embroidery floss was used instead of silk cording for the adornments to defray the cost.

http://listverse.com/2010/06/22/top-10-greatest-empires-in-history/ Ghengis Khan wearing his decorated over tunic.

Basic Medieval Middle Eastern ClothingSimple, classic clothing that is suitable for any time period in the Middle East, Halima al-Rakkasa, GoAhttp://www.mongolianconsulate.org/Pages/country.html Riders wearing short sleeved over tunics.

Outer Pant

Pattern

(15) http://www.scribd.com/doc/40197/Middle-Eastern-Clothing-Practical-Primer

Materials and Methods

“Turkish pants (voluminous pantaloons of belly dancers, Vikings and Mongols) are shown in 11th-12th century Egyptian carvings, duringthe same time as the Iraqi straight-leg pants” (17). “The Mongolian garments were not made to follow the lines of the human body; they had only two dimensions height and breadth. They were manufactured according to certain standard measures, but they had no individual fit and hung loose and comfortably on the figure” (2). The outer pant was worn by all Mongolians, the low crotch and baggy legs provided freedom of movement for all aspects of nomadic life. Traditionally made of Indian cotton or Chinese silk and stitched with

silk thread. Applique and embroidery were added only to the lower leg and hem, which was tight at the ankle, presumably so they could leap onto horseback and slide into their boots without the need of their hands. A single ring leather belt was used to hold up the outer pant and in deep snow, fur leggings were added for warmth.

Linen and silk thread were used for construction. Unlike periodconstruction, all inner seams were machine sewn while the waistline

and foot holes were sewn by hand. The adornments were handmade by team members, embroidery, knotwork and lucet cord were made from embroidery floss and attached in the traditional manner. The leatherbelt was made by a team member and the belt ring was hand forged by James the Smith beforehand.http://maviboncuk.blogspot.com/2012/08/koceks-and-yamakis-dancing-boys.html A lower class servant dancing boy wearing the loose fitting Mongolian pants.

http://www.shutterstock.com/pic.mhtml?id=89134636&pl=90924-42119 "MONGOLIA - 25 JULY: The Senior Mongolian Horseman in Traditional Clothing with Golden Eagles during the Festival of Name "The Golden Eagle Festival" July 25, 2011, Mongolia - Desert." Mongolia. N.p., n.d. Web.

08 Sept. 2014. Showing the highly decorated lower leg of the Eagle Riders pant.

Coat/Del

Pattern

(16) http://home.earthlink.net/~lilinah/Rashid/mongol_coat.gif

Materials and Methods

“Early Mongols tended to have garb made of hides or pelts with or without the hair, fur or fleece. As they came in contact with other cultures, especially those who were not nomadic, they began acquiring various types of cloth and other goods through trade and other means. Fabrics readily available to them were various wools, silks, cotton and linen. Within those categories we find, for example, woolens ranging from the finest, softest Angoras to the coarse, rough Yak hair. Silk also followed this pattern. Silk was also used as a “base coat” for their armor and as underwear. Owing tothe tightness of the weave, silk undershirts served to protect their wearers from serious damage from arrowheads. Not only could an arrow be worked out of a wound by pulling the shirt away from the wound –

the silk uncut by the arrow point – but the wound would be cleaner, thus minimizing chances of infection. Cotton was available from Indiaand generally used as a lining fabric. It was not as fine a quality as Egyptian cotton which they did get access to in later period. Leather and hides continued to be used for heavier outer layers or work clothes, especially for cold weather work. It was not unusual tosee a Del lined with goat or sheepskin” (19). The Del remained the traditional Mongolian overcoat from the 4th century through the 14th century. “Del protects perfectly against cold and winds. If necessary, its long sleeves are rolled down to serve as gloves. Wide sash, made of several meters long textile, serves as a corset protecting against severe shaking during a fast horse ride. It also serves as a hanger to which a knife, fire stone, cup and other accessories can be attached. A pocket formed by the Del above the sash, makes an ideal place for keeping small items. In the nomadic culture, special attention was given to the quality of clothes and its tidiness since a missing button, undone seam or loose knot could have cost one's life during a sudden snow storm or fast horse ride” (21). All Mongols wore a del and multiple dels were worn as the temperatures grew colder. Most Mongolian clothing was made loose fitting, leaving space for layering in the winter. Slits for riding were usually found in non ceremonial garb.

“It is very evident, from pictorial sources, that the Mongolian of the 13th century wore a long sleeved tunic. This tunic has been seen worn alone, with either a front fastening or the more common cross over fastening or with a short sleeved over tunic that can alsofasten down centre front or crossover. This crossover would always be to the right. Notable is the length of the sleeve and its tightness of the wrist when worn bunched up to expose the hands of the wearer” (22). Closures were made of knotted silk cording and applied to the fabric, they never applied buttons directly to the fabric itself; all closures were applied in odd numbers. Buttons were generally made of glass, bone, or metal. In late period, the cloth Chinese button was used along with collars and cuffs. As the outer layer, it was highly ornamented once again and the number of bands of ornamentation depended on the age and social level of the wearer. “Tiraz bands can represent a gift of fabric from the currentruler, a blessing or just a decorative band at the bicep of the arm. A lot of the surviving examples do have writing on them. The Stucco figures do have Tiraz on the arms but the writing can not be translated according to the article. In studying other art work, I

find a multitude of different designs – Knot work, geometrics as wellas stylized writing” (25). “Everything from clothing styles to architecture reflected the purpose and function which had evolved because of the hardships faced by the people of the Mongol Hordes” (18). Appliques were added over time, often scavenged from clothing that had worn out and applied to new garments. The Lucet was used along with nail binding to make the decorative treatments. “The loveof color may be one of the distinctions of the Middle and Near East to the point where, in our eyes, colors clash. Period colors may be subtle, deep, or vibrant; avoid neon. Consider reds, blues, greens (color of The Prophet), soft oranges, yellows, black and white” (26).

Cotton brocade with silk thread was used for construction. Inner seams were machine sewn, remaining sewing was done by hand. The closures are hand knotted embroidery floss around hemp cord with carved bone beads. All appliques are made with hand knotting, embroidery, or the lucet. Polyester satin embroidery floss and cotton brocade instead of silk thread and silk brocade, respectively,were used to defray the cost.

http://www.dancarlin.com/phpbb3/viewtopic.php?f=3&t=34728 Showing the adornments on the hem and the length of the sleeves on a Del. http://www.britannica.com/EBchecked/topic/56278/Batu A Mongolian court depicting the large amount of decoration on the Khans Del http://steppes.proboards.com/thread/1225/discussion-on-ancient-hungarian-wear These Dels show a variety of fabrics and different degrees of decoration, depicting ranking amongst theclan.

http://www.allempires.com/forum/forum_posts.asp?TID=34170 An early collarless Del.

Cloak

Pattern

(24) http://www.hatshapers.com/Hat%20Dictionary.htm

Material and Methods

The cloak was basically a large rectangle held closed at the neck with a smaller rectangle attached as a hood which was often adorned with a tassel at the apex. Normally, Mongolian cloaks were lined with skins and furs to provide the extra warmth needed in the deep winter months. The cloak was only worn by horseback soldiers, and never worn into actual battle. The basic design of the Mongoliancloak remained unchanged from the 4th century through the 14th century.

Traditionally, wealthier Mongolians had cloaks constructed out of angora wool lined with soft tanned leather, such as the skins of deer or other large animals, and trimmed with the fur of fox, wolf, or ermine. Adornments were restricted to the hood and front closuresand were usually made of fur and leather or hand knotted silk cordingaround hemp cord. The less wealthy wore cloaks of wool made from camel hair lined with the skins of goat, dog, or horse and trimmed with the same goat or dog hair with cotton cording adornments.

Materials used include: herringbone wool, linen, rabbit fur, leather cord, glass bead, wool yarn and cotton thread. Linen was used for the liner instead of fur to reduce both the cost and the

potential for heat stroke by the wearer. The wool yarn tassels and rabbit fur and leather closure were handcrafted by a team member and fasten with a glass bead handmade by Countess Luce Tolle “The Lizard Queen”.http://hubpages.com/hub/make-cloak-cape Basic rectangular construction for this cloak, a utilitarian piece versus the highly decorated pieces of the West.http://www.tuttartpitturasculturapoesiamusica.com/2012/01/zayasaikhan-sambuu-1975-mongolia.html Depiction of the Mongols riding into battle with their cloaks flapping behindthem.

Closures and Buttons :

http://hubpages.com/hub/make-cloak-cape The closures on the cloak were one of the only decorations on this outer layer.http://galleryhip.com/mongolian-clothing-for-men.html Late period fabric buttons done in the Chinese fashion.

Materials and Methods

“Closures were frequently quite decorative, being made from silkcord tied in special knots. Metal and wooden buttons, shank style only, also served as closures in late period. The familiar Chinese Frog closure made its appearance much later and is still not common on Mongolian garb” (28). “Button holes were unknown in Mongolian andChinese costume, and the buttons were never sewn directly on the garment” (2). The fabric button was not used in Mongolia until laterin the 14th century. “Macrame, the modern art of decorating with knots, is believed to have originated with 13th-century Arabian weavers. They knotted the excess thread and yarn along the edges of hand-loomed fabrics into decorative fringes on bath towels, shawls, and veils. The original meaning of the Arabic Migramah, from which the word macrame is derived, is variously rendered as "striped towel," "ornamental fringe," and "embroidered veil”(27). In the construction of the closures, heavy cotton or hemp cord was included to lend strength and durability. The wealthy amongst the clan had closures comprised of a hemp cord base wrapped or knotted with silk, gold, and silver threads and finished with a button consisting of bone, glass, metal, semi precious stones, and the less common but highly sought after seashells. The less wealthy would follow the

same construction but instead of the expensive silk and metals they used cotton thread and bone beads.

Polyester embroidery floss was used instead of silk purely for financial reasons; otherwise the closures were handcrafted by a team member using traditional knotwork techniques and handmade glass or carved bone beads.

http://www.mongolianconsulate.org/Pages/country.html Metal closure beads on a later period Del.

http://superfashiongalore.blogspot.com/2006_06_14_archive.html Another variety of closure on a later period Del.

http://theknittingneedleandthedamagedone.blogspot.com/2013_05_01_archive.html A Lucet with cotton cording.

http://www.globalbeads.com/category/pick-of-the-week/ A variety of beads used by the Mongolians.

http://dancingdovestudio.blogspot.com/2013/07/more-tribal-amber-resin-beads-ready-for.html

Glass and Amber beads sought after by the Mongolians.

Accessories

Sashes

The sash was a very versatile accessory, not only did it hold the clothes tighter to the body but it also provided a convenient pouch, and in a pinch it served as a bandage or tourniquet. Normallymade from bright solid colors, red, yellow, green, orange, and blue were the most popular amongst all classes within the clan. The materials used in the construction of the sash depended on the time of year and the social event for which it was being worn. For example, thicker or heavier materials, such as satin, velvet, or silkwere used in the winter and for special occasions while lighter weight tougher fabrics such as cotton or linen were used for everydaypurposes and battle. The sashes were hemmed with the appropriate thread for the material they were constructed of, silk for the finer fabrics and cotton for the everyday use. Adornments were not used onsashes; they were a stand alone statement with their bright bold colors. “A pocket formed by del above the sash, makes an ideal placefor keeping small items. In the nomadic culture, special attention was given to the quality of clothes and its tidiness since a missing button, undone seam or loose knot could have cost one's life during asudden snow storm or fast horse ride” (30).

Materials used include: cotton with cotton thread and linen withsilk thread.

http://www.tengerism.org/Buryat_Traditional_Costume.html A variety of colors made up the sashes for all Mongolians.

Leather Belts

"Инээмсэглэх Монгол" үндэсний хөдөлгөөнд DISCOVER MONGOLIA TRAVEL CO., LTD нэгдлээ. A Mongolian man making leather belts in the traditional manner.

Single ring leather belts were commonly constructed from the hides of large, thicker skinned animals dyed red, black, or brown. Traditionally, the Mongolians would fold the leather through the single ring and sew it down using sinew, dyed a different color than the leather. If not scavenged off dead enemies, the metal ring was either created by a blacksmith or traded for.

The belt was constructed beforehand by a team member who cut, formed and sewed the leather, while the metal ring was hand forged byJames the Smith.

http://lrwickerdesign.net/2011/09/17/hand-forged-hardware-and-more/ Example of hand forged metal rings.

The Satchel

http://m-silkwork.blogspot.com/2007/02/14th-century-drawstring-purse.html?m=1 Mid period satchel lightly decorated.http://www.kostym.cz/Anglicky/2_Detaily/01_Doplnky/II_01_145.htm Early period satchel highly decorated for the time period.

Mongolian warriors carried a satchel constructed of leather or heavy fabric scraps which hung from a leather belt worn over the shoulder across the body, connected by metal rings and adorned with fringe and shiny or jingly bits dangling. This satchel “may be a small square about the size of the palm of the hand, tied to the belt

or sash; or a square that could hold a large book, hung from the shoulder with a long strap; probably leather, but all have a triangular to flap to close it” (29) and “Dangling jewelry and tassels distract demons from doing harm, and add color and movement” (24). In size, the Mongolian satchel was slightly larger than a trade paperback and was used to carry a prayer book with them on longjourneys.

The satchel was constructed from scrap in an attempt to waste the least amount of material. The leather belt was constructed beforehand by a team member and the rings were hand forged by James the Smith.

Dyes

“ Dyes and mordants in use ( not an exhaustive list )indigo, woad, dibromindigio (mollusc purple)- very rare, logwood, madder, weld, fiestin, pomegranate, safflower, walnut, acorn, gall nuts (oak), possibly hawthorns, possibly henna, dye insects – kermes and lac – laccainic acid, kermes acid, carminic acid (including Mexican cochineal after the first quarter of the 16th century), larkspur (recorded as a “peasant” dye for yellow for silk, also used with copper sulfate to produce green)Mordants and additives/modifiers:alum, copper and iron salts, tanic acid astringents- turpentine, pistashio tree leaves and husks, oak galls, tin, yogurt, potash, fullers earth”. (31)

Adornments

Embroidery and Appliqués

http://www.face-music.ch/highaltai/ornaments/ornaments_en.html Examples of period Mongolianappliqué and embroidery designs.

Colors

The Five Colors of the Universe each represented a direction, elementand an animal. Specific colors and/or shades were reserved for specific military and civilian ranks during some dynastic rules in both China and Mongolia:

• Red (south, fire, and phoenix) was a sacred color in Mongolia, and the color of joy and festivals and weddings in China. In Buddhist doctrine, a red Lotus symbolizes the nature of the heart, encompassing the emotions of love, passion and compassion. Red could not be work for 27 months after the death of a parent. Pinks, peach, apricot and purples were considered shades of red.• Yellow (center, earth) was sacred in both Mongolia and China and was reserved for monks and the Emperor. It is the color of measure and balance, eternal light and consummate harmony. Yellow clouds denote prosperity.• Blue/green (east, wood, and dragon) was reserved for the Prime Minister during the Song Dynasty and was the color of royalty and 1st, 2nd and 3rd degree officials during the Ming

Dynasty. Some pale grays and of-whites were categorized as blue or green. Blue and green for the sake of color symbolism are interchangeable. In Buddhist doctrine, a blue Lotus is the symbol of victory of the spirit over the senses, of intelligence, wisdom and knowledge. It is always represented as a partially opened bud whose center is never visible.• White (west, metal, and tiger) denotes moral purity. It wasthe color of joy and festival at court during the Yuan Dynasty. In Buddhist doctrine, a white Lotus is the emblem of total mental purity and spiritual perfection. It is depicted with eight petals corresponding to the Noble Eightfold Path.• Black (north, water, tortoise, snake)• Brown was the color of royalty during the Song Dynasty. Thirty to fifty shades were in recorded use during the Yuan Dynasty.• Gold and silver were used to denote greater and lesser wealth in both Mongolian textiles and Chinese jewelry. (32)

Period Stitches and knotsEmbroidery Stitches:Running stitchDouble running stitch (Holbein stitch)Split stitchChain stitchSatin stitchCouching Note absence of cross-stitch. I have not yet learned when that appeared in Russian embroidery - I have certainly seen no evidence ofit prior to the 14th cent. so far.(33) Cotton crochet: This is a simple cord type, which is soft and easy towork with. It is available in myriad colors. This works well for small and delicate work. Embroidery floss: This makes uses of strong cords in a variety of colors. The knots using this cord type are strong and difficult to untie.Hemp: This is a strong natural fabric and wears well. Polypropylene: This is a type of cord available in various sizes. It is strong and durable. Rattail: This type of cord lends a satin feel to the crafted object. It is available in a variety of colors and sizes. Soutache: This is a kind of flat-ribbed satin cord often using for

trimming. Waxed linen: This is best-suited for creating crisp knots. It is slightly stiff and can hold well. Wire: This is used in macramé jewelry. Copper is the best choice as it provides strong and durable cord.  In Chinese macramé, some decorative knots are known by queer names such as 'Monkey’s Fist’, ‘Double Coin’ and ‘Good Luck’. (34) “One of the Kazakh traditions that they continue is their hand embroidery, which consists of gorgeously elaborate swirling patterns of chain stitches that they use to adorn, well, almost everything” (35).  http://insearchofdecoratedyak.wordpress.com/2012/03/02/kazakh-embroidery/“Other methods that use even stitch lengths are 'gradient stitch' (qiangzhen 抢抢) and 'layer stitch' (taozhen 抢抢). 'Gradient stitch' is used for flowers and butterflies and 'layer stitch' for highly detailed petals, animal tails and bird feathers.'Prodding stitch' (souhezhen 抢抢抢) on the other hand is freer, and is used to achieve a greater photorealism in flowers and birds. Similarly, 'thickening stitch' (shizhen 抢抢) mimics animal fur and rolling clouds in the sky.

http://www.artofsilk.com/blogs/news/7987881-what-is-su-embroidery-the-history-of-suzhou-silk-embroidery-art#.VAMD-8VdUZM Close-up of period embroidery in the Shu style.

The techniques of Shu Embroidery are held in highest esteem, the names and actual construction of this style are held secret and currently passed from mother to daughter. Originally this style was held by men and passed from father to son but seems to have changed around 4BC.

Mongolian Traditional Ornaments“Pattern and ornaments, inherited from the generation in the generation on length of many centennials were developed before the level of classical creation of art and we with pride present a fine storehouse of wit, skill and diligence of our public creators of beauty. In Mongolian national creation decorative ornaments occupy a particular place. Nomadic tribe of the Mongols are free always on the road on the elbowroom of boundless territory in constant flow of 4 seasons in an year and print of the universe by hoofs the best of the horse herd broadly used ornaments in household appliances, attributes,transport facilities and every cloth.   Mongolian masters in all time high honored public creation and have save a traditional symbolic signs, non repeat heritage of culture. Depending on strategies of creation of miraculous ornaments by public masters different nationalities and particularities of their making ofthe national ornaments and its numeral varieties have found a broad spreading in the different corners of our country”(36).

http://www.gothwitch.co.uk/Symbols.htm The Mongolians have many knots, all with religious and philosophical meanings .

http://www.stabenow.com/2013/12/31/news-of-silk-and-song The Queen Carriage “Queen Carriageis the symbol of love, invincible and honesty” (37).

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