"Call her briar rose or smth tho bc those 12 ft long braids kept picking up thorns on the hills" - Yulan
Pt. 2 of our AAPI series: Meet Esther, our model for the Macaron set! 🍬
A born-and-raised Bay Area resident of Chinese-Mongolian heritage aptly born in the Year of the Horse, Esther works in software engineering and enjoys baking, thrifting, and bouldering in her free time. We chose Esther for this look to help represent the bridge between Mongolian / northern steppe heritage and the Central Plains influences that shaped this style of hanfu.
Our Macaron set is named after a Chinese horse pun: “馬卡龍” is the transliteration of “macaron,” but literally reads “horse-card-dragon.” Keeping with the dessert theme, we designed this set in pastel confectionary colors and styled Esther with pastel eyeshadow shades to match! 🍭
Historically, this outfit draws from Northern Dynasty dress and the legacy of the “胡服騎射” policy — “wearing Hu (non-Han) clothing and shooting from horseback.” During the Warring States period, King Wuling of Zhao promoted the adoption of cavalry-friendly clothing elements associated with non-Han horse-riding peoples of the northern steppes, many connected to the lands of present-day Mongolia and Inner Mongolia. Over time, these styles became integrated into Hanfu. The pants in the Macacron set, for example, are a hybrid of hundred-pleat skirt and lantern pants, literally “百褶燈籠褲” or hundred-pleat lantern pants. The belt is made of imitation Songjin brocade, and features a pattern of golden horses galloping through waves, humorously titled “馬上有錢” 🧧
For styling, we gave Esther dramatic 12-foot-long twin carabiner braids, a modern nod to braided hairstyles long associated with many nomadic steppe cultures for beauty, identity, and practicality on horseback. And if you catch a glimpse of her nails, they’re hand-painted press-ons featuring horse artwork from a small studio in Inner Mongolia!
For AAPI Month, we’re celebrating the many ways heritage moves: across borders, across generations, and across the stories we choose to wear. 🐎
CREDITS
Model: Esther Sue (ig: @/esthers_ue)
Hair: 糖糖 Tangtang (me, ig: @/tang.tang.mm)
Makeup: 玉藍 Yulan / Chlobalt Blue (ig: @/chlobaltblue)
Photography & Editing: Hong Majaya (ig: @/hongwithcamera), Sylvia Gong (ig: @/sybiashoots)
Horses: Giddyup Productions (ig: @/giddyup_productions)
Weapons: Christabel Choi (ig: @/christabel_choi), Haydon Fu (ig: @/fuhaydon), Kevin Wong (@ktw-shu)
Additional Assistance: Faye Sun
Location: Sunol, California, USA
Clothing: Cloud9 Hanfu 九雲閣 (ig: @cloud9hanfu), 馬卡龍 Macaron LNY26
Earrings: 金马贺岁 by 黛组学DaiStudio
Braid extensions: 梦想成真假发
Shoes: 清欢阁
Nails: 蒙古马 by TanghesNail 指尖造物
Pt. 3 of our AAPI series: Meet Tara, our model for the Ferghana set! 🐎
Another born-and-raised Bay Area resident also born in the Year of the Horse, Tara is of Persian & Han-Taiwanese heritage and studies fashion in San Francisco. She enjoys pilates, yoga, sewing, and ice hockey, and is a member of the ice crew for the San Jose Sharks! We chose Tara for this look because her heritage beautifully reflects the cultural exchange between Central Asia and China — almost like the Silk Road embodied in one person.
The Ferghana set is named after the namesake legendary horses of the Fergana Valley, known in premodern China as “heavenly horses” and famed for their speed and stamina. Its Chinese title, 君馬黃, comes from a Tang dynasty poem about friendship despite differences in origin & background — a fitting phrase for both the multi-ethnic Tang world and our AAPI Month theme of diaspora. 🐴
The robe itself is inspired by a Northern Dynasty predecessor of the Tang round-collared robe: a high-collared, narrow-sleeved silhouette suited for the cold winds of the steppes and introduced to the Central Plains by the horse-riding Xianbei peoples. The print features a linked-bead pattern with confronted horses inside pearl roundels, a motif associated with Persian, Byzantine, Greco-Bactrian, and Central Asian art that became popular in medieval China through trade, migration, and cultural exchange.
For styling, we brought this East / West remix into California: blue jeans tied to San Francisco’s Gold Rush history, red cowboy boots, and our cowboy-weimao hybrid — a red cowboy hat reimagined with the veil of a Tang-style 帷帽 riding hat. Tara’s makeup draws from historical recreations of Tuoba Xianbei styling seen in cave murals and figurines, including the red forehead mark, while her braids are another nod to the long history of braided hairstyles among many nomadic steppe peoples.
As we close out AAPI Month, we’re honoring identity as something layered, diasporic, and always in motion. 🐎
(there's two more shoot presentation posts with the individual pics in them bc of tumblr's image limit, this post has all the gay duo pics)
Happy AAPI Month from Cloud9! 🐎 For this Year of the Horse, we wanted to tell a story of diaspora and cultural remixing: across grasslands, oceans, cultures, and nations.
The two looks featured in this shoot, Ferghana (君馬黃) and Macaron (馬卡龍), draw from the historical exchange between the Central Plains and the Eurasian steppes: horse-riding nomads from the northwest frontiers like the Xianbei (鮮卑) peoples, Central Asian motifs from Persian and Greco-Bactrian trade, garment evolutions adapted for a life on horseback, Ferghana horses, and more.
Born and raised in the Bay Area ourselves, we wanted to reimagine the rolling steppes of Northern Asia in the grassy hills of California, mirroring the cultural exchange of East and West. Whereas these hanfu silhouettes arose from the intermixing of West/Central Asian and East Asian influences, we sought to incorporate some of the American “West” in our looks as well.
We paired cowboy boots, blue jeans (famously patented in SF during the Gold Rush), a cowboy-weimao (帷帽) hybrid hat, both modern and traditional bows, swords, and of course horses 🐴 with our styles from the steppes to bring in the spirit of California’s western frontier.
Each of the amazing collaborators in this project carries their own diasporic heritage and hails from California’s SF Bay Area; both models and our main photographer were even born in the Year of the Horse! For this AAPI month, we’re hoping that this photoshoot reflects what it means to inherit many histories, live between worlds, and create something new from all of them ✨
"So do we kiss now, or..." - Tara
CREDITS
Models: Esther Sue (ig: @/esthers_ue), Tara Yaghmaei (ig: @/tara_yaghmaei)
Hair: 糖糖 Tangtang (me, ig: @/tang.tang.mm)
Makeup: 玉藍 Yulan / Chlobalt Blue (ig: @/chlobaltblue)
Photography & Editing: Hong Majaya (ig: @/hongwithcamera), Sylvia Gong (ig: @/sybiashoots)
Horses: Giddyup Productions (ig: @/giddyup_productions)
Weapons: Christabel Choi (ig: @/christabel_choi), Haydon Fu (ig: @/fuhaydon), Kevin Wong (@ktw-shu)
Additional Assistance: Faye Sun
Location: Sunol, California, USA
(specific clothing & accessory credits to be listed in individual posts)
Raw of Esther that didn't make the cut—the smiling didn't go with the fierce editorial vibe as well but I think it's super cute
Again not going over the actual clothes here, just the casting/accessories/hair/makeup!
Casting
Both of our models are born and raised in the Bay Area. Esther is of Chinese-Mongolian heritage, which we felt was fitting based on the probable descendants of the Xianbei people that stayed on the grasslands after Northern Wei in the Rouran Khaganate, whose descendants much later unified into the Mongol Empire and developed a culture that we now consider the Mongolian identity. Mongols are one of the 56 ethnic minorities recognized by China (although of course that list is not totally accurate and mostly politically motivated), but they make up only a tiny part of the population, even in Inner Mongolia, where Han people make up 78.7% of the population and Mongolians 17.7% (as of 2020).
We found Esther through a long chain of references while casting for this project (friend of a friend of a friend of a friend?). We wanted a slightly more feminine look to contrast with the more androgynous styling of the Ferghana set. Esther was cast last out of the three (one couldn't make it in the end), but her lower visual weight complemented Tara perfectly (also we made it yuri because of course). She was also the only model that had ever drawn a bow before; though her experience was still limited, it definitely still helped.
Accessories
Earrings: From 黛組學 DaiStudio on tb (listing photo above left), their 金馬賀歲 earring design. Made of marbled-patterned acrylic with a horse-shaped filled engraving. The big round pendant shapes are similar to some of the popular large drop earrings in women's western fashion style, and the marbled texture mimics the look of shell, a common jewelry material during the Northern Dynasty. We felt it was important to include earrings for both looks, since earrings were so associated with Hu people up until Song.
Nails: From Taghesnail 指尖造物 on tb (listing photo above left), their 蒙古馬 design in white. Tanghesnail is a nail studio based in Inner Mongolia with the mission of preserving and sharing Mongolian cultural elements through art (they're super cool I recommend checking them out!). Unfortunately we weren't able to get super good closeups of the nails (we were kind of on a time crunch racing against the sunset) but we did get a few partial shots.
Pibo: From 初九織造 on tb, their 金背鳥 pattern specifically. Only used a couple times as an accessory tied around one leg, one method of keeping the extra fabric from getting in the way—usually you'd pull up some of the fabric around it, but it ended up kind of falling back down a bit (we were moving around a lot).
Shoes: From 清歡閣 on tb (listing photo above left). Made of a really nice gold-flecked white fabric that worked really well with the lighter color scheme of the Macaron set (though lowkey the nice white fabric ended up getting destroyed after stepping in mud and cow pies all day, cons of having white shoes). Nonetheless a gorgeous pair of white boots that look a little more interesting than the plain white canvas that pretty much every other option is limited to.
Bracelet: Esther's personal zodiac bracelet (year of the horse).
Makeup
Makeup is credited to my sister Yulan (ig: @/chlobaltblue), who usually does most of the makeup for our shoots. The key parts of Esther's look were what we called "sunburnt i've-been-standing-in-the-cold-winds-of-the-steppes-for-too-long-and-my-cheekbones-are-raw blush" and the two-toned pastel blue and pink eyeshadow to match the outfit, plus a muted rosy lip. There was some gold-tone highlight used to really pick up the golden hour sun rays where we wanted it to land.
A moment taken to pay respect to Yulan's spine
Hair
L: me doing Esther's base hair // R: Pile Of Braids
Hair is credited to Me! While brainstorming we initially weren't sure what to do with Esther's hair, especially since it was partially dyed. We went through a few ideas before we landed on braids, partially because of the loose association of braids with Hu people throughout history, and the association of braids with the equestrian world due to the horse girl french braid + the braiding of horse's manes and tails.
During the Yuan Dynasty, Mongolian people wore their hair in these small braided loops next to their ear that distinguished them from the Han people. You can tell a lot of the figurines apart by looking at their hair and how it's styled. This was a more editorial shoot, so I decided against just recreating that hairstyle (plus it would be inaccurate because the Mongolians weren't a thing yet during the Northern Wei Dynasty and I felt that would be confusing).
Instead I got the idea of ridiculously, comically long braids. I'm not sure exactly where I got this idea, probably just browsing random hairstyles and dance photos on XHS and Pinterest, but I felt that it would work well because Tara has such high visual weight and Esther is on the thinner side with a cooler, more muted color palette. Braids would let her take up more space in the camera.
The braids used are 4 meter long braided extensions that I purchased from Taobao (I made shorter 2m long ones myself using kanekalon braiding hair, but when I tested them on myself they weren't long enough for the effect I wanted and I couldn't find material long enough to make them any longer). I attached the ends to round gold carabiners that I had lying around (I use them for my keys/wallet, but I only needed one and they came in a set of eight, so there were extra).
The extensions were pretty heavy, so I used Esther's own hair to create strong attachment points reinforced in multiple places to spread out the pressure on her scalp, so that it wouldn't hurt. This was mostly accomplished through the use of multiple nested layers of french braiding, which widened the base area of the braids, and weaving the ends of the braids together so they were all connected to each other. At the end of the shoot Esther told me that she could feel the extensions pulling on her, but they never hurt and never loosened, so I think I was mostly successful.
I left a loop on both sides as attachment points for the carabiners, which were clipped on right before we started shooting so that we wouldn't have to deal with them in the car—it was a really interesting element to play with during posing; some of the shots we were thinking of didn't work out, while other poses that we didn't think of ended up looking super cool. We kept having to run around the hill to reposition them while dodging cow pies and thorns, which was honestly more cardio than I've done in the past month combined.
It was also a little bit of a safety hazard around the horses, because we didn't want them to step on the braids, so the rule was that we had to have at least one person holding each braid up off the ground before the horses were allowed to move. It worked out fine and the horses were also extremely fascinated with them for some reason (I guess they'd never seen hair this long before), so it was a great way to get their attention and make them look at the camera.
By the end of the shoot these things were biohazards, as they had been dragging through the brush and picking up mud, thorns, hay, and cow pie residue for hours, so unfortunately they had to be trashed :( but at least they are immortalized in the photos! And taking them off was basically instantaneous since they were attached by carabiners.
Styling: Tara
Raw of Tara that didn't make the cut (it's overexposed cuz it's not edited lol)
Casting
Tara was the first mdoel to be cast for this project—we know her because our moms were college friends. She is of Persian-Han Taiwanese heritage.
Even as early as Northern Wei, there is evidence of early contact between China and middle eastern states, including Iran/Persia at the time. Many of the Han-and-after artifacts in Northern China unearthed from locations near the border contain art that contains Parthian, Hellenistic, and Persian elements, including the rhytons appearing in Northern Dynasty linked-bead patterns and imported gemstones and beads appearing on necklaces and bracelets. It's hard to imagine just how far cultural exchange could go along the Silk Road, at a time when even the fastest possible travel modes were so slow; nevertheless, cultural elements from across the continent ended up in China, and vice versa.
While we think of most cultures as distinct, it doesn't and never has existed in a vacuum. Exchange has been happening since the beginning of time, especially in intersectional places closer to the borders between states—everything has always been impacted by everything else. Horses are an incredibly good example of an imported good that made its way into Chinese culture and mythology, despite coming from outside.
Tara was the perfect warm-toned, high-visual-weight model for the Ferghana set—also born in the year of the horse, she had the perfect fierce, confident energy needed to hold up the bright colors of this robe. She also made for an excellent visual foil against Esther.
Accessories
Jeans: From Tara's own closet. Lowkey the jeans ended up mostly invisible because they were tucked into the boots, but I feel the need to mention them anyway. I explained most of the relevant information on Levi Strauss's blue jeans in the previous post, so I won’t get too far into it, but it was very much a multicultural invention: the indigo dye came primarily from India, the fabric innovation happened in Genoa, Italy (the origin of the word “jeans”) and Nimes, France (the origin of “denim” = “de Nimes,” from Nimes); the branding and propagation happened in San Francisco after Russian-American Jacob Davis and Bavarian-American Levi Strauss’s patented riveted blue jeans. Initially made as workwear for hard labor, they gained popularity among gold miners, vaqueros/cowboys, and railroad workers (including Chinese immigrants), and later made their way into popular fashion, where they became the closet staple they are today.
R: me wearing the hat as a test after I made the veil
Hat: Base from Amazon, modified by myself. The famous wide-brimmed felted cowboy hat was popularized by John B. Stetson in 1865. Functional and stylish, it quickly became an icon of the American West. It was particularly functional on horseback. Coincidentally, there was a similar hat popular from the Northern to Tang Dynasties in China called the weimao. It had a similar wide brim and tall dome protecting the wearer’s head from the elements, and is often—in fact, almost exclusively—depicted worn by women on horseback. In addition to the wide brim, many weimao also have a veil attached to the brim, offering additional coverage and modesty. The earliest forms of these veiled hats were called mili, with the veil usually extending to the floor; later these evolved into shorter shoulder-length veils that only covered the face. I may or may not do a short separate post on how I modified the red cowboy hat to include a detachable magnetic veil.
Boots: Also from Amazon. Boots were also choice horse-riding footwear in ancient China; to complete the western look we went with topstitched red cowboy boots. I’m pretty sure topstitching is just for decoration, but I’ve heard that the scalloped top is for better forward/backward mobility when the boot leg comes up to the calf, and the pointed toe makes it easier to find the stirrups without looking, plus of course the slight heel. This seemed fairly relevant given that the Northern Dynasty Xianbei attributed much of their military success to their invention of the stirrup. Chinese riding boots also tend to have pointed toes.
Gloves: Amazon lambskin cashmere-lined gloves. Full disclosure these were 100% just included because, uh, I thought they looked cool. Riding gloves are a thing too, but they tend to look kinda different from these, so... maybe a vague connection there?
Earrings: From 竹編飾品非遺坊 on tb. They’re handmade with curved bamboo strands, which we picked because the way they mirrored braids I put in her hair. I added a pearl and some jump rings as accents because Why Not, and I also replaced the finding (the part that goes into the piercing) with rounder ones that look more similar to historical earring hooks.
Makeup
Makeup is once again credited to my sister Yulan. Tara's features are naturally very strong and well-defined (she showed up with a bare face and we thought she already had makeup on, I'm not kidding), so the makeup didn't need to do a lot of adjusting or defining, just some gold highlighter to emphasize the high points where we wanted the sun to hit, a red lip, and some super sharp eyeliner.
The markings on her face were partially inspired by common facial markings of the time.
Hair
I mostly improvised on this, but the main concept was pretty much just "lots of braids." Many of the ethnic groups considered Hu by ancient Han people traditionally wore braids in some way. Mongolian people, for example, can be easily distinguished from Han people in Yuan Dynasty paintings and sculptures because they wear their hair in three loops next to their ears.
Some Xianbei figurines also show Xianbei people wearing braided ponytails, though these are limited, because most Xianbei people usually wore their hair up underneath a hat or cap of some sort. My guess is that the braid might be what's underneath the cap, and what's depicted might be what it looks like once the cap is removed and the hair is allowed to fall down.
Tara's hair worked especially well for this because she has grown-out bleached hair, so the contrast ends up really stark against her roots. There are three dutch braids coming from either side of her temple towards the center, where they combine into a larger main braid. I put two tiny sections of snake braid up at the top of her head—they're very short, but that was the maximum length I could get them given the length of her hair. In any case, the blonde parts lay on top of the dark roots in a way that emphasized the contrast between parts of the hairstyle, which worked out really well.
Lowkey I'm surprised at the amount of attention these photos are getting but I'm happy they've reached people and that people like them!!! I love reading the comments yall leave in the reblogs they make me super happy :)
I'll be going over some of the thinking behind this shoot in more detail in this post. I will be doing the styling and actual outfit designs in separate posts though because I will definitely run out of images again Edit: I ran out of images who's surprised LOL
Shoot Background & Influences
BTS shot by Christabel Choi
The captions from the prev posts went over the general gist of the shoot background already—the idea was to do a shoot in the California, where both my sister and I grew up, reimagining the Eurasian Steppes in the golden hills. "Culture clash" was very much the name of the game, the more collaboration the better.
The concept for this shoot combined a number of different aesthetics. While the designs were significantly historically inspired (as is the case with pretty much all the hanfu I’ve designed) this was less of a ‘historical recreation’ type shoot and more of a fashion/editorial exploration into cultural crossing-over, especially in the context of Han Chinese diaspora, the mobility of culture, and the relationships between form and function in fashion.
Californian History & AAPI Month
Source: John Chinaman on the rail road [graphic] : Union Pacific Rail Road. UC Berkeley Library Digital Collections, Chinese in California, 1850-1925. Source caption: Several Chinese workers on a railroad hand car in an arid landscape.
California hosts one of the largest populations of asians in the US—percentage-wise it loses to Hawaii (18% vs 52%), but in sheer numbers, there are approximately 7.1 million asian people in California, more than any other state. About 1.9 million of those are identified as Chinese.
If you grew up in the US (or at least if you grew up in California like me) you’ve probably heard this story before, but the earliest big wave of Chinese immigrants to America was during the 1849 gold rush, when immigrants flocked across the pacific to chase the American dream embedded in the glittering harvest of the San Francisco gold fields. This is when a lot of older Chinese-American culture was established, by the railroad workers of the later 1800’s, and it’s part of the reason why there are so many Han people in California.
Source caption: Ging Cui, Wong Fook, and Lee Shao, three of the eight Chinese workers who put the last rail in place, on a float at the 50th Anniversary celebration of the completion of the transcontinental railroad in Ogden, Utah. Photo by courtesy of Amon Carter Museum of American Art Archives, Fort Worth, TX
One of the US’s biggest accomplishments during the 19th century was the completion of the first transcontinental railroad, running from Iowa to California, connecting the Atlantic and Pacific oceans across the continent of North America. The project was completed by two companies that each started on one coast and expanded towards the other side, meeting in the middle. Central Pacific Railroad was the company starting from the west coast, and they hired swathes of Chinese immigrants in California for railroad track-laying and construction—it’s estimated that Chinese immigrants made up 80-90% of the workforce.
Src: “Chinamen going to work on the California and Oregon R.R.” Courtesy of the California History Room, California State Library, Sacramento, California. Chinese Railroad Workers in North America Project, Stanford University.
Despite these large numbers, Chinese immigrants faced a number of discriminatory acts that, until fairly recently, were mostly ignored when looking at American history. The most famous of these was the Chinese Exclusion Act of 1882, which barred most Chinese laborers from entering the US for over six decades, but a lot of the hostility, resentment, and stereotypes around Chinese immigrants was built way before the law was signed. In addition the insane wage gaps and dehumanizing treatment, the railroad era was where a lot of the racist eye-pulling and yellow-skinned caricatures started, digs at Asian customs and appearances that still persist today.
Src: Donner Pass - "Double Happiness" design base marks. 1865-68. Site #2, Paul Chace Photographs Documenting Chinese Railroad Workers. Stanford University Libraries. Source caption: Slide of a "Double Happiness" bowl. Ektachrome transparency.
I grew up right next to San Francisco—this story has been told to me over and over. While I’m not a descendant of immigrants from that time—there are very few of those left, actually, due to active systematic efforts to prevent the increase of Chinese populations—it remains a critical part of Asian-American culture that shaped how society views and interacts with Asian-Americans, regardless of their origin, today.
The Golden Hills
Photo I took with my phone of the hills when scouting the photoshoot location in January. Literally the greenest I've ever seen them. Me, Yulan, and one of the photographers drove over late January to scout the place and meet the horses.
The gold fields of San Francisco no longer boast the same riches that it used to, but the hillscapes in California are still extremely distinctive natural wonders. California is very dry—we've been going through a drought for years, which is definitely not good, but it does result in distinctively yellow hills that almost seem to glow when golden hour hits. Every relatively long drive in my childhood history is inevitably framed by these golden hills, looming above the road on both sides.
In the recent years the rainfall has been increasing a little bit, which is good news for the wildlife. Some of the hills have been green for the first time, and I kid you not it was a startling sight for me on the way between college and home during breaks. It's definitely a good thing, god knows we do NOT need more wildfires, but I will still remember the dry yellow fields fondly just because of their place in my memories.
(Or if we don't get lucky the rain might dry out again and we might get that hay back anyway, but. That's a different problem.)
Western Cowboy Aesthetic
Truth to be told, I've never been a big fan of the western aesthetic (it does NOT look good on me), but for this shoot it seemed extremely relevant. Not only is California one of the protagonists of the whole Westward Expansion thing, the Gold Rush era was extremely pivotal in the development of the western aesthetic.
Src: Turner, Christopher, "The Story of Levi's Blue Jeans," 29Secrets
I'm talking, of course, about Levi Strauss's blue jeans, patented in San Francisco on May 20th, 1873 (also Jacob Davis, but his name didn't make it onto the brand so I guess nobody remembers him lmao). Strauss himself was Bavarian-American, born in Germany to a Jewish family, but moved to the States in 1853 with his family.
The patent that was filed wasn't exactly just for the jeans—denim pants had already existed, of course, but the main feature that they figured out was that they could reinforce stress points on those pants using metal rivets. That was the key discovery—that they could extend the usefulness and lifetime of these pants during hard labor with this innovation.
Src: The Dodge City Peace Commission in 1883, some wearing a Boss of the Plains, Wikimedia Commons, June 1883
Another example is the cowboy hat—while not specific to California, John Stetson's invention of the hat was rooted in function, because he had experienced being a miner in Colorado prior to his hatmaking business taking off. His design worked because he had personal experience working in those conditions, and because he was able to incorporate multicultural influences: for example, his first Boss of the Plains design was an adaptation of the Mexican sombrero jarano.
The hat was functional: it was wide-brimmed and waterproof, protecting you from the sun and rain. Since it was waterproof, it could be used to scoop up water while outdoors, and it was light enough not to be a burden. The most high-quality hats were made of beaver felt from beavers (this unfortunately devastated their population until people realized that they were going to end up with No Beavers, and eventually were able to get their population back up to least concern by present day). Eventually it developed into the Ultimate Western Men's Fashion Statement.
Src: Land in a new territory is auctioned off in this tent. California. 1904. Rare historical photos.
I want to emphasize that this innovation was made on behalf of hard laborers. It was revolutionary and ended up being such an essential part of America's fashion legacy, but its beginnings were in functional workwear, specifically the kind worn by people who did hard day labor: ranchers, miners, railroad workers, etc, people who went out in the sun and built this state's infrastructure, many of whom died for it.
In terms of ranchers and cowboys, though, we come upon an interesting parallel between eastern & western fashion and function. Symbols like cowboy hats and blue jeans are internationally recognizable as fashion statements now, even though their initial usage was functional. This "function defines fashion" concept is one of the key things I wanted to play with here.
Xianbei People and Horsemanship in Northern Wei
Src: Northern Wei map. Wikimedia Commons. December 2022.
If you've been in the hanfu community for a bit you may have heard of the lump period referred to as the "Wei-Jin-Southern-Northern Dynasty Period," which is referred to as a group because of how short the individual ruling eras were (stuff changed around a lot, and a lot of them also coexisted, so it gets confusing).
One of the more well-known and relatively more long-lasting dynasties in this period is Northern Wei, which lasted from 386 to 535 BCE. It ruled over Northern China at the beginning of what we called the Northern & Southern Dynasties, but more notably, it was ruled over by the Tuoba/Tabgatch clan of the Xianbei nomads, who were Proto-Mongols that dominated the Mongolian Plateau at this time. They unified into the Xianbei Confederation ~second century BCE, often involved in conflicts with the Han and Xiongnu people.
Src: Seattle Asian Art Museum. Figuras de terracota china. Extranjeros a caballo. Dinastía Tang. Wikimedia Commons.
After the Tuoba clan took over as Northern Wei, they gradually became more and more sinicized (on purpose, it seems) as they introduced intermarriages with Han people with the royal family, used Chinese surnames, and adopted a more sedentary lifestyle. By the end of the Tang Dynasty most people had lost track of the distinction, with Xianbei people either assimilating into the Han population or splitting off into the later Proto-Mongols like the Rouran Khaganate etc. etc.
As a nomadic group, the Xianbei people were primarily herders and relied on animal husbandry, also moving around on horseback. One of their greatest inventions that allowed them to triumph over the other groups at the time was the invention of the stirrup, which allowed for greater maneuverability on horseback and during warfare. While they're not as well-known for it as the Mongolians, horses pop up everywhere in their art, possibly (im not sure i didnt check) more than any other animal.
Src: Zhang, Fan, Xianbei Zoomorphic Plaques: Art, Migration, and Human-Environment Entanglement, Arts 2022. Source caption: Plaque of a crouching horse, gold, excavated from Liujiazi, Horqin Left Middle Banner Banner, Inner Mongolia.
Their clothing also seems to be extremely suited to horseback riding—the narrow sleeves, higher collars, and head coverings all helped protect against the harsh winds and intense sunlight of the Mongolian plateau. The high, round collar also allowed for a greater area of overlap than the traditional Han cross collar, making it harder for the robe to be blown open by wind or movement. Fit-and-flare silhouettes gave the lower body room to move while the upper body was more fitted, freed from the obstruction of extra fabric.
Src: Paintings on west wall of Xu Xianxiu's Tomb of Northern Qi Dynasty. Wikimedia Commons. Note: Northern Qi succeeded Northern Wei and had a more mixed Xianbei-Han culture thing going on.
Xianbei and other Hu fashion seemed to have entered Han consciousness en masse following this period—while sinicization ultimately pretty much buried the Tuoba clan, cultural exchange was still a two-way street. Pants as outerwear, more fitted silhouettes, and other trends eventually made way for the vibrant mixing pot that was the Tang Dynasty, incorporating elements from all over and transforming them into new innovations.
Shoot Reflection Shenanigans
Shot from Sylvia that didn't make the cut because Hong's elbow was in the way
(Mostly a record made for myself to remember all the things that went wrong with this, because I want to remember everything that happened, not just the good parts)
Logistics/Coordination Problems:
Group chat planning shenanigans w/ @ktw-shu
Shoot was pushed back like 6 times because of the weather, because California decided to rain ONLY on the days we planned for the shoot (I shit you not, not the day before not the day after, ONLY on the days we planned for the shoot). It went April 12th -> April 21st -> April 22nd -> April 23rd -> April 22nd again -> April 27th -> April 28th, twice because of weather and once because of horse scheduling, and then three more times after we had to cut the third model. This was the bane of my existence for the entire month of April.
The final date we landed on, April 28th, was on the same day as my final presentation—it was originally not up as an option, but because of all the scheduling issues we made it work by handing off most of the props/materials to Yulan ahead of time, having me go straight from the final presentation to the BART station and hightailing it down to Fremont (we had a hotel room there for prep) as fast as possible. The prep timing was tight, and we ended up being about an hour late to the shoot, but all things considered it could've been worse. I was tired as hell by the end of the day though.
BTS shots of Hong and Sylvia, our two talented photographers
Between weapons masters, photographers, models, and horse people I cannot express just how much work it was to coordinate a total of eleven people, plus one that handed off weapons beforehand, many of which were showing up at different times. This was mostly done by my sister, props to her for handling most of the logistics; it was an absolute nightmare, but in the end I'm glad we managed to get everyone together.
Braiding Shenanigans:
My first batch of ultra braids for Esther (which I braided myself) were too short, so I had to re-order them from tb because I didn't have a way to connect hair fibers smoothly by myself (more on that in the styling post)
The braids were lowkey kind of a safety hazard, we did so much cardio running around to reposition them. The main worry was that the horses would step on them, so we made sure to follow the rule that the horses were not to move unless we had at least one person on each braid holding them off of the ground and away from their hooves.
Horsey & Location Shenanigans:
Ruby & Paulo from scouting the shoot in January
Originally we were going to use horses Ruby (black) and Paulo (palomino) from Giddyup Productions; however, due to the scheduling issues, Paulo was not at the ranch on the day of the shoot, because he was being held at a training facility that day. Instead they were able to borrow Lou (also black), Ruby's son, from someone else at the ranch, on the condition that we didn't ride him, only posed with him. The contrast between Paulo and Ruby's coloring would've been great, but it was also kind of nice that we ended up with a mother-son pair.
Ruby & Lou with Lexi (horse handler) on the day of the shoot
The hills behind Arriba Vista where we shot were STEEP. The horses had no problem of course but we were lowkey wheezing climbing up there. I'm glad we ended up rescheduling to a day when there was zero rain rather than trying to shoot through the rain (which was a possibility at the time), I think we all would've slipped and cracked our skulls open if it was still muddy up there.
The yuri shots don't show me thirdwheeling in the back holding up the braids LMAO
Sky was beautiful, sun sank real fast though. We were fighting against time the whole time; there were a few shots I wanted to get but had to cut out because there wouldn't be enough time. By the time we ended it was fully dark and our fingers were so cold that we couldn't type on our phones until we sat in the car for a while warming up.
Hong's camera ran out of memory mid-yuri shots so the last ones were all by Sylvia
I cannot emphasize enough how many cow pies there were on that hill, I stepped in at least 3 and I think so did everyone else
Yuri shots were actually completely unplanned, but boy am I glad they happened
Post-Shoot:
Post-shoot we went to Haidilao Fremont, it was awesome and we ate lots of hot pot (it was so cold)
We thought we lost one of Christabel's thumb rings but it turned out that it was on her hand the whole time
Coming back down the hill after the shoot was over (Sylvia turned around and shot this super cute bts shot at the last second)
Welp, anyway, while I think this was one of the most frustrating shoots we've ever coordinated, I'm really really happy with the result—even with all the frustrations involved before, everything came together really well on the day-of. The looks we had planned for the models looked absolutely stunning on them and everything fit perfectly, plus bonus unplanned yuri at the end LOL Styling post coming soon, it's half written already but I ran out of images so I decided to separate them out lol
