After dipping back into weathering with Bela from RE8, I wanted to go further and tackle a fun, simpler design before diving into FFXIV projects. Mononoke seemed like a good, relaxing project to do to get ready for a guest spot at Oni-Con—and I wanted to focus heavily on weathering and distressing for this. Even still, I wanted what sewing I did have to still be finished/clean, despite the “filth” in the costume!

The dress was drafted by tracing my body on a piece of paper since fit was not important and then mirrored, then adjusted for necklines and arm holes. It was sewn in linen and fully lined.

The fur cape and headpiece were custom drafted, and the “overdress” were also simply draped, pinned, and cut. A lot of this was less structured drafting versus other projects. Additionally, the cape sits with arm loops securely, and the mask can be snapped to the cape while walking.

STLs for this project are from JarmanProps (mask/dagger), EnviroSkulls (boar head), and tiki_kreations (spear).

The dress and overdress were tea-dyed, including added coffee grains and staining along edges to indicate further wear. Edges were sandpapered and worn down. Fur was weathered heavily with water, a tea-acrylic mixture, and then brushing it to roughen the surface and letting it dry before brushing it out. All “blood stains” are variations of red acrylics sponged on, some watered down, in areas that would naturally see more damage from battle. All of this even extends to shoes and the waistcloth, where the weathering techniques were repeated even to more minor layers.

Dagger/Spear: The dagger is wrapped with leftover cord and trims, but the actual blade uses an artistic gel mixture sculpted on top of the print to echo bone. Acrylic stains the tips to mimic blood. Any fabrics were scraps furthered weathered from the dress and waistcloth. The spear breaks down into 3 parts (PVC and couplings) and was painted to look like wood by using a metallic brown spraypaint, sanding, then blackwashing.

Mask: The entire mask, like the spear handle, was made to echo wood by using metallic red and gold paint, sanding it, and then blackwashing. However, I also used a dremel to cut in “deeper” marks along the eyes and edge of the mask for contrast.

Beads were chosen based on things San could “find”—bone, stone, and wooden materials. The “necklaces” are rigged in multiple strands to one multi-strand clasp, so they stay untangled and in place. The custom blue gem is resin casted with gold and teal flakes.

This technique was echoed for the waist—multiple strands beaded and finished to hook onto a multi-necklace clasp, which was then sewn to my brown belt, which holds all waist decorations in place.

Boar head was a 3D print finished to look like blood-splattered stone that “snaps” onto my pauldron for packing purposes. The base is fabric wrapped Pelion flex foam, so nothing shatters in transit.

This was my first time doing distressing and weathering to this extent—purposeful, with a story—and left such an impression that it’ll be in Cosplay FX, a book about weathering! It’s my pride and joy and I had a blast learning about it. This was also my first time using beads and logistically rigging armor in a way that can easily be taken apart and packed—a prerequisite that led me to then tackle a later project, the male viera from FFXIV.

A build guide with details of this costume’s build can be found here.