The "White Aster of Love" Project (1989-1992)

Thanks to Anna Chaykovska of Vinnytsia, Ukraine for reminding us about the unsung heroes behind this immense project!

While going through her archives, she came across unique photos from the preparation for printing of the book White Aster of Love by Iryna Senyk. The deluxe 160-page edition is a collection of bilingual poems, Iryna’s fashion sketches with charted embroidery, and photos of elegant dresses inspired by the illustrations.

The back story

3 Invinsible Spirit

 After reading the book “Indomitable Spirit: Art and Poetry of Ukrainian Women Political Prisoners in the USSR,” Christine Bolubash was interested in meeting Iryna Senyk, the author of moving poems and creator of unique thematic embroidery. Christine was so moved by a person of such a great spirit that she decided to meet this woman when she went to visit Ukraine. 

Iryna Senyk

Iryna Senyk, poet, former political prisoner who spent 34 years in Soviet hard- labor camps and exile, member of the Organization of Ukrainian Nationalists (OUN) and the Ukrainian Helsinki Group (UHG), died on October 25, 2009 at the age of 83.

In the summer of 1989, they met in Lviv. Iryna gave Christine a folder of poems and her original fashion sketches decorated with embroidered designs. Christine took this gift with her to Canada at great risk. While leaving Ukraine for Przemysl, they were detained for a long time at the border and, as usual, everyone was ordered to get out of the car. Christine stood aside and prayed that these officers would not find a folder with Iryna Senyk's works while checking the car. Luckily, they did not see the folder, so with great relief Iryna’s works were brought to Canada.

The story of this book is extremely interesting, and the creative preparation for its presentation are even more interesting. It was published by the women's organization - UCWLC in Canada to honour pioneer women on the occasion of the centennial of the settlement of Ukrainians in Canada (1891-1991).

Project of the St. Demetrius Ukrainian Catholic Women League of Canda (UCWLC)

Christine approached her UCWC branch at St. Demetrius the Great Martyr Church with an idea. She proposed the League publish a book of Iryna Senyk's works. Branch president, Elsie Stieglan, and members agreed to this proposal and created a committee headed by Christine Bolubash. Pastor and Spiritual Director, Rt. Rev. John Tataryn, approved and blessed this project. Fr. Terry Lozynsky helped with practical matters.

Book Committee 1992

The committee decided to publish a book of fashion sketches, charted embroidery miniatures, and poems by Iryna Senyk. The 100th anniversary of the settlement of Ukrainians in Canada (1891-1991) was approaching. The ladies wanted the poems to be translated into English and published in a bilingual collection. In this way, previous generations and foreigners could get acquainted with the extraordinary talent of the long-time political prisoner of 34 years.

Bringing Iryna's fashion sketches to life

In the search for a designer who could bring Iryna's sketches, decorated with patterns, into contemporary dresses to life, the UCWLC put a notice in the church bulletin. Parishioner, designer and graphic artist, Maria Rypan volunteered.

The creative work began with consultations with 27 members of the UCWLC who were willing to participate in getting an original “Iryna Senyk” garment sewn and embroidered. This quickly evolved into a huge project that included the design and publication of 5,000 copies of a book of embroidery and poems, White Aster of Love. A book launch of the publication was planned for September 27, 1992.

See the Portfolio of My Iryna Senyk dresses (1989-1992) blog post about this portion of the project.

Everyone had to finish their embroidered elegant outfits by the spring of 1992 so that Oleh Iwanusiw could photograph the ladies, the “models,” at the Etobicoke Conservatory for the upcoming book. 

Olga S., Olga W, and Anne

Preparing the “White Aster of Love” book

"White Aster of Love" book cover

Before preparing the book, Ariadna Stebelska wrote a scholarly analysis, and Morris Diakowsky worked on the introduction. Eugene Rypan took up the computer-graphics conversion of Iryna’s ornaments. Maria Rypan did the artistic design of the book. She was well organized, so the books printed overseas were delivered in time for the grand
Première. The Committee and president Olga Krawec, decided to hold the presentation  in the Grand Ballroom of the Marriott Hotel. This was going to be a serious fashion show on a runway, not a church hall production.

Christine Borsuk volunteered to translate Iryna’s lyrical poetry. When the Committee realized there were not enough poems to complete the publication, they asked Iryna to provide additional material. These were transported to Toronto by Christine’s Bolubash’s sister Bozhena Iwanusiw.

Bozhena Iwanusiw & Christine Bolubash

The author called this publication “White Aster of Love.” Christine Borsuk sensitively conveyed the meaning and reflection of feelings and events in her translations of 67 of Iryna's poems.

Spring, O Spring

In the publication, each poem was decorated with an ornament in the style of a cross-stitched embroidery. This is because Iryna decorated everything with embroidery. Whether it was miniature gifts for her cell mate friends, stitched on fabric scraps with pulled threads, or stylized embroideries with coloured pencils on paper to accompany a poem or letter.

Toronto Star Article, Oct 16, 1992

Premiere of “White Aster of Love”

The committee invited Iryna Senyk to the world premiere of White Aster of Love and were very overjoyed when she agreed to come. They decided to hold a grand presentation of the publication at the Marriott Hotel in Toronto on September 27, 1992.

Maria Rypan also produced Première. Daria Diakowsky, an extremely talented organizer of public events and presentations, a teacher at St. Demetrius School, was invited to direct the program for the presentation of the book White Aster of Love. As a director, Daria came up with the theme “Seasons of the Year,” based on the poems of Iryna Senyk.

Lillian Yuryk and Margareta Shpir prepared the scripts. Slides of Iryna's sketches were interwoven with paintings illustrating feasts and seasons. The multi-media program included a fashion show of women's and children's clothing embroidered with Iryna's designs, and stories about her difficult, full of patience and struggle for a better life and the poetic creativity of the Ukrainian heroine in two languages.

Collage of photos from Premiere

The ladies, trained by Uliana Ihnatovych and Mariyanna Zaparaniuk, modelled embroidered outfits according to the script. Actress Joan Karasevich and Luba Zaraska introduced each Season theme; young girls Yulia Krekhovetsky and Lara Semeniuk recited poems. The musical accompaniment was provided by Roman Demeda and Orest Skliarenko. Two poems were set to music. The choir of the Church of St. Demetrius the Great Martyr sang “White Aster of Love”, music by Myron Maksymiv. “Oh, You, Madonna of Madonnas”, music by Zenon Lavryshyn, was sung by soprano Luba Kozak and tenor Oleh Chmil. The last runway models, Maria Rypan and Dzvinka Haba, presented Iryna field white asters.

Iryna Senyk & Christine Bolubash

Christine Bolubash presented the deluxe White Aster of Love book to its author, the indomitable Ukrainian patriot Iryna Senyk. These were published works from the folder she gave to Christine in 1989 in a park in Lviv. This was the most touching moment for Iryna and for us, the members of the Committee. Iryna spoke to her loyal admirers and her dedication. Everyone was happy to personally meet the Ukrainian poet, artist, and indomitable patriot of Ukraine. 

The members of the St. Demetrius UCWLC worked selflessly and generously helped organize fundraising events. Without their help, this project would not have been possible.

"White Aster of Love" in the Vinnytsia Regional Universal Scientific Library

A shipment of 1000 books was organized to Ukraine, where Iryna Senyk and volunteers distributed White Aster of Love to schools, universities, and libraries. Anna Chaykovska confirms White Aster of Love was received by the Vinnytsia Regional Universal Scientific Library named after K.A. Timiryazev, for which the people of Vinnytsia are grateful to everyone involved in the project.

Iryna Senyk and models

The premier was repackaged into a travelling “Tribute to Iryna” slide show with recorded narration, readings and poetry. We travelled extensively around Ontario and to Detroit to bring attention to this project. This was an effective tool to promote all that Iryna Senyk, a political dissident for 34 years, and Ukrainian people were and are still fighting for. 

Iryna came again for the Celebration of 100 Heroines of the World

Iryna Senyk at 100 Heroines of the World

In 1998, the Society of American Ladies in Rochester selected Iryna Senyk as “One of the 100 Heroines of the World.” The ceremony was held in Rochester, USA. The St. Demetrius UCWLC again sponsored Iryna Senyk’s trip from Ukraine to Canada and USA for this celebration. A group of women in their embroidered dresses, the patterns of which were the designed by Iryna Senyk, traveled with Iryna in honour. 

There still are a few books available.

Portfolio of my Iryna Senyk dresses (1989-1992)

Maria Rypan & Iryna Senyk

I, Maria Rypan, was the designer of 27 embroidered dresses based on fashion sketches by political dissident and poet Iryna Senyk. 67 of her poems were translated and published together with her sketches and miniature embroideries in a book project by St Demetrius, Toronto branch of Ukrainian Catholic Womens League of Canada (UCWLC). I also produced the Première event showcasing these fashions as well as the White Aster of Love deluxe, a bilingual coffee table book about them in September 1992.

See my blog about the "White Aster of Love" Project (1989-1992)

The Iryna Senyk White Aster project was my baby for three years before I even became a member of the UCLWC, St Demetrius branch. It’s a shame for my design work to be tucked away in a tired portfolio case. I would like to share the creativity and inspiration behind dresses.

Who was Iryna? A bit about the “White Aster of Love” project

A young Iryna Senyk

Iryna Senyk, poet, former political prisoner who spent 34 years in Soviet hard- labor camps and exile, member of the Organization of Ukrainian Nationalists (OUN) and the Ukrainian Helsinki Group (UHG), died on October 25, 2009 at the age of 83.

Indescribable suffering, hunger, degradation, failed to crush her invincible spirit. Christine Bolubash smuggled Iryna’s fifty embroidery-embellished fashion sketches out of Ukraine in 1989. Her St. Demetrius UCWLC branch agreed to publish a book of Senyk’s embroidery fashion sketches and poetry.

The poems were translated into English by Christine Borsuk so everyone could appreciate them. You will wonder, “How could someone who has gone through so much brutality can maintain such a strong spirit and foster beauty in her poems and embroidered miniatures?” She became an inspiration for the project participants.

In 1992 Iryna visited North America for the multi-media Première and Book Launch of her White Aster of Love. She returned to Toronto again, and then travelled on to Rochester, NY, to personally receive “One of 100 Heroines of the World” Award in 1998. Several ladies went along in their embroidered “Senyk Dresses” for moral support. I met Iryna again at the World Federation of Ukrainian Womens Organizations convention in Toronto.

Maria Rypan & Iyrna Senyk @ Heroine 98 display

Bringing Iryna's fashion sketches to life

I consulted with each UCWLC member who was willing to have an original “Iryna Senyk” garment sewn and embroidered. Iryna gave permission to change the colours in the embroidery. The ladies selected a Senyk fashion sketch and gave a wish list for the sort of style they would like for themselves. I then adapted embroidery to the dress styles and cross-stitched test swatches to fine-tune the ideal thread colours on the chosen fabrics. 

This project was interesting because a lot of cooperation emerged between the UCWLC members, many of them daughters or granddaughters of pioneers, and the new wave of immigrants to Canada. Some ladies sewed and embroidered. Others were embroidering for the first time in their lives. Still others appreciated that their outfits were embroidered by newcomers from Ukraine who earned a fair wage for the embroidery skills. Everyone had to finish their elegant outfits by the spring of 1992 so Oleh Iwanusiw could photograph the ladies, the “models”, at the Etobicoke Conservatory for the upcoming book.

My portfolio

Photo of Christne Bolubash & Iyrna Senyk with dress in progress

By photocopying multiples of Iryna’s charted embroidery, I came up with this solid panel design which Christine Bolubash cross-stitched herself on the upper dress bodice. The illustrated fine embroidery decorated the top of the flounce. Christine wore this ‘original’ dress as she presented Iryna Senyk with her deluxe White Aster of Love book at the Première.

Lillian Yuryk

Lillian Yuryk, our UCWLC wizard with words, chose this style on a blue crepe fabric. The bands of embroidery were angled to radiate from the neckline. We kept the sleeves plain.

Joyce Lesyk

Joyce Lesyk chose this sketch for her inspiration, but selected a dramatic angled inset for her dress. Since the female body is not square, I had fun resolving the tapered corner issue one cross-stitch at a time. Note how I pencilled the motifs on the waste canvas to help in stitching a pleasing design. One I got the corner resolved, I handed over the panel to be embroidered with the rest of the full pattern.

Maria Rypan & Joyce Lesyk, March 2025

I am thrilled that Joyce still wears this dress 33 years later to many of our events at St Demetrius the Great Martyr parish!! It brings a smile every time!

Helen Lesiuk

Helen Lesiuk’s dress was similar to Iryna’s sketch, but with full embroidered bands from the shoulder down. She asked to change the black to a khaki green colour for more subtlety on a buttery yellow crepe fabric. Helen’s semi-precious stone necklace adorned this classic dress beautifully.

Kae Stasiuk-Krochak

Kae Stasiuk-Krochak wanted a deep purple dress in the style of Iryna’s sketch. This required sampling a new palette of colours on the cool wool crepe fabric. I had to problem-solve the 90 degree angles for a pleasing square neckline. A thinner embroidery was stitched on the sleeve edge.

Stella Sereda, Dr. Maria Fischer-Slysh & Ann Boyko

Stella Sereda cross-stitched bands of embroidery on the inset of bodice of her simple classic soft ivory dress.

Ann Boyko embroidered the same design over her shoulders of soft rose crepe dress. Same charted embroider. Two totally different looks!

Dr. Maria Fischer-Slysh, a pediatrician and patron of Ukrainian studies and culture, embroidered her own pockets and collar to a chic white linen suit.

Sonia Hrycyshyn

Sonia Hrycyshyn chose a tunic over a folk-inspired underskirt. By photocopying Iryna’s charted designs a few times, I came up with a solid pattern and we were fortunate to fine a newcomer to embroider this challenge for Sonia. The outfit was stunning! A criss-crossed embroidered tie finished the outfit for the Première, but it also looked great with korali or a necklace.

Mary Prokop & Anne Jaczyszyn

Mary Prokop sewed and embroidered her very own dress. She did a great job cross-stitching the lapel of dress in orange DMC threads.

Anne Jaczyszyn looked tall in her embroidered dress thanks to the narrow trim along the inserted panel top to bottom. The blue cross-stitching continued along her hem and long sleeves. Iryna’s focal motifs really make this dress one of a kind!

Mary Jerome & Elsie Stieglan

Both Mary and Elsie were inspired by the same fashion sketch with a square neck. They even liked the same fuchsia purple thread colours so we have a chance to see how different it looks on black and white.

Mary Jerome preferred to have a blouse. She had an embroidered square neckline and trimmed sleeves. Her waistband is thoroughly cross-stitched.

Elsie Stieglan opted for a black cool wool dress with an embroidered square neckline and trimmed sleeves.

Virginia Bobyk Rygus & Kay Sklepowich

VIrginia Bobyk Rygus was inspired with the two piece sketch which was delicately embellished with embroidery. In real-life we skipped the puffy sleeves for a chic long-sleeved top tastefully embroidered.

Kay Sklepowich cleverly bought a teal suit and then embroidered Iryna’s charted design in fuchsia colours.

Frances Hunkewich

Frances Hunkewich chose a square-necked fashion sketch, but I had to play with the design to get a pleasing 90o corner. I also toned down the colours, per request. You can see runway photos of Frances, Sonia and Olga.

photo: Iwanusiw n girl n ABoko dresses_0081 ret

Bozhena Iwanusiw & granddaughter Nadia

Bozhena Iwanusiw chose to have diagonal bands across her dress as drawn. We changed the pattern to a stylized floral. I experimented with colours which would go with the soft rose. See the waste-canvas for an appreciation of seeming simple floral garland placement. Buttons with individual cross-stitched motifs trim the dress above the diagonal bands. 

Bozhena had a miniature version sewn for her granddaughter Nadia. The photos are from the runway, “Never let go of your mother’s hand” poem was set in the Spring season of the Première.

Olenka Coba & son Andrijko

Bozhena’s daughter Olenka Coba had embroidered around her peplum top inspired by Iryna’s fashion sketch. Her son Andrijko wore a shorts set with the top hem, sleeves and shorts trimmed with variations of same charted embroidery. 

photo: Wowk Olga dress i Haba Dzvinka grey_0101

Olga Wowk

Again, the same fashion sketch with two interpretations! Olga Wowk chose a classic cool wool T shift with a square neckline. The embroidery cascades vertically like Iryna sketched. Olga had a black jacket made and together and separately she has work this outfit many times.

Eugenia (Dzvinka) Haba embroidered the same design in charcoal threads on her grey wool dress. I was sampling how many thread yield the more effective embroidery. Dzvinka wore this dress often and is buried wearing it in October 2024. May her memory be eternal!

Olga Krawec & Olga Sanajko

Both ladies liked the asymetrical neckline in Iryna’s fashion sketch. But how different the looks are!

Olga Krawec, president of our UCWLC branch and realtor, opted for a violet wool dress with embroidery in bright Kosmach-like colours. This suits her sunny personality.

Olga Sanaijko chose a two-piece outfit in a very soft salmon color. I spent a lot of time playing with colours that would do the charted pattern justice in real life. It came out very elegant and reserved. 

Maria Rypan

Being the designer who worked with everyone, I ran out of time and simply embroidered a hand-me-down dress from my great aunt. Thanks to the ability to slit and curve waste canvas, I managed to get the embroidery to curve all around the neck and front wrap. Note my embroidered earrings with motifs on fabric-covered button.

Anne Cromoshuk

Anne Cromoshuk embroidered light silvery motifs all over her navy jacket. Anne photo holding the White Aster of Love illustrates Toronto Star’s article before the Première. Unfortunately, Anne passed away before the gala fashion so we are grateful we have this memory of her.

Lillian Yuryk and I were interviewed by the Toronto Sun on Sep 6, 1992. We are grateful for this article.

This project has been an incredible honour and challenge. As I am writing this 33 years after the Première of Iryna Senyk’s White Aster of Love, I believe this project is still relevant.

It deserves to published and made available on the internet for inspiration.

Balamuty Restring Project

Thank you to Natalka C. of Winnipeg for the opportunity to restring several small balamuty necklaces in a one-of-a-kind statement piece. Natalka hoped for an appropriate clasp to go along with her priceless balamuty and I had just the perfect ‘chepraha’ for the job.

I’ve been seeing more and more strings of balamuty for sale on social media and occasionally saw them adorning Ukrainian folk costumes. So, I welcomed the chance to work with these precious beads. But what are balamuty?

Balamuty defined

Roksolyana Shymchuk, the owner of Etno-Galleria and Museum in Lviv posted all about balamuty on her Facebookpage.

Balamuty are fossilized mother of pearl. (Ukrainian women were looking for an equivalent in their language to the German "mother of pearl - perla mutter" and chose the similar sounding "balamuty"). Veins of fossilized mother of pearl occur in a dense coquina, which is used as a building material in the Transdnistrian part of Ukraine (Vinnytsia region), the left bank of the Dniester, and in Moldova, on the right bank.

Coquina is a sedimentary rock that is composed either wholly or almost entirely of the transported, abraded, and mechanically-sorted fragments of the shells of mollusks, trilobites, brachiopods, or other invertebrates. It was formed in the warm sea around the coral reefs and atolls that lay in this region 25 million years ago.

Modern nacre/mother of pearl is much lighter. Balamuty are mineralized rock of sedimentary origin, and are heavier. For this reason, balamuty should be worn carefully, because the beads have the capability of splitting when struck.

Cheprahy defined

Mykola Hrabovetsky, wrote about cheprahy (singular-chepraha) in his illustrated Ukrainian article, “Hutsul zgards (zgardy) — unique spiritual symbols of the Carpathians”. 

Cheprahy were clasps used to connect the zgards (brass handcrafted cross-formed amulets) into necklaces. Cheprahy were two, mostly round, plates decorated with embossed or openwork ornaments. At first glance, the disproportion between the sizes of the cheprahy and the zgardy is striking. Cheprahy, as a rule, have large sizes, completely unjustified by their utilitarian function. Some of them reach 6-7 cm. in diameter, which indicates their special place among neck ornaments. 

Chepraha is a solar symbol designed to protect a person from evil spirits. In the central part of the chepraha decor, various variants of solar symbolism are placed: a wheel with eight, six or four spokes, concentric circles, etc.

I happened to have a reproduction of a six-spoked chepraha on hand. In 2012 I purchased it from Vsevolod Bazhaluk, a jeweller who cast reproductions of vintage Hutsul zgardy in Ivano-Frankivsk. He first reproduced them as a fundraiser for ATO defenders fighting in the early Russian invasion of Eastern Ukraine. My chepraha has a single loop on the underside like clasps found on zgardy in museums.

Its large size seemed to be the right clasp for a multi-strand balamuty necklace. You’ll see from my photo story how I was able to make it work. Most of my photos show the underside of the clasp and my problem-solving.

The task at hand

To create a multi-strand necklace meant cutting apart several short necklaces Natalka collected over a period of time.

A multi-strand Design Board was essential. Once cut, the balamuty beads needed to be graded with a gauge and by eye. I cut apart four necklaces and removed the reddish discs between the balamuty in one of them. 

The design board allowed for easily switching beads from one side to the other for balance. Smaller rougher-shaped beads were divided into six groupings between the backs of three strands. 

My necklace was designed to showcase the larger balamut bead in front with a gentle decrease in bead size for a comfortable fit around the back of the neck.

I used a gold color nylon coated 19-strand .018 Diameter beading wire for this project. When working with wire, it was essential to have spring clamps to stop beads from escaping. As a standard practice, it was best to cut the wire longer for easy looping around the clasp and weaving the tail in further inside. 

Adding the Chepraha clasp

It was essential to use crimps with beading wire. I used gold metal crimp tubes which are soft and easily flatten to grip the wire once crimped tightly.

When adding the clasp, I used a longer wire and strung one crimp next to the clasp and placed another crimp tube further into the string of beads. Once I pulled the wire was through the clasp loop, I threaded it back through the first crimp and further into several beads. Then I pull the wire to tighten the wire around the clasp. 

Using crimping pliers, I flattened the two tubes to grip the beading wire securely. (The pliers are designed to fold over the flattened crimp, but I do not have the skill for this step.) Once crimped, I proceeded to push the remaining wire tail inside the bead string for security. Finally, I clipped the excess wire closely between beads to prevent scratching.

Once one side was secure, I strung the beads laid out on the design board. To easily transfer beads from an old necklace onto the wire, I created a bridge to slide them over, as shown.

FIRST string

Once I strung the FIRST balamuty string near the neck, I needed to repeat the clasp securing process in reverse. Inching my way towards the clasp, I had to add a crimp tube before the final bead, then add another crimp tube next to the clasp loop. 

To secure the clasp, I went through the closure loop and back through the crimp tube, bead, crimp and down a few more beads.

I pulled the wire taut and proceeded to flatten the tubes with crimping pliers.

Finally, I pushed the extra wire down a few more beads and cut away the excess.

Now, the wear test! How does the first string sit, look? My husband took this photo so I could illustrate the importance of fit-testing. I sent this photo to my client to get approval. Natalka confirmed this length was perfect!

FYI: If she would have wanted a longer balamuty necklace, I would have had to cut apart the fifth necklace and distribute the beads into three strings.

 

SECOND string

Securing the SECOND string to the clasp was done in exactly same way as the first.

I started with a longer wire, strung the beads and crimp tubes as described earlier. The important thing was its placement of the underside loop. I then threaded the wire back through the crimps and beads. It was vital to make sure the FIRST string was on the side near the clasp closure hooks.

I pulled the wire to tightened it into position in the center of the clasp loop. Once taut, I flattened the crimps to secure the start of the SECOND string. 

Next I proceeded to string the balamuty as I had laid them out. Securing the other side of clasp exactly as I had done the FIRST string. Only exception was to make sure the wire with crimps sit in the center position on the underside chepraha loop.

Here I am testing the chepraha closure and how the two stings of balamuty look when worn.

THIRD string

Securing the THIRD string to the clasp was done in exactly same way as the first two strings. The main thing was to position the loosened wire with beads and crimps in the outside position on the underside chepraha clasp, as shown. 

Once positioned, I pulled tightly and crimped firmly to secure one side. Then I strung the balamuty as laid out on my design board. 

I had to be careful in securing the other end to the outside position on the underside chepraha loop, as shown.

Next was the test to see how the balamuty laid and hung when worn. Here I am in front my favourite painting, “Gerdany-makers” by Christina Yarmol. 

I see a larger gap between the first and other strings. Perhaps the single larger beads in the two lower strings are pulling down more than the even-sized round balamuty in the first string.

DROPPING DOWN FIRST STRING

In order to minimize the gap, I carefully opened the flattened crimps with pliers to release the wire from the clasp. I needed to cut a new longer wire so I can redo the FIRST string. For this I would need to add a few extra beads on each side. 

I looked through my stash of beads for clear or pearl-colored pony beads to add behind the clasp so that the balamuty can drop down below the chepraha edge.

See the photo for the beads I used to extend the FIRST string. Compare it with the original SECOND and THIRD strings.

I secured the extended FIRST string on the other side on the inside of the clasp near the closure.

FINAL TEST

I tried the balamuty necklace on again. My husband photographed the chepraha closure from the back. It really is attractive and fitting for a multi-strand balamuty necklace.

Here I am modelling the new improved balamuty necklace against my inherited Hutsul ceramic and incrusted wood collection. This is very fitting for a necklace with a chepraha from the Carpathians.

Looking forward to getting together with Natalka to hand over her balamuty necklace to wear as a protective amulet for many years.