The Caryatid Hairstyling Project: Unveiling Ancient Athenian Elegance

A woman is positioned in a grassy area, gazing ahead with a serene expression, surrounded by nature.
Fairfield students pose in front of Bellarmine Hall. Their elaborate hairstyles replicate the ancient Caryatids from the South Porch of the Erechtheion, a temple on the Athenian Acropolis.
Several women gathered in a field, dressed casually and engaging in conversation under a clear blue sky.

A groundbreaking project at Fairfield University has shed new light on the lives of women in ancient Athens, revealing that the intricate hairstyles depicted in iconic Greek sculptures were not artistic inventions but reflections of real styles worn by elite women of the time.

Led by Dr. Katherine Schwab in April 2009, the Caryatid Hairstyling Project tested whether the elaborate coiffures carved into the marble Caryatids—statues of maidens that adorn the South Porch of the Erechtheion on the Acropolis—were based on reality. These sculptures, famous for their intricate braiding and striking detail, have long intrigued historians and art scholars alike.

To put the question to the test, Dr. Schwab enlisted the help of student volunteers as models and a professional hairstylist to recreate the Caryatids’ hairstyles. The hairstylist carefully replicated the sculpted designs on the volunteers, following the ancient patterns depicted on the marble maidens.

The result was clear: the Caryatids’ hairstyles were achievable in real life, proving they were modeled after the intricate coiffures worn by women of high social rank in ancient Athens.

This finding has far-reaching implications for our understanding of ancient Greek society. The Acropolis sculptures, long seen as artistic masterpieces, now provide a more personal glimpse into the culture and customs of Athenian women. Their hairstyles, worn in public settings such as religious festivals, were not only expressions of beauty but also symbols of status and sophistication.

“The project was an incredible opportunity to bring art and history to life,” said Dr. Schwab. “It was fascinating to see how the sculptures reflect the realities of daily life and cultural identity in ancient Athens.”

The Caryatid Hairstyling Project highlights the innovative ways classical studies can deepen our understanding of the ancient world. By bridging art, history, and hands-on experimentation, the project offers a rare connection to the personal lives of women from a civilization that continues to inspire.

The Caryatid Hairstyling Project

The Caryatid Hairstyling Project is a fifteen minute fast-paced video documenting a professional hairstylist replicating the six individual hairstyles of the Caryatids from the South Porch of the Erechtheion on the Athenian Acropolis. Six Fairfield University students served as models during the styling session.

Also included are interviews with the professional hairstylist, some of the student models and the Project Director Dr. Katherine Schwab, as well as archival photographs from the collections at the American School of Classical Studies at Athens, and the German Archaeological Institute in Athens.

A woman is positioned in a grassy area, gazing ahead with a serene expression, surrounded by nature.

Hairstyles of the Maidens from the South Porch of the Erechtheion

The Caryatid Hairstyling Project have been generously funded by the Faculty Research Committee of Fairfield University, with additional support from the Ancient Mediterranean Studies, the Art History Program, the Department of Visual and Performing Arts, and The Humanities Institute of the College of Arts and Sciences.

Photo Gallery

Often hairstyles in ancient Greek art are elaborate and appear decorative. However, professional hairstylists today can readily recognize the technical virtuosity within these ancient designs. The Caryatids are individually referred to as Kore A - F (Kore is Greek for "maiden").

The elaborate hairstyles reflect a visual symbol connecting these maidens to the larger Athenian community. It is this connection that traveled through the ages to our current Fairfield students as they participated in this unique project.

Kore A - Sandra Cimino '09

Kore A - Sandra Cimino '09 - image one

Kore A - Sandra Cimino '09 - image two

Kore A - Sandra Cimino '09 - image 3

Kore B - Dana Westrup '10

Kore B - Dana Westrup '10 - image one

Kore B - Dana Westrup '10 - image two

Kore B - Dana Westrup '10 - image 3

Kore C - Amber Nowak '12

Kore C - Amber Nowak '12 - image one

Kore C - Amber Nowak '12 - image one

Kore C - Amber Nowak '12 - image one

Kore D - Mara Giarratana Young '11

Kore D - Mara Giarratana Young '11 - image one

Kore D - Mara Giarratana Young '11 - image two

Kore D - Mara Giarratana Young '11 - image 3

Kore E - Caitlin Parker '11

Kore E - Caitlin Parker '11 - image one

Kore E - Caitlin Parker '11 - image two

Kore E - Caitlin Parker '11 - image 3

Kore F - Shannon Berger '11

Kore F - Shannon Berger '11- image one

Kore F - Shannon Berger '11 - image two

Kore F - Shannon Berger '11 - image 3

Recommended Resources

Suggested Websites

Exhibitions

  • Photographs of the Caryatid Hairstyling Project," Greek Consulate General in New York City, February 25-March 27, 2015
  • "Photographs of the Caryatid Hairstyling Project," Greek Embassy, Washington, D.C., April 30-June 26, 2015
  • "Hair in the Classical World," Fairfield University Art Museum, Fairfield University, October 7-December 18, 2015

Suggested Bibliography

  • Antoniadis, Costis, ed., 2008. The Creative Photograph in Archaeology. Athens, Benaki Museum.
  • Bartman, Elizabeth, 2001. "Hair and the Artifice of Roman Female Adornment," American Journal of Archaeology 105:1, 1-25.
  • Bartman, Elizabeth, 1999. Portraits of Livia. Imaging the Imperial Woman in Augustan Rome. Cambridge University Press.
  • Blomberg, Marilyn, 1985. "Five Greek Gold Earrings in the Medelhavsmuseet," Medelhavsmuseet Bulletin 20, 53-62.
  • Harrison, Evelyn B, 1986. "Greek Scupltured Coiffures and Ritual Haircuts," Early Greek Cult Practice: Proceedings of the Fifth International Symposium at the Swedish Institute at Athens, 26-29, June, 1986. Eds. R. Hagg, N. Marinatos, G.C. Nordquist, 247-254.
  • Hurwit, Jeffrey M., 2004. The Acropolis in the Age of Pericles. Cambridge University Press.
  • Lauter, Hans, 1976. Die Koren des Erechtheion. Antike Plastik 16.
  • Lee, Mireille, 2000. "Deciphering Gender in Minoan Dress," in Alison Rautman, ed. Reading the Body: Representations and Remains in the Archaeological Record. University of Pennsylvania Press.
  • Lesk, Alexandra L. A Diachronic Examination of the Erechtheion and Its Reception. Ph.D. Dissertation, University of Cincinnati, 2005.
  • Lesk, Alexandra L. "’Caryatides probantur inter pauca operum’: Pliny, Vitruvius, and the Semiotics of the Erechtheion Maidens at Rome," Arethusa 40:1 (2007) 25-42.
  • Lewis, Sian, 2002. The Athenian Woman. Routledge.
  • Levine, Molly Myerowitz, 1995. "The Gendered Grammar of Ancient Mediterranean Hair," in Howard Eilberg-Schwartz and Wendy Doniger, eds. Off with Her Head: The Denial of Women's Identity in Myth, Religion, and Culture. Berkeley, 76-130.
  • Llewellyn-Jones, Lloyd, 2003. Aphrodite's Tortoise: The Veiled Woman of Ancient Greece. Swansea.
  • Llewellyn-Jones, Lloyd and Sue Blondell, eds. Women's Dress in the Ancient Greek World
  • Oakley, John and Rebecca Sinos, 1993. The Wedding in Ancient Athens. University of Wisconsin Press.
  • Papanikolaou, Alexander, 1994. "The Restoration of the Erechtheion," in Acropolis Restoration, ed. by Richard Economakis (London, Academy Editions) 136-49.
  • Rose, M. and K. Schwab, Hair in the Classical World, exhibition brochure, Bellamine Museum of Art, Fairfield University, Fall 2015.
  • Vlassopoulou, Christina, 2006. The Athenian Acropolis: The Monuments and the Museum. Athens.

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