Why Linen?

Like many historical reenactors, when I started in this hobby, the clothing I wore was just the means to an end. We have to wear correct historical clothing in order to participate in our hobby. It's our uniform, just like footballers wear shoulder pads and helmets and baseball players wear cleats and caps. It's also important for us to wear the right uniform for the occasion. You can't show up at the Battle of Hastings wearing jeans and a T-shirt and expect to look like a Norman knight. By the same token, you can't show up to an English Civil War reenactment dressed in 14th century kit. It's simply the wrong clothing for the occasion. And since we like to think our events are more than just elaborate historical costume parties, we're sometimes rather strict.

But living history reenactors aren't strict because they want to be exclusionary or because they've had a bad day at the office and want to be mean to you. We simply take pride in getting all the pieces right and accurately portraying a certain period in history. We're sticklers for detail and the little things are tremendously important to us.

Our hobby is about half history and half theater but it's the theater part that many people get confused about. In theatrical costuming, it's important to look the part. However, it's not so important to feel as if you really are living in Ireland in the 16th century as it is in living history. If there's a hidden zipper in the back of your gown or you're wearing modern shoes, as long as the audience doesn't see it, it doesn't matter. But in reenacting, these kinds of shortcuts are taboo. However, today I'd like to share with you the deeper reason why we insist on using the right materials from which to construct our "uniform".

It's oft been said that you can't make a silk purse out of a sow's ear. But what about a 16th century smock out of a modern microfiber or a poly-cotton blend? Many believe that the reenactors' insistence on period-accurate materials is pure snobbery paired with a rejection of things modern. This simply isn't so. The truth is more akin to the saying "If it ain't broke, don't fix it." In spite of increased technology and sophisticated modern thought, the best material for a typical 16th century smock is still the stuff from which 16th century seamstresses made smocks: Linen.

No other fibre feels like linen. Nothing else moves like linen. And most importantly, nothing else reacts to the sewing techniques and pattern shapes like linen. As with all things, if you want to make a replica that will teach you about the original from which it is copied, but must use the same materials. Even substituting cotton or a linen-cotton blend for 100% linen will change the result dramatically. Linen has an inherent crispness that makes pleating a dream. You can literally do it with your fingers as you sew! And that same crispness will make the linen stand away from your skin in the heat. This increases airflow to your skin at humid summer reenactments. Paired with that crispness is a stability that makes linen perfect for lining bodices, jackets, waistcoats - anything that requires substance without stiffening. And linen breathes. The Ancient Egyptians wore linen in their hot climate. And our European ancestors wore linen under garments in all weather until the beginning of the 19th century. Millennia of ancestors can't be wrong.

So to answer our question: Why linen? Well, honestly, why wear anything else!

Which Linen?

If you've ever browsed the linen stock at Fabrics-store.com, you may be overwhelmed by the sheer amount of different types and styles of linen and wonder how you could ever be expected to know which type is the right one for you. Well, that's why I'm here. Knowing the correct fabric to use truly takes many years of experience both studying extant historical sources and comparing swatches from modern fabric manufacturers. But today, I'm going to give you the goods in a nutshell so that you can buy linen for your historical clothing project in confidence at Fabrics-store.com.

First, let's make things easy. Rather than get into a discussion of what colors are appropriate for what period of history, let's just focus on the subject of fabric weights.

The first fabric we'll talk about is IL020. This is a 3.5 oz linen that runs 57" wide. Sometimes called "handkerchief linen", 3.5 ounces is very lightweight, but not light enough to be considered sheer. However, don't expect to hide behind it. This weight linen isn't heavy enough to hide skin color. In other words, don't run around camp in a handkerchief linen shift unless you want to be known as "The Streak". It really leaves nothing to the imagination!

Handkerchief linen is suitable for under-dresses, shifts, smocks, men's shirts, caps, linen headdresses, veils, falling bands, collars, cuffs, and neckerchiefs as well as handkerchiefs. Throughout history, the finest, whitest linen was reserved for the upper classes. So if your persona is of the nobility, Fabrics-store.com's 3.5 oz. linen is perfect for all your body linens. Depending upon the width of the sleeves, three yards should be enough to make an ample undergarment.

IL020 comes in a variety of colors and also two types of white: Bleached and Optic White. For reenactment purposes, I recommend Bleached. Bleached has a slight yellow cast that makes it closer to the color linen would have been before the invention of chlorine bleach. Optic White appeals to our modern sense of "white", but it is too artificially bright to look correct for historical clothing. Have no fear. Fabrics-store.com stocks plenty of both!

Our next fabric is IL019, a 5.3 oz linen that comes in 59" widths. Fabrics-store.com is right to call this mid-weight linen "universal". It's substantially heavier than the 3.5 oz but not as bulky as the 7.1 oz we'll discuss below. It can be used for the same garments outlined above, but in 5.3 oz linen, the garments will be much less see-through. If portraying a middle-class or common person, this would be a terrific choice for your body linens. Again, "Bleached" is the perfect color choice.

But wait a minute, kids! The beauty of IL019 doesn't end there. There's a reason they call this stuff "universal". This linen is truly versatile in that you can use the same weight to make outer garments as well as body linens. Petticoats, gowns, jackets, waistcoats, and breeches can all be made out of this mid-weight linen. So find the colors appropriate for your time period and go crazy. IL019 is a wonderful linen. I always keep a good stock of this versatile fabric.

And last but not least - 4C22, a 7.1 oz. linen 59" wide. This hefty fabric is too coarse for body linens, but it's just the thing for everything else. Breeches, petticoats, dresses, waistcoats, tunics, kirtles… Just about every garment you can think of can be made out of good ol' 7.1 oz linen.

NOTE: Be sure to research whether linen was used for these garments in the time period you wish to portray. In many cases, linen was the hot-weather alternative to wool. But in some places in certain periods, garments were just made from lighter wool for the summer and linen was restricted to body garments. So be careful. You're going to fall in love with linen, but don't use it where it's not appropriate.

The Care and Feeding of Linen

Before you do anything with your linen, make sure you wash it. All fabrics shrink to a certain extent, and it is best if they shrink BEFORE you cut out your garment. This will also remove any shelf dust and commercial finishing from the factory that can irritate the skin. You can hand wash the fabric if you want, but I throw mine right in the washing machine on a normal (not delicate) setting. Turn the water on hot (remember, you want it to shrink) and toss your fabric in. Just wash it with normal laundry detergent and skip the fabric softener. Send the fabric through the dryer for extra shrinkage potential.

Linen is a very hearty fiber. It's made from the stalk of a plant that is nearly three feet tall. Unlike cotton and wool that have fibers ranging from 1" to 6" in length, linen is really a giant. The longer the fibre, the studier the fabric. You won't harm it by laundering it roughly. It doesn't need to be babied. Matter of fact, the harder you are on your linen, the softer it will be to you!

Take your linen out of the dryer as soon as it's dry or leave it a little damp. Hang it up IMMEDIATELY! Possibly the only drawback with linen is that it wrinkles terribly and that lovely crispness will turn into creases and ridges if you're not diligent. However, quick removal from the dryer is about all you need to keep the linen relatively wrinkle-free.

Before you cut your garments, you'll want to straighten the grain. Lay the linen on your cutting table and look carefully at the grain. Do the threads intersect at right angles? If so, your grain is straight. But sometimes in the laundering process, the grain gets bunched up and crooked. To correct this, get out your ironing board and iron. Spray the linen lightly with water and iron it on the highest setting. Keep the iron moving and pull the grain straight with your free hand as you go back and forth with the iron. This should fix the grain and make your linen straight again. Now spread it out on your cutting table and start on your masterpiece.

Wear it in Good Health!

The use of linen goes back to the earliest of times. Its use had been so widespread, that it cannot be determined where it was invented for use as clothing and medicine.

In the Bible, the word 'linen' occurs 104 times in 90 verses, and the word 'flax' occurs 11 times in 10 verses. Flax is the plant that is processed to make linen.

The tombs of the Pharaohs in Egypt show that linen was used for burial cloth, and its seeds were considered crucial to the afterlife; as a result, linen seeds have been found in the tombs. The Biblical account of Joseph in Egypt shows that he wore fine linen garments and was embalmed (mummified) in the usual Egyptian method after his death (Genesis Chapters 41-42 & Chapter 50). By New Testament times, linen was still being used for burials, as seen the case burial of Jesus in Matthew 27, Mark 15, Luke 23 and John 20.

Flax was so important to Egypt during the time of Moses, that the Bible records its destruction during the plague of hail, along with other essential crops. The flax was in its full, ready-to-harvest boll (bud) stage when the plague of hail struck (Exodus Chapter 9). This must have been financially devastating to the farmers who had worked hard, waiting for a harvest.

The Canaanites were familiar with the use of linen, as evidenced in the Biblical account of Rahab in Joshua Chapter 2. The ancient method of processing flax into linen by soaking and then laying it out to dry enters the account of Joshua, as he and his men are hiding in the area on Rahab's roof where the flax had been laid out to dry.

The Persian Empire, as recorded in Esther Chapters 1 and 8, used linen for decor and garments.

Even at the time of the Prophet Ezekiel, fine linen was still being exported from Egypt, and also Syria (Ezekiel 27). Flax was an extremely important crop, and so important that the prophets mention its destruction, when listing other staples such as wool, bread and oil (Isaiah 19:19, 42:3; Hosea 2:9; Matthew 12:20 quotes Isaiah 42:3).

The Israelites in the wilderness, after fleeing Egypt were instructed by God to make linen garments for the priests, and to weave the tabernacle curtains with twisted linen fibers of red, blue and purple to make the design of the cherubim, as well as plain linen for use as curtains surrounding the Holy Precinct (Exodus Chapters 28, 31, 35, 36, 38 and 39). Linen was used again in the curtains of the Temple built by Solomon (I Kings 10, II Chronicles Chapters 2 and 3), some of which was imported from Egypt. Solomon also used linen for his bedding (Proverbs 7:16). Ezekiel Chapter 44 describes that in the future temple built by the Jews in Jerusalem, the priests will again wear linen garments.

Linen was a symbol of purity in Biblical times, and it is recorded in the prophets that angelic beings appeared, wearing fine linen garments (Ezekiel Chapters 9 and 10; Daniel Chapters 10 and 12; and Revelation Chapter 15). Revelation Chapters 15 and 19 also records that saints, slain as martyrs, are clothed in fine linen. Words such as "pure" and "clean" denote that the symbolism of righteousness as well as holiness was attached to the wearing of linen. The symbolism of filth and spiritual distance from God is seen in the example of the garments of the Priest Joshua, as Satan rebukes him for standing before a Holy God wearing filthy linen garments (Zechariah Chapter 3).

Ancient Jewish sources note that when the priests had unremovable stain on their linen garments, or the garments had excessive wear, the garments were torn into strips and recycled for use as candle wicks. This fact is displayed in Isaiah's commentary, where linen candlewicks are described (Isaiah 42).

Jesus' parable of the Rich Man and Lazarus, details what some scholars believe to be the 'typical', unconcerned, linen-clad rich man, oblivious to the plight of poor, hungry and sick Lazarus.

Levitical law prohibited the weaving of linen fibers with wool- at least for the average people (Deuteronomy Chapter 22); only the High Priest had garments of linen and wool. Biblical scholars speculate that the reason God prohibited the mixing of the fibers, is that linen represents the plant kingdom, and wool represents the animal kingdom, with ritual sacrifice. It is thought that God looked upon linen as untainted by blood; no one has to slay an animal to get linen fibers.

There were two types of linen garments: the rough, unprocessed linen garments of the poor, and what the Bible describes as "fine" or "pure" linen of excellent quality, which only the rich could afford. Isn't it interesting that the martyrs of Revelation are wearing "fine" and "pure" linen; even though it can be assumed that the martyrs were relatively poor at the time of their deaths!

As a matter of fact, the 'ideal' woman is described in Proverbs 31 as a woman who would make and sell garments! So, ladies, are you listening? Get busy and SEW some!

Don't use your mummy's linens, make some of your own!

A truism often overlooked, Raghavendra Rathore knows it, protects it, loves it.

Through the ages, many wise men and women have decided a person’s fate with a quick turn of the phrase: “You are what you eat,” “All work and no play make Jack a dull boy,” “God helps those who help themselves.” But none seem to have the most immediate impact as the one involving clothes: “You are what you wear.”

On the exterior, the phrase seems to have little or no merit. It is senseless, irrational, humorous. Classifying a person by what he or she is wearing seems trite and superficial. Yet there are countless things that can be learned by an individual’s dress. For instance, it is clear by looking at someone’s outfit whether he or she cares about cleanliness, fashion, or comfort. It can even give clues about an individual’s social status, worldview, sense of place in the world, and occupation. With this knowledge, renowned fashion designer Raghavendra Rathore’s statements about the importance of clothing should come with no surprise. But they are surprising nonetheless, likely because of the boldness with which he declares them.

“The clothes that we wear disseminate an impression so strong that it becomes one with the character that we are,” Rathore states on his website. “[A]ll through our life we are branded by our look and when we are gone, people still remember us by the look.” Is life so simple as to be boiled down to a garment, an article of clothing put on in haste or damaged by a careless spill? Possibly. And if so, what better way to be memorialized than with light-as-air linen?

It’s not as if linen were some otherworldly fabric, fit only for the gods. Rather, linen is a fabric that belongs most to this world, being rooted in the Earth, consisting of earthy fabrics and earthy colors. As such, it only makes sense to be enjoyed by the mortals that inhabit this world. And Rathore works to bring linen to as many people who desire a unique and relaxed fit that makes a fashion statement simply by being what it is.

In his designs, it becomes evident that Rathore has a very strong background in India’s culture. In his execution, he holds both hands out to every culture in every land, a set of most friendly and open hands that tenderly offer linen. Yet Rathore, like the majority of fashion designers, does not create every article of clothing with linen. He creates the best pieces with linen, using the fabric on special pieces that require a special touch.

In doing this, Rathore makes it clear that linen will not be used in every article of clothing in every person’s closet. It may not even be worn on a daily basis. But when it is worn, when it is used to build a masterful blouse, skirt, or suit, it is something very unique and worthy of praise. When linen is used in clothing, it is not handled carelessly like cotton, but delicately, like the special and wonderful fabric that it is.

It is possible to glimpse life in a medieval linen drapers shop thanks to an illuminated manuscript the Tacuinum of Vienna. Tacuinum Sanitatis were medieval medical books devoted to health and sanitation. Five unique copies of these manuscripts survive in different cities from which they take their names.. They were written in Latin which had been translated from the original Arabic. The term Tacuinum comes from Taqwin al-Siha meaning Tables of Health, a work originally by Ibn Butlan of Baghdad. The tables concerned themselves with six main subjects – air, food and drink, movement and rest, sleep, the evacuation of waste and balancing the emotions or humors. The combination of these was said to provide a healthy life.

The Tacuinum of Vienna was created in the late 14th or early 15th century in the Po Valley of Italy. The illuminated manuscript is illustrated with dozens of fine original drawings and watercolors. Much of the volume is devoted to the properties of foodstuffs from rye and spelt to watermelons and pasta. However there are also illustrations of flowers, the seasons and woolen and linen clothing. The depiction of linen clothing (vestis linea) is accompanied by a description of its medical properties, as understood by the medieval author.

According to the text the nature of linen is cold and dry in the second degree. Optimum is the light, splendid beautiful kind. Its usefulness is that it moderates the heat of the body. Its danger is that it presses down on the skin and blocks transpiration. However according to the writer the danger can be neutralized by mixing the linen with silk. Effects of linen clothing are to dry up ulcerations. The Tacuinum considered people to have different temperaments or humors. According to this linen was best for those with hot temperaments as well as for the young. It is best used in summer and in southern regions.

The fine illuminated drawing which accompanies the description appears to show a medieval linen drapers or a tailors shop. The view is front on and shows a typical, everyday scene which interestingly features four women. Two women are seated in the foreground with linen draped over their knees. Perhaps they are making up linen garments. In the background a women purchases linen at a table from another woman who appears to measure the material out. A fine roll of linen also sits in the table. The purchaser wears a creamy white dress or kirtle which appears to be of linen with a linen cap while the seller has a dress of deep blue. The women in the foreground wear tunics of deep blue and pale red or pink, with one being in a fitted style while the other is looser.

The picture gives a fascinating vignette of what a late medieval Italian linen shop looked like as well as the style of clothing that the women wore and typical colors of clothes at this time. The linen is a natural grayish-white rather than the brilliant white which may often be found in modern linen. Many of the other illustrations in the Tacuinum depict men and women in the attire of their period including linen shirts and aprons as well as linen dresses and caps. Clothes are depicted in white, saffron, azure blue and pale and deep reds.

It all started with an announcement: Russian fashion designer Valentin Yudashkin was bringing linen to the catwalk. Even bigger news was that he was considering building a new textile industry and fashion center, with linen as its centerpiece.

For a designer known for flamboyant dresses and suits capped off with odd hairpieces, gaudy jewelry, accessories, and even porcelain tea sets, this would seem quite a turn. But according to the designer himself, linen is a precious thing that ought not be ignored. With that, he is launching himself headfirst into a linen dream. One that will surely result in a powerful, elegant, vibrant line of linen wear.

Gorgeous, gentle pieces that fall from the shoulders, fitting the body with perfection without clinging or limiting movement. Classy, timeless, intricate yet somehow simple clothing that is as comfortable as it is pleasing to the eye.
How memorable will the linen clothing be? Will they, too, find their way into museums, alongside Yudashkin’s other artistically impressive pieces?

Or will they be so simple as to be made into the newest trend in fashion, both for those with and without the means to purchase museum-worthy clothing? Either way is fine for lovers of linen. Because while Yudashkin works with silk, satin, cashmere, georgette, lace, and leather, it is his work with linen that leaves the most lasting impression. Not so much for how it stands out among the crowd, but how it blends alongside other pieces of marvelous fashion.

In fact, for many of Yudashkin’s pieces, the only difference between a linen article of clothing and one made of leather or satin is the comfort and breathability of the cloth. In Yudashkin’s hands, all kinds of fabric are turned into intricate, involved clothing that is tailored to the finest tastes. But only linen provides a classic look that is sheik and sophisticated, while not sacrificing comfort or wearability.

How does this translate to fashion designers who aren’t known around the globe for inventive, smart clothing? What should seamstresses toiling at home to make period costumes, outer beach wear, and everyday clothes for work and play learn from Yudashkin? What connection can the self-made seamstress learn from a master of his craft who has taken Russian fashion from an isolated, unimportant state to one that may be setting the future of fashion? Patience—and sticking with what you know.

For Yudashkin, linen is what he knows. Russia has been enjoying the magnificent fabric for centuries, and Yudashkin has personally stated his interest in maintaining his homeland’s hold on the title of the linen capital of the world. What better way to help linen along the way than to produce quality clothing using the fabric and openly brag on its durability, while allowing the world to gape and gasp at its beauty—a beauty that depends on nothing but its natural fabric?

So pick up those talents and imagination, grab a stack of linen, and put together a piece of clothing fit for a museum. One that showcases the linen and would make Yudashkin proud.

I hear the bagpipes long before the town comes into view. A short drive from Denver into the Colorado Rockies, the small town of Estes Park has been playing host to the Longs Peak Highland Festival for 32 years. Now over 75,000 visitors descend upon this town of 6,000 for four days every September. Started by four families in 1976, and inspired by the majestic mountain views and a reminder of the highlands of Scotland, the festival continues to grow in size and popularity every year.

As I come into Estes Park, I cross a small bridge. The Loch Ness monster bobs in the water to my left, behind which the main festival grounds can be seen. Parking is rather painless for an event of this size, well organized and plentiful. The first thing that strikes me as I walk toward the entrance is the music. I can feel the low throb of the drums makes me want to dance. The wail of the bagpipes nearly brings tears to my eyes, of joy or sadness depending on the tune.

I show my ticket and enter the festival grounds proper. I make my over to Clan Row. Here one can find out more about their family history from booths run by the respective clans. This is nearly always my first stop, as the volunteers at my surnames booth have become close friends over the years- we are family after all. People stop by, looking at the crest and reading the information sheets. Saying goodbye, I make my way to the games.

When most people think of highland sports they think of throwing telephone poles. This is known amongst Scottish sports enthusiasts as the caber toss. The caber, which does resemble a telephone pole, is nearly as iconic an image as the kilt. Lesser known sports, such as the hammer throw and stone putting, also get their time in the spotlight here. Nearby, an area has been set up for the children to try out their athletic prowess with miniature versions of the caber. I watch until the athletes take a break, then it is time for lunch.

As I make my way to the food court, I am surrounded by people in traditional Scottish dress. Most of the men are kilted and wearing simple linen shirts laced up the front with leather. The women wear dresses similar to those seen in renaissance period clothing- ankle length dresses made of linen or other natural fabric. They finish the look with a tartan sash draped over the shoulder and pinned in place. Many of the women are also wearing ankle length tartan skirts and linen shirts similar to those of the men. The reds and greens of the plaids with the bright white of the linen gives everyone a bright cohesive feel even in the midst of the chaos of such a large crowd of people.

I sit down and enjoy some haggis and a pint of Guinness while watching some young girls in traditional Irish dancing dresses tap and kick their feet in intricate steps. After enjoying the music and the food for a bit, I go and do a bit of shopping. This highland festival differs from many of its brethren in that they are strict with their vendors. All vendors must carry Celtic themed items. This makes shopping here a quality experience, as one does not need to look long to find wonderful themed souvenirs.

That evening I go to the Ceildh (pronounced kay-lee), the Celtic New Years party. This is a cozy gathering that goes on into the wee hours. Live music, drinks, and good people make this one of the high points of the festival. Tickets for the Ceildh cost extra, and it isn’t as crowded as the festival fields. I talk to a couple from Newfoundland who have made the trip to Estes Park and the festival every year for the last decade. I can understand why, as I adjust my kilt. The Longs Peak Festival is not just a reenactment of Scotland's Glory days. In an age where we are traveling further from our roots more than ever, the festival gives us a chance to remember where we came from. The call of the bagpipes, the highland jigs, all of this soothes the romantic part of our soul that wonders what life would be like if our ancestors had stayed in the old country. For four days, we can pretend the past is still alive.

As I drive out of Estes Park and back to Denver and my life of as a modern American woman, I roll down the windows to hear the pipes one last time. The melody follows me for several miles, and will continue to haunt my dreams for days to come.

Margaret Scott was the daughter of Scottish gentleman and Lord of Session (law lord), Sir Alexander Hope of Rankeillor .She married Patrick Scott in 1693 and went to live with him at his family seat of Rossie and Craig near Montrose, Angus. Some years later, in 1739, Margaret, by then a widow, undertook an inventory of the furnishings, linens and properties of the house. This provides a fascinating record and includes details of her wedding trousseau and the colourful gowns in rich materials which she had made for her marriage.

The reason for the inventory appears to have been the marriage of her son; she may have been preparing to leave the house to make way for him and his new bride. The list appears to relate items of her personal ownership. Margaret’s inventory stretches to over thirty pages. It lists in particular detail ‘linen from the Craig’ and details of the beds and bedding as well details of ‘the Tea equipage’ - cups, saucers, teapots, and a tea press in which all of the attendant crockery was kept including glasses, plates and coffee pots and mills.

There was a great abundance of table and bed linen. Each piece of table linen was individually identified with initials and a date as well as being described by its “knott” or pattern. These included “the heart knott” and “the star knott” as well as more local designs “the Rossie knott” and “an old-fashioned knott that came from the Craig.” Other items on the inventory include family portraits, items of furniture and linen presses in the “big hall” where the linen lay in sweet-scented lavender. Margaret recounts that some of the linen and one of the linen presses had been received from her “worthy mother, Lady Rankeillor”.

As well as listing her marriage clothes Margaret also lists her wedding gifts. These included much silver plate as well as fine jewellery including diamonds, emeralds and rubies as well as linen, pictures and other gifts such as wool and livestock. Her husband gave her several fine gifts on the occasion of their wedding including a gold watch, jewellery, a sable tippet and a dressing glass. She mentions that many of these gifts she has now passed on to her children and friends, suggesting that Margaret had a generous nature.

The trousseau that Margaret brought with her on her marriage to Patrick included “a green and striped flowered with cherry and silver mantua” (the loose form of undress) and a petticoat with a silver fringe and edgings of silk ribbons that was lined with cherry tissue with silver. The use of gold and silver in clothing was a popular extravagance amongst the better off.

Margaret brought a lemon mantua and petticoat striped and flowered with silver and lemon, lined with lemon silk and with fashionable silver fringes. She also brought a cherry and green broad striped dress lined with a black and white damask with a petticoat trimmed with silver fringes. In addition she had “other gowns in abundance conform to my age” as well riding clothes mounted with six dozen beaten silver buttons.

She also had plentiful stays, linens and petticoats. The items of silk and expensive materials were only worn for formal and special occasions. Her normal daywear would have been of local materials such as linen which may have been woven on her father’s estate or locally. Margaret Scott’s inventory offers a tantalising glimpse of her fashions and lifestyle as she began her life on the Rossie estate in 1693.

Sarah’s eyes twinkle as she twirls around, showing off her outfit. She is quite fetching in her full blue skirt and black bodice. “I’m an Irish wench,” she says with a wink. She places a garland made of flowers on her head. “Maybe someday I’ll become a lady-in-waiting, but for now being a wench is a lot of fun.”

Sarah has been going to the NorCal Renaissance Faire since she was a child. It runs in the family. Her uncle is a musician and also a maker of period instruments. His psalteries, lutes, bodhrans, and dulcimers were always a big hit at the fairs. Her favorite part of the festival as a child was the pirates and belly dancers. “Part of me was also fascinated by the black clad performers in the Danse Macabre,” Sarah says with a laugh, “I guess I was a little odd for a kid.” Now days, her favorite part of the faire is taking her kids and experiencing the magic of the period fresh through their eyes.

The NorCal Faire is located near Gilroy, CA. It is open weekends in September and October. Willingtown, the fictional village the faire recreates, is a bustle of activity. Performers roam the streets and take the stage to the delight of the crowds. For those who don’t have a costume the faire has costumes to rent, or you can purchase one from the many vendors. In the afternoon, visitors can bask in the glory of Her Royal Majesty, Queen Elizabeth. Afterwards good food and drink await you as musicians playing everything from English country tunes to Gypsy tribal melodies line the streets and stages. Aerial acrobats, fire eaters, and the jousting knights are just a few of many of the things to see.

Getting involved in the faire is easy. You can just purchase a ticket and join in the fun. If you wish to truly immerse yourself in the faire experience you can volunteer with the faire as well. Volunteers are expected to complete the same training as employees of the faire, which usually consists of a few informal workshops. Guilds people the township with everything from the poor washer woman to the town guards. Guilds actively recruit new members, and are a wonderful way to begin faire participation. Some guilds require a short audition. It can be worthwhile to visit the faire as a guest one year to meet and talk to the different guilds to find one that piques your interest. They will be more than happy to fill you in on the requirements of joining a specific guild.

By getting your costume ready now you will be prepared for any auditions a faire may require. If you want to immerse yourself in a faire, volunteering is wonderful way to get started. You don't have to wait for the NorCal Faire to begin this adventure. In April and May, the North Carolina Renaissance Faire is looking for volunteers. They also have events throughout the year, such as their Celtic Halloween, in which volunteers are needed. The Greater St. Louis Renaissance Faire takes place in May and June every year and depends on volunteers for much of the event.

The span of many of these faires is liberal in scope, ranging from the year 1500 to 1620. While visitors can dress how they wish in an era of their choice, volunteers must stay within the guidelines set by the specific faire. Volunteers aren’t limited to renaissance England by any means, as many faires have an international market that boasts many ethnicities and cultural costumes from around the globe dressed in the prescribed time period. Sarah also shares this when it comes to choosing a costume, “Pay attention to weather reports. If it’s 100 degrees out, the all wool ensemble may not be the best costume to pick.” She advises sticking to natural fibers when possible. Linen is a good choice. Not only does it lend authenticity to a garment, linen is easy to work with and breathable. Linen also comes in many colors and has a wonderful texture.

Now is the time to start preparing if you plan on volunteering. First, contact the faire you wish to participate in to find out their volunteer and costume requirements. Then, order your linen and any patterns you need to complete your outfit. Finally, attend the required audition or interview. Before you know it, you can become an integral part of the renaissance experience!

In the late 1600s a fontange was high fashion for ladies hair. This was a tall head-dress consisting of a wire frame (or 'commode') adorned with lace or linen frills. It was worn at a slight forwards angle and attached to a linen cap. In appearance it resembled a half-opened fan and it could reach a considerable height. The term fontange can be variously used to describe the hairstyle, the wire frame which eventually underpinned it or the linen cap worn with it.

The fashion was imported to England from France and was named after Marie Angelique, Duchesse de Fontanges. Marie was a lady-in waiting at the French court. Her prettiness caught the attention of the Sun King, Louis XIVth who made her one of his many mistresses and a favourite for a time. The Duchesse de Fontanges bore the King a stillborn child in 1679 and then retired to spend the remainder of her short life in a convent, where she died in 1681.

During her period of royal favour it is said that she tied her hair up with a ribbon when her cap fell off as she was riding one day. The results met with royal approval and led to the style being adopted at court. Initially the style was simply for a ribbon looped in the hair or in the linen cap with the hair curled up from the forehead but as time went on the fashion developed into an ever taller wired head-piece ('commode') with furbelows of lace or linen and with the hair piled into layers of elaborate curls and locks.

“For Tour on Tour, and Tire on Tire,

Like Steeple Bow or Grantham Spire” Maria Evelyn (1690)

These lines relate to the piling up of layers and the height of the fontange with Bow and Grantham both being churches whose steeple and spire Evelyn is comparing the heights of the hairstyle to. This upwards trend was part of a general fashion emphasising the vertical line in style at this time.

Usually two long linen streamers hung behind the fontange which could be turned and pinned up or which could fall down as cornets along either shoulder of the wearer’s dress. The linen cap worn underneath was starched to stiffen it. At the front hair was pinned onto the wire frame, known as a ‘commode’ or ‘palisade’. This French fashion gave rise to a host of terms for variations on curls and ringlets and ways of dressing hair. This included ‘confidants’ (small curls near the ears), ‘favorites’ (curls hanging from the temples) and ‘cruches’ (small curls on the forehead.)

For the fontage style the hair at the front was curled and raised high above the forehead and wired to the palisade or commode. The Tower or Tour was the name given to false curls which were added to the fontange to increase the effect or supplement the coiffure. In addition to the lace or linen adornments ribbons known as ‘knots’ were often furled around the Palisade. An example of this can be seen in the portrait of Queen Mary II of England by court painter Godfrey Kneller in which she wears an elaborate lace fontange with ribbon knots and cornets and a tour of curls.

To amplify the effect of the fontage a ‘firmament’ could be worn, which was a dazzling array of diamond-headed pins.

“Tis all compris'd in the commode;

Pins tipt with Diamond Point, and head

By which the curls are fastened.” Maria Evelyn (1690)

The fontange reached the peak of its popularity around 1690-1700 but continued to be worn for another ten years or so, gradually reducing in height over that time as women struggled with its unwieldiness.

He may be willing to work with other fabrics, but none have his heart like linen.

Hailing from India, Rohit BAL has taken India’s fashion to new and more exotic worlds, changing how Indians allow themselves to view their clothing. In the process, he has influenced a number of other cultures around the world. And the world is all the richer for it.


With a firm grasp on history (he holds a first class history degree), Bal understands what has been done in the world and in fashion, which gives him perspective and permission concerning what ought to be done next. The result is breathtaking. But what makes him stand out isn’t his ability to shock and awe the fashion industry. Albeit, he does this like none before. But this isn’t his purpose. Rather, he wants to design and change fashion with a single purpose: to create clothing that is both wearable, attractive, and comfortable. And when it comes to comfort and beauty, nothing in his repertoire fits the bill quite like his works of linen.

As linen is one of the easiest fabrics to work with, Bal jumps at the chance to use it in his clothing. Unlike other designers, Bal doesn’t find a niche in which linen fits and stuffs it in there. He simply inserts linen where the clothing calls for it. The result is a linen catalogue without confinement to any specific article of clothing. Jackets, shirts, skirts, and more are all formed with the malleable fabric, as Bal essentially sets loose any boundaries put on linen.

While Bal primarily works with linen dyed in earth tones, his abnormal use of linen permits other designers to do as they wish with the delicate, yet oddly durable fabric. Because if Bal can create gorgeous pieces with ivory, imagine what could be done with more contemporary colors. At the same time, Bal’s use of ivory and natural colors play to the natural strength of linen. Unlike other fabrics that may be less comfortable or attractive and therefore beg for absurd colors for impact, Bal allows muted tones to speak loud and clear through design—which is where Bal’s attention to detail is important.

Though linen is easily colored and molded, that doesn’t put Bal at ease. Linen being his favorite material to work with, he doesn’t take advantage of it or abuse its benefits. He treats it with the respect it deserves, lovingly molding each piece by hand, unwilling to make the smallest compromise, despite the fact that linen would allow him a mistake here and there. Because for Bal, a lack of care would be an insult not only to the fabric with which he is working, but an insult on the individuals who will wear the garments he creates.

This understanding, this passion, this relationship with linen ought to be present with anyone working with linen. Then and only then can a designer expect to turn a piece of fabric into a properly fitting garment. Then and only then can a fashionista expect to make linen look as if it were created with seams. Then and only then can a seamstress expect an end product that deserves to be on a runway, whether it was made in Rhode Island, Mississippi, India, or Peru.