Patchwork has been known for centuries. It has been used together with other methods to create clothing and home décor. Some of the oldest patchwork pieces are dated as long as 3000 years ago. (I bet it was linen, that lasted that long ). However the technique itself started its development in the16^th century in England and by 18^th century became a true art.

Patchwork. From Europe to America.

It all began when England started importing cotton from India. It became very fashionable to have a blanket from India that was embroidered or had a colorful print on it. Those products and fabrics became so popular, that English government, in order to protect English manufactures, issued a law that forbade selling fabrics from India as well as any products made from them. Of course it didn’t stop people from importing to England the product that was in demand. The new law only made it more exclusive and expensive. That’s when an idea of using leftovers became widely used and piece work became the ultimate technique of creating fashionable home decorations. Patchwork got to America with first settlers from Europe and soon became a truly national craft. A colorful quilt made from small pieces of fabric attached together can be found nowadays in almost every American home.

You vs. Leftovers

Do you have linen leftovers? And you are going to use them one day, right? Well today is the day! It is time to stop that pile of pieces that are too good to throw away from growing. It is time to be creative. So get that bag of scraps out of your closet and let’s begin!

There are hundreds of beautiful patterns that have been developed since patchwork was first invented. I want to introduce to you to a few ornaments that I find very beautiful and yet quite simple to make.

“Chessboard”

It is one of the basic patchwork patterns. It is great for combining two fabrics of contrast colors together. But you can always mix in as many colors as you like.

Step 1.

Cut your fabric in strips so they have same width. Don’t forget to leave a little extra width on each side for seam allowances.

Step 2.

Sew strips together as shown on a picture below. Then iron the seams.

Step 3.

Take the piece you just made and divide it into strips of the same width as your original ones. Cut the fabric perpendicular to the seam leaving extra space for seam allowances. (see picture)

Step 4.

Take every other strip and rotate it up side down as shown on a picture below.

Step 5.

Sew strips together as shown below. Then iron. And you are done!

“Diamond”

Step 1.

First, you need to create a paper pattern template.

• Take a paper square that equals in size to the patchwork project that you will be creating. Divide each of its sides in half and mark that spot. Connect your marks with a line. You should get a tilted square in the center.

• In the square that you just got divide all sides in half, and repeat the operation in step 1a until you get a figure of a desired size in the middle. This little square in the center is the piece that we will start working with in Step 2.

Step 2.

Cut your fabric using center square template that you just created (don’t forget to leave some extra fabric for seam allowances). Then cut out 4 triangles from another fabric (use template of a triangle in the row marked “2” – see picture in Step 1). Place the square “face up” and put 1 triangle on top of it “face down” matching sides of both figures. Sew two pieces together as shown on a picture below. Then do the same for the remaining 3 triangles and iron.

Step 3.

You should have a new square. If its sides are not straight trim them with scissors.

Step 4.

Cut out other pieces according to your pattern and repeat Step 2 until you are done.

P.S.: Don't forget to send us pictures of your fabulous quits and patchwork projects!

IL020, better known as Handkerchief linen, has an incredibly gentle hand, is woven using fine, long staple threads and has very few slubs.

The finesse of this easy in care, handkerchief linen makes it a favorite among people who love luxurious, comfortable surroundings.
IL020 linen fabric application is often seen in couture clothing, embroidered bedding, christening gowns, sleepwear, and in fine details of the interior decor.

The fabric selection that just arrived is based on designer color forecasts for Spring/Summer 2008.
For next week only – you can purchase these hot colors in the finest linen fabric at reduced prices!
Through March 30th, the price per yard has been reduced by 10%.
Enter here to go directly to IL020 colors for Spring/Summer 2008!

If you haven’t yet discovered this little oasis for bargain aficionados, let me point the way to additional savings on all in stock fabrics!

Regular stock fabrics - sold right on the next page at regular price - here in the Doggie Bag Section are sold at 20% off.

Every time we take a bolt and cut yardage to fill orders, at the end of the bolt we have an X amount of yards left.
Obviously this X amount of fabric is cut from both sides and because the fabric piece is already cut, we sell the piece with a discount.
You would cut the fabric anyway to make your project - so you are not only saving money, but as an extra bonus, you are saving time that you’d spend on cutting.

We wait until we have a variety of different fabrics, in a variety of lengths and post all of the pieces to the Doggie Bag Section in a group. A new group is posted approximately every two weeks. The fabric pieces are sold on the first come first serve basis, no exceptions.

As you can guess, we don’t have an unlimited amount of fabric pieces and if you are the first to know that new pieces are available - you get to have the first pick.

I don’t want you to miss out on getting your fabric at such a terrific discount and I am writing to notify you today of this incredible savings opportunity.
On top of the 20% that is already subtracted from the cost, you can also use your discount code at check out for additional savings.

Take this opportunity to sign up to receive Doggie Bag alerts and be the first to know when new fabric pieces are available.
Signing up is easy – at the top of Doggie Bag Section page there is a box where you need to enter your name and your primary email address. Click on “Add me to the doggie bag alert” and you will be notified when new pieces are posted.

In the early part of the sixteenth century, dress was actually similar to medieval times. Early Renaissance women often wore a linen chemise. A chemise is an undershirt, which often accompanied a kirtle. A kirtle is a long, simple frock. It was similar to a petticoat, with a full skirt, sleeves and a tight bodice.

Remember, when you’re looking for Renaissance clothing, around that time colors were generally strong and dark. While linen was important, black velvet was also an important fabric of the time. Meanwhile contrasting white linen was used a lot for wrist and collar ruffles. So, while it wasn’t always the main component, linen was an indispensable fabric of the time period.

As the Renaissance era progressed, fashions changed. During the later Renaissance, from 1520 to 1650, fashions lost their medieval look entirely. Around that time, slashing became popular and linen became even more prominent.

Slashing was the practice of cutting slits in outer fabric and pulling the inner fabric, usually linen, through the holes. The effect was a puffy look, which was seen as a good form of decoration during the time period. Sometimes the slashing was done in a deliberate pattern. Often, it was quite detailed. However, by 1650 slashing still existed, but usually as long vertical lines, not patterns.

Since slashing became such a fashion craze during the renaissance era, men and women’s linen chemises (under-shirts) were suddenly not just for practical use. Something that was formerly hidden suddenly became a main focal point. As a result, linen chemises became more decorative. The linen chemises were decorated with lace frills, which changed through the ages. This, believe it or not, prompted the creation of the modern necktie.

For women, especially, there were many other uses for linen in clothing during that era. Whether they were wearing linen collars, called collet monte of rotonde, or wearing a linen headdress, called a cornet, they needed linen. Of course, they also wore linen drawers (underwear) and coarse linen underskirts, known as farthingales or vertugadins. So, linen was really vital for the women of the time period.

The biggest change in linen clothing for men during the Renaissance was that men’s breeches became longer. Linen breeches were a bit like boxer shorts. They grew in length during the Renaissance period, so they were eventually decorated in a similar way to chemises.

When you are planning to attend a Renaissance re-enactment, keep all of those things in mind. Although these days it is not always possible to find the exact fabric colors used in olden days, you can certainly find suitable substitutes, if you know where to look. You can find most of the linen fabrics in matching Renaissance colors for your re-enactment project at www.fabrics-store.com!

Lovely Linen: A Guide for Sewing this Natural Fabric

Dressy or casual, for a day at the office or a day on the boardwalk, garments made of natural linen are comfortable,
versatile, and attractive. Natural linen has long been a fashionable choice for people wanting an easy-care,
go-everywhere fabric. A linen dress or suit is an elegant choice for attending a wedding, but linen looks equally at
home on the boardwalk or beach.

If you have never sewn with linen, you may be afraid it is difficult to work with. Actually, linen is easy to sew;
it does not slip or stretch when you are cutting it out or sewing a seam. However, linen is prone to shrinking and
to fraying, so special care must be taken when preparing it for layout and when finishing seams.

Choosing an Appropriate Fabric Weight

Versatile natural linen comes in weights suitable for any project. Linen is ideal for warm weather because it "breathes,"
allowing perspiration to wick away from the skin. Light weight linen is great for summer dresses or tops and children's
clothes. Medium weight linen is suitable for summer pants and shirts. Heavier weight linens are wonderful for summer
suits or jackets.

Linen is lovely for all sorts of home décor projects such as tablecloths, napkins, placemats, drapes, pillows, and slipcovers.
It makes stylish shower curtains and guest towels. Linen is also ideal for historical enactment garments. While linen is ideal
for nearly any project, it is not suitable for patterns requiring a stretchy fabric. The pattern's fabric suggestions are the
best guidelines; if a pattern is suitable for linens, it will say so on the back of the envelope.

You also must make sure that the color and print of the fabric you choose are suitable for the person who will wear the finished
garment. I learned this the hard way. I spent a lot of time and effort making a beautiful cerise dress. The color looked
great on the bolt of fabric and I had previously made a dress that I loved from this same pattern, but once I tried the
finished garment on, I was very disappointed. Cerise is definitely not my color; it made me look too heavy. Choosing one
of the many shades of natural un-dyed linen is one way to avoid this problem; the subtle neutral creams and beiges of un-dyed
linen look great on any body shape. When choosing one of the numerous delightful shades of dyed linen fabric, keep in mind
the colors which you know you look good in.

Pre-treating Linen: to wash or not to wash

So you have your fabric and your pattern chosen. You love the crisp look of that brand-new piece of linen. It seems a shame
to pre-wash it before cutting it out and sewing it. Do you have to?

I have found that the answer is yes and no. Because linen does shrink when washed, you must do something to minimize the shrinkage.
You don't want to sew an absolutely lovely outfit, that fits perfectly, only to have it shrink to a size too small the first time
it is washed. A large amount of shrinkage can also cause the garment's shape to become distorted.

When choosing a pre-treatment option, remember you will want to continue to clean the garment the same way you pre-treated the
fabric. Many people enjoy linen's natural tendency to soften when washed. Linen gets softer and more comfortable with each wash.
If the finished garment is going to be washed in hot water, pre-treat your fabric by washing it in hot water before laying it out.
Linen washed in extremely hot water will experience maximum shrinkage and thus will not shrink when washed again. If the finished
garment will always be washed in cold or warm water, then pre-treat the fabric by washing it at that temperature. I generally pre-treat
all my fabrics by rinsing them in plain water without any detergent and then hanging them up to dry.

If you want your linen to stay as crisp as the day you bought it, you may want to dry clean the fabric before you lay it out.
I have found that a nice alternative to dry cleaning is steam pressing the linen before you lay it out. In addition to steam from the iron,
I use a damp press cloth or towel over the fabric. Always protect your linen with a press cloth when ironing; although ready-made
press cloths are handy, any iron-able fabric will do. A an extra piece of the fabric you are working with makes a handy press cloth.
In a pinch, I've even used damp paper towels.

Laying out, Cutting and Marking

Because of their distinctive texture and weaves, it is best to layout linen fabrics following the napped layout given in the pattern instructions.
I have found that that as long as you follow the grain-line of the fabric, you can generally lay pattern pieces much closer than the picture
in the layout suggests. (The grain of a fabric runs parallel to the selvages–the finished edge on each side of the fabric piece.)

The thinner linens are a breeze to cut. You may find thicker linens easier to cut with a rotary cutter. If you use a rotary cutter remember
to protect your table with an appropriate self-healing mat designed for rotary cutting. Holding a ruler as a guide on the straight edges of
the pattern helps you achieve nice straight edges when using a rotary cutter.

The next step in achieving a professional-looking linen garment is accurate marking. I generally use marking pencils to mark my patterns
and tracing paper to mark details such as darts and pleats, but these tools are often not appropriate for heavily textured linens. Marking
pencils and tracing paper don't leave sharp enough marks on some fabrics and the marks they do leave are often difficult to remove from heavily
textured materials. Test your marking tools on a scrape of the intended fabric, before using them on the fabric itself.

Tailor tacking is accurate, but time consuming (and something I just hate to do). I often mark with straight pins which have colored heads.
If you don't mind if the pattern gets a little torn, place a regular straight pin (one without a large head) directly through the pattern markings.
Then carefully remove the pattern, holding the marking pins so that they don't move. Once the pattern is removed, replace the pins, with pins
that have a colored head. Be sure to position them securely and use care when moving the fabric pieces. This method works very well for
marking the position of sleeves and fasteners. It can also work well for darts or pleats, if you carefully draw the dart or pleat lines after
the pattern is removed, using the straight pins as guides. (In a pinch, I've used a regular number 2 pencil to do this; once folded and sewn,
the marks will not show).

Sewing

Linen is a joy to handle at the sewing machine. It does not slip easily, so it can be pin basted. It guides easily over the feeddogs and does
not need the delicate handling required by stretch knits, lamé and other specialty fabrics. Simply remember the basic rule of guiding, not
pulling the fabric under the needle (after twenty years of sewing, I still sometimes find myself tempted by this common beginner's mistake).
Any basic thread will be fine for linen

Finishing the Seams

Seam finishing is one key to a professional looking garment and all linen needs some sort of seam finish. On light-weight and medium-weight
linens, a clean-finished edge works well and looks neat. A clean-finished edge requires two steps and takes a little-more time than simply
zigzagging the raw edge, but it is worth the extra effort. To clean finish an edge, straight stitch approximately one-eighth inch to one-fourth
inch from the edge and then turn the edge under on the stitch line and straight stitch through the two layers.

You can also use double-fold bias tape or special seam-finishing tape to enclose the raw edges. This looks great, but if you are a beginner,
you may find it somewhat tricky. I personally prefer the clean-finish method. It is easy to learn and requires no extra supplies.

Of course, the clean-finish method is not suitable for finishing the armhole seam of a set-in sleeve. You can let the seam stay unfinished,
but I prefer to zigzag the edges together after I have set the sleeve in. To avoid a bulky seam, most patterns recommend trimming the underarm
seam between the notches, after setting in the sleeve. This is generally a good idea; zigzag over the trimmed edge as well.

Press as You Go

Another key to sewing a professional looking garment is to press every seam as you go. Commercial patterns always recommend this step, but
when I first began sewing, I did not see the point of it and often neglected to do it. I've since discovered that it makes a real difference
in the look of the finished piece. Using a press cloth, press the seam flat on both sides to set the stitches and then press the seam open.
To save time, sew several pieces (such as sleeve seams, and side seams) in a batch and then press them before you sew the pieces together.

Some fabrics do not require the use of a press cloth, but linen has a tendency to shine when pressed, so remember to protect it. A press cloth
also helps to prevent scorching, but it's not foolproof, so use caution since linen scorches easily. Keeping the press cloth damp, even if
you are using a steam iron, will help prevent problems and give your pressed details a nice crisp look.

A Garment to be Proud of

With a little effort and patience, even the novice home-sewer can produce a lovely linen garment. Don't be discouraged if your first attempt
doesn't turn out as you envisioned it. Like any other skill, sewing takes practice; even experienced sewers occasionally make mistakes.
Great thing is you can practice all your need to perfect your sewing skills with linen. Nice quality linen makes it easier for you to sew
and provides better looking finished garments. And even though linen is considered a luxury fabric, it is not as expensive as it is thought to be.

Just go to www.fabrics-store.com to make your linen
selection and your fabric satisfaction is guaranteed.

An avid seamstress,
Elizabeth A. Quinn

History

Possibly the most ubiquitous female garment in every time period is the skirt. Allied so closely to femininity, "skirt" became a slang term for women in the 1930s. But it was not always so. At its beginning, the word "skirt" didn't refer to a female garment at all. The modern English word "skirt" comes from the Old Norse word skyrta, meaning a shirt, a man's garment. During the Renaissance, "skirts" referred to the bottom part of a man's tunic or doublet — the skirts or tabs around the waist of the garment. Until the 19th century, the proper term for what we call a woman's skirt was "petticoat".

The word "petticoat" too did not always refer to a woman's undergarment either. Like the skirt, the petticoat was originally a male garment — a padded upper-body garment worn under armour, a small coat when "coat" was the word for the man's upper-body garment or gown in the 1300s. By 1464 it was applied to a garment worn by women and young children. By 1593, it meant the typical feminine garment, hence a symbol of female sex or character.

In the 15th century, the introduction of a waist seam in women's clothing led to a difference in construction of body and skirts. By the 16th century, petticoats were what we modernly call skirts. Worn under gowns as extra layers for warmth or to give more body to the gown skirts or worn in multiples themselves with jackets and doublets, petticoats are essential to female living history impressions from the 16th through the 18th centuries.

The length of petticoats varied wildly. We often think that proper women did not show their ankles, but this is not true for all classes and all time periods. Among the working classes, wearing a petticoat that reached the shoes was simply cumbersome. There are pictures and accounts of petticotes that just cover the knees. Upper class ladies, however, had petticotes that piled on the ground around them and trailed feet behind them.

Petticoats are so simple to make that few companies make patterns for them. But though materials and methods of decoration varied wildly over the decades of those centuries, the shape of petticoats changed little. Petticotes were made by gathering, knife pleating, cartirdge pleating, box pleating and other methods. The following instructions are for a knife-pleated petticote.

The Basic Petticote Silhouette

Cutting

1. Get some lovely medium weight linen from fabrics-store.com. IL019 is terrific for petticoats.
2. Measure from your waist to where you want the petticoat to end. Call this measurement A.
3. Cut two rectangles at full fabric width (~58” wide) and measurement A + 2” long from your fabric.)

If you wish to line your petticoat, cut two more rectangles of the same size and sew them to the first pair along their lower egdes. Follow all the rest of the instructions as if they are one piece.

Pleating

1. Sew the two rectangles together, right sides to right sides, from the bottom, along the measurement A sides, stopping 8” from the top.
2. Roll hem the last 8” of the side seams. These will be your pocket access slits.
3. Roll hem the top of the rectangles.
4. Fold the petticoat rectangles in half to find the center front at the top edge of the fabric. Mark this spot on both front and back pieces.
5. Snip a small notch 1" to the right of the center front point. Next snip a notch ½" to the right of the 1" notch. Then snip 1" to the right of the ½" one and so on until you reach the right edge.
6. Repeat from the center point travelling to the left edge.
7. Turn the left side of the apron so that it is away from you. With your fingers, crease the fabric at the second notch from the top. You should now have a "peak" pleat (shown as a dashed line in fig 11 at left). Fold this peak pleat away from you so that the first notch is creased into a "valley."
8. Place this first pleat under the presser foot of your machine and tack. Lower your needle into the fabric. Raise the presser foot. Crease the fabric at the fourth notch into a mountain pleat and fold it away from you, creating a valley pleat at the third notch. Continue creasing at the even notches as far as you can comfortably hold in place with your hand. Lower the presser foot, being careful that the pleats remain folded away from you. Slowly sew down the pleats, sewing less than ½" from the top edge of the Petticote piece. As you near the end of the pleats you've made, repeat the process. You can stop after sewing each individual pleat or sew a few at a time. When you reach the end and there are no more notches, tack and cut your threads.
   
   (To pleat by hand, you may want to pin the pleats in place so they don't move as you sew them. Pressing the pleats with an iron will also help avoid slippage. Again, sew less than ½" from the top edge of the Petticote piece. Make your stitches small enough to keep the pleats in place. Backstitching will hold the pleats better than a regular basting stitch.)
   Do this with both rectangles.

Waist Treatment

1. Cut a piece of twill tape or narrowware long enough to comfortably wrap around your waist and tie in a bow. Cut a second piece the same length. (Alternately, you can cut only one piece 2" longer than your waist and close it with hooks, but the double waistband is more convenient.)
2. Find the center point of the petticoat front and mark it with a pin. Do the same with the back.
3. Fold the waistbands (twill tape or narrowware) in half and find the center point. Mark it with a pin.
4. Lay a waistband on top of the petticoat front, right sides to right sides. Align the center points.
5. Keeping the edge of the waistband aligned with the top edge of the front, sew over the pleats starting from the center of the front across to the right edge and then from the center to the left.
6. Fold the waistband up and over the Petticote front top edge, catching all the raw edges inside it. Stitch the waistband down on the inside of the petticoat front. A blind stitch works nicely here.
7. Repeat steps 4-6 for the petticoat back.
8. Continue folding the part of the waistband that’s not attached to the petticoat. Tuck the raw ends inside the waistband and whipstitch closed.

Wearing

Step into the petticoat and pull the back panel up to your waist and center it. There are two ways your petticoat can be tied. One way is to tie the back waistband around your waist in front, and to tie the front waistband around your waist and knot them in the back. This makes your petticoats very secure. The other way is to tie the waistbands to each other at the sides.

References

1. "petticoat." Online Etymology Dictionary. Douglas Harper, Historian. 11 May. 2007.Dictionary.com
2. "skirt." Ibid.
3. Fabrics-store.com

Related Entries

• How to make historically accurate garments that fit a modern body
• Linen in Ancient Egypt
• Linen, Egypt, and a Foray into the Middle Ages
• Political Dissent, Puritans, and the Use of Linen
• American patchwork quilt history. Plus use our patchwork patterns and get rid of your leftovers!
]]> http://www.fabrics-store.com/blog/2008/02/12/skirting-the-issue/feed/ http://www.fabrics-store.com/blog/2008/02/05/linen-egypt-and-a-foray-into-the-middle-ages/ http://www.fabrics-store.com/blog/2008/02/05/linen-egypt-and-a-foray-into-the-middle-ages/#comments Tue, 05 Feb 2008 19:43:18 +0000 Nikolai Karpushin http://www.fabrics-store.com/blog/2008/02/05/linen-egypt-and-a-foray-into-the-middle-ages/ By Lisette BC Abbott

Linen. The word alone can be intimidating if you're not a seamstress or tailor. It conjures up exotic locales, perhaps with the ocean's waves lapping at the coastline, while the sun brilliantly illuminates the pearlescent white caps of the waves. Or, at least that what it does for me. I come from a long line of non-sewing women, so when I started getting that urge to create clothes, it was almost shocking. Well, almost doesn't quite fit. It was shocking. I still rarely sew, and I just learned to knit, but I've fallen in love with materials and linen–that soft, sumptuous byproduct of the flax plant!

Linen–true linen, not the generalizing term applied to cotton and other fibers–is soft, malleable, and very cooling, wonderful in the southern climes. Because linen has been around for eons, our ancestors used the material in their day-to-day dress. Is it any wonder, then, that historical societies also use linen? These historical societies fervently pursue authenticity by using the same materials that were actually used in the past, but in today's world whether it's the greenhouse effect or what, the temperature sure feels like it's getting hotter. Frankly, modern humans aren't as used to this heat as our ancestors may have been. With our air-conditioned cars, offices, and houses, we've gotten used to always being cool. So when we participate in our hobbies, like historical societies, we still want to remain cool. That's something hard to do when we're dressing in twenty pounds of clothing and romping around in faux villages. That's where linen comes to the rescue. So while we're remaining authentic by patterning our historical re-enactment clothing on historically-accurate linen, we sure do benefit from using linen.

Have you ever been to an historical re-enactment? They're quite fun, actually. And with history now becoming "popular," there are many more from which to choose. The SCA, or Society for the Creative Anachronism, is a big organization that hosts countless historical re-enactments of the middle ages. Actually, they're not really "re-enactments," per se. The events the SCA hosts are more like "living history" tableaux. In other words, when members get together at these events, they're no longer members of the 21st century. Rather, they become the personae that they've adopted for themselves. These personae are with them during their membership in the SCA. For example, I–as Lisette BC Abbott–no longer exist when I participate in an SCA event. Instead, a middle-class persona named Lady Isabella D'Artagnon, newly of the Kingdom of Meridies, emerges. And Lady Isabella will not wear jeans, the everyday attire of Lisette. Lady Isabella wears her rectangular-sleeved linen chemise that's banded at neckline and cuffs, and which gently falls into a billowing skirt. Over this chemise Lady Isabella wears her simple overcoat that's laced up and ends just below the last rib.

Linen is prevalent in SCA costumes and at the Renaissance Fairs. However, the middle ages and the renaissance weren't the first times in history that linen's been used for clothing.

Linen's a natural fiber, and because of its natural state, it's adaptive to all environments. And to all points in time. As I mentioned earlier, our ancestors knew what they had with linen. In Ancient Egypt, Egyptians' clothing was primarily made of linen. In fact, linen was a valuable commodity, if not a downright priceless commodity. In fact, many members of the laboring class were paid in either food or clothing for their agricultural work. Nevertheless, those who had more money were able to dress up their otherwise plain linen shifts with dazzling jewelry like onyx bracelets or amethyst rings. They also were able to wear golden or shell bracelets or earrings to provide startling visual contrast to their linen shifts. However, the wealthier class didn't necessarily wear more jewelry than the poorer class. Instead what visually set the wealthier class apart from the poorer class was their clothes. Namely, the wealthier could afford to wear white or transparent linen. After all, workers were needed to thoroughly scrub the white linen so it would remain pristine. And just imagine how long it took to create cloth so fine and delicate it was transparent!

But why did linen play such an important part in Egyptian clothing? For the simple fact that linen was readily available. Keep in mind that linen comes from the flax plant. As the flax plant grew alongside the Nile River, agricultural workers harvested the plant. From there, the plant was soaked, fibers were separated then beaten to a softness, attached to a spindle where the fibers were twisted into a rope, and then spun on a loom. From that lengthy process, linen was born and Egyptian clothing was made.

Thankfully, those of us who participate in historical re-enactments or simply like to attend Renaissance Fairs need not harvest our own flax plants, soak and beat them, then spin them on our personal looms. Instead we can purchase yards of the softest material we want (or can afford!) and have our clothing made from it. If we're really lucky or blessed, we might be handy with a needle or sewing machine and make our own clothing. If not, we cultivate friendships with people who are domestically talented and beg or barter for our re-enactment clothes.

While I don't know of any historical re-enactments for ancient Egypt, there are plenty of people who strive for authenticity in ancient Egyptian-styled clothing. Think of all those wonderful A & E documentaries exploring the lives of such Egyptian luminaries as Cleopatra, Tutenkhamen, and daily life along the Nile River. And what about those fabulous Eyewitness books? Or the Treasure Chests series, particularly the Ancient Egypt or Medieval Knight kits? In our own home, my family loves to explore these videos, books, and Treasure Chests, often putting together our own, noticeably home-made and highly amateurish (but fun nonetheless!) Egyptian tunic and Templar Knight mantle. In order to produce credible and authoritative videos, books, and kits, there are real people diligently scouring history books, artwork, and fashion history researching ancient Egyptian clothing. Since many of these videos are primarily educational (while being downright fun to watch), the wardrobe mistresses or masters must strive for authenticity. The same goes for the books and, yes, the Treasure Chests. And also because credible historians are lending their names to these video and book projects, editors and the rest of the production staff involved in the making of these productions must strive for authenticity.

So fabulously historically-authentic clothing demands the material of which actual Ancient Egyptians and medieval dwellers used. Linen. While we in the 21st century need not pull our own flax plants (never cutting them as that ruined the plant), nor must we beat the plant in order to get it as soft as possible–which translates to soft material–we can and do search for the softest linen to drape around our shoulders or let fall along our hips.

We may not be Cleopatra or some fine medieval lady, but it sure is fun to play Queen for the Day. And that calls for wearing the most sumptuous and exquisite linen we can find. After all, we're striving for authenticity, too.

Related Entries

• Renaissance Dress
• Political Dissent, Puritans, and the Use of Linen
• Linen in Ancient Egypt
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]]> http://www.fabrics-store.com/blog/2008/02/05/linen-egypt-and-a-foray-into-the-middle-ages/feed/ http://www.fabrics-store.com/blog/2008/01/28/political-dissent-puritans-and-the-use-of-linen/ http://www.fabrics-store.com/blog/2008/01/28/political-dissent-puritans-and-the-use-of-linen/#comments Tue, 29 Jan 2008 02:11:23 +0000 Nikolai Karpushin http://www.fabrics-store.com/blog/2008/01/28/political-dissent-puritans-and-the-use-of-linen/ By Lisette BC Abbott

Let me ask you a question: what do you think of when you're dressing in the morning? Do you think of whether or not your outfit matches? Or whether or not it becomes you? Or whether or not you'd like to lose some weight so you can wear a smaller size? Or do you think of the significance of being able to wear whatever you wish, without any thought to whether or not you're violating codified or unspoken rules? Chances are you don't think of the latter. Some of you may, but I'd wager the majority of us simply think about whether or not our outfit looks good on us.

Being a former academic (I used to teach at the university level), I'm a member of several organizations, primarily history and writing organizations. However, the ones I have the most fun with are living history organizations. I've mentioned being in the SCA, or Society for the Creative Anachronism. Another fun organization, of which I'm not a member–yet, is The Society of Early America. Like the SCA, the SEA is a living history organization. And as such, they're very careful to strive for authenticity in their portrayals of daily life in early America and their dress.

Which brings me to the reality of the significance of dress, clothing, and material used by the different segments of early American society.

Let's do a little time travel, shall we? We'll try to get into the mindset of colonial Americans when they dictated and followed very exact dress codes. After all, if we're going to either participate in or attend a Society of Early America living history tableaux, we'd do well to understand why they dress as they do beyond the simple fact of their striving for authenticity.

Since early America is too-often presented as the Pilgrims sharing Thanksgiving with the Indians, it's sometimes easy to forget about the early Scots, Irish, Dutch, Spanish, French, Germans, and Africans, among other nationalities, that lived, worked, loved, and died on this land alongside the English Pilgrims.

Before the puritans came in the 1600s, the Spanish were already here. And following Spain's footsteps were the French and the Dutch. And we should not forget that even before the Spanish, French, and Dutch arrived, Indians were living on this land. As for Africans, we tend to think of their arrival via slave boats in the late 1700s or early 1800s. Frankly, that's wrong. In fact, historians believe the first boat to bring Africans to America (specifically, to the Jamestown colony) was in 1619. While future articles may explore clothing from other early Americans, this article is going to explore the most famous, or infamous, segment of early American society–the puritans.

Because the puritans strove for simplicity in their dress as a reaction to what they perceived as the growing corruption in the English Court, these puritans brought their same ideas of behavior and dress when they came to America. However, I must make it clear that there are two distinct sets of puritans who came to early America. The first, also known as the Pilgrims of Thanksgiving fame, came for religious reasons because they were being persecuted in England. But that's not the only reason: they also wanted to model a city, that "shining city upon a hill" that would serve as a visual beacon to those they left behind, namely England. They wanted to show that it was possible for a theocracy to effectively run an orderly city.

The second band of puritans who came, those in the later 1600s, were considerably wealthier and were rather severe in their dress and attitude towards those whom they regarded as "different." Whereas the earlier group of puritans, the Mayflower Pilgrims, were equally religious, they were more tolerant of others in that they cultivated their relationships with the indigenous Indians. The second band of puritans didn't.

Nevertheless, both groups of puritans shared similar dress codes, with the Mayflower group being the most severe. The men shaved their heads, thus the derogatory name of "Roundhead," and the women dressed plainly and refused to wear any type of jewelry or other adornment. To do so was considered vain and, thus, indicative of a predisposition to evil. Why was such an extreme approach to something as trivial as dress taken? To better understand the puritan thought processes, we need to contextualize the timeframe.

Since the English court had been in a series of upheavals (from the Protestant-cum-Church of England's King Henry VIII to the Catholic Queen Mary to the Protestant Queen Elizabeth to the Protestant King Charles II to the "posthumous execution" of Lord Protector, Oliver Cromwell), the court was, in the eyes of the puritans, becoming increasingly decadent and immoral.

Already frequently reflecting court rule, court fashions during Charles II's reign were excessive, with pounds of luxurious fabric to make one dress that was infused with complicated ruffles, bows, and jewels. The length of trains on dresses indicated the wearer's social position. Hairstyles became complicated in structure and indicative of wealth. Poorer women wore their hair in conservative ringlets or less extravagant versions of the wealthy, while wealthier women wore their hair higher and replete with intertwined pearls and flowers. Men also followed court fashion as they wore high heels–or "articulated" shoes, long waistcoats and rabats (complicated cravats with excessive pleats). Men were equally vain about their hair. Periwigs were de rigeur for gentlemen. This dress-in-excess was in reaction to the somber and austere puritan dress that was the fashion during the Reformation. The flounces, jewels, ruffles, and feathers essentially were statements of the freedom that the Restoration symbolized. (While the Reformation is the "reforming" concept of the Church as being more austere and focused on preaching during the reigns of Henry VIII, Edward VI, Mary, and Elizabeth I, the Restoration is the "restoring" of the hierarchical, ritualized services, and of the ceremony within the Church during the reign of Charles II. Thus, the Restoration afforded more "layers" between common people and God. These layers are reflected in the people's clothes, clothes that featured layers upon layers of fabric, flounces, jewels, and feathers.)

Meanwhile, the puritans did not disappear. They continued to believe that such excessive dress was evidence of lives that had strayed from God. As a result, many puritans fought against the Catholic, Protestant, and Anglican Churches. Some puritans even physically destroyed churches and accosted church members. However, don't think that the puritans were the only rabble-rousers. Charles II's Parliament was zealous in ridding England of all nonconformists, including the puritans.

In any case, the puritans believed they were "purifying" the church. In fact, the original use of the word "puritan" was as an epithet, a derogatory term, used by non-puritans when referring to these self-called purifiers of the church. In time, the puritans came to adopt this name for themselves, and by using it in self-reference, sought to show to the world that indeed they were pure, and thus closer to God. And what better way to physically show their purity and closeness to God than through their dress?

While the English were wearing costly gowns made of silks and taffeta, the English and American puritans wore simple and plain clothing, often made of linen or other subtle materials. Their clothes were often stark in detail and could feature simplified versions of the cavalier's "falling bands," long, wide and white collars that hung over the dark great coat. Women's version of this collar was the "Bertha collar," and while in England the entirety may have been made of lace, in America and amongst the devout puritans, this collar was most likely made of linen with lace detailing. As in England, wealthy American puritans were allowed to showcase their financial ranking through their clothes. For example, the sleeves of well-to-do American puritans featured slashes that allowed white fabric beneath to show. However, since they were puritans, they still frowned upon ornate and fancy clothing, believing that such clothing was impious. Rather, the wealthy most likely fashioned simple and plain clothing from richer fabrics while the middle-class and poorer classes used linen and cotton.

As is the case today, historical clothing signified many bits of information about the wearer. While today the obvious white collar of the priest or the dark habit of the nun tells the world that the wearer is a religiously-identified person, the rest of us generally don't think about what our clothes say beyond the obvious of being professional, demure, sporty, or sexy. Nevertheless, like today, the cut and material of a piece of clothing can hold much more significance and meaning than we usually realize. While we may wear our tee shirts with political protests, the puritans displayed their political and religious beliefs by the style, design, and even material of their clothes.

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]]> http://www.fabrics-store.com/blog/2008/01/28/political-dissent-puritans-and-the-use-of-linen/feed/ http://www.fabrics-store.com/blog/2007/11/15/linen-in-ancient-egypt/ http://www.fabrics-store.com/blog/2007/11/15/linen-in-ancient-egypt/#comments Fri, 16 Nov 2007 05:31:28 +0000 Nikolai Karpushin http://www.fabrics-store.com/blog/2007/11/15/linen-in-ancient-egypt/ By Masha Karpushina

To freely explore the oceans of the past, tell the story of vast forgotten cultures, filter the richness of ancient knowledge through my own vision, to introduce myself to intricate delicacies of historical detail, which on any other occasion would have remained closed- feels tempting. By all means, bear with me, as we are going to be taken on this ride for the first time together. I am not a professional writer, nor am I a journalist. Who am I? I think you will be the judge of that. At this point I will expose myself to your highest degree of criticism and if I am in luck- I will continue, if not- I cannot say I will regret the experience.

Between the years of 10,000 to 6000BC, the Sahara was nurturing quite a different landscape to what we would expect to see today. During the wet phase that existed at the time, the desert was transformed into a lush environment of juniper and pine woodlands divided by streaks of flowing rivers, the most essential of which, was of course the Nile. Emanating from the lands of Sudan, the river flowed north through Upper Egypt, the city of Cairo, and up towards Lower Egypt, finally emptying itself into the Mediterranean Sea.

Towards 4000BC a new civilization set it's foot on the fair banks of Nile. Unlike other nations, Egyptians brought a very structured and strong hierarchy with them, with Pharaoh (the living God) at the head. In 1567BC, Ahmosis founded the Eighteenth Dynasty, and with the sophistication of their governing system, Pharaonic culture started to flower allowing Egypt to become the ultimate word power. Battles were won against the neighboring countries, a cultural cross-fertilization started to take place as artisans and intellectuals of the time nurtured their knowledge and skills into Egypt. The doors were open.

Now, according to Herodotus, Egyptians were very keen on hygiene, he wrote: "They wore garments of linen fresh washed, taking singular care to have them always clean for, they esteem cleanness more than ornaments". Unlike the Sumerians, who were allowed to wear skins, and wool, Egyptians preferred woven vegetable fibers, such as linen, for it could be woven extremely finely, creating a light and cool fabric, perfect for the climate. In the early days these were generally palm fibers, but as the Egyptian?s irrigation and agricultural system as well as their methods improved, flax came into the production of linen, bringing along a virtual exclusion of all other materials. The fabric was worn white, by religious significance, and was easy to handle in terms of laundry, making it a common ideal.

Although clothes were a status symbol, costumes for both sexes were minimal, in fact at the beginning of the dynastic periods children and slaves went around naked. The oldest male garment recorded is a simple loin cloth- "Schenti", which consisted of a single strip of linen wrapped around the hips. This particular garment was adopted by all classes, although higher aristocrats preferred finer pleaded fabric. There were various ways of folding this material, the most common being that employed by India and some parts of Africa, where the material would be passed diagonally across the hips with one end tucked in at the waist and the other hanging free at the front, accompanied by a bare torso regardless of class.

With the reign of Thoutmosis IV (1425- 1405BC) Schenti was generally abandoned in favour of a skirt, made of a single triangle of linen, the length of which could vary from mid-thigh to calf. The simplest form was drawn tight across the back and gathered in a single box pleat at the front. Again, the high born percentage of the population took a step ahead, designing a more elaborate look where the surplus material was gathered at the waist and a series of carefully arranged pleats fanned out into a perfect set. A wedge-shaped apron was suspended from a decorative belt embroidered and set with precious stones, to hold the whole arrangement in place.

A further example of clothing was a Sleeved Tunic, resembling a short-sleeved night- shirt, the garment allowed a variety of length ranging from knee to ankle knee. In case of a Pharaoh, the fabric was woven so finely that it was vast transparent and therefore needed an under layer in the form of a Shenti to accompany the look. It was finished off with an elegant apron.

From the Sixteenth Dynasty, princes wore a large transparent veil of material, which was draped around the body and knotted once at the neck. Elaborate folds at shoulders and around the hips gave an impression of a cloak, a Tunic with sleeves and a short kilt.

The Robe, the royal Haik, was also worn by masters of power, and it is thought to be one of the few garments adapted from a different civilization, Asia Minor in this case. The Robe was made of a single triangle of linen twice the height of the wearer, folded with the assumption for a slit cut for the head, the edges were sewn from hem to the waist. The fullness of material formed voluptuous sleeves the shirt section gathered at the waist in a knot.

Women's clothing is portrayed in many tomb painting though differentiating very little from the male fashion, only with the tendency to emphasize scantiness- to veil the body rather than conceal it. The slaves and dancers were either naked or wore simple a wrap around a linen skirt gathered at the waist with a cord. Older women wore the same simple skirts, supplemented by a cape to cover their shoulders and upper part of the breasts. Breasts were normally revealed with the main material gathered just below, reaching either as far as the ankles or mid-thigh.

Egyptians seemed to be more occupied with their social structure and architectural monuments rather than their everyday fashions, therefore limiting eloquence of designs, although it is possible to use these simplistic ideas in order to elaborate on modern fashion. The best ideas come from within simplicity.

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