ELECTRONIC PROPERTIES

At the electronic cellular level, flax cells are highly complementary with human cells; producing a benevolent effect on the human organism. The human cell is capable of completely dissolving a flax cell. It is interesting that flax thread appears to be the only natural material utilized for internal sutures in a surgical setting.

Scientists have discovered that linen fibers reflect light. The light energy aspect of living organisms has been measured by many individuals within the Scientific community. Nobel prize winning Dr.Otto Heinrich Warburg identified signature frequency numbers of the average human at 70-90. All results with numbers less than 50 were identified as the signature frequency of chronic disease. Any number less than 15 was identified with those having a diagnosed incurable condition such as cancer.

The measurement of linen fabric measures 5,000 signature frequencies. How do other fabrics compare? Plant fibers like cotton and hemp are not a healing fiber when measuring its signature energy output. Standard bleached and colored cotton measures 40 units of energy. The good news is that Organic unbleached cotton measures 100 units of energy which is a ‘normal’ but not a healing fiber. The silk fabric measures 10 units of energy which would fail to support health in the human body. Could it be a low number because of its origin? Silk is produced from an ‘unclean’ insect. Could silk be also use of so many chemicals that it is an unhealthy fabric. Rayon measures at 15 signature frequency. Polyester, acrylic, spandex, lycra, viscose and nylon measure zero and do not reflect light. Pure wool measures 5000 units of energy. For any individual desiring to be well the best recommendation from the instructions of the Holy Scriptures is to wear linen. The Biblical warning of wearing wool and linen together proved in scientific studies to be accurate: the energy of these two fabrics put together (wool sweater on top of a linen outfit) collapsed the electrical field as well as wearing of black colored fabric. Where the two textiles measure 5,000 signature frequencies, when put together, these cancelled each other and brought measurable weakness and in some tests even pain to the human body.

HISTORICAL USE

Since the earliest times, flax has been known to have healing properties. Recent studies out of Japan and posted from the linen textile manufacturers confirm this truth. In the Latin language, the word flax means "being most useful" and the Holy Scriptures certainly emphasized this material over all other fabrics for the Holy attire. The original Hebrew language gives the attire of Adam and Eve as a linen robe of light (Genesis 3:21). In establishing the protocols ‘statutes’ of health, the prophet Moses received specific instructions. Cleansing a ‘leper’ meaning those ‘incurable’ gave only three distinct fabrics of attire: wool or linen or leather (Leviticus 13:47-48). It was emphasized as forbidden to wear linen and wool together (Leviticus 19:19 and Deuteronomy 22:11)

Historically the beautiful white linen attire of the Hebrew people was with Almighty God’s specific instructions, the decisions as given in the instructions ‘Torah’ as ordinances (Exodus 39:1-31). What special qualities were in this linen material that would restore life? Comprising a multitude of household items, flax possesses truly exceptional hygienic properties that heighten its value in consumer products and explains its widespread popularity.

Flax is an annual of the family Linaceae. There are over 200 varieties of flax plants that, depending on the regional conditions and climate. Flax blooms in clusters of bluish, navy-blue, and, more seldom, violet, rosy and white flowers that open up at dawn and close and fall at around noon when heat sets in. Each flower blooms for a few hours. Bees collect close to fifteen kg of honey from one hectare of flax field. Researchers found that one will fall asleep faster, sleep deeper, and wake up in a better mood after sleeping in linen! No fabric outpaces linen in natural strength, luster and durability. Ancient healing secrets revealed in the Holy Scriptures instruct that this fabric is considered Holy attire and part of the sanctification path. Linen is an ideal fabric not only for attire but for your table at every meal as a ‘high energy’ tablecloth and napkin.

PHYSICAL PROPERTIES

Flax fabric is an excellent filter protecting against chemical exposure, noise and dust. - Linen clothing reduces solar gamma radiation by almost half thereby protecting humans wearing linen. -Flax fiber retrieved from contaminated soil appears to be totally resistant to harmful radiation. - Linen underwear heightens positive emotions as well as possessing rare bacteriological properties. Resistant to fungus and bacteria, flax is found to be an effective barrier to some diseases. According to Japanese researchers, studies have shown that bed-ridden patients do not develop bedsores where linen bed sheets are used. Wearing linen clothes helps to decrease some skin diseases - from common rash to chronic eczemas. -Linen is highly “hydroscopic” meaning it rapidly absorbs and gives up moisture. Adsorbing water as quickly as a pond surface, before giving a feeling of being wet, linen cloth can absorb as much as 20% of its dry weight. This explains why linen cloth always feels fresh and cool.
Linen does not cause allergic reactions and is helpful in treating a number of allergic disorders. Linen is effective in dealing with inflammatory conditions, reducing fever, and providing a healthy air exchange. Some neurological ailments benefit from the use of linen clothing.

Linen cloth does not accumulate static electricity - even a small addition of flax fibers (up to 10%) to a cloth is enough to eliminate the static electricity effect.
Linen possesses high air permeability and heat - Heat conductivity of Linen is five tmes as high as wool and 19 tmes as that of silk . In hot weather those dressed in Linen clhothing are found to show the skin temperature 3°-4°C below that of their silk or cotton-wearing friends. According to some studies, a person wearing linen clothes perspires 1.5 times less than when dressed in cotton clothes and twice less than when dressed in viscose clothes. Meanwhile in cold weather linen is an ideal warmth-keeper.

Silica present in the flax fiber protects linen against rotting - the preserved mummies of Egyptian Pharaohs were wrapped in the finest linen cloth.Linen rejects dirt and does not get a furry texture; linen and linen-containing articles are easily laundered in hot water, may be boiled and dried in the sun, besides they may be hot-ironed thereby ensuring maximum sterilization; Linen provides a sensation of gentle, natural relief. Linen’s smooth surface and matte luster appears beautiful and feels pleasant to the touch. The more linen is washed, the softer and smoother it becomes.

TESTIMONIES

When wearing 100% linen, many individuals have testified that their healing was rapid. Post injury or surgical pain was substantially reduced (without the use of prescription or over the counter drugs) when using linen bandages and wearing linen clothing.

This information which would be a little noticed matter except for this research which demonstrates why it was a necessary part of the path of faith. A most remarkable testimony was shared by a Karaite Jew: He testified of his linen tallit, (prayer shawl) that was precious to him. This prayer shawl was so familiar to him that it was similar to a well worn Holy Scriptures whose pages had become regularly touched with use. In questioning him as to why he still had it, he opened up to share a remarkable testimony. Thirteen years previously, his wife was in labor and delivered an infant that failed to breathe. Calling the emergency 911 team, they waited gripped with the inevitable loss of an infant in ‘stillbirth.’ Grief stricken, he grabbed his prayer shawl and held his daughter in his arms for an agonizing 30 minutes. He recited the prayers of faith while waiting for the team to arrive. Unbelievably, according to his account, when the paramedics arrived, and had not yet touched the infant, there was a dramatic color change for the infant and breathing had resumed! He testified that this special child has a brilliant mind and does well in school. This amazing miracle involved use of a specific linen tallit that would be ‘swaddling.’ Did this linen prayer shawl contribute to the healing of this infant– demonstrating the benefits of obedience to the specific divine requirements for linen for religious ceremonies as revealed above as recorded in the Holy Scriptures?Testimonies from many individuals confirm that this Biblical clothing protocol brought healing their bodies.

The Holy Scriptures prescribes the wearing of linen or wool (separately of course) for those that are ill and ‘incurable’ in Leviticus 13. Linen is an ideal fabric not only for attire but for your table at every meal as a ‘high energy’ tablecloth and napkin.

In summary, if you wear black clothing, standard cotton clothing, rayon, polyester and nylon stockings, these will hinder your health by discharging and extinguishing one’s electrical field light. When put into nature law depletion, there will be darkness. The human body will struggle with 9 areas of opened windows within the human body vulnerable for attack. The areas of windows in the ‘nerve bundle’ regions of the human body ‘leak’ subtle energy fields with the reserves of mineral charges. The dead battery effect would drain until the cellular function would be termed useless. If you have good flax next to wool or other man made ‘fake’ fibers, the energy signature will ‘discharge’ and one will suffer the consequences. This is the law of nature principle. What is at a higher level will come down to the average of the lower amount unless shielded. If you use cotton, rayon, these are not as strengthening to your body and may serve to keep your health ‘average’ with the typical western illnesses. If you want optimum health and healing and a strengthened immune system, you can choose to follow the instructions of the Holy Scriptures in getting your holy wardrobe knowing that you have the highest blessings available. Bless the LORD for this new knowledge and seek HIS ways.

BIBLICAL REFERENCES TO LINEN

“And to her was granted that she should be arrayed in fine linen, clean and bright: For fine linen is the righteousness of Saints”- Revelation 19:8

The description of the Tabernacle, which formed the central point of worship for the tribes of Israel, the historical record tells us that the curtains were of fine linen. The use of linen was to have holy garments for the priests of the nation for glory and for beauty (Exodus 28:2). On Yom Kippur the High Priest alone entered the Holy of Holies, to make atonement for his house and for the people (Lev. 16); on that occasion he wore white linen garments. Aaron, the high priest, entered the holy place, he put on a holy linen coat-and girdle, and upon his head was a linen cap, This shows the unique place held by linen in the history of ancient times, and the reverence accorded it is further demonstrated in the New Testament, which states that when the Revelation of things to come was vouchsafed to John, the seven angels, who held in their hands the past and future of mankind, were clothed in pure and white linen; and a final quotation from the same Book of Revelation actions informs us that the garments of those chosen for eternal life and happiness will be of fine linen. The use of linen for priestly vestments was not confined to the ancient Israelites, during the birth of the Messiah, we know that linen was a common fabric used by the people and the Temple because of its purity.

What prophecy has been of flax relating to the true Messiah? “A bruised reed shall he not break and the smoking flax shall he not quench: he shall bring forth judgment unto truth.” – Isaiah 42:3 and Matthew 12:20. These are prophecies that would identify the Messiah to be a light to the Gentiles (Isaiah 42:6).

It’s nearly time for the faire! If this will be your first visit to a renaissance fair or if you are tweaking your costume for this seasons festivities, historical accuracy will cross your mind at some point. You only have to be as accurate as you want to be. Though Queen Elizabeth didn't have machine embroidered lace anywhere in her wardrobe, the lace on most fair costumes is machine made. Like lace, some items are just more inexpensive and durable thanks to modern manufacturing methods. If you know how to make your own lace and enjoy doing so, by all means display this talent in your renaissance garb. If not, go for the modern equivalent with no fear of ending up in the stocks for the day.

A renaissance fair is usually staged in the 16th century, often during the reign of Elizabeth I. While the court is all from the same period, the other attendees may range from vikings to samurai. Chances are if the costume was fashionable 300 or more years ago, you’ll fit right in. Though primarily based on British or European history and towns, it is not uncommon to see fair goers dressed as Persian traders, Japanese geisha, or even the stray elf or wizard. If the thought of a corset makes you gasp for breath these are all viable options.

Now that you have narrowed down your costume to a period and culture, it’s time to start putting it together. If you have the skills or desire to make your own costume, the possibilities are endless. The Reconstructing History patterns we have available are a great place to start. Linen, being easy to work with, is a natural choice. For shirts and chemises I recommend earth tones such as our IL019 linen in wheat or pebble. Heavier weight linen works well for over skirts and bodices.

Another option is a costume shop. These are a good place to visit in person or online to get a feel for what you want. Many have high quality, nearly authentic options. Some of these can be expensive, so be prepared. The costumes that pop up around Halloween usually don’t work well. The material is often thin and contains a bit too much spandex. When looking for a ready made costume, fabric texture can make or break a look. Fabrics such as linen and cotton have a nice feel to them and lend a touch of authenticity to your garb. Look closely at the trim on the costumes. Often, the perfect costume is hiding underneath a particularly ugly piece of trim or obvious plastic rhinestone. If you can remove these easily, all the better. Also, a rather plain costume can be dressed up with a bit of ribbon or other addition. By blending ready made components such as a bodice with a handcrafted linen shirt you open up many possibilities.

Thrift stores are a veritable treasure trove for renaissance garb. When in doubt on what to wear, a peasant girl is a fine and noble choice. All you need is a long earth tone skirt, a shirt with flowing or balloon sleeves, and a vest. You can layer several skirts to add fullness. The vest can be altered to resemble a bodice with a pretty ribbon to lace it up instead of buttons. Linen skirts and vests are easy projects to make yourself as well, so focus on finding the items you can not or do not wish to fashion yourself. If you dig a little deeper you may find kimono style bath robes, Scottish tartans, or period costumes in need of a new home.

If white fabric seems too bright, tea staining can darken them up. Steep four or more tea bags, depending on how dark you want the item to be, in boiling water. Add a pinch of salt to set the dye, and then boil the item to be darkened for 10-15 minutes. Keep in mind the tannin in tea will soften stiff fabrics. Linen is especially receptive to tea dying and takes on a nice antiqued color. Save bright colors for the bodice or trim on your costume and stick to muted natural colors for the shirt and skirt to add authenticity.

As you can see, it is just the resemblance to accuracy that is important. It’s the details that can make everyday clothes look like period garb. Make sure there are no visible zippers on your costume. Grommets and cord or ribbon are preferable over buttons for closures. Buttons can be removed and replaced with grommets. Don’t wear tennis shoes or spike heels. Ankle boots or leather sandals are the best option, depending on what period and culture you are going for. Find a comfortable pair of shoes since you’ll be on your feet for most of the day. Simple hair styles, such as braids or buns, often look best. Make sure your jewelry and accessories fit the costume. A peasant girl did not wear diamond earrings or carry a designer handbag.

Most important, remember that putting together your fair garb should be fun. With a little creativity and a bit of skill you may find the perfect costume is already in your closet.

Anne, 3rd Duchess of Hamilton was born into one of the wealthiest and most powerful Scottish families in Whitehall, London in 1631. King Charles I was her godfather. Due to the deaths of her brothers, father and uncle (the latter two in battles defending the King) she personally inherited the vast Hamilton estates in 1650. These spread across the West of Scotland from Arran across Clydesdale to Lanark and beyond.

A portrait said to be of Anne as a child (known as “One of My Lord’s Six Children”) shows her wearing sober dress of black and white with full, slashed sleeves and lace collar, bodice and cuffs. The waist is high and circled with a plain black ribbon. She also wears a plain white bonnet (perhaps of linen). Her simple dress possibly reflects her father’s Presbyterian views. It certainly contrasts with the colourful dress in the famous Van Dyck portrait of King Charles I’s children painted at a similar date. Nonetheless Anne also wears a fashionable fine pearl choker befitting her noble status.

She survived the turbulent years of the British Civil War, including the execution of Charles I and the Commonwealth period when Oliver Cromwell disinherited her and divided her lands between his allies. According to a much later account it was claimed that she existed during this time due to the financial support of her companion, Miss Maxwell of Calderwood. A skilled seamstress, Miss Maxwell earned their keep with her needlework. After Anne’s estates were restored to her by King Charles II in 1661, she rewarded her loyal supporter by giving her Craignethan Castle.

In 1656 Anne married William Douglas, 1st Earl of Selkirk. Theirs was an affectionate union and produced 13 children. Anne was a devoted wife and mother and her good works on the Hamilton Estates throughout her long life earned her the epithet of “Good Duchess Anne.”

A staunch supporter of the monarchy Anne was also a stalwart Presbyterian. This led to a delicate political balancing act for her and her husband. Although Scotland and England shared a ruler in King Charles II, they still had separate parliaments until 1707. Much of Scotland resisted the lavish displays of the royal court in London and objected to the King’s harsh treatment of the Presbyterian Covenanters who opposed his attempts to impose Episcopal authority.

This internal divide was reflected in the dress of the Scottish nobility during the early Restoration Period. While some adopted the opulent costumes popularised at the English Court, others showed their neutrality or opposition by wearing more sombre, Puritanical fashions. Interestingly, Duchess Anne and her husband represented both sides of this divide. While the politically ambitious Duke William took care to dress in all the magnificence of the latest London fashions, Duchess Anne’s strong religious faith was reflected in the modesty and simplicity of her everyday dress. However, it was always made of the finest materials to reflect her high social status.

Her main home was Hamilton Palace, considered second only to the palaces of royalty in its scale and the splendour of its furnishings and architecture. In fact, under her charge it became the largest private residence in the western world at that time. It stood on The Low Parks, on the Clyde Valley, (not far from the then still small town of Glasgow) until its demolition in the nineteen twenties. Fortunately, the Hamilton archives survive, consisting of thousands of letters and documents. These record in fine detail the lives and belongings of several generations of this great Scottish family.

The Palace had between thirty and fifty servants at any time. The Duke had a valet-de-chambre to dress him, care for his wardrobe and wigs and to shave him. Likewise the Duchess had her ladies, who were usually addressed as ‘mistress’ out of courtesy. The footmen, coachmen, postillions, grooms and pages wore an impressive red livery to reflect the status of the Duke and Duchess.

Another valued employee was the washerwoman and contrary to modern wisdom hygiene was highly valued by the nobility of this time. Items such as handkerchiefs, and the Duke’s cravats, linen shirts and underwear were washed at least every second day. In 1696 a mangle was purchased for the washhouse, a very recent innovation, in order to help dry the linen and other items. The Duke and Duchess also took pains over their personal hygiene and purchased quantities of soap, sponges, items for cleaning their teeth and scented waters such as jasmine, orange and Queen of Hungary – a combination of rosewater, rosemary and spirits of wine.

While the Duke used Edinburgh tailors until the early 1670s, thereafter he purchased most of his clothes during his trips to the London Court. His coats and breeches were lavishly embellished with costly gold and silver lace as well as gold buttons. He had suits made of velvet, waistcoats of gold brocade and an impressive purple cloak lined with scarlet satin. However he did use local tailors for his linen clothes and underwear. Indeed most Scottish noble families purchased locally made linen in this period. Scotland excelled in its manufacture and also exported it to England and Europe. Linen drawers and linen cuffs both cost him 4 shillings while a waistcoat of linen was more costly at 10 shillings.

Sewing was considered one of the rather limited number of pastimes which were suitable for a noble Scottish lady.Anne and her daughters personally sewed the linen shirts and nightclothes of the Duke and his sons.

Anne was far less extravagant in her everyday dress than William. Her preference was for black gowns and in memory of her late father and uncle she wrote that “mourning…is most suitable for me.” In this she sometimes found herself at odds with William who sometimes undertook to shop for her on his trips to London. This was where her finest gowns for grand occasions were acquired. In 1678 she requested that he buy her a black gown, dark mantua and dark petticoat. Undaunted the Duke returned with a scarlet satin petticoat and brightly patterned dresses instead! Anne’s reaction was not recorded.

A male servant also carried out errands for the Duchess in London, even buying her linen petticoats and stays. Although this may seem surprising it was not unusual and indeed all stay makers at this time were men and it was considered quite normal for noble ladies to be measured and fitted for stays by men.

Despite these London forays on the whole Anne’s dresses were made locally of dark colours and simple designs. Her preference was to shop for material in Edinburgh which had the finest selection in Scotland. She would usually visit James Row’s shop there and select from the silks, muslins and calicos (printed linen or cotton) available. Even the sober Anne could be extravagant however, for example she purchased a sable tippet for £36 and an ermine muff for £21 (each representing six months income or more for a typical middle-class family of the time.)

Anne’s dresses were usually made up by palace employee John Muirhead who bought the necessary accoutrements such as pins, thread and buttons at the local shop of Gilbert Hamilton. It was also John Muirhead, not a ladies maid or seamstress who made the Duchess’s petticoats and waistcoats (bodices worn above the petticoat) to be worn beneath the gowns. Sometimes made of silk, cloth of silver or satin these were more usually made of linen or flannel. Fine Scottish ladies at this date did not wear drawers – they were not considered at all respectable.

Two fine portraits of Anne as an adult survive. The first was painted by David Scougall sometime in the early Restoration period. For her portrait the Duchess sports a sumptuous silk or satin dress in sky blue. The low neckline drops to show the top of her shoulders and has a narrow white frill. The bodice is stiff and tapering and probably has a boned underbodice beneath or is boned itself. It probably drops to a full skirt with several petticoats underneath. The stiffness of the bodice contrasts with the extravagant puffed sleeves which billow out from the shoulder and are clasped back beneath the elbow to reveal the full white sleeves of her satin or linen shift beneath. Draped across her right shoulder and falling to her waist is a contrasting sash or loose shawl of burgundy purple, perhaps to further indicate her noble status. Her dark brown hair is smoothed back from her forehead and elaborately ringletted in the style made fashionable by Queen Catherine, consort of Charles II.

The clasps on her sleeves appear to be made of jewels or a precious stone such as onyx. She is also adorned at the neckline of her bodice with a traditional black cruciform brooch with three large pendant teardrop pearls. The cross may be made of onyx or even black diamonds and may be attached to the dress. Jewels were often sewn directly to gowns in this period, although by later in the seventeenth century they were more commonly worn separately as necklaces, chokers, bracelets and brooches. A great pearl choker is fastened round her neck and large pear-shaped pearls are suspended from her ears.

Even for her everyday dress Duchess Anne had a fine selection of jewels to choose from and it seems to be the case that even the most Presbyterian and puritanical Scottish noblewomen never felt the need to eschew wearing their dazzling jewelry. Diamonds and pearls were the most favoured pieces, the larger the better. In addition to her fine pearls Anne owned bejewelled pendants, necklaces, bracelets and crosses including a fine emerald crucifix. She had rings of diamond, emerald, ruby and sapphire as well as semi-precious pieces in cornelian, agate and coral. Like other ladies of her station she also possessed many loose diamonds ready to be made up in pieces according to the latest fashions. She often sent the Duke on errands to Richard Beauvoir, the favoured London jeweller patronised by the Queen.

In addition to her jewellery Duchess Anne also possessed a watch, another rare and costly possession (the Duke paid £60 for his repeating watch in 1693). She wore it suspended from an ornate gold chatelaine hook, presumably worn around her waist. The hook is inscribed with a date of 1687 and still survives in the Hamilton Collection.

The second, more famous portrait of Duchess Anne was painted by court painter Sir Godfrey Kneller in 1679 as one of a series of studies of her family. Once again she has abandoned her customary sombre dress for the fashionable ‘deshabille’ of the period. By this date stiff bodices had given way to a much looser gown, known as ‘undress’. This was mainly worn only indoors and was not considered acceptable for outdoor wear. Later it would evolve into the fashionable mantua, acceptable even at royal balls by 1700.

A loose nightgown was worn over a smock of linen or silk. Anne again wears a blue gown, but this time of a shade closer to grey. While it was most fashionable to have the gown open at the front to reveal a decorative, embroidered corset Anne preserves her propriety by keeping it resolutely fastened up. The low neckline has a substantial frill of white smock above it with wide sleeves to the elbow and the loose puffed sleeves of the shift below which are gathered just above her wrists.

The loose gown is fashionably split from her breastbone to her waist, once again revealing the smock beneath. The skirts of the gown flow loosely and drape around her so that the shapes of her legs can be seen beneath it. Her hair is again fashionably high and curled, with a long single ringlet flowing down to her shoulders. As in her previous portrait she is adorned with pearl earrings and a great pearl choker.

Interestingly, in the very year in which this painting shows her as a typical lady of Charles I’s court Anne sheltered the defeated Covenanters (Presbyterians) from government troops after the battle of Bothwell Brig. They fled to the grounds of Hamilton Palace for sanctuary and Anne offered them her protection. The Duke of Monmouth, commander of Charles’ army, received a polite request from her not to enter her grounds “lest he disturb the game [birds & hares]”.He agreed. In this way she saved the lives of the Covenanters who would otherwise have been put to the sword.

Anne outlived her husband and many of her children but no further portraits of her survive. When she died, aged 84, in 1716 she had a simple funeral at her own request, in keeping with the preference she showed throughout her life for modesty and sobriety. Nonetheless she performed her role as Duchess impeccably throughout her life and navigated the challenges of balancing her personal beliefs with the expectations of her station in often turbulent political times. The way in which she and the Duke dressed and portrayed themselves in daily life, in paintings and at Court played a significant role in this. Her line continues to this day and the modern Dukes of Hamilton.

The Renaissance Dancers are based in Southwark, London, site of historic Tudor theatres such as the vanished Rose and the rebuilt Shakespeare’s Globe. Originating from the Shakespeare’s Theatre Friends Association the group was founded in 1999. They regularly stage stunning displays of elaborate period dances. Although the members are amateurs they have been trained by professionals. The all-female group specialises in dances of the Elizabethan period, inspired by the Queen’s own love of dancing with the ladies of her court.

Their costumes are those of the upper gentry. Some are handmade by members while others were made by professional costumiers and students of the London College of Fashion. All are made using traditional fabrics and techniques. According to Gwenneth Bransbury-Zachary, head of the group costumes play a very important role in getting into character for the dances “because, for a start, the constriction of the corset aids the required poise.”

The group mainly performs stately and sprightly dances. Stately dances include pavanes, a slow processional dance and almains, also known as allemands a dance for couples at a moderate tempo. Both of these dances are performed in a grave, ceremonious style.

Sprightly dances are the country dances recorded by John Playford a century later in his influential book of 1651 “The English Dancing Master”. This includes around a hundred dances. Although entitled country dances these were actually intended for the middle and upper echelons of society. These are performed in a stately manner.

Bransbury-Zachary explains “Galliard and La Volta are the dances most famous in the period, especially La Volta because of its risqué nature [during the dance ladies jumped in the air, and some considered it disgraceful that their knees were visible]. These dances require a huge amount of skill and we do not believe amateurs can perform them without looking ridiculous.” Queen Elizabeth herself was said to excel at both of these intricate dances.

Authentic costumes of the period influence the manner of dancing “the corsets for poise and the width of skirt for negotiating dance patterns and other dancers.” The dancers gain inspiration for their costumes and hairstyles from contemporary paintings from the late Elizabethan period.

Dress was an important indicator of social status and the Renaissance dancers wear ornate gowns of fine fabrics and rich colours with pristine white ruffs and imposing stand-up collars. The dresses sweep out majestically over farthingales, adding to the visual impact of the stately movement. Even fine details are essential for authenticity. This extends to the use of linen for undergarments and accessories.

Smocks or chemises of medium linen are worn beneath the dresses next to the skin. Smocks are usually quite simple designs with a simple neckline and long sleeves with a knee-length skirt. Necklines could be square-cut, high with a gathered shirt or high with an ungathered shirt. Sometimes the neckline shows above the neckline of a dress. For women of high status the smock might well be finely embroidered. It could also have gathered cuffs or linen cuffs sewn on separately. The Elizabethan Dancers use fine linen for their collars and cuffs.

Medium linen is also used for their coifs. Coifs are caps which came in a variety of designs and covered the whole of the head. As with smocks they might have a decoration of blackwork embroidery. In addition to keeping hair in place and providing warmth a coif was an essential element of any respectable woman’s dress. It was usually fastened beneath the chin and would be topped with a grander piece of headwear such as a tall hat or wired veil.

Dance played an important role at court and in society in the Renaissance. It served a ceremonial as well as a social purpose and featured heavily in the elaborate Masques of the period which helped to enforce the Queen’s cult of personality. Like her father, King Henry VIII, Elizabeth also had a genuine fondness for music and dance. She was both a skilled practitioner of the lute and the virginals and an accomplished dancer herself.

According to Bransbury-Zachary the Renaissance Dancers “aim to bring the Elizabethan period to life through dance and associated activities for students of all ages.” Their painstaking hours of practice, skill, meticulous attention to historical accuracy and genuine passion for all things Renaissance shine through. To see one of their graceful and visually sumptuous performances, especially in the heart of Elizabeth 1’s great capital city, is to be transported back to the court of the Renaissance era.

A finer quality medium weight 100% linen just arrived and went on sale!

It still weighs the familiar 5.3 ounces/yard2 and can be used to make everything medium weight linen is used for.

The thread size used in 1C64 is thinner than the thread used in other medium weight linen fabrics.

In order to get finer thread, long staple linen had to be used.

Long staple linen fiber is usually reserved to make handkerchief linen. It is the reason handkerchief linen is incredibly smooth to the touch and has fewer picks and chaff.

With thinner thread and to keep this linen fabric a medium weight 5.3 ounces/yard2, the thread count was increased 10% making this cloth denser than other medium weight linen. The higher thread count makes 1C64 shrink less.

The quality of yarns and the change in construction gives 1C64 a very smooth surface and a more lustrous feel. These qualities are what make 1C64 linen the top pick when choosing linen for personal items that are meant to be close and used on the daily basis.

This fabric is ideal for embroidery and other delicate projects. It has been used for hand towels and napkins with embroidery and hemstitch in monasteries in US as well as Europe.

Since it is a medium weight, it can also be used for garments, bedding, table linens, curtains, and hand towels.

Receiving requests from you for finer, but not sheer linen fabric we brought the 1C64.

This fabric is where quality meets great price.

For this week only, until Sunday February 15th - this fine quality medium weight linen is 10% off.

Enter here to go directly to the discounted middle-weight 100% fine linen and save 10%!

Whether you need a costume for a renaissance fair or a Celtic festival, Scottish and Irish clothing is a versatile choice. There are a few key differences in the costumes worn by the Celtic people as compared to the English style clothing seen at many fairs. Among the Celts, there are also a few noteworthy differences between the Scots and Irish styles.

Most people have an image of the kilt in their heads when they think of Scotland. While the kilt has been popular with the Scots for several centuries, the original bears only a passing resemblance to the well tailored dress items of today. The Great Kilt was made from a length of fabric measuring two yards by five yards. A leather belt would be laid out on the ground then the fabric would be placed flat upon it. Pleats would be folded in at the middle top to fit the owner's waist measurements, then they would lay down and close the loose flaps over themselves. One side was often left long so it could be draped over the shoulder. This is still a simple way to make a kilt today that doesn't require any sewing. For an Irish man's costume simple form fitting trews made of twill or wool will suffice. Irish style trews are not as tight as the European styles. They can be knee or ankle length, and have either a flared bottom or can be fitted.

Traditionally the shirt worn by both the Scots and the Irish is the léine. Unlike similar Elizabethan items, the léine is not an undergarment. For men the léine is a loose fitting tunic that nearly reaches the knee. For women it is at least ankle length and can reach to the ground if one wishes. Almost all historical references to the léine say it is made of linen and is either off white or saffron yellow in color, with saffron being the most popular. For men a kilt or trews and a léine is a complete outfit, though a linen doublet can be added if one wishes.

Over the léine women wear an overdress. The most popular style is the kirtle. This is a simple fitted linen dress that is as long as the léine or a few inches shorter. The kirtle usually has only thick shoulder straps as the léine provides the sleeves. For Irish dress, you would 'kirtle' the skirt. This is done by wearing an underskirt in a different shade and tucking the skirt of the overdress up into the belt to show off this flash of color. For either an Irish or Scots costume, the Shinrone dress is also a common style. This is similar to the kirtle with the exception that it laces up the front. A Scots style overdress is usually not kirtled into the belt. Both the kirtle and the Shinrone are made of linen in muted colors. Browns, muted greens, and dull saffrons are all acceptable. Scots women sometimes drape an earasaid, a tartan shawl, around their shoulders. This is usually made of wool and is perfect if you will be in costume on a chilly day.

In both Scotland and Ireland married women covered their hair with a kertch. This triangular headdress is made of linen and is tied around the hair. The simplest way to make a kertch, known as a brèid in Gaelic, is to take a 1 yard by 1 yard square of fine linen fabric and fold it in half to form a triangle. Place this triangle on your head with the center point in the back and tie the two loose ends under your hair. Then, continue twisting the loose ends and pull them around to the top of your head where the front of the kertch meets your hair and tie in a knot in the center. Tuck the ends under the kertch, thus forming a head band to hold the kertch in place. If you wish, you can do a bit of embroidery, knot work being a good choice, on the part of the triangle that hangs loose in back. Linen is well suited to embroidery. If you are unmarried then the hair should be worn long and uncovered.

For all Celtic clothing, linen and wool are the fabrics of choice. The léine is always made of linen for both men and women. The trews or kilt for the men are wool, plaids for the kilt and earth tones for the trews. Overdresses, doublets, and the kertch should be of linen, using a tighter woven linen for an upper class costume and a looser weave for working classes and peasants. By using these traditional fabrics in your costume, you will be able to add a touch of authenticity and a lot of comfort.

The classic straight suit with a floral print lining, the multi-coloured stripe on a men’s sock, the ‘well-made, good quality, interesting fabric, easy to wear. No bullshit clothing.” This is the style of Paul Smith.

Paul Smith has become known for taking traditional British tailoring to the younger slicker crowds by incorporating classic design with a quirky underlining. He takes the traditional and mixes it with the modern to create a look that is forever fresh and sought after. "It is as though he possesses some inner equivalent of the Houndsditch Clothes Exchange - not a museum, but a vast, endlessly recombinant jumble sale in which all the artefacts of his nation and culture constantly engage in a mutual exchange of code," writes the US novelist William Gibson of the Paul Smith style.

It all started in the 1960s. As a young lad, fresh out of school, Paul Smith was summoned by his late father Harold Smith to work as an errand boy in a local Nottingham clothing warehouse. Smith had little interest in fashion at that point, following one star as his rising dream to become a racing cyclist. Little did he know he was to become the single most consistently successful British designer with an estimated £300 million company revenue as of 2006, selling products in over 200 shops worldwide.

In his late teens, an accident left Smith unfit for the cycling career, which in turn allowed his life to take another turn. He began to mix with the art college students “and became interested in things like art and fashion.” What seems incredible is that some 6- 7 years later by the tender age of 24, encouraged by his then girlfriend, (now wife) Pauline Denyer, Smith took the risk and put down his hard-earned £600 savings to open his first shop.

Paul Smith Vêtement Pour Homme opened its doors in 1970 onto the back alleys of Nottingham. It was the only shop to sell Kenzo and Katherine Hamnett outside of London at the time. Paul Smith Vêtement also began to sell Paul Smith’s own simple designs, which he manufactured locally. From there on it was an escalating spiral of hard work and great achievement.

His first shop in Covent Garden opened in 1979. It took Smith three years to gather the money to renovate the shop from its original bakery premises. Once finished, it was a work of art, selling Smith wear, designer furniture and quirky gadgets that Smith would find on his travels. One of his most successful finds was the Filofax- a leather bound organizer, which he found tucked away in the East End of London. It is now known and sold worldwide.

Today Paul Smith has 12 different collections from Men’s Wear to Fragrance, Watches to Paul Smith Furniture and ‘’things’. His products are sold in 35 countries with 500 wholesale customers in Japan alone. What seems to be recurring in his career is very much the hands- on, pro- active moving forward. Another, is a clear thinking ahead and an open mind to predict the next best thing to buy. Whether a Japanese magazine, or a cool swiss knife, Paul Smith wasn’t just selling clothes, at different decades his customers were to engage within the ever-relevant Paul Smith life style. "

The reason I've been successful is because I've just got on and packed boxes and I know that VAT means Value Added Tax not vodka and tonic," Paul Smith writes in his 2001 first released book ‘You can find inspiration in everything’. "I've sold on the shop floor, I've typed invoices. At some point I've done everything, and I've always kept my head above water financially. Nevertheless I'm extremely nervous about becoming a businessman and not a designer."

Size: Queen. Width - 86". Length - 86"

Whether you are remodeling your bedroom or just wanted to try something new this project will be perfect. Linen it is an ideal fabric for bed linens for a couple of reasons: the way it circulates air will help you stay cool in the summer and warm in the winter, and requires little maintenance since it is very easy to wash and iron.

The sample duvet cover we decided to make is striped; this way there are more colors to choose from if you are interested in making matching curtains or pillowcases. We offer a couple of different color schemes you could work with and you can find them in the tools section of the magazine.
This cover is very simple to make so let's get to it!

The pattern for the cover consists of four parts:
1) the center piece of the top
2) the left and right sides
3) the center piece of the bottom
4) the zipper.

Necessary things for the project:
1) scissors
2) sawing needle
3) iron
4) ironing board
5) ruler
6) chalk
7) sewing machine
over-lock machine (if you don't have a machine that does it you can do this by hand)
9) four small white thread spools
10) striped fabric - 11yd ( or any other color you choose for your duvet cover)
11) zipper - 57" long

Pattern pieces:
1) center piece for the top - 87" x 57"
2) center piece for the bottom - 87" x 57"
3) side piece#1 - 87" x 32"
4) side piece#2 - 87" x 32"

Before cutting out the pieces straighten out the fabric. To do this you need to get a piece of thread near the edge of the fabric going horizontally and pull it all the way through. Now you can see the straight line where you should cut your fabric before making any patterns. Next- iron the fabric.

Description to Picture #1:
-Use the chalk to draw out the shapes for all four pieces.
Piece 1 & 2 - 87" x 57"; piece 3 & 4 - 87" x 31".
- Cut out the pieces.

Description to Picture #2 (the sewing of the cover):
-Use pins to connect pieces - 1 & 4, 4 & 2, 2 & 3, 3 & 1.
-Use the sawing machine to saw the four seams.
-Use the over-lock and stitch up the ends of the fabric on those seams.

Description to Picture #3:
- Iron the seams towards the center of the pieces 1 & 2.
- You now have only two sides left un-sawn the top and the bottom.
- Saw up the top side, the one that will go towards the head, and use the over lock to fix the edges.

Description to Picture #4:
- The bottom side that goes towards your feet is where we put our zipper.
- Saw up only the sides of pieces 3 & 4.
- In the opening that is left, we are going to put the invisible sipper by sawing it in with the one-sided sewing foot
- Turn the cover right side out.
- Iron it.
- Your duvet cover is ready!

Congratulations, you have now made a beautiful duvet cover all by yourself.