A table runner has a dual function. You can use it to help protect your table when hot dishes are placed on it, but it can also serve as a focus point in your room. Here are instructions to make a basic runner followed by some ideas if you want a more decorative style.

MAKE IT PLAIN

Materials

Suggested cloth – IL 019

To find the amount of linen you will need measure the length of your table adding on a drop at either end. Then decide how wide you want your runner to be. To both of these measurements add ½” (1.5cm) seam allowances. You will need two strips of cloth.

As an approximate guide a table measuring 58”(148cm) x 44”(112cm) would need 2 pieces of linen each 78” (198cm) x 15”(38cm). This allows for a 10” (26cm) drop at either end. To all measurements add seam allowances.

You will also need

2 tassels

Squared or graph paper.

Steps To Prepare

1. Make a pattern by cutting the entire runner in paper. Decide how deep you want your pointed ends to be, then draw them on each end of your paper pattern and cut it out.

2. Place the pattern on your two strips of linen and cut them out.

Steps To Sew

1. With right sides together pin the two strips together.

2. Now baste the edges together so they won’t slip while you are sewing.

3. Sew around the runner making sure you leave a 10”(26cm) opening along one of the sides (diagram 1).

4. Trim the fabric close to the stitching making sure you include the pointed ends.

5. Turn the runner to the right side through the opening. Carefully press the seam allowance on the opening to the inside and slipstitch the edges together.

6. Press the runner firmly so the surface is smooth and even. Then finish with topstitching. To do this, first set your machine to a slightly longer stitch. Then take a piece of tailors chalk and mark your stitching line ½” (1.5cm) from the finished outer edge.

7. Following the chalk line complete the topstitching. You can choose to do this in a contrasting colour if you like and match it with your tassels.

8. Finish by sewing a tassel to each pointed end.

MAKE IT FANCY

Stitch lengths of ribbon along your runner and finish the ends with a bow for a decorative finish.

Version 1

Follow above instructions for Materials ( omit the tassels) and Steps to Prepare. You will also need lengths of ribbon.

Steps To Sew

1. Collect together lengths of co-ordinating ribbon no wider than ½” (1.5cm),
use an electic combination of spots, ginghams and plains.

2. Take one of the runner pieces and on the right side mark lines with tailors chalk the entire length and an equal distance apart.

3. Take one piece of ribbon and place over a chalk line and pin in place.

4. Set your machine to zig-zag stitch and working slowly, machine along the centre of each piece of ribbon to hold it in place. Continue with remaining ribbon strips (diagram 2).

5. When all the ribbons are in place press. Continue making the runner as shown above.

6. When it comes to the pointed ends use pieces of 1” (3cm) wide ribbon 27” (68cm) long. Stitch the centre of each strip to the ends and finish by making a bow

Version 2

Using appliqué is one of the best ways to add colour contrast to a plain strip of material. Here we’ve used overlapping circles of different coloured linen as a central decoration for the runner. Co-ordinate the circles of colour to the scheme you’ve chosen in your room for visual impact.

Follow instructions given for Materials and Steps to Prepare. You will also need fusible interfacing and small pieces of differently coloured linen.

1. Using a cup or glass cut a circular template using stiff card with a 3 ½”(9cm) diameter.

2. Place the template on your pieces of linen and cut out at least ten shapes.

3. Then, cut out the same amount of circles in fusible interfacing and iron them to the wrong side of your shapes.

4. Take one of the runner pieces and mark the centre. Working 4”(10cm) away from this centre point place your linen pieces in a circle overlapping them as you go. Arrange the appliqué pieces in a design that you like.

5. Now pin the circles in place then follow this by basting each one in position (diag 3).

6. On a scrap of spare material practice your machine appliqué. Set your machine on a zig-zag and stitch round the circle. Once you feel confident stitch all the circles on the runner in place.

7. Finish the runner as described above and sew tassels on each end to finish.

SEWING TIP

To get the end of your runner to produce a perfect point, first turn it to the right side. Then gently pull out the point by using a pin. Never be tempted to use scissors to push points out as you are very likely to make a hole or rip your work.

The benefits of eating flax oil have been becoming more known recently, and using it to prepare foods has been gaining in popularity. Less well known are the benefits of actually wearing linen clothing.

Imagine that you could wear clothing that looked great and felt comfortable – and was actually healthy for you! You would think that it’s a newfound technology, a twenty first century invention that synthesized modern ideas and healthy living. You might be very surprised to find out that such a fabric has existed for thousands of years, was used in ancient times, is used today, and you probably have it in your closet. Can you guess? Linen, for centuries a prized material, can be good for the person who wears it.

Flax seed oil has been touted as having many health benefits for users as it is a leading source of omega 3 fatty acids. The health brigade will speak of its wonderful qualities that include lowering cholesterol and even preventing cancer. Walk into any health food store and there you will see whole flax seeds, cold-pressed flax seed oil, and even ground flax seeds to add to bread or yogurt.

What’s lesser known is that wearing linen fabric, spun from the vegetable fibers of the same flax plant, has great health benefits as well. While it may not prevent cancer, it can be an extremely powerful aid in regulating the body’s temperature and keeping the wearer comfortable. Due to the fabric’s natural, plant-derived source, it is extremely breathable, unlike any synthetic counterpart. The fabric itself is also extremely durable, having 2 to 3 times the strength of fellow plant fabric cotton. This unique mix makes it an extremely strong yet lightweight fabric. High quality linen is a most exclusive fabric for obvious reasons.

The way this actually works scientifically is quite amazing. Research has shown that linen has more powerful sweat absorbing properties than any other fabric. Wearing linen can reduce the proliferation of the body’s perspiration several times faster than silk, cotton, or artificial materials. This amazing feature can be seen in the workings of the plant itself. The fiber that is produced from the flax plant has an amazing ability to transport water. A piece of linen can be almost saturated in water and still will not feel completely wet. In fact, a linen garment can contain 40% water without feeling wet. In the flax plant, the diameter of the stem can be stretched from two millimeters to one whole meter. This property that is unique to linen can make you feel cool in the summer and warm in the winter. When wearing linen in the summer, the fabric can absorb sweat without becoming moist and can make the wearer feel comfortable and refreshed. The fabric contains the same properties as the plant, and the strong fibers can wick away moisture, allowing the skin to dry off and breathe. The material as well continues to breathe since it can hold this much moisture without becoming wet or heavy. For the wearer, it’s like wearing an air conditioner in your clothing! It is pure bliss on a hot, summer day.

Although linen is mainly known as a summer fabric for this reason, it is actually a superior winter fabric as well, for the same reason – the fibers are able to close up tightly and push out moisture, locking in heat and warmth for the wearer. In many arctic areas people wear linen outer shirts in order to keep in the body heat and prevent the cold from getting into the clothing underneath. It is stronger, warmer and will last longer than a plastic layer that can also shield the body.

Although synthetic materials have abounded in recent years that contain similar properties, none can beat linen. Fabrics created in a laboratory are made to be cheaper and easier to manufacture, and they aren’t particularly strong. Football players outfitted in linen would be cute to see but too expensive to maintain. You also wouldn’t be able to construct a fine suit from a synthetic fabric that wicks away moisture. When you need a superior fabric that meets the demand for quality and comfort, choose linen.

The Ozarks of Arkansas may not be the first setting that comes to mind when thinking of Spring Renaissance festivals. But at the University of Arkansas Community College in Batesville (UACCB) each April, a unique Renaissance celebration occurs with a unique focus: helping Arkansas high school students learn and appreciate Renaissance history and culture.

Batesville (population 9,000) is nestled in northeast Arkansas, about a two hour drive from Little Rock and about 150 miles west of Memphis, TN. It’s the oldest existing city in Arkansas and combines a rich history, including Choctaw and Osage heritage, with the beauty of the Ozark Mountains. Later in April, Batesville hosts the annual Arkansas Scottish Festival at Lyon College; but early April is all about the Renaissance at UACCB.

The 2010 UACCB “Renaissance Days” will begin this April 9th and 10th. You’ll find the usual turkey legs, sword fighting and period costumes there; but, if you arrive during the daytime activities on Friday, you’ll encounter a passel of high school students engaging the Renaissance period. All of the activities on April 9th are designed with high school student education in mind.

The theme of Renaissance Days is “Knowing Thy Place: Society During the Renaissance.” That theme is emphasized in the student costume contest on Friday, April 9th. Students have to create a costume along with a 100 to 175-word paragraph including the name, date of birth, skills and hobbies, and other aspects of their fictional persona. The school having the most levels of society represented by costume and biography wins the contest. College students from the UACCB English seminar class on the Renaissance provide support throughout this and other events during the day.

High school students participate in a variety of other Renaissance-era learning activities on Friday. These include an educational scavenger hunt, tug o’war contest, “Battle of Scholars” quiz bowl, and a banner and costume contest. Students also present self-written skits, storytelling, and sonnets. Guidelines for the written work are designed to meet Arkansas state English education standards, while the other contests meet various requirements for social studies, physical education, and visual arts.

Past Renaissance Days at UACCB have incorporated a variety of related period activities and events. Storytellers have emphasized the Norse saga and Bardic storytelling, while students have learned tassel-making, Viking wire weaving, and the science behind basic cheese making. Students also have the chance to participate or view other activities typical of Renaissance faires, like a May Pole and archery. In addition, there are opportunities for students to ride horses—and yes, even chicken herding.

The coordinator for the event is Marla Bennett, an English instructor at the college who also directs the UACCB Choral Singers. The UACCB Renaissance Chamber Singers perform for the students and the public throughout the event, along with various local and professional acts. On Friday evening, at 6:30, there’s a free “Renaissance Evening Showcase” that highlights all the performers to the public. This year, these acts will include the Ladyes of the Salty Kiss Comedy Pirate Troupe, Lady Melandra of the Woods, Lord Joe Jewel, and Lady Amina.

Renaissance Days continues on Saturday, April 10th, with many of the same activities open for the public until about 2 pm. This is the sixth year for the UACCB Renaissance Days, and past celebrations have included a banquet that has raised as much as $10,000 for student scholarships while showcasing Renaissance-themed talent.

The Renaissance Days at the University of Arkansas Community College-Batesville were created to “enrich the Batesville community and creatively educate the students and teachers of this region about the Renaissance era.” From all accounts, this event is doing just that—as well as providing high school students in northeast Arkansas with a greater appreciation of the Renaissance era.

If you go:
6th annual Renaissance Days at the University of Arkansas Community College at Batesville
April 9th (9:30 a.m.-2:15 p.m.) and April 10th (10:00 a.m. – 3:00 p.m.)
Batesville, Arkansas is about a two-hour drive northeast of Little Rock and about 125 miles west of Memphis, TN.
This event is free and open to the public.

Why Linen?

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

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

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

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

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

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

Which Linen?

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

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

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

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

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

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

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

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

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

The Care and Feeding of Linen

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

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

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

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

Wear it in Good Health!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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