historical textile

I’m continuing my research into medieval textiles and fashion, and there’s all this fascinating etiquette about wearing gloves in the middle ages:

  • Gloves were never worn when taking the hand of your dancing partner
  • The act of picking up the glove of one’s lady love was a sign of deep devotion. Men sought permission to pick up their lady love’s glove and return or retain it. 
  • The manner in which a man wore gloves and the way he removed them had to be given careful attention while he was paying court to his beloved. “There were subtle meanings in the manipulation of the glove, which might have serious consequences.”
  • Giving someone a gift of gloves was a special way to recognize one’s indebtedness to the recipient, or to acknowledge the receipt of a favor. Gloves were also given to guests by the host at a banquet or ceremony. 
  • If you were a fashionable noble in the 1400s, you carried your gloves slung in a belt around your waist, or in a pouch at your waist.
  • It was considered a great insult to address a high personage, or to greet a friend, without first removing the glove of the right hand. 
  • Gloves treated with poison were favorite gifts to send to your greatest enemy.
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The Camp Fire Girls, the United States’ first nonsectarian organization for girls, began in 1910. Camp Fire Girls in Iowa learned and played at Camp Hitaga from 1931 - 2014. 

Kery Lawson, recent graduate of the University of Iowa’s School of Library and Information Science, spent her summer processing the Camp Fire Iowana - Camp Hitaga records, which include over a dozen textile artifacts. Kery laid the beaded uniforms pictured above flat in tissue for their protection. 

pure-blooded  asked:

i noticed that a some of your art consiste of historical figures, or at least figures with old historical clothings. can you give me a good recommendation for books or other reference material with historical clothes or even textile if you know/use any? tahnk you! ♥

Hi ! I do love historical and folkorical clothing, even though I usually takes bits I like to incorporate into the designs without really pushing accuracy too far. There are a few books I frequently use as a ref like Racinet’s Le Costume Historique but I mostly skim through internet-based ressources like museum digital archives - the digital archives of the Kyoto Costume Insitute are sorted by decades from the 1700s on with mostly occidental stuff, and I’m crazy for the repros of the History of Costume in Japan among other things (there’s also an english-language website with a different layout, not sure how different the content is though) Otherwise, I’ll just refer to regular stuff I can find through googling and folklore/fashion websites, like fashion engravings, period art/photos, ethnoloy documentation, etc. 

And I make loads of pinterest boards. Not super accurate ones, since the themes are very broad and I do have some cleanup to do with misplaced pins, but it does help to gather all sorts of refs around.
I have loads of boards such as Central Asia, French first empire & restaurations era (rougly very late 1700s to 1840s), Maghred, Middle East and Islamic World, Hats, Heian Era and people playing music instruments in paintings or whatever

youtube

Why do “text” and “textile” have the same word root? In this video, learn from Tim Perry about ancient technologies and ways of thinking about texts and fabrics.

This is the first in a series of three videos we just finished for an online course on the history of fashion, taught by Nicole Johnston of the Missouri Historic Costume and Textile Collection.  The videos were produced by Alora Bauer, the University of Missouri Libraries e-Learning graduate assistant.

Stay tuned next week for medieval fashion! 

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Reconstruction of a Medieval Doublet from 1364 by Sarah Thursfield

Medieval patterns were produced by fitting fabric around the body, and wealthy people would have had their own personal patterns. This silk doublet is made from 22 pattern pieces and took 60 hours to create. A feature of the garment is the deep armhole shape evolved to allow a skintight but nonrestrictive fit on heavily muscled fighting men. 

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Costume Process: The Mad Hatter

New set of posts here at @sartorialonce! We’ve gotten a bunch of Eduardo Castro’s fashion sketches, and I’ve got a small group of pictures from an outside contractor who’s done some textile work for the production, so I’ll be going over them in the next month or so.

Up first is this beauty from the first season. Eduardo’s original design is very rooted in nineteenth century European styles, especially English. Even the orange plaid has its place in historical English textiles. The patterns, of course, are very much not from that period. The swirl and the paisley are rather jarring together, which is a clever idea for a character who’s not exactly stable.

What’s interesting to me is how the design changed. The top half in the sketch retains a bit more of the historical inspiration. The simple cuffs, single row of buttons, and Napolean collar eventually became double layers of ruffles, a double-breasted front, and a shawl collar by the time the final version was produced.

And after sewing was completed, it was sent to the Dye Department, a Vancouver-based shop which in this case produced the realistic aging and wear on the waistcoat.

Rare Egyptian Linen Pleated Tunic found near Meir, 6th - 11th Dynasties, c. 2300 - 1900 BC

Meir is a village in Upper Egypt located on the west bank of the Nile. Several ancient Egyptian tombs were discovered west of Meir, in a low slope leading on to the desert plateau. The most important of these rock-cut tombs belong to the men who were in charge of the 14th Upper Egyptian nome during the 6th and the 12th dynasties. For both these periods, the sequence of tombs is unbroken, and the hereditary office passed from one man to his son or younger brother. Most of the tombs were decorated in relief. Some of their scenes are astonishingly lively, such as the desert-hunt scene in tomb B.1 of Senbi, dating to the reign of Amenemhat I.

Men’s Court Sash (patka)

India (Deccan), Mughal, 18th century

Cotton and silk

Man’s court sash (patka) of undyed plain-weave cotton with edges and ends embroidered with pink and red flowers within undulating stems; crosswise border (pallaka) at each end consists of a repeated pattern of individual flowers with curving leaves; fringe of gilt yarn at each end.

An important element of male courtly attire in sixteenth-, seventeenth-, and eighteenth-century India, the patka or girdle played a symbolic and decorative role comparable to the necktie today. Often the most lavishly decorated component of a man’s formal dress, the patka tied at the waist with the ends hanging toward the knees. The length of the ends and the position of the knot changed according to the fashions of the times. The ends of the patka, known as the pallakas, tend to be more elaborately and sumptuously ornamented than the central area, with lavish embroidery and metal thread. Because rulers often granted patkas as token of esteem, the sashes became symbols of political status as well as emblems of wealth and good taste.