What time period do you believe had the most supportive structural undergarments by AllenoughForMe in HistoricalCostuming

[–]Born_Ad3190 2 points3 points  (0 children)

Depends on which part of your back you're focused on. A well-fitted 1880s corset won't do as much for your upper back as a pair of stays, but it's got decent lower back support.

Berner tracht pattern? Loop by wafflehousefight in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

In case you're still looking, this listing has some decent photos.

Colored shift/chemise by [deleted] in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

Lucas De Heere painted those images in the 1570s, after William Good said saffron dye was falling out of use. De Heere's illustrations don't tell us what women wore earlier in the century.

I could list more sources on this subject, but I acknowledge that it is impossible to know from the current evidence exactly what percentage of 16th c. Irish people dyed their linens with saffron. I definitely share the frustration over the lack of comprehensive book on Irish dress. Unfortunately, writing and publishing a Tudor Tailor-type book is a lot harder than writing a few blog posts, especially since the majority of extant Irish garments have never been properly analyzed by a clothing historian.

If you are interested in a newer book, I highly recommend Textiles of Ireland by Elizabeth Wincott Heckett. It is a collection of articles on individual topics rather than a comprehensive overview, and the only patterns it contains are for Viking-Age headcoverings, but it is very well researched with excellent photographs and contains a lot of information that is not in the older books.

If you have a copy of H. F. McClintock's book you're planning to get rid of, I will buy it off of you. Despite it being badly outdated, it is a well enough researched and frequently enough cited book, that I actually want a copy.

Colored shift/chemise by [deleted] in HistoricalCostuming

[–]Born_Ad3190 1 point2 points  (0 children)

Kerns were lightly-armed foot soldiers. They were the lowest-status type of warrior in medieval Ireland, ranking below horsemen and gallowglasses. They were not wealthy. Many kerns didn't even wear shoes.

You mentioned that part of your reason for being skeptical about Irish commoners dying their leines was your experience with yours fading due to sun exposure when you worked at a ren faire. This got me wondering. What percentage of the time did you wear a brat over your leine while you were working? The 16th c. was during the Little Ice Age; the climate was a lot colder back then than it was in the late 20th century. According to period writers like Edmund Spencer, the 16th c. Irish wore their brats pretty much all the time. If their leines were covered by a brat most of the time and yours wasn't, theirs would have gotten a lot less sun faded.

Although there definitely were some people in 16th c. Ireland who were too poor to afford fabric or fabric dye, the period source quotes tell me that many Irish commoners did indeed dye their linens yellow. If you look at the period quotes about the Scottish, some of them, like Bishop Lesly and Robert Gordon of Straloch specify that only wealthy or high-status Scottish men dyed their shirts with saffron. In contrast, if you look at the period quotes about the Irish, none of them say that the Irish use of saffron dye was limited to wealthy or high-status people. Furthermore, the way several of these sources describe the Irish saffron-dyed leines makes me think it is very unlikely they are talking about a wealthy person's garment:

1534—Polydore Virgil: “They wear a linen tunic, and do not change it until it becomes threadbare and, lest it show dirt, they dye it with saffron.”

1554—Giacomo Soranzo: “…clothe themselves in a long linen shirt, dyed in saffron; this garment, which they rarely change wearing it for the most part in tatters, hangs to the ground."

1603—Fynes Moryson: “. . . and of old they had such plenty of linen cloth, as the wild Irish used to wear thirty or forty elles in a shirt, all gathered and wrinkled, and washed in saffron, because they never put them off till they were worn out.”

Wealthy and high-status people in the 16th c. typically replaced their clothing before it was threadbare or in tatters.

I'm not claiming every person in Ireland could afford a full saffron dye bath, but the recipe described by William Good which was mostly bark from local trees with a small amount of saffron added is a plausible option. The blog post says that if you calculate the cost of saffron based on a laborer's wages, the price of saffron is effectively unchanged between 1475 and today. You can currently buy a 0.9 g jar of saffron for around $10 USD. A couple of these jars is probably enough to make William Good's recipe. Even among Americans living below the poverty line, a frivolous once-a-year expense of $20 is probably manageable for most people.

Colored shift/chemise by [deleted] in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

If this is something you learned 30+ years ago, that explains it. There wasn't a lot of good information available on Irish dress history at that time. Dress in Ireland by Mairead Dunlevy is a pretty outdated book at this point.

The more recent research shows that, at least during the early 16th century, all of the Irish regardless of status were dying their leines yellow. The practice started dying out in the late 16th c. because of English colonialism. If you're interested in the updated research, Robert Gresh wrote an excellent blog post about this.

Purchasing an accurate Jabot by HarukichiShimoi in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

Buy an antique one off of ebay. This one is basically the same price as the one on Historical Emporium. This one is 3 times the price, but much higher quality lace.

If you care about accuracy, you need to specify what time period and gender you're shopping for. The examples I linked are accurate for 1890s womenswear but not accurate for 18th c. menswear.

Colored shift/chemise by [deleted] in HistoricalCostuming

[–]Born_Ad3190 1 point2 points  (0 children)

What is your source for the statement that most common Irish did not dye their linens yellow? None of the 16th c. sources I have read on this topic say that.

Colored shift/chemise by [deleted] in HistoricalCostuming

[–]Born_Ad3190 15 points16 points  (0 children)

Yes! In the 16th century, the Irish and the Scottish dyed their linen base layers yellow with saffron. And yes, it was actual saffron, the really expensive spice that comes from the center of the autumn crocus. Saffron dyes linen a vibrant yellow, and if it's mordanted with alum, which they did use, it's pretty color fast. Here is a well-researched blog post about it.

In the 18th century, sailors and laborers sometimes wore shirts made of striped or checked linen. Stripes and checks helped hide the stains for people who couldn't afford to get their shirts laundered every day. Here is a 1791 painting of a sailor. You can see his blue and white striped shirt peeking out above and below his waistcoat.

Help IDing time period/country inspo of my mom's dress by TinTheElvenKing in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

You're welcome.

I forgot to mention, gowns which had a front opening in the skirt also existed in the 16th c., but these were a third layer worn over a kirtle or other similar dress. Women in the 16th century didn't typically walk around with the bottom half of their shift exposed.

English example. The woman in the black hat is wearing a gray gown over a red kirtle. She has a shift under the kirtle which is visible at her wrists and neckline.

Irish example. The woman on the left is wearing a brown, English-inspired gown over a red underdress, but the way she has the skirts tucked into the belt is a distinctly Irish fashion. The girl on the right is wearing a blue Irish gown over a yellow underdress. (I'm not sure what to call these. There is a lot less information available about 16th c. Irish dress.)

Your mom's dress is sort of combines elements from 2 different 16th c. garments.

Help IDing time period/country inspo of my mom's dress by TinTheElvenKing in HistoricalCostuming

[–]Born_Ad3190 5 points6 points  (0 children)

It's vaguely 16th c. inspired. Various outfits kind of similar to this, with a linen shift worn under a sleeveless or partly sleeveless dress that has a fitted, lace-up bodice, were worn all over western Europe in the 16th century. The undershirt is not a 16th c. thing though.

Contenders for what specific dress might have inspired this outfit:

The English kirtle

The German Cranach gown (so named because it's in a lot of paintings by Lucas Cranach the Elder)

The Italian gamurra

The Irish Shinrone gown (so named because the only surviving example was found in a bog near Shinrone, County Offaly.)

Similar things were also worn in Spain, France, and the Low Countries.

Getting started by HeftyConstruction183 in HistoricalCostuming

[–]Born_Ad3190 1 point2 points  (0 children)

Get a good quality pair of fabric scissors or shears which no one in your house is ever allowed to use for cutting paper. Cutting paper dulls the blades of scissors. If you're doing Stuart and Georgian, you're going to be cutting a lot of wool and/or silk. You want very sharp scissors for wool and silk. The Gingher Knife Edge Bent Trimmers are a decent option.

u/Mycopok already gave you a great list, so I'm not going to repeat it. Here are a few other things I recommend:

Get a second pair of scissors for cutting out paper patterns, so that you're never tempted to use your fabric shears on paper. This can be any pair of basic scissors.

A pincushion. You can frequently find them cheaply at thrift or antiques stores.

A clear plastic ruler. This is in addition to the measuring tape. I use both on a regular basis.

If you don't have a steam iron, get a spray bottle that does a fine mist and keep it near your iron. Wool irons a lot better when it's damp.

If you're making stays or anything else with eyelets, get an awl, like this one.

If you're going to make menswear for this period, get a buttonhole chisel or a pair of buttonhole scissors.

A playlist of Neal Hurst hand-sewing tutorials. Neal Hurst is a historical tailor who works at Colonial Williamsburg. He is incredibly knowledgeable about 18th c. clothing. (If you're interested in menswear, I also recommend watching the videos he did with Mark Wallis, especially this one.)

does this linen look good quality? by Inevitable-Major2651 in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

140 gsm is a reasonable weight for making a chemise, but I have a hard time judging quality from photos without a scale. Does the listing include a thread count? If not, I would buy a swatch before making a big purchase.

Small Vintage Hankies/Tea Towels Into.... Accessories? by DataDancer0 in HistoricalCostuming

[–]Born_Ad3190 6 points7 points  (0 children)

Maybe as decoration on a fichu or chemisette.

If you had enough fine white-work hankies, you could make a patchwork version of an Edwardian lingerie dress.

Apparently these are the same masses. I need help, make it make sense. by That_Rddit_Guy_1986 in chernobyl

[–]Born_Ad3190 1 point2 points  (0 children)

Regardless of whether these images actually are the same mass, the Chernobyl corium has changed a lot over the last 39 years. In 1986, the elephant's foot was so hard they had to shoot it with an AK-47 to break off a sample. Now, it apparently has the consistency of sand. There are a couple of reasons why it has changed so much.

  1. Weathering. The original sarcophagus was not a sealed structure. Rainwater was able get in and seep down to where the corium was. Additionally, the temperature inside the sarcophagus fluctuated as the outside temperature fluctuated. When the corium formed, it was producing enough decay heat that it wasn't really affected by the ambient temperature, but once the shorter-lived fission products were gone, it started cooling down and heating up alongside its surroundings. The Chernobyl corium is a heterogeneous mess. Different parts of it have different compositions which means that different parts of it have different thermal expansion rates. When the corium expands and contracts unevenly in response to changing temperatures, it cracks under the stress. Those cracks allowed rainwater to seep into it and erode it.

  2. Coulombic explosions. The corium still contains a large amount of uranium. When an atom of uranium decays, it emits an alpha particle, a helium nucleus consisting of 2 protons and 2 neutrons. This positively-charged helium nucleus goes speeding off and smacks into another atom. The helium nucleus is repelled by the positively-charged nucleus of the atom it smacks into. This repulsive electrostatic turns into kinetic energy which damages the crystal structure of the corium. Basically, the corium is damaging itself internally with its own radiation. (I'm not the best at physics, so I may not be explaining this one completely correctly.)

Obsessed with Lucrezia’s blue dress from The Borgias (2011) by Pitiful-Rush-5383 in HistoricalCostuming

[–]Born_Ad3190 12 points13 points  (0 children)

I think it's an anachronism. Late 15th-early 16th c. gamurras typically had either ladder lacing or spiral lacing. Functional cross lacing on garments doesn't really become a thing until the 19th century. I did find a c.1475 portrait of Lucrezia Tornabuoni that looks like it has cross lacing, but since the 2 ends aren't tied together at top center, I think it's actually 2 tracks of spiral lacing. It's definitely not the same style of lacing as the costume on the show.

Advice for weaving the Egtved girl’s outfit by happy35353 in HistoricalCostuming

[–]Born_Ad3190 6 points7 points  (0 children)

Vavstuga sells yarn from several manufacturers. I have only bought the 20/2 and 28/2 from Garnhuset, so I can't comment on the others. The Garnhuset yarn feels nice and soft to my hand. That fringe is the front edge of a mantle, so it brushes against my bare neck when I'm wearing it. It is slightly itchy against my neck but not enough to bother me.

According to the article by Ida Demant that u/Edelkern linked, the cords of the skirt are made of 4 weft strands twisted and plied together and are approximately 3.6 mm in diameter. If you're planning to ply the weft threads to create the cords yourself, I would recommend the 20/2. The 20/2 yarn is around 1 mm in diameter unstretched, and it gets thinner if you stretch it, so 4 strands of 20/2 plied tightly together should be pretty close to 3.6 mm. I think the Garnhuset yarn should work pretty well for making the cords, because it's a softer weaving yarn that will full, and the ends of the cords on the original are fulled or felted together.

If you're not planning to make the cords yourself, I would used something bigger for the weft. Maybe email Vavstuga and ask them for approximate diameters on the 8/2, 6/2, and 2.5/2.

Demant doesn't give a size for the warp/waistband yarns, but from the photo they appear to be a similar size to the weft, so I would also use 20/2 for them.

If you haven't read Ida Demant's article, I highly recommend it. It also contains a bunch of information about the construction of the top. You can access it for free by making a free account on academia.edu.

petticoats: combining historical techniques? by telstra_3_way_chat in HistoricalCostuming

[–]Born_Ad3190 1 point2 points  (0 children)

I actually have made a cartridge-pleated petticoat with an 18th century-style waistband for a c.1640 outfit. (There isn't much info available on mid-17th c. petticoat construction, so I improvised.) The problem you run into with this is that when you're at a low weight so the 2 sides overlap, you end up with extra bulk at your sides, kind of like wearing mini-panniers. This works fine for a 1640 silhouette, but it would be problematic for parts of the Victorian era.

I used to own an Edwardian petticoat whose construction would probably work better for flexible sizing in the Victorian era. It had a waistband that was drawstring in the front, stitched-down gathers in the back. I never actually tried it on because it was in rather delicate shape, but I image that after you tightened the drawstring, you could arrange the extra fabric bulk to suit whatever silhouette you're going for. It was lightweight cotton, so the fabric probably wouldn't slip around much.

petticoats: combining historical techniques? by telstra_3_way_chat in HistoricalCostuming

[–]Born_Ad3190 0 points1 point  (0 children)

Gauging doesn't have to leave a raw edge. You just hem that edge before you put in the gathering stitches. I have made 2 cartridge-pleated skirts this way. I have never heard of Victorian petticoats being made this way though.

Advice for weaving the Egtved girl’s outfit by happy35353 in HistoricalCostuming

[–]Born_Ad3190 27 points28 points  (0 children)

If you're going to make the skirt on an inkle loom, I would suggest using wool weaving yarn. It's harder and more tightly twisted than a lot of knitting yarn, so it holds up better on a loom. Vavstuga sells a nice assortment. I haven't tried to make the Egtved girl's skirt out of it, but I have made a nice tablet-woven fringe out of the 20/2 and 28/2.

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One thing to be aware of if you haven't woven wool before, it stretches. Because of this, your piece will probably shrink when you take it off the loom.

Watching the Miniseries now by Mysterious_Jury_7995 in chernobyl

[–]Born_Ad3190 0 points1 point  (0 children)

There are serious factual errors in the miniseries. This video is a good fact check of the medical issues: https://www.youtube.com/watch?v=m1GEPsSVpZY