SC - Comments on Thorkatla...

[Philip & Susan Troy]

Hullo, the list, from G. Tacitus Adamantius!

I've been asked to forward a response to this list from Baroness
Katherine Gilliesfleur, who receives her posts rather irregularly, but
would like to respond to a previous post. Please understand that I claim
no great skill as a costumer or costume researcher, and that subsequent
responses should be directed to Mistress Katherine at the address below,
in addition to posting on this list. Mistress Katherine's post follows
my signature.

Thanks!

Adamantius

> Unto all Members of the Order of the Laurel who read these words, from Mistress 
> Katherine Gilliesfleur, Greetings!
> 
> In response to Mistress Thora Sharptooth's comments on the work of Mistress 
>Thorkatla Herjolfsdottir, I have two points to discuss.
> 
> 1. There is nothing intrinsically "ludicrous" (Mistress Thora's word, not mine) about 
> Thorkatla's reference to _scissors_ on page 6 of her Greenland handout. It only 
> becomes ludicrous when Thora herself substitutes the word _shears_ for _scissors_. 
> In modern usage we tend to use the word shears and scissors interchangably, with 
> shears generally referring to large, heavy scissors. However, in the discussions of the 
> technological changes that surround the great fashion shift of the 14th Century, the 
> words have very distinct meanings. Shears are essentially two blades joined by a loop
> hinge; scissors are two blades twisted and joined at a pivot point. The late 13th - early
> 14th century is indeed the period in which scissors not only came into common usage
> in Europe, but eventually overtook shears in precision activities like tailoring. My
> primary reference here is "Knives and Scabbards -- Medieval Finds from Excavations
> in London: 1" by J. Cowgill, M. deNeergaard and N. Griffiths, H.M.S.O., London,
> 1987.
> 
> 2. I'm not sure what Mistress Thora means by "lack of textile context" in Thorkatla's
> work. I find Thorkatla's instinctive understanding of fabrics almost unequalled. She
> has a marvellous hand for fabric, and an excellent eye for drape and balance. Her grasp
> of the "3-dimensionality" of the costumer's art makes it possible for her to see and
> correct problems of fit and flow in a garment under construction -- vital while doing
> projects such as the Greenland gowns, which were individually crafted to the wearer.
> Her knowledge of the construction and decorative techniques of her period has been
> proven over and over. 
> 
> In short, she is a very medieval craftsman, and, I believe, a master of her craft. I
> fervently hope there is still room for such as she in the Order of the Laurel. 
> 
> Mistress Thorkatla Herjolfsdotttir, then known as Lady Octavia Rosa di Bari, was my
> apprentice until she was raised to the peerage in the Order of the Pelican, at which point
> we both believed a master/apprentice relationship was inappropriate. However, I
> continue to act as her mentor in matters of concern to the Order of the Laurel, so feel
> free to contact me in areas concerned with her work.
> 
> I can receive e-mail at dkrevor at hotmail.com or can be reached by phone at (718) 767-> 0757.
> 
> My thanks to you for your kind attention, and to Master Adamantius for posting this
> for me.

- -- 
______________________________________
Phil & Susan Troy
troy at asan.com
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