Second verse, same as the first

So, I have what I've titled Books I Should Use Toward Thesis, Hypothetical. Or, BISUTTH, for short. The first book was Perfoming Blackness on English Stages, 1500-1800. The newest addition is Black Africans in Renaissance Europe. Because, clearly, I just can't leave this particular topic and era alone. It's what's making my SCA research for possible persona choices and costuming so tedious.

On the one hand, I say "Hang it all!" in the face of being told I can only do Renaissance Italy because that place and time is when Africans (really) started being seen in Europe, and want to make a bliaut just to be cantankerous. Also because they're really snazzy.

On the other hand, the only other silouettes that are even remotely interesting to me are 15th and 16th century Florentine and Venetian. Which feeds into the pigeonhole I've been pegged into, but I've always been intrigued by this particular period EXACTLY FOR the reason that it's when the European exploring started in earnest and the African Identity was made known to the European consciousness at large, rather than just the Venetian traders and the Crusaders and such. Well, an African Identity other than the Moors, since they'd been in and around Europe and the Mediterranean for a bit, but that would eventually be a subsection of what I'll probably end up writing as I'm writing like an academic again without even trying.

[sighs]

But, ALSO because I *really* want to try making a partially corded corset like a few costumers I've been poking at have done. I mean, according to other folks, if I sew them in there really tight and stitch across them, I can actually wash the thing. Which is extremely useful in a corset. Also, the comfort factor is high up there. Only partially-corded though, because I seriously doubt a fully corded one would withstand me moving around and such without eventually buckling, given my figure and all. Not unless I used 1/8" hemp cord instead of 1/16" and put hella channels in that thing. Maybe use cable ties for the center front and to give some extra structure and support to the eyelets and lacing. The figure thing is also one reason why I think the bliaut wouldn't end up working, as I'm fairly sure it's supposed to be self-supporting. Unless I'm thinking of a cotehardie. Well, regardless, stupid boobs. They make historical costuming just as difficult as modern costuming.

Although, I lied somewhat about these being the only periods to interest me. Nothing of Elizabethan whets my appetite except an Effigy Corset. Mainly because, hi, extant garment source! Two, one can never under-estimate the power of being able to get into and out of a corset by yourself. Front-lacing For The Win.

I still need to figure out what to wear OVER the corset, but details, details. Painting research continues apace for that. The book I mentioned earlier has some paintings sprinkled throughout the text, so it's helpful on two fronts!

Another question I'm thinking about, aside from backstory for a persona and a name, is what the hell to do with my hair? I mean, sure if anyone gave me mess about locs not being historically accurate, I could just pull the Black Rage card, but I kinda don't want to be an asshole about this. I'm thinking it'd be coif and hat to cover the hair if I were Elizabethan, but I'm still looking into Italian options. 12th century Germanic would most likely just end up being a wig and figuring how to pin curl locs so to fit under said wig.

Then, there's bellydancing, once I get back into enough to be in shape again, and what historical options for that would be. Or, if I'd just go eh and only worry about bellydancing at Pennsic. Which, thanks to Josh, I have a new way of referring to it: "Pennsic is the Burning Man of the SCA, isn't it?" If this is true, they won't care about a bellydancing chick.