Julienne's nostalgic1930s yellow eyelet dress for a young girl. Closeup shows frilly details.

Costumer Linda Most important is if fabric can be used as a reference; can it be reliably dated. Tries to obtain fabric that could be used to recreate, if possible, fabrics from history: thread count, weave structure, the basic physical aspect. Least important is whether it’s a whole garment. For projects, fiber content is important as well as the weave, surface design and color. For example, used cotton brocade curtains c1950s for a 1600s-era gown as the physical characteristics were right. Plastic fiber wouldn’t have draped properly. Has another cotton brocade in pea green that is just waiting for the dye pot to become a fabulous gown.

A costumer's nightmare is a clothier's delight.

Each year Linda particpates in the much anticipated Pennsic Wars Faire. Shown is an Elizabethian gown she made for a friend who has mendicants groveling at her feet. At left is Linda's pavilion from which the awning proclaims Glorious and Uncommon Cloth and Corset Stays and the table covering beckons with Dragon Magic. Oooooh! Merlin may appear any moment, although 7 centuries late.

Dealer Nan Looks for fabrics which have an artistic or unique flair; those that look artist rendered top the list as they are well designed and unique. Also looks for a variety of time periods from 1920s-70s which her business specializes in. Prefers fabric to be at least one yard; those five yards or more are an ideal find.

Criteria includes fabric suitable for repairs and block assembly, small pieces, prints which blend in with other fabrics in quilt[s] and of same era -- bright or odd colors could be passed up if they are not complementary even though they might be in the same age range. Assembling tops takes more yardage so there must be at least a yard and in good condition. Color and print is most important in this situation. Fabrics meeting those requirements are the hardest to find. Then there are coveted pieces not intended for use so no criteria is needed.

Quilter Pat Requires properly stored, stable fabric, not brittle like some historical pieces which feel like shredded wheat cereal and cannot be used for anything. Fabrics must also be the appropriate weight for quilting. Also fabrics which are sturdy and attractive for other projects.

As for other fabric items such as quilt tops or single fabric pieces, condition doesn’t matter. If parts fabric can be used, it’s purchased. Actually purchases don’t have to have a purpose if it’s something that simply has to be had. Years later it will to pass that there was a reason for buying it.

Textile Joan Provenance, where and how fabric stored, fabric must be prior to 1960, preferably a yard or less, design printed on-grain and scale suitable for dolls, preferably not washed but washable if odor or grime has to be removed, good condition, no pinholes, no color runs or misprints, high thread count; depends on experience to determine age range and if natural fiber. Least important is fabric with contained damaged areas or flaws; those can be easily worked around.

Costumer Linda When using fabric for reference, it must hold together and not be too disgusting to hold in hands or near eyes. If a garment, it is checked for handwork, materials used and finishing techniques to verify dating. Whatever it is, it must not tear when being handled or need cleaning to be utilized for reference.

Dealer Nan Inspects for holes or other damage such as spots and discoloration. If fabric has an overwhelming musty smell, it’s passed over as it may have been stored in a dark and dank basement for many years causing mildew problems.

Textile Joan Holds up to direct light to inspect for pinpoint holes and minute overall flawing; rubs to check for crocking; gentle tugging to test for worn areas or splits; lays out to check for signs of insect infestation or damage. If buying by mail, assurance from seller that fabric is as described; if not, then it must be returnable.

5. What are your favorite places to buy fabric? Do you set spending limits? Are there any exceptions?

Clothier Julienne Buys from flea markets, antique shops, online auctions, private sellers. Sets limits; if for self, has to be within budget. If for resale, must be room for profit. Exceptions would be garment in wonderful condition; has soft spot for coats.

Everyone laughed when Julienne wore this magnificent 1930s crepe dress which a customer gave her on a 70s cruise. It was the hit of trip with its beaded neckline and flattering drapery. 80-year-old shoes were made for dancing which Julienne did. They are decoratively fine-stitched gold leather with silk satin lining. Who wouldn't want to kick up their heels with this great auction buy.

Costumer Linda Solomon’s Warehouse but location is a secret! For reference fabrics, shops at neighborhood antique dealer who is a saver, yard sales and from locals who know about fabriholic urges. Spending limit equals a week’s groceries. Lives alone and has no exotic tastes so limit is quite effective. Exceptions – rules are made to be broken.

Dealer Nan Prefers to buy from persons sewing for more than 45 years. From chatting with them, so much is learned about fabrics and sewing and what was popular back in the 40s and 50s and what it was like to sew when they were teenagers. Persons met range from a Finnish woman whose mother survived the Titanic to a lumber baron’s daughter. Considers this the best job in the world because of getting to meet fascinating personalities and hearing about their experiences.

Has a monthly budget and tries not to exceed that. However it has been known to stretch wherever there’s a goldmine of boxes and boxes of one-of-a-kind vintage fabrics to be found.

Quilter Laurette Looks for fabric at antique shows, flea markets, quilt and fabric dealers and sometimes Ebay. Doesn’t set spending limits as antique fabric can be costly. Price will depend on age, condition and print as well as dealer and other things relative to sale. Decision to buy is based on if it’s affordable and really needed; finds there is no way to compare prices of antique textiles.

Quilter Pat Prefers Ebay, hands down, because it represents a true cross section of what’s available. Also likes estate sales and second-hand shops but finds selections limited. Doesn’t set spending limits as it’s not like finding suitable vintage fabrics to buy every day. If something steals the heart, price is not so important. Believes concept of paying too much is debatable; each has individual definitions of worth. Would rather spend a tidy sum on a spectacular piece of fabric than to play a round of golf. In the end there is something tangible to view from time to time as opposed to a fleeting memory.

Saver Dorothy Because is prone to household linens, buys at estate sales directly from dealers who specialize in buying up entire estates. Fairs are good places to browse as are second-hand shops. Nowadays with the throw-away attitude among the younger set, second-hand stores are goldmines. As is not into collecting vintage which costs, buys it if likes it providing money is available at the time.

Section of heavy cotton pillowcases c1930s-40s that are one of Dorothy's many household linen finds. Cases were hemmed, mitered, inserted with crocheted borders and monogrammed before sides were sewn together. Closeup shows frilled ties that are attached to cases and a friller. The pride and showpieces of Swedish linen closets are neatly folded pillowcases with ties folded into bows to hold cases in place.

Textile Joan Anywhere vintage fabric is to be found from thrift stores to Ebay to antique and doll shows to flea markets to private dealers. Will not pay over a pre-determined amount unless fabric is difficult to find, unusual or has seldom-seen brand name/trademark in selvage.

6. Is fabric identification by type of fabric important to you? Is it important to know or want to know everything about a fabric’s properties – thread count, ply, thread formation, weave type, fabric family, for example. Do you have a linen tester or microscope and use it regularly? Do you perform burn tests?

Clothier Julienne All of the above are important and part of an identification system.

Costumer Linda Not as much as everything else about the physical aspect of it: thread count, ply, thread twist [tightness and direction], weave, dye color, all of that. Uses linen tester and microscope which someday will learn how to use properly. Performs burn tests and teaches burn testing and fabric identification at yearly sales event to get people used to fabric and not to be afraid of it.

Dealer Nan Fabric ID is essential to provide customers with the specific vintage fabric they have in mind. Goal is to satisfy them and to have no one walk away disappointed with the wrong purchase. Performs burn tests on fabrics which look and feel like silk. Knows it is silk when the smell is recognizable burnt hair and fiber turns to ash.

Nan's great finds for resale. Two reasons to be envious are these 1942 blue-bonneted checks on a 35" width cotton from a quilter's collection and an unusual 1940s barkcloth with black background and Asian motifs. Selvage is marked Markwood Fabrics VAT Printed-Chippendale, 48" wide.

Quilter Laurette Content is important; should be cotton. Needs to know age, place of origin – American, English, French, etc, manufacturer if possible. Likes to determine what dyes are used – vegetable, mineral, etc., and printing method – block, copperplate, mill engraved, roller printed. May do a burn test on newer fabrics to determine type of synthetic. Uses linen tester to examine thread and dyes and microscope for types of fabrics and thread in quilts.

Quilter Pat Needs to know about cotton’s fiber structure, weave and thread count. Identifying inherent properties is crucial as a large number of fabrics are used in one quilt. Ensuring all chosen fabrics have similar properties will result in them behaving in the same manner. Such assurance means an excellent outcome for a completed quilt and how that consistency will enable it to store and wash well.

There are many fabrics which can fool the educated eye so testing is essential. Uses linen tester to determine thread count, marking off 1/4" to count warp and woof [filler] threads, then multiplying by four to get total count per square inch. Performs burn tests to determine fabric content and distinguish types of fabrics.

Saver Dorothy Weave and fabric family are very important to know. Conducts burn tests when really curious and not at all sure.

Textile Joan Wants to know everything about fabric from time it was picked to mill weaving to store delivery and everything inbetween. Fabric identification can be compared to family genealogy; nice to know about its ancestry, history and structural relationship to other fabrics. Uses linen tester extensively; microscope broken. Does burn tests even though fiber is known; has to be sure. Nothing like a spiral of black, oily smoke from cotton to deflate the ego and which tells you that you’ve been had.

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