Elizabeth Coatsworth was senior lecturer, and latterly an Honorary Research Fellow, in History of Art and Design, at Manchester Metropolitan University. Her books include Corpus of Anglo-Saxon Stone Sculpture VIII. Western Yorkshire; The Art of the Anglo-Saxon Goldsmith (with Mike Pinder); and Medieval Textiles of the British Isles c.450-1100: an annotated bibliography(with Gale Owen-Crocker). She is co-editor of the Brill Encyclopedia of Medieval Dress and Textiles of the British Isles.
Mary Frost is a chartered engineer, with a BSc. in Physics with Electronics and an MBA in Technology Management, working in the Aerospace industry as Engineering Operations Director for Cobham Mission Systems. She is a keen re-enactor with a particular interest in costume-making and embroidery. She has been an active member of the Society for Creative Anachronism since 2001, and has served in various positions within that organisation, including chairperson for the UK and European group and treasurer for the UK and European group.
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Carole has been a freelance costume maker for many years, having worked for the Royal Shakespeare Company, the National Theatre, the Royal Opera House and Glyndebourne among others. Her interest is in construction techniques of garments and embroidery, and for the last ten years she has been a volunteer at the Constance Howard Centre at Goldsmiths University, where they have a large collection of garments, textiles and embroideries although, alas, nothing as old as medieval.
Christine studied at the University in Tübingen, Germany, medieval studies and American studies with a focus on media. She has been researching textiles and clothing of the middle ages and early modern period for over 10 years, and runs her own business making historical clothing, specialising in men’s garments.
Prof. Gale Owen-Crocker
Gale R. Owen-Crocker is Professor Emerita, having formerly been Professor of Anglo-Saxon Culture at The University of Manchester. Her books include Dress in Anglo-Saxon England and The Bayeux Tapestry: collected papers. She is co-editor of the annual journal Medieval Clothing and Textiles.
Ninya established her business making reconstructions of historic costumes for museums and heritage sites in 1994 after gaining a Higher National Diploma in Costume Interpretation at the London College of Fashion. Her clients include Historic Royal Palaces, The Royal Armouries, The National Trust, English Heritage and The National Archives. Ninya is co-author of The Tudor Tailor: Reconstructing sixteenth century dress and The Tudor Child: Clothing and culture 1465 to 1625. Ninya also led Nottingham University’s recent course in the social history of Tudor dress. Ninya’s website (new window).
Alice graduated with a BA First Class Honours in Costume Interpretation, from Wimbledon College of Art In July 2010. In 2011 she started White Rabbit Lynens, a company specialising in the reproduction of accurately made historic linen garments. She continually expands her knowledge and skills base through the study of original garments as well experimental practice. Having made replicas for The Museum of London and Brighton Museum, Alice has also undertaken projects from individuals of the living history movement and historical designers such as Jenny Tiramani.
She volunteers as an archivist for The School of Historical Dress, helping to sort and catalogue the School’s collection of dress and textiles as well as working on The Janet Arnold Archive. White Rabbit Lynens (new window).
Saragrace comes from a family of theater people. She has been sewing since she was nine. Her interest in period costume started in 1998. She has sewn professionally for museums and other performing art centers but mostly spends her time sewing for herself and friends. She is retired from commercial nuclear power where she worked as a mechanical engineer.