Horse Hair Bracelet Making Kit? Top 50 Best Answers

Long, coarse hair that grows on horses’ manes and tails

For horsehair worms, see Nematomorpha

Horsehair is the long hair that grows on horses’ manes and tails. It is used for a variety of purposes including upholstery, brushes, musical instrument bows, a durable fabric called haircloth, and for horsehair plaster, a wall covering material formerly used in the construction industry but now only found in older buildings.

Horsehair can be very fine and flexible; Mane hair is generally softer and shorter than tail hair. The texture of horsehair can be affected by the horse’s breed and management, including natural conditions such as diet or climate. The processing can also affect the quality and feel.

Horsehair is a protein fiber that absorbs water slowly, but can be effectively dyed or dyed with common dyes suitable for protein fibers. It can be felted, but not easily.[1]

Used[ edit ]

Mane hair is shorter and softer than tail hair.

Horsehair fabrics are woven with tail hair from live horses and cotton or silk warp threads. Coveted for its luster, durability and care properties, horsehair fabric is primarily used for upholstery and interiors.[2]

Horsehair is used in the craft of horsehair stretching, horsehair braiding, pottery, and in making jewelry such as bracelets, necklaces, earrings, and hair clips.[3] It is used to make some wall and art brushes. Horsehair for painting and hat brushes are two of the areas where horsehair is still widely used today. The hair is processed, trimmed and attached to brushes that are used for everything from painting walls to painting pictures to be hung in galleries. Horsehair is desirable for brushes because of its smooth lay and ability to hold a large volume of paint, which serves as a reservoir and allows the painter to stop less frequently.[4]

Horsehair is used for violin and other stringed instrument bows. Another use in the art community comes from pottery and basket weaving, where the hair is used for distinct accents and styling.[5]

The use of horsehair for fishing has a wide range of applications. The most common use for horsehair is in fishing line. The hair is spun together and made into very long lines.[6]

One historical use was gloves, commonly used for fishing in cold climates from the Middle Ages through the 17th century.

In the early 1900s, surgeons used horsehair and silver wire to sew the incisions needed for a facelift.[8]

supply [ edit ]

Most horsehair comes from slaughtered horses.[9] Hair for bows comes from ponytails in cold climates and is sorted by size.[9] It comes primarily from stallions and costs $150 to $400 per pound because of the sorting required to extract long hair.[10] Mongolia produces 900 tons of horsehair per year.[11]

history [edit]

There has been some speculation as to when horsehair was first used. Many sources indicate that the Spaniards were the first to use horsehair as a textile in the 8th century.[12] However, the first documented use was from the 9th century in Switzerland, where the Swiss used it for the plans of the St. Gallen monastery. The plans, a blueprint for a monastery complex in the Middle Ages, are a Swiss national treasure and are said to have been woven with horsehair.[13]

It was widely used in the 19th century as a padding (e.g. for fabric sofas [14]) and as an upholstery fabric for furniture. It was almost always the fiber that was used to make shaving brushes. It was also common in hats and women’s underwear. It was used in hair to create the “Gibson Girl” look and in the 18th century it was used in wigs. Up until the 20th century, along with sable, fox, wolf, goat and lamb hair, it was commonly used to make brushes for fine arts. Calligraphy brushes are made from rabbit, fox or horse hair, among other things. Fishing lines have been made from braided horsehair for thousands of years.

Other applications[edit]

Today, horse hair samples from the mane and tail with attached root tissue are commonly used for DNA analysis of horse samples. Private genetic testing companies routinely use DNA extracted from horsehair root follicles for relationship testing, genetic disease testing, and determining coat color genetics.[15]

See also[edit]

camel hair

Mohair – goat hair

1. Wash

Arrived in Marthalen, the hair is washed in hot, natural soapy water and thoroughly disinfected. It is then thoroughly rinsed in dishwashers with fresh cold water.

This enables us to meet the highest quality and hygiene standards.

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Gypsum has been used as interior and exterior wall cladding for thousands of years. It consists of a binder (clay, lime, gypsum or cement), an aggregate (traditionally sand) and water; Fibers like hair are often added for strength.

Plaster was rare in the very oldest houses in New England. The walls were fitted with wood paneling. As the colonists became more established, construction methods became more sophisticated.

In 1641, a New Haven common court established daily rates for lime plasterers, indicating that someone was doing the work and had to be paid for it. It wasn’t common yet.

J. Frederick Kelly, the architectural historian who wrote Early Domestic Architecture of Connecticut and advised on the Homestead’s restoration in 1946, thought that plaster of paris was later introduced to the Hartford area and was not widely used until after 1735.

In the Homestead’s restoration, Kelly chose wood paneling for the Colonial Kitchen. This room is the oldest original room from 1717.

The next room chronologically, the revolutionary bedchamber, and all later rooms are plastered. It is possible that the front basement rooms – the public rooms, in our case the Federal Salon and Annie’s Salon – were plastered first, while the upstairs rooms and rear kitchen were paneled and plastered later.

It was also common in 18th- and 19th-century New England homes for the fireplace walls to have chic wood paneling and the other walls to have plaster of paris, as is the case in our Federal Parlor and Victorian bedchamber.

Lime was hard to come by in some areas of New England, so clay was used to plaster early houses. However, calcareous shells were plentiful along Long Island Sound. Sometimes the colonists would use shells from huge dung heaps left behind by the land’s original Native American residents (there was one off State Street in New Haven).

In some cases, these mounds could have been hundreds or thousands of years old! The shells, composed mostly of calcium carbonate like limestone, were crushed and heated in a kiln to produce calcium oxide (quicklime). Then the quicklime was “slaked” (mixed with water) to form calcium hydroxide and then mixed with sand and hair to make the gypsum. On the wall, the calcium hydroxide in the plaster reacted over time with carbon dioxide in the air, losing water and turning back into the original, hard calcium carbonate.

Studying old walls in Connecticut houses, Kelly concluded that the oldest plaster walls were usually done with only one coat. They used “accordion” lathes; That is, the lathes were made by sawing a piece of oak 3/8 or ½ inch thick and then splitting it on both sides.

The lathe was stretched out in one piece and nailed to the studs. This minimized the number of nails needed, a necessity since nails were handmade and expensive. The lime was roughly ground – Kelly says he often found large chunks of oyster shell in the walls – and the plaster was mixed so that it was chalky and extraordinarily strong. He says the most common fiber he saw was red cow hair, a useful detail for anyone who’s ever wondered what the colonists’ cows looked like. These walls were clearly durable, at least in some cases – Kelly found some in good condition in the 1920s – but looked a little rough.

Later the cleaning techniques were refined. In the late 18th and 19th centuries plaster walls and ceilings were mostly made of three layers. They were still made on a lathe, but the turning boards were split or sawn separately and nailed to studs with cheaper-made nails 3/8 to ½ inch apart.

The first layer of plaster was the scratch plaster; it was pressed between the battens to form “keys” that held the plaster to the wall, about 3/8 inch thick across the battens. The scratch layer was ‘scratched’ with a tool to allow the next layer to adhere and then left to dry. The second mantle, the “brown mantle,” was also about 3/8 inch thick; It was applied very carefully to make the surface of the wall or ceiling even and level. The last or “finished” layer was thinner, about 1/8 inch. It was usually made hairless and with more lime and less sand to be perfectly smooth. Special additives were sometimes added, such as plaster of paris for quick drying or marble dust for a hard, polishable finish.

“Horsehair” patches rarely contained real horsehair. The long hair from the horse’s mane and tail was considered too smooth for the best trimmings. Instead, in addition to pig hair, cow hair or plant fibers, shorter body hair from the horses was used. Modern plasters often use synthetic fibers or fiberglass.

Lime plaster must “harden”; it loses water and slowly hardens over a period of weeks or years. The plaster would have to harden between coats; Depending on the material, weather and techniques, it can take hours, days or weeks. Once the plaster was in place, it could not be painted until it was completely dry – which could take up to a year! So plastering could make building a house significantly more time-consuming and expensive.

Plasterers were skilled workers who required experience and judgment and were comparatively well paid. As well as walls and ceilings, they made the intricate stucco molding that became fashionable in the late 18th century and remained there in changing styles into the early 20th century. Medallions and cassettes were made by pouring plaster of Paris into a mold in a workshop and then attaching the resulting molds to the ceiling of a room. Moldings were made on site by running a template over wet plaster; The molding took the shape of the template.

During the 19th century plastering progressed. Originally, the builders had applied the plaster first and painstakingly leveled the plaster around it; In the early 1800’s they began using wooden bases, leveling the plaster onto it, and then placing the moldings onto it. (This is one way to date a home or renovation). Metal lathes were patented in England in 1797, although they did not become common in the United States until the late 19th century.

From the 1890s plasters made entirely of gypsum were used. Gypsum plaster is made by heating the mineral gypsum (calcium sulfate dihydrate) and removing the water to form a fine white powder (calcium sulfate hemihydrate). When this powder is mixed with water, it reacts back to gypsum and hardens quickly. Once the most famous gypsum quarries were in Montmartre, Paris; i.e. “plaster of Paris”.

Gypsum plaster was not new—it was used in the Pyramids of Giza—but in 18th- and 19th-century America it was used only to mold plaster and as an additive to the finish of lime plaster. The new solid gypsum plaster hardens much faster than lime plaster and quickly gained popularity.

However, the real advancement in plastering was drywall. Drywall is a layer of gypsum plaster sandwiched between two layers of paper. It is much quicker and cheaper to install than plaster and requires no drying time at all.

The earliest forms of drywall date from the late 19th century, but became more common in the United States beginning in the 1930s. By the 1950s almost all new homes used drywall instead of plaster.

Horsehair, animal fiber obtained from the manes and tails of horses, ranging in length from 8 inches (20 cm) to 3 feet (90 cm) and is usually black in color. It is coarse, strong, shiny, and elastic, and usually has a hollow central canal, or medulla, giving it a fairly low density. Hairs from the mane are the softest, ranging in diameter from 50 to 150 microns (one micron is approximately 0.00004 inches). Tail hair, coarser and more resistant, ranges from 75 to 280 microns in diameter and is sold separately.

The longest hairs are used for fabrics; medium lengths are used to make bristles for paint, industrial, and household brushes; and very short hair is curled for use as stuffing in upholstered furniture and mattresses. High-quality white horsehair is used for the strings of fine violin bows.

Horsehair fabric or hair cloth, woven stiffly and openly, is usually made from longitudinal threads of another fiber such as cotton and long transverse threads of horsehair. It is used as an interlining or stiffener for tailored clothing and millinery, but is gradually being replaced by synthetic fiber materials for such purposes. Once made into the shirts of religious penitents, the fabric became a popular upholstery material in the 19th century. Horsehair for the textile industry is mainly exported to Argentina and Canada; other producers are Mongolia, China and Australia.

“Dying is an art,” wrote Sylvia Plath. For Queen Victoria, the real art was mourning. After her husband, Prince Albert, died in 1861, she publicly mourned him until her own death 40 years later. Victoria often wore a locket made from Albert’s hair around her neck.

Queen Victoria was the monarch of mourning, a celebrity who influenced how mourning women dressed and behaved in Europe and the United States. But for many people in Victorian times, the amount of hair associated with the memory of loved ones went far beyond a small lock of hair in a necklace.

In the US, many women made elaborate hair and wire wreaths, often with floral designs. Wreaths made from a dead person’s hair were usually objects of mourning, while wreaths made from the hair of several people – dead and alive – were more like sentimental family trees. Women could find the patterns for headbands in stores and in women’s magazines, the same channels through which other middle-class trends spread. Sometimes, though it’s rare, women wove relatives’ hair in dioramas: the Morbid Anatomy Museum in Brooklyn has a hairwork graveyard in its collection.

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Hair ornaments were also common – and not just the kind of locket worn by Queen Victoria. It could be a brooch or pendant with hair in the center, or even a bracelet made out of hair. In its heyday, hair jewelry was considered sentimental and fashionable at the same time. It caught on in Europe sometime before the 19th century and then became fashionable in the United States around the Civil War.

Home decoration or jewelry made from dead people’s hair would seem macabre today, but not so in Victorian times, says Dr. Helen Sheumaker, author of Love Entwined: The Curious History of Hair Work.

In the 19th century, mortality rates were much higher and most funerals took place at home. “Not only were people used to being around dying or recently deceased bodies, but the kind of associations we have today of the dead body being something gruesome or frightening was a little different,” says Sheumaker.

And hair work “wasn’t really about death,” she says, “even if it’s about the memory of someone who died. It’s about feelings and emotions and showing other people how you’re related to others.” Making hair work was a real bourgeois, feminine task, rooted in a consumer culture. It was a way to take care of his family and home.

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“There’s an emotional urge to want to keep someone’s physical remains once they’re gone,” says Karen Bachmann, who runs workshops on Victorian hair art at the Morbid Anatomy Museum. And hair performs this function well because it is “a very personal indicator of self” and also “very resistant to decay.” (Wealthy or famous people were often remembered through explicitly lifelike representations of the self: President Abraham Lincoln was survived by his life masks and handprints, and Queen Victoria kept a cast of her husband’s hand in her bedroom.)

Hair accessories and wreaths were a way to show your connection to someone who had died, but they could also be a way to show your connection to a living friend, child, or spouse. “Women of the 19th century exchanged strands of hair as a token of love, just as young girls wear friendship bracelets today,” says Bachmann. In the same way, a mother could frame her child’s first haircut or wear part of it as jewelry.

There are probably many reasons why the tradition of hairwork faded after the Victorian era. Bachmann says some of this has to do with the rise of funeral homes, which took death out of the home in most of northern Europe and America; but Sheumaker believes the shift is also related to changes in decorating and fashion styles and new theories about hygiene.

Victorian hair wreaths were often displayed in a “really heavy and ornate drawing room, with the layers and layers of wallpaper and fabric,” she says. But in the 20th century, “plaster walls and solid colors” became more popular, and hair work didn’t quite fit these new styles. At the same time, women’s fashion was changing from heavy, padded clothing that could be nicely accented with hair accessories, to sheer fabrics with lighter colors, on which, she says, such jewelry “looks really odd”.

“Fashions are not only changing in terms of how people decorate their bodies and their homes,” she says, “but the fashion of hygienic hygiene practices is rapidly moving people away from Victorian models of heavy, elaborate, layered things, [and] nothing to.” wash because it will damage the fabric.” When ideas about health changed and dust became associated with ill health, it’s certainly possible that hairwork was seen as unsanitary.

Today you can still see Victorian hair art at Leila’s Hair Museum in Independence, Missouri, order hair jewelry from Sweden, or learn how to make your own hair friendship jewelry at Rookie Magazine (and if your girlfriend’s hair isn’t good enough, you can make a lock buy from John Lennon). But many modern examples of hair art are more political than a homage to Victorian femininity.

“In the 1980s and ’90s there were feminist artists who used women’s hair to make statements about the place of women in society,” says Sheumaker. And while Victorian hair art was “explicitly white,” “African American and African diasporic use of hair as art has always been a statement” related to the Black experience.

Depending on the region, the decade, and the form it takes, hair that is not attached to the body can have a number of powerful meanings. Unless, of course, it’s in your soup – in which case, get it out of there. That doesn’t look hygienic.

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