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Subject: [h-cost] Re: LOTR
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Date: Tue, 1 Jan 2002 00:32:56 EST
Status: RO

In a message dated 12/21/01 9:30:21 PM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< 
 I just got home from the very best movie I've ever seen. Really.  Lord of
 the Rings is everything that I personally could want it to be.  It was so
 worth waiting for, and we did wait for a very long time.  The
 cinematography, the casting, the music, everything about this movie was
 complete magic in my eyes.  The costumes were gorgeous, and absolutely right
 on for each of the characters.  Yes, this is just my opinion, and someone
 else may see something different, but I can honestly say that this is one
 movie that delivered far above what I expected.
 Now, if I can just find out how to move to the Shire...... and get me one of
 those really neat hobbit holes with a round door!
 
 Linda
 Virginia Beach, Va. USA >>

Yes, I found myself feeling "enchanted," like a spell had actually be woven 
upon me.  I've seen it twice now, and am waiting for fiance' to get another 
day off to see it a third.  Having read the books as a little girl, I'd never 
thought a human could play Frodo the way I'd fleshed him out in my mind --not 
just his looks, but his emotions.  I was wrong.   Thank you, Peter Jackson, 
for disproving many "impossibilities."    

Anyway, how does this all relate to costume?  In the Sci-Fi Channel special 
on LOTR, they show Liv Tyler as Arwen in a dress that had black and a deep 
red or maybe cranberry color.  That must be in a later movie, though, since I 
never saw it in Fellowship.  Lucky I taped the special!   In any case, I've 
decided to make the dress for my Maid of Honour, since my wedding will be 
renny/fantasy and those are perfect colors for her.   Also,  she admires that 
actress, and fell in love with the elves (she's new to the genre) to the 
point she's decided to learn to speak elven.  I'm making it a surprise.  :)

--Gillian
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Date: Tue, 1 Jan 2002 01:15:41 EST
Status: RO

In a message dated 12/29/01 2:05:10 PM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< No character developement, no motivation except a general feeling that Evil
 is a bad thing.  An endless travelogue of interesting settings, populated by
 Things that Want to Kill You. Swordfights.  More pretty scenery, more Things
 That want To Kill You.  Another swordfight.  More scenery....and surprise,
 here come some Things That want To Kill You.  And on and on, until the three
 hours are up, fade out, and wait till next year when we'll do the whole
 media circus again.  >>

But Margo,  many of the characters of the Fellowship did not get developed 
until the 2nd book.  It takes time travelling together for each character's 
qualities to come out, much like it does with coworkers who later become true 
friends.  Also,  most of the Fellowship characters will change over time.  I 
do not think it a spoiler to say here that Gimli and Legolas eventually throw 
off their racial prejudices to become best friends.  You also come to know 
The Enemy better over the course of the trilogy.  Tolkien doesn't give you 
all the info at the beginning because he doesn't want you to feel comfortable 
with them; humans are much more afraid of the unknown. 

Of course, you need lot like it because I say so, but I just wanted you to 
know the next movie will NOT simply be a repeat of the first.  I know this 
from the books, which I got through quite happily.   I admit they start very 
slow.  The pace picks up at Weathertop, though, and pretty much becomes a 
page-turner from there (IMHO).

--Gillian
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Subject: [h-cost] Re: elvish
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Date: Tue, 1 Jan 2002 01:19:11 EST
Status: RO

In a message dated 12/29/01 2:05:10 PM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< What is that "Elvish" from the movie, please? Sindarin or Quenya?
 (Only for hard core Tolkien fans.)
  >>

Don't know yet, but "The Languages of Tolkien" is being shipped to me as we 
speak...

--Gillian
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Date: Tue, 01 Jan 2002 17:01:21 +1030
Status: RO

<html><div style='background-color:'><DIV>
<P><BR><BR></P>
<DIV></DIV>
<P><BR><BR>Happy New Year!!!</P></DIV>
<P>I've been lurking on the list for some time now and I've noticed that there are a lot of costumers on it. So just for curiosity where are you all from and why are you interested in historical costume?</P>
<DIV></DIV>
<P>My name is Rebecca Anderson and I live in Adelaide, South Australia. I started costuming less than 2 yrs ago. I've always been interested in history, then about 2 yrs ago I joined a historical re-enactment group and have been a costuming nut eversince.</P>
<DIV></DIV>
<P>&nbsp;</P>
<DIV></DIV>
<P>Rebecca Anderson</P>
<DIV></DIV>
<P>aka Lady Adele Anders</P>
<DIV></DIV>
<P>P.S. How does one make a Tudor style gable hood? I've looked at a lot of pics and I'm totaly stumped.</P>
<DIV></DIV></div><br clear=all><hr>Get your FREE download of MSN Explorer at <a href='http://go.msn.com/bql/hmtag_etl_EN.asp'>http://explorer.msn.com</a>.<br></html>
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Re: elvish
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Date: Tue, 1 Jan 2002 01:36:00 -0500
Status: RO

On National Geographic they said the language was made up from a small
community that spoke a variation of Finnish.  If I remember correctly the
community is in rural Russia.   The language is not 100% the same, but is
close to this community.  The language in the community is only spoken by
the elders.  This community while not exist for very long.  All the citizens
are very old.  The younger generations moved off into the modern world.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Date: Tue, 1 Jan 2002 01:41:02 EST
Status: RO

In a message dated 12/29/01 7:26:55 PM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< I don't think Boromir's tunic is beaded. I think it's embroidered, but
 the design would lend itself well to beads. >>

I'm hoping to see it a 3rd time, but I did think those were beads on the 
purple short sleeves.  It would make sense, since he's the son of the acting 
leader of Gondor and quite wealthy.  Did you also notice his face was clean 
compared to Aragorn's in his final scene-- subtle, but a lovely way to 
contrast the nobleman to the ranger.

<<The Ringwraiths' cloaks are definitely made of multiple layers of
dark-dyed gauze. There's supposed to be 50 m of cloth in each one, I
understand.>>

Yes!  50 meters!  And my fiance' wants me to make him that costume!  The 
price may just kill me.  Anyone know where I can get black guaze real cheap?  
Also, it seemed to me that I'd have to make it shorter if he won't be 
mounted, since there'd be cloth trailing all over the floor.  I also make 
carved boiled leather armor, so he wants me to replicate the plate armor of 
the King of the Nazgul.  (I do chainmail too sometimes.)  I'm wondering what 
other small requests he'll be making of me...LOL

As for the hobbit bodices, I figured they were just going for a wenchy look, 
to suggest hedonism.  I do like Maggie's theory though about expanding waist 
sizes.  I mean, that's why the style is so popular at renfairs, no?

<<I'm still trying to mentally figue out the cut of Galadriel's sleeves.
I'm thinking that it's a 3/4 circle and a bell sleeve cut as one, with
the seam somewhere odd. Looked for seams, couldn't see any.>>

Now I have to go again just to look at Galdriel's sleeves!

--Gillian
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Subject: Re: [h-cost] LOTR - end credits -- again
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Date: Tue, 1 Jan 2002 19:48:29 +1300
Status: RO

> Another uninformed guess -- Ngaio Marsh's novels sometimes include phrases
of
> Maori, and the phrases I can recall certainly resemble the lines from the
end > credits.  I suspect it is Maori, but have no idea what it would mean.

Does anyone remember the phrases? I might be anble to hazard a guess,
especially if it's thanks to say local tribes for use of land etc.. it's not
on the official sites or anyone fast enough to get it on a personal site?

michaela

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Date: Tue, 1 Jan 2002 02:19:25 EST
Status: RO

In a message dated 12/31/01 2:34:33 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< Boromir:
 - Maroon under tunic has metal coiled threadwork embroidery on the collar
 and on the sleeves.  >>

Ah, like in India!  Yes, I would have misktaken that for beads.

And thanks for the screensaver suggestion!  Because I don't use screensavers, 
I never would have thought to go there for costume pics.

--Gillian
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Date: Tue, 1 Jan 2002 02:23:29 EST
Status: RO


I guess I do need to watch it again, since I did not think Galadriel was 
wearing lace at all.  To me, the outer layer looked like a burnout that you'd 
find in the special occasion dept of a fabric store.  Burnouts are usually 
not actually burned nowadays, but the look of sheerness between solid shapes 
is still called that.  Curious now...

--Gillian
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Date: Tue, 1 Jan 2002 02:37:00 EST
Status: RO

In a message dated 12/31/01 2:34:35 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< I agree with Margo, however. I didn't care much for it as it was 
 *way* too violent for me. I spent a good portion of the movie 
 (especially in the last part) with my head buried in my husband's 
 shoulder going "are they done fighting yet." However, since it is a 
 cultural icon, I will go see the other two. >>

Oh dear!  There's going to be a war, ya know...  LOTR is a metaphorical 
account of Tolkien's own emotional experiences of WWII, written into a 
fantasy story.  I'm afraid it will get MUCH more violent.  Felt I should warn 
you.

--Gillian
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Date: Tue, 1 Jan 2002 02:56:52 EST
Status: RO

In a message dated 12/31/01 2:40:07 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< I didn't stay for the end credits or else could tell you what it said in 
 maori (if it was).
 I'm going to see the movie again before I make any other comments. >>

Yes, please Sharon!  We all can't wait to hear what will most likely be just 
a "Thanks to John Doe for everything."  Sadly, I really do want to know...

--Gillian
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Date: Tue, 1 Jan 2002 03:08:34 EST
Status: RO

In a message dated 12/31/01 2:40:07 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< TV serials are too choppy for me (commercial breaks -- ack, ptui!), I 
never see
 every episode, and they cost a fortune on video tape.  I'd have loved a 
longer
 movie, with an intermission --  more time in Lothlorien to show the inner
 temptations and the gifts would have helped, and the timeline from BagEnd to
 Bree was off, somehow.  A friend used to work in a movie theatre -- she said
 that movies have to be 3 hours and 45 minutes to get an intermission. >>

The good news is, we'll likely get to see more scenes when it comes out on 
DVD.  They shot more footage than the 3-hr limit allowed.

--Gillian
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Date: Tue, 1 Jan 2002 00:36:53 -0800
Status: RO

Quoting and answering questions from a number of folks

Hobbit Females
- Did find the pointy front in the front of just one bodice.  It was very
shallow… and by the way the bodice bows out at the waist, I’ll guess
pollyboning was used.  Backs and sides look solidly interfaced and probably
has enough boning to hold the seams solid.  The bust shapes are round and
covered by the square necked bodices.  All are square necked. Guess on
pattern.  Probably darts, partially because the  heaving interfacing and
bias  binding to finish the edges are all theatrical tricks I used to use.
(Amazing the details you can see w/ a jeweler's loop! <G>)
-	Not all the women have bodices, just the close up ones.  The bib apron is
used on a few.  (Though the bib apron is also used with people w/ bodices.)
-	Fabrics: nothing is matching from the photos I checked (though I think I’
ll catch the movie again).  Some times they use two shades of blue, one
underskirt one bodice.  I think that since the apron is so fully gathered,
on some it almost looks like the top skirt.

Hobbit Males:
<<detail that I noticed about the male hobbit costumes is that they are
deliberately cut with the emphasis on width.>> Yes, and pockets and waist
are also placed high.  This also changes how hobbits stand.  It’s off kilter
just enough our ‘eye’ notices.

Galadriel's white dress:
<< 2 photo's of Galadriel's white dress the *same* dress?>>  Both dress are
beaded.  Looked at all the photos, also beaded.  Necklines are different,
given how expensive that beading is, it might be the same dress modified.
Pattern looks like it “might” be the same.  Can’t tell.

To muddy the water, here’s another eleven dress.  The neckline matches, but
I’m not sure the sleeves are the right pattern.  Lighting makes it
impossible to identify the colors.  Anyone got any clues which dress this is
if the other beaded dresses match??????


Questionable: http://www.theonering.net/movie/scrapbook/large/2301
Old links: http://www.theonering.net/movie/scrapbook/large/2143
http://www.ringfan.com/~mbass/www.tolkienmovies.com/images/characters/imladr
is-galadriel.jpg.


-- easy way to look at detailing on the dress if you don’t have Photoshop.
Copy and paste the picture into a Word document and then increase the
magnification to 200% or 300%.

Just FYI, I'm going though the Casa Loma pictures and pulling out all the
costume ones I can.  I'll have the links as labeled as I can within a week.
(This is fun, if hard on the eyes.)


This just proves.. never give me a week off...  I find new obsessions.

Happy New Year!

-Cat-

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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Colors 2002 Predictions
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Date: Mon, 31 Dec 2001 18:28:44 +0000
Status: RO

Are these people related to wine critics?  "A multicultural red" ..." a
hueful neutral"  Do you think we'll be able to tell them from western
imperialist red and light grey?

Jean


>Overall, Color Directions for 2002 are fresh and clean,
>yet the colors are fascinatingly adaptable. Hues are ambiguous
>with mixed undertones that allow them to cross color families
>without being wholly defined by one.
>
>The 2002 Consumer Color Directions Forecast includes:
>
>Rosa Roja: A multicultural, non-synthetic red with a strong
>Latin influence. A romantic red that comes alive for both men
>and women.
>
>Langostino:
>Bridges orange, pink and red, yet it's softened and veiled.
>
>
>Tiger Lily: A complex and multidimensional orange combining
>the vibrant florals of nature with the satisfying glow of a quiet fire.
>
>
>Tangy: A natural, yet clear orange.
>
>
>Eureka: A cool yellow drawing its influence from Morocco and
>Vietnam. It's supernatural and strong, yet provides an energized
>contentment.
>
>
>Pineapple: A pale, luminescent yellow with organic overtones.
>It bridges spring into winter with a softness that is almost a
>neutral, but is able to maintain its color placement through
>a sense of light.
>
>
>Lemoncello: The hybridization of nature and technology into
>a sophisticated yellow, with a calming green influence.
>
>
>Gingko: The botanical green of dried grasslands, bridging the
>fresh excitement from mustard greens with the relaxing feel
>of a forest's treasured mosses.
>
>
>Mesa Verde: The return of true green, heralding a move away
>from recent acidity lime-greens. Strongly influenced by an
>undertone of blue, it is natural and refreshing.
>
>
>Oxygen:  A blue sky as seen through glass block.
>A breath of fresh air representing a silver influence on aquatic blues.
>
>
>Blue Bayou:  The shift of classic navy toward an updated
>techno-version of blue with a metallic, watery sheen.
>
>Fathom:  A key bridge of green into blue, it addresses the
>continuation and evolution of teals inspired by blue.
>Its sophisticated coloration completes the mind's need for peace
>and serenity.
>
>
>Essence of Lilac:  An extreme, pale botanical blue with a hint of
>lilac. It supports the desire for translucency across all market
>segments.
>
>
>Moon Shadow:  Provides a respite from technology and
>reflects our fascination with atmospheric grays.
>A hueful neutral that allows other colors to retain their
>individual appeal.
>
>
>Chocolate Raisin:  With its blending of brown into black,
>this saturated hue has a strong horticultural influence.
>It is complex, captivating and elegant in its richness.
>
>
>Sycamore: The evolution of a classic neutral brown.
>Edgy but luxurious.
>
>

-- 
Jean Waddie
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Subject: [h-cost] Re: [lace] Gold lace in Costume Institute
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Date: Tue, 01 Jan 2002 14:06:36 +0100
Status: RO

I got this news from the lace list. Some of you might be interrested.
I wish i could go and have a look!

Bjarne

Dmt11home@aol.com wrote:

> There is an exhibit at the Costume Institute at the Metropolitan 
> Museum of Art right now called Extreme Fashion.  While the exhibit is 
> interesting in its own right, the most interesting part to me was an 
> Elizabethan era collar.  It is a very transparent muslin, flat and 
> square shaped, with gold bobbin lace around it.  There is very little 
> gold bobbin lace left because people recovered the gold by 
> "drizzling", as I understand it.  The collar is so nicely lit that the 
> gold really stands out and you have a good idea of how splendid it 
> must have looked.  Also interesting, is that you can peer behind it to 
> see the "supportasse" behind it.  I was surprised at how pretty this 
> support was.  Gunnel, the lace expert, pointed out that the support 
> would have been fully visable from the back since it made the collar 
> stand straight up.
> Devon 


-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html



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Date: Tue, 1 Jan 2002 05:33:40 -0800 (PST)
Status: RO


--- Rebecca Anderson <lady_adele@hotmail.com> wrote:
So just for curiosity where are you all from and why
are you interested in historical costume

Well, for me it was enlightened self-interest.  I was,
until recently, a 300-lb. singer/harper.*  Since my
field is Very Early Music (pre-1400) I like to perform
in costume and couldn't find anything to fit me!

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

*now I'm a 210-lb. singer/harper!

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Date: Tue, 01 Jan 2002 08:33:45 -0500
Status: RO

My advice would be to get the Janice Ryan patterns for this period:

http://www.jpryan.com/

Her patterns are well-drafted and have clear instructions.  When I'm making
clothes for my hubby or for friends, I ask them to buy these patterns as a
base from which I can work.

The fall-front breeches, men's waistcoat (it says 1750s, but would work
fine for 1740s as well), and 1750s coat (ditto) would be a good set of
patterns to buy.  If I had to change one thing to back-date the patterns,
I'd cut the coat fronts in a straight line, rather than cut slightly back
from the waistline to the hem; that's an easy enough alteration to make.

A close second for 18th c. clothing would be Mill Farm patterns from
Burnley and Trowbridge, but I can't find that catalog and their web site
seems to be perpetually under construction, so I can't suggest any specific
patterns.

Cheers,
Mara

At 10:45 PM 12/30/2001 -0600, you wrote:
>A couple of my friends and I are doing costumes for Costume Con in 2003. 
> The gentleman involved is not confident enough to draft his own 
>pattern, so he wants to know what commercially available pattern is the 
>most accurate, easiest to use, etc.  The ones he is familiar with are:  
>1.  Richard the Thread:  http://www.richardthethread.com/patterns.html 
>(the Restoration one)
>2. the ones on this site:  http://www.harriets.com/Colonialmen.htm
>
>Could you let me know if either of these are any good, or if there are 
>others he should consider instead?  He is looking for a 1740's look (to 
>match his wife's outfit).  Thanks.
>
>Karen


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Date: Tue, 01 Jan 2002 08:20:38 -0700
Status: RO

Hi, and welcome....
I live in Missoula, MT (USA), and have "made" things since I was too
little to speak in complete sentences, so the sewing and embroidery are
just part of me.
I got into costuming because it was my job <g>--seriously, I worked for
a couple of years in a costume shop for my work-study job in college.  I
got a taste of historical-ish stuff then, but didn't get into it,
really, until, like you, I joined a group (the SCA in my case), and then
I went nuts. This was all well over a decade ago, and now my
fabric/books/trim stash threatens to take over the house. ;-P
The single thing I like most about this list, besides the amazing
variety of people, is all of our divergent interests, which have really
enlarged my perspective on clothing and textiles in the time I've been
on the list.  (since I don't say it nearly often enough, thanks
everybody <g>)
While I haven't actually ever made a gable headdress, you can find some
links to ideas/instructions on Drea's website:

http://www.dnaco.net/~aleed/corsets/general.html

Have fun.....
Sue

Rebecca Anderson wrote:
> 
> Happy New Year!!!
> 
> I've been lurking on the list for some time now and I've noticed that
> there are a lot of costumers on it. So just for curiosity where are
> you all from and why are you interested in historical costume?
> 
> My name is Rebecca Anderson and I live in Adelaide, South Australia. I
> started costuming less than 2 yrs ago. I've always been interested in
> history, then about 2 yrs ago I joined a historical re-enactment group
> and have been a costuming nut eversince.
> 
> 
> 
> Rebecca Anderson
> 
> aka Lady Adele Anders
> 
> P.S. How does one make a Tudor style gable hood? I've looked at a lot
> of pics and I'm totaly stumped.
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I live in Riverdale, Maryland, a suburb of Washington DC.  Always been 
interested clothes--made paper dolls and doll clothes as a child.  Majored in 
home economics in college.  Made many of my own clothes through the years.  
Got into various things such as lingerie and active wear.  (I still have 
boxes of fabric from these phases!)  Went to the University of Maryland for a 
Ph.D. in historic costume and textiles.  (Sorry for those of you who are 
interested in advanced study--the program is now defunct.)  Worked in some 
area theater costume shops but at the peon level, so I didn't get to do any 
design, which is what I really enjoy.  Then fell into a job at an early 19th 
century historic house museum, where I finally, after 5 years, have a 
full-time, professional position.  My main responsibility is programming, and 
living history is always popular, so I have gotten into early 19th century 
costume.  I'm a member of the Costume Society of America and have presented 
papers and posters based on my research.
My husband is a square dance caller, and I still make square dance clothes, 
too, although I have given up on daywear.  When I figure in my time, I can't 
make a pair of lined wool slacks for $30, which I paid for a pair yesterday.  

For the square dance attire, I've developed what I call a template--use the 
same pattern all the time with minor variations and easy fit and 
construction--no zippers and I serge all the seams I can.
One thing that early 19th century and square dance clothes have in common is 
that I get to play with trims, which I dearly love to do.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I live in Riverdale, Maryland, a suburb of Washington DC.&nbsp; Always been interested clothes--made paper dolls and doll clothes as a child.&nbsp; Majored in home economics in college.&nbsp; Made many of my own clothes through the years.&nbsp; Got into various things such as lingerie and active wear.&nbsp; (I still have boxes of fabric from these phases!)&nbsp; Went to the University of Maryland for a Ph.D. in historic costume and textiles.&nbsp; (Sorry for those of you who are interested in advanced study--the program is now defunct.)&nbsp; Worked in some area theater costume shops but at the peon level, so I didn't get to do any design, which is what I really enjoy.&nbsp; Then fell into a job at an early 19th century historic house museum, where I finally, after 5 years, have a full-time, professional position.&nbsp; My main responsibility is programming, and living history is always p!
opular, so I have gotten into early 19th century costume.&nbsp; I'm a member of the Costume Society of America and have presented papers and posters based on my research.<BR>
My husband is a square dance caller, and I still make square dance clothes, too, although I have given up on daywear.&nbsp; When I figure in my time, I can't make a pair of lined wool slacks for $30, which I paid for a pair yesterday.&nbsp; <BR>
For the square dance attire, I've developed what I call a template--use the same pattern all the time with minor variations and easy fit and construction--no zippers and I serge all the seams I can.<BR>
One thing that early 19th century and square dance clothes have in common is that I get to play with trims, which I dearly love to do.<BR>
Ann Wass</FONT></HTML>

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Date: Tue, 1 Jan 2002 10:25:54 -0800
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At 02:47 PM 12/31/2001 -0800, you wrote:
>Ah thanks, from the discussion I thought maybe they were con artists.  my
>mistake.


Well, Kincade is something of a con artist, in that he's managed to convince
so many people that his work is Art....Oh!  You meant SCIENCE FICTION
CONVENTION artist!

Margo


Margo Anderson's Historic Costume Patterns
margospatterns.com

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  Happy New Year!!!
  I've been lurking on the list for some time now and I've noticed that =
there are a lot of costumers on it. So just for curiosity where are you =
all from and why are you interested in historical costume?

  Hi!  I'm Moira, and I live in sunny Florida, USA.  I've been =
interested in cultures, languages and costumes for as long as I can =
remember, and have been trying to do it myself since early 1994 when I =
joined a group called the SCA and realized I couldn't afford to buy =
garb/costumes for the (then) 4 of us, but knew how to sew.  Now it's 6 =
of us, and my almost 4 year old is a garbhorse.  I'm presently trying to =
come up with something beautiful but practical for being in a wheelchair =
and a herald.;-}

  Yours In Service to the Dream,

  Moira bean Eoin (Heather modernly)


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  <DIV style=3D"FONT: 10pt arial"><BR>Happy New Year!!!</DIV>
  <DIV>
  <P>I've been lurking on the list for some time now and I've noticed that there
  are a lot of costumers on it. So just for curiosity where are you all from and
  why are you interested in historical costume?</P>
  <P><FONT color=3D#800080 size=3D4>Hi!&nbsp; I'm Moira, and I live in sunny
  Florida, USA.&nbsp; I've been interested in cultures, languages and costumes
  for as long as I can remember, and have been trying to do it myself since
  early 1994 when I joined a group called the SCA and realized I couldn't afford
  to buy garb/costumes for the (then) 4 of us, but knew how to sew.&nbsp; Now
  it's 6 of us, and my almost 4 year old is a garbhorse.&nbsp; I'm presently
  trying to come up with something beautiful but practical for being in =
a
  wheelchair and a herald.;-}</FONT></P>
  <P><FONT color=3D#800080 size=3D4>Yours In Service to the =
Dream,</FONT></P>
  <P><FONT color=3D#800080 size=3D4>Moira bean Eoin (Heather
  modernly)</FONT></P></DIV></BLOCKQUOTE></BODY></HTML>

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Date: Tue, 01 Jan 2002 14:48:16 -0800
Status: RO

I do like Maggie's theory though about expanding waist 
>sizes.  I mean, that's why the style is so popular at renfairs, no?

No.  There they just do it to look wenchy, and because it's easy to wear. 

Kayta
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Subject: [h-cost] Tudor hood
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Date: Tue, 01 Jan 2002 11:27:10 -0800
Status: RO

P.S. How does one make a Tudor style gable hood? I've looked at a lot of pics
and I'm totaly stumped.

I started with a square-backed linen under-cap which tied under my chin, like
in a Holbein drawing I saw.  Everything else got fastened to this. I added a
"turban" made of a two-inch strip of striped taffeta crossed over in the front
(visible in the paintings).  Then I added the gable part, which was a decorated
two-inch strip lined with something stiff.  I did later-period, so I pinned the
lappets up after I made them.  In the back of the gable I put a square-backed
velveteen part like the under-cap has but with two tails so I could do that
'whelk shell' wrap over the top with one of them.  As I said, all the hood part
got pinned to the under-cap, which was securely tied to my head.  But the fit
was so good (finally) that I almost didn't need to pin anything.

Look into Holbein drawings.  There's one of the front and the back of the same
lady, and that was very instructive.  But my standard advice is to play with
muslin/calico or paper till you get it looking right, then make a real one. 
(I've been doing costuming so long that I can sort of detach myself from the
glitz and look at the topology of what I am seeing, which helps.)  Use a
Styrofoam wig stand, so you can pin the parts to it.

>
> I've been lurking on the list for some time now and I've noticed that there
> are a lot of costumers on it. So just for curiosity where are you all from
> and why are you interested in historical costume?


I live in California near San Francisco, a part of the USA which has lots of
costumery going on for various reasons.  As for why I am interested, I liked to
create costumes from a dress-up box when I was a kid, so my mother gave me my
first costume book when I was 8.

>
> My name is Rebecca Anderson and I live in Adelaide, South Australia. I
> started costuming less than 2 yrs ago. I've always been interested in
> history, then about 2 yrs ago I joined a historical re-enactment group and
> have been a costuming nut eversince.


I spent 3 days in Adelaide, on an SCA trip I did in the early 80's.  I remember
being overflown by a flock of wild budgies, and I remember brush fences and
Stobie poles.  Nowadays my morris side does a dance called 'South Australia',
and I'm the only one of us who's actually been there.

Kayta
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From: "Maggie Secara" <maggiros@adelphia.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] LOTR - end credits -- again
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Date: Tue, 1 Jan 2002 14:59:59 -0800
Status: RO

I've been looking on vcarious fan sites and can't find any mention.  But they do
say that Maori shamen (or whatever the correct term is) blessed the various
shooting sites, so it may be safe to say it's either a thank you or a blessing
of some kind.


MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of michaela
> Sent: Monday, December 31, 2001 10:48 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] LOTR - end credits -- again
>
>
> > Another uninformed guess -- Ngaio Marsh's novels sometimes include phrases
> of
> > Maori, and the phrases I can recall certainly resemble the lines from the
> end > credits.  I suspect it is Maori, but have no idea what it would mean.
>
> Does anyone remember the phrases? I might be anble to hazard a guess,
> especially if it's thanks to say local tribes for use of land etc.. it's not
> on the official sites or anyone fast enough to get it on a personal site?
>
> michaela
>
> _______________________________________________
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From h-costume-admin@indra.com  Tue Jan  1 18:16:56 2002
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Subject: [h-cost] Re: Alix's dress questions
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Date: Tue, 1 Jan 2002 18:43:10 EST
Status: RO

<<It is tight-fitting so could it be laced on the sides?>>

Alix,

This style would have laced in the back only.  Think about it, if you do the 
belting as pictured then side lacing would clutter the image.

As for underarm gores, if this dress is like the 10-gore I am thinking it is, 
then the side gores go all the way up to the underarm so that you don't need 
separate triangular gores in the armpits.  A historical 10-gore would indeed 
have a waist-high gore in front too, but I think you could skip that if you 
are doing renny-fantasy and prefer the smooth front look.  The train I'd 
recommend as a semi-circle (1/3 to 1/2 a circle with a diameter equal to the 
width of the dress at the hemline)  which will make it come down much longer 
than the front hem which is only slightly curved.  

The sleeves would prbably be easiest for a beginner done as tubes for the 
upper arm stitched to separate lower sleeves.  (Trim will cover the seam.) I 
really can't think how to describe the shape of the lower sleeves...  But for 
the upper sleeves: Measure the circumference of the top of your arm at the 
underarm arm and again above the elbow.  Measure the length of your arm 
between those circumferences.  Mapped out on your scrap material or pattern 
paper, this should give you a slightly trapezoidal shape.  Now  measure the 
hieght difference from your underarm to your shoulder top -- about 5 inches 
for medium arms.  Find the center of the top of the trapezoid and draw a mark 
directly above it the number of inches you just measured.  Now draw a gentle 
arc that connects the right point of the top of the trapezoid to the center 
dot to the opposite trap corner.  (Your seam will be under your arm when sewn 
together.)  On the fitted undersleeves...  Although they were probably a 
separate fitted smock/underdress, you could easily do mock-sleeves sewn 
inside the bottom of your upper arm tubes to save material.  It'd be a bit 
cooler for summerwear.  I'm not a silk expert, since I'm more of a brocade 
and velvet fiend, but some sort of silk would look delicious on this dress I 
think.  And green is always a good choice.  :)

On lacing, you'll want to poke holes through the material with an awl 
(available at most fabric stores in the notions dept).  The awl moves the 
threads aside instead of cutting them, which means little fraying of your 
material at the eyelet.  I also suggest fusing a strip of interfacing to the 
inside of the silk where the holes will be, to reinforce it.  Grommets with 
washers are better than eyelets, cuz they don't rip out often.  Make holes 
about every inch on one side, then do the same on the other except start your 
row 1/2 an inch down from where you did on the first side.  That will set 
your holes for spiral lacing, which simply means lacing a single cord in a 
zigzag down both sides.  Knot one end to keep it in place, then slip on the 
dress and tighten.  Then tie off the other end.  Pic below (Drea's maybe?), 
though it doesn't show how the eyelets should be offset:

http://www.dnaco.net/~aleed/corsets/lizpics/lacing/splacing.jpg

The false braids would look wonderful with gold cord or maybe green ribbon to 
match your dress braided in.

Hope this helps,
Gillian
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From h-costume-admin@indra.com  Tue Jan  1 18:34:20 2002
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Date: Tue, 1 Jan 2002 18:59:50 -0500
Status: RO

I took Ben's first class and LOVED it. Wonderful info! I haven't been 
able to make anything from it yet except a pair of small brooches, 
but am itching to get started- on the jewelry, at least as much as 
the clothing. I loved the wealth of pictures!

I'd love to sign up for the next one but just can't spare the time 
again so soon after the first. I'm hoping it'll be offered again, 
though....

-Amanda
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Subject: [h-cost] Re: how I got into historical costuming...
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Date: Tue, 1 Jan 2002 19:46:58 EST
Status: RO

In a message dated 1/1/02 3:42:34 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< Happy New Year!!!
I've been lurking on the list for some time now and I've noticed that there 
are a lot of costumers on it. So just for curiosity where are you all from 
and why are you interested in historical costume?>>

My Elizabethan name is Gillian Tedcastle, and I live in Boston.  I sewed the 
doll pillow that came with Simplicity sewing machines in the 80's, but when 
all the threads pulled right out I decided sewing wasn't for me, hehe.  I 
didn't know to backstitch or knot back then.

Today, I am a seamstess.  So how did that happen?  Well, I went off to 
college, and in a moment of boredom I decided to go to a meeting of the 
Medieval Guilde-- a club on campus.  That was 8 years ago.  I'd always been a 
reader of fantasy, and loved tales of knights, etc.  I ended up returning for 
more meetings, until the president announced an event was coming up and we 
had to "make" garb for it.  Me?!  Sew?!  But she held some workshops and 
brought her sewing machine for all to use, and I eventually made the most 
horrid piece of costuming ever.  I switched colleges after that, but my 
interest in sewing period garb continued.  After much practice, and learning 
sewing techniques--I highly recommend the "Vogue Sewing Book" -- I began to 
sell my creations at local LARPs.  I now do corsetry, modern gothic design, 
and renny garb.  I am still learning about historical patterns, so most of my 
comissions and sales to date are Dark Age or Renaissance-inspired fantasy.

<<My name is Rebecca Anderson and I live in Adelaide, South Australia. I 
started costuming less than 2 yrs ago. I've always been interested in 
history, then about 2 yrs ago I joined a historical re-enactment group and 
have been a costuming nut eversince.

Rebecca Anderson
aka Lady Adele Anders>>

Hello Rebecca!  And welcome to our lil list of obsessors.  *grin*

<<P.S. How does one make a Tudor style gable hood? I've looked at a lot of 
pics and I'm totaly stumped.>>

Well, below is a site for period headress of the same time period.  No gable 
hood yet, though.  Simplicity has a pattern including a gable hood, but I 
doubt it's accurate.  Perhaps you could combine the French hood by McMasters 
with the Simplicity pattern # 9929, since I do know the french evolved from 
the earlier gable.  But if Simplicity tells ya to use cardboard, don't.  Use 
buckram over a wire frame for historical accuracy, or plastic canvas for 
costume that won't get ruined in rain.

http://pweb.jps.net/~patterns/patterns.html

Incidentally, Simplicity has also come out with a pattern group inspired by 
Maulin Rouge = # 9899

Happy New Years!
Gillian
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Date: Tue, 01 Jan 2002 20:46:16 -0500
Status: RO


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> Happy New Year!!!I've been lurking on the list for some time now and
> I've noticed that there are a lot of costumers on it. So just for
> curiosity where are you all from and why are you interested in
> historical costume?
>
>


   Welcome and Hello!  I'm going to come out of 'lurk and comment
briefly' mode to pipe in my reasons why.....

   To introduce myself, my name is Crissy Brillant.  I started sewing as
soon as I was old enough to pick up a needle.   My earliest costume
memory is of my mother sewing ALL the costumes for our church's
production of Jesus Christ Superstar when I was 5yrs old. I fell in love
with all the shiny sparkly bits that were left over that she let me play
with. Soon enough I got a toy sewing machine that really sewed, but I
wanted to use the "big one " like Mom.  I was told I could use it when I
could reach the pedal.  The next day Mom came out to see me at the
machine trying to thread it. I had put the pedal up on several
encyclopedia volumes so I *could* reach it and I had already wound the
bobbin!  At this point she decided it would probably be easier to teach
me how to sew rather than argue that I was still too little to use her
machine.
     I have always enjoyed playing with color combinations and
embellishment options, but as a result I end up with things that are
"historically inspired" most times rather than "historically accurate".
I went to my first  Ren faire when I was 14 and fell in love with the
clothes. I started researching Elizabethan outfits and after a few years
found the group called the SCA. I joined soon enough.   Also, throughout
High school I always entered the Tech Competitions in the Theater
District Competitions as well as designing and building several shows.
   I went to college for Theatrical Design , but I found that I just
worked better on my own schedule. I didn't like the pressure of doing
four shows at once, with not much shop help.  After three years I quit
and ended up at Jo-ann's Fabrics.  At least I get my fabric fix daily
and I *don't * have to bring it all home!
    I still play quite actively in the SCA and I sew costumes for lots
of friends that perform in the local Ren faires and in the SCA.  I sell
"historically inspired" outfits at RenFaires ( costume flavors for the
masses...), but I have found myself edging towards more accurate fabrics
and styles for myself.  This still gives me an outlet for those
wonderful color combinations I started with in the first place......

And as to how I got the nickname SewingGoddess... well... I did one
small "Midwinter Medieval Festival" in sunny ol' Florida one warm
February day.  At a Nudist resort.  Very interesting. I went with an
open mind and with the intent to have a good time that day. Even if I
didn't sell any clothing. Was I ever wrong.  The nudists bought as much
garb in one weekend as I ususally sold at a regular small faire.  But
they didn't wear complete outfits... more like ... parts thereof.  Like
I said....very interesting weekend. So I ended up with the nickname
SewingGoddess, because I can and Have sold clothing to Nudists.

Sewing like a madwoman...another faire this weekend.....

Crissy

--------------23D40EF22028A3562C8C78A0
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<html>
&nbsp;
<br>&nbsp;
<blockquote TYPE=CITE>
<div style='background-color:'>&nbsp;
<br>&nbsp;
<p>Happy New Year!!!I've been lurking on the list for some time now and
I've noticed that there are a lot of costumers on it. So just for curiosity
where are you all from and why are you interested in historical costume?
<br>&nbsp;</div>
</blockquote>
&nbsp;
<p>&nbsp;&nbsp; Welcome and Hello!&nbsp; I'm going to come out of 'lurk
and comment briefly' mode to pipe in my reasons why.....
<p>&nbsp;&nbsp; To introduce myself, my name is Crissy Brillant.&nbsp;
I started sewing as soon as I was old enough to pick up a needle.&nbsp;&nbsp;
My earliest costume memory is of my mother sewing ALL the costumes for
our church's production of Jesus Christ Superstar when I was 5yrs old.
I fell in love with all the shiny sparkly bits that were left over that
she let me play with. Soon enough I got a toy sewing machine that really
sewed, but I wanted to use the "big one " like Mom.&nbsp; I was told I
could use it when I could reach the pedal.&nbsp; The next day Mom came
out to see me at the machine trying to thread it. I had put the pedal up
on several encyclopedia volumes so I *could* reach it and I had already
wound the bobbin!&nbsp; At this point she decided it would probably be
easier to teach me how to sew rather than argue that I was still too little
to use her machine.
<br>&nbsp;&nbsp;&nbsp;&nbsp; I have always enjoyed playing with color combinations
and embellishment options, but as a result I end up with things that are
"historically inspired" most times rather than "historically accurate".&nbsp;
I went to my first&nbsp; Ren faire when I was 14 and fell in love with
the clothes. I started researching Elizabethan outfits and after a few
years found the group called the SCA. I joined soon enough.&nbsp;&nbsp;
Also, throughout High school I always entered the Tech Competitions in
the Theater District Competitions as well as designing and building several
shows.
<br>&nbsp;&nbsp; I went to college for Theatrical Design , but I found
that I just worked better on my own schedule. I didn't like the pressure
of doing four shows at once, with not much shop help.&nbsp; After three
years I quit and ended up at Jo-ann's Fabrics.&nbsp; At least I get my
fabric fix daily and I *don't * have to bring it all home!
<br>&nbsp;&nbsp;&nbsp; I still play quite actively in the SCA and I sew
costumes for lots of friends that perform in the local Ren faires and in
the SCA.&nbsp; I sell "historically inspired" outfits at RenFaires ( costume
flavors for the masses...), but I have found myself edging towards more
accurate fabrics and styles for myself.&nbsp; This still gives me an outlet
for those wonderful color combinations I started with in the first place......
<p>And as to how I got the nickname SewingGoddess... well... I did one
small "Midwinter Medieval Festival" in sunny ol' Florida one warm February
day.&nbsp; At a Nudist resort.&nbsp; Very interesting. I went with an open
mind and with the intent to have a good time that day. Even if I didn't
sell any clothing. Was I ever wrong.&nbsp; The nudists bought as much garb
in one weekend as I ususally sold at a regular small faire.&nbsp; But they
didn't wear complete outfits... more like ... parts thereof.&nbsp; Like
I said....very interesting weekend. So I ended up with the nickname SewingGoddess,
because I can and Have sold clothing to Nudists.
<p>Sewing like a madwoman...another faire this weekend.....
<p>Crissy</html>

--------------23D40EF22028A3562C8C78A0--

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So.... does this mean you're going to be at Peasant's Revolt this coming =
weekend?
Moira
ps did you go to Hero of the Chalice this past weekend?
  Sewing like a madwoman...another faire this weekend.....

  Crissy


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<DIV><FONT face=3DArial size=3D2>So.... does this mean you're going to =
be at
Peasant's Revolt this coming weekend?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Moira</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>ps did you go to Hero of the Chalice this past
weekend?</FONT></DIV>
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style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <P>Sewing like a madwoman...another faire this weekend.....
  <P>Crissy </P></BLOCKQUOTE></BODY></HTML>

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Date: Tue, 1 Jan 2002 21:25:58 -0600 (CST)
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I've just posted a bunch of fabric for sale to the h-cost marketplace
list. If you missed out on the discussion of this, you can join at
<www.communityzero.com/hcostume/index.cfm>. Or, if you prefer, email me
directly and I'll send you a list of what I have available.

--Robin


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Welcome to the list, Rebecca! There are plenty of fellow costume addicts =
here to share your passions. ;-)

I am from Southeast Alabama (well, originally from Virginia, but moved =
down here this past September). My husband and I do American Civil War =
(Confederate) reenacting with our three little boys, and we've also =
dabbled in Regency and Colonial reenacting. I started sewing by hand for =
my dolls when I was five and on the machine when I was eight. I hated =
sewing on the machine and quit doing it when I was ten, swearing I'd =
never learn to use patterns or sew for anything larger than an 18" doll! =
But when I was 14 and saw "Anne of Green Gables" on television, I begged =
my mother to make me dresses like Anne's. She wryly pointed to the =
sewing machine, and that's when I determined to conquer it. I've loved =
it ever since. I made countless vintage-style outfits for myself before =
I ever sewed for others, and I started my own costuming business back in =
1996 when I was married. Now, with three little boys requiring lots of =
mommy time, I just make patterns for others and sew for myself and my =
family (with occasional exceptions when a project comes along that I =
can't resist!). My favorite era to wear is the English Regency, but the =
Edwardian era runs a close second. I love reenacting, but I usually end =
up frustrated with the yards and yards of material involved in sewing =
mid-Victorian fashions. ;-)

Right now I am working on a new tailcoat and narrow fall trousers for my =
husband for a Regency evening party we'll be attending in February. Then =
I'll make a new ballgown for myself. I just finished an 1830s day dress =
inspired by one of the outfits in A&E's "Wives and Daughters" =
miniseries. I just published a 1940s "Swing" dress pattern that I began =
work on in 2001. The next pattern on my drawing board is a 1914 =
afternoon dress, and I am currently doing the finishing work on a =
Regency spencer/pelisse pattern that I hope to publish this Spring.

Again, welcome to the list, and have fun!

Cheers,
Jennie Chancey

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Welcome to the list, Rebecca! There are =
plenty of
fellow costume addicts here to share your passions. ;-)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I am from Southeast Alabama (well, originally from
Virginia, but moved down here this past September). My husband and I do American
Civil War (Confederate) reenacting with our three little boys, and we've also
dabbled in Regency and Colonial reenacting. I started sewing by hand for my
dolls when I was five and on the machine when I was eight. I hated sewing on the
machine and quit doing it when I was ten, swearing I'd never learn to use
patterns or sew for anything larger than an 18" doll! But when I was 14 and saw
"Anne of Green Gables" on television, I begged my mother to make me dresses like
Anne's. She wryly pointed to the sewing machine, and that's when I determined to
conquer it. I've loved it ever since. I made countless vintage-style outfits for
myself before I ever sewed for others, and I started my own costuming business
back in 1996 when I was married. Now, with three little boys requiring lots of
mommy time, I just make patterns for others and sew for myself and my family
(with occasional exceptions when a project comes along that I can't resist!). My
favorite era to wear is the English Regency, but the Edwardian era runs a close
second. I love reenacting, but I usually end up frustrated with the yards and
yards of material involved in sewing mid-Victorian fashions. ;-) =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Right now I am working on a new tailcoat and narrow
fall trousers for my husband for a Regency evening party we'll be attending in
February. Then I'll make a new ballgown for myself. I just finished an 1830s day
dress inspired by one of the outfits in A&amp;E's "Wives and Daughters"
miniseries. I just published a 1940s "Swing" dress pattern that I began work on
in 2001. The next pattern on my drawing board is a 1914 afternoon dress, and I
am currently doing the finishing work on a Regency spencer/pelisse pattern that
I hope to publish this Spring.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Again, welcome to the list, and have
fun!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Cheers,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Jennie Chancey</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><BR>- - - - - - - - - - - - - - - - - - =
- - - -
-<BR>Sense and Sensibility Clothing and Patterns<BR><A
href=3D"http://www.sensibility.com">http://www.sensibility.com</A><BR>win=
some
clothing with an old-fashioned appeal</FONT></DIV></BODY></HTML>

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Subject: Re: [h-cost]  Sorcerers vs Philosophers...
References: <200112281359.fBSDxiZ28639@net.indra.com> from
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Date: Tue, 01 Jan 2002 22:29:42 -0500
Status: RO

Hi, All. I think the German is the closest to the intended meaning, as the
stone in question is intended to turn any base metal into gold. The English
usage is generally termed "Philosopher's Stone". I am glad that J.K. Rowling
did her homework, and Nicolas Flamel and his wife were included. I knew I was
wierd when I knew the answers to all of the questions that Professor Snape
asks Harry (the answer to the first question is not Draught of the Living
Death, but a vermifuge and antidote against the stings of spiders and
scorpions). Don't have any costume content to go with that...Mike T.

> Barbara Maren Winkler <barbara@math.tu-berlin.de> asks
> >
> >Oh, another useless question -- when and for whom (England, America,
> >Australia, New Zealand?) is it "Harry Potter and the Philosophers' Stone"
> >or "Harry Potter and the Sorcerers' Stone", and does any of that have the
> >connotations of the German "Stein der Weisen", which was supposed to be
> >the ultimate ingredient in alchemy to produce gold, and is proverbial for
> >some ultimate good you search but never achieve?
>

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Subject: [h-cost] The H-Costume swap & sell community - a question for the list
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Date: Tue, 01 Jan 2002 22:17:42 -0600
Status: RO

Greetings,

Even though, I started it, I consider it the list's community.  For those 
who used the list "invitation" to sign up they don't need my (the community 
administrator's) approval.  However, those who signed up through the site 
do require approval. So, here is my question.  Should people who sign-up 
(not through "invitation") and don't disclose a name or email be 
approved?  How does everyone feel about that?

Cheers,
Danielle

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From h-costume-admin@indra.com  Tue Jan  1 22:56:57 2002
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Subject: Re: [h-cost] LOTR - end credits
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Date: Tue, 01 Jan 2002 23:14:59 -0500
Status: RO

Hi. I believe it was the Maori language, although what it's proper name is,
I don't know. I loved the little detail on the boats. The paddles were of a
type found in the South Pacific, but I suppose the art director thought they
looked Elvish, being leaf shaped and all. Everywhere, John Howe's influence
could be seen (Gothic plate on the Ringwraiths, a sweet 15th Cent hand-and-a
half sword with byeknife for Aragorn, a great 15th/16th Cent lantern carried
by the gatekeeper at Bree, etc.) John and his compatriot Gerry Embleton have
one of the best (if not THE best) 15th cent. reenactment groups in the world
(The Companie of Saynte George). You can see them on their website
http://www.companie-of-st-george.ch/index_1.phtml  If you go to the Gallery
page, and look at the picture entitled "Swiss in snow above Grandson", you
can see John (the guy in the middle).  Mike T.   (We are not worthy...We are
not worthy)



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From h-costume-admin@indra.com  Tue Jan  1 23:02:36 2002
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Date: Tue, 01 Jan 2002 23:21:14 -0500
Status: RO

Hi, All. The studs on Boromirs tunic looked different and asymmetrical to me.
One looked like a diamond, another like a bird. They might have perhaps tried
to create different types of spangles of different shapes. they looked to me
like the metal fittings from the Sutton Hoo shield, some geometric, some animal
based, and the stuff on the sleeves looked to me like embroidery in bullion.
Mike T.



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From h-costume-admin@indra.com  Tue Jan  1 23:17:52 2002
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Subject: Re: [h-cost] The H-Costume swap & sell community - a question for the list
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Date: Tue, 1 Jan 2002 22:37:30 -0600
Status: RO

What is the point of being a part of a community if you do not disclose who
you are or how to get a hold of you?

My answer is no. No shirt, no shoes, no name, no email, no entrance.

Sincerely,
Franchesca Havas
McKinney, Texas
 º°`°º¤ø,¸¸,ø¤º°`°º¤ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤

----- Original Message -----
From: "Danielle Nunn-Weinberg" <dannw@mediaone.net>
To: <h-costume@indra.com>
Sent: Tuesday, January 01, 2002 10:17 PM
Subject: [h-cost] The H-Costume swap & sell community - a question for the
list


> Greetings,
>
> Even though, I started it, I consider it the list's community.  For those
> who used the list "invitation" to sign up they don't need my (the
community
> administrator's) approval.  However, those who signed up through the site
> do require approval. So, here is my question.  Should people who sign-up
> (not through "invitation") and don't disclose a name or email be
> approved?  How does everyone feel about that?
>
> Cheers,
> Danielle
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Tue, 01 Jan 2002 22:04:49 -0700
Status: RO

I agree. Put up or shut up.

MD/Marged

Chiara wrote:
> 
> What is the point of being a part of a community if you do not disclose who
> you are or how to get a hold of you?
> 
> My answer is no. No shirt, no shoes, no name, no email, no entrance.
> 
> Sincerely,
> Franchesca Havas
> McKinney, Texas
> €º°`°º€ø,¸¸,ø€º°`°º€ø€º°`°º€ø,¸¸,ø€º°`°º€ø€º°`°º€ø,¸¸,ø€º°`°º€Ù
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From h-costume-admin@indra.com  Tue Jan  1 23:35:51 2002
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  for the  list
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Date: Tue, 01 Jan 2002 23:06:28 -0600
Status: RO

Well that was easy.  I happen to agree.  I just didn't want to be 
autocratic about it.  The person was declined with a message saying that 
the community was designed specifically for members of this list.

cheers,
Danielle

At 10:04 PM 1/1/2002 -0700, you wrote:
>I agree. Put up or shut up.
>
>MD/Marged
>
>Chiara wrote:
> >
> > What is the point of being a part of a community if you do not disclose who
> > you are or how to get a hold of you?
> >
> > My answer is no. No shirt, no shoes, no name, no email, no entrance.
> >
> > Sincerely,
> > Franchesca Havas
> > McKinney, Texas
> > €º°`°º€ø,¸¸,ø€º°`°º€ø€º°`°º€ø,¸¸,ø€º°`°º€ø€º°`°º€ø,¸¸,ø€º°`°º€Ù

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From: Danielle Nunn-Weinberg <dannw@mediaone.net>
To: h-costume@indra.com
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Subject: [h-cost] HCostume fabric sell or swap...
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Date: Wed, 02 Jan 2002 00:18:50 -0500
Status: RO

For those of you who missed the invitation for the
communities the first time - here it is again.

Cheers,
Danielle

	
Your invitation to join:
"HCostume fabric sell or swap..."

TO JOIN, CLICK HERE:
http://www.communityzero.com/hcostume/index.cfm?key=633-RUX

After clicking on the above link you will see the community's 
welcome page.  Click the 'JOIN THIS COMMUNITY' link found on 
the center of the welcome page.

Your invitation key is: 633-RUX

----------------------------------------------------------------

If you cannot click on the link, cut and paste the Web address 
into the "Address" area of your Web browser.  Note that the 
invitation key is NOT your user name.  You must select your own
user name and password when creating a new account.

This is a private and interactive website for the group. 
Registration is free and your privacy will be respected. You 
will not receive e-mail SPAM after registration.

If you experience problems using the above link, please ensure
it was not split into two lines.  If so, cut and paste the full
Web address into the Web browser's "Address" area.

This invitation was sent by Danielle Nunn-Weinberg.

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From h-costume-admin@indra.com  Wed Jan  2 00:05:50 2002
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To: <h-costume@indra.com>
References: <0Xb$AEAc5KM8Iw3A@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Colors 2002 Predictions
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Date: Wed, 2 Jan 2002 00:29:02 -0500
Status: RO

The Color Marketing group is actually the largest color organization for
people in the color related industries.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com


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From h-costume-admin@indra.com  Wed Jan  2 00:49:56 2002
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Subject: [h-cost] Re: Why I got into Costume
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Date: Wed, 2 Jan 2002 01:07:59 -0500
Status: RO

Hi Rebecca and welcome!!!!

I have interest in most areas of costume, historic, fantasy, wearable, film,
bridal, holiday, and current and futuristic fashion.  I do have a special
fondness for historic costume, film, and wearable art.   I do have favorite
areas bustle & 1890s eras and Egyptian.  I research color history in fashion
and have a blast trying to predict fashion trends.

After three decades and having six kids, I finally finished my degree in
fashion in 1997 with emphasis in costume design, marketing, and computers.
I am a member of Costume Society of America and served (past tense) as their
webmaster for three years.

I have been sewing since 4 y.o. I got into fashion because of home ec. in
6th grade.  I stayed in that study for 6 years.  I also took a lot of art
and mechanical drawing classes.  I got into historic costume study the last
time I went back to college.  I did my internship in a museum's costume
collection... so that really hooked me on historic costume.  I got into film
costume because I married a film major.  I love fantasy costume because I
grew up around Mardi Gras.  I got hooked on wearable art clothing five years
ago at an annual show in Williamsburg, VA.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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From h-costume-admin@indra.com  Wed Jan  2 00:50:49 2002
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From: "Maggie Secara" <maggiros@adelphia.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] The H-Costume swap & sell community - a question for the list
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Date: Tue, 1 Jan 2002 22:15:27 -0800
Status: RO

It really is for h-cost members.  You should probably post an invitation to the
list (as you just did) on a monthly basis or so, because our population is
constantly changing.

When you returned the "rejection" notice, did you send the h-cost signup
address? We don't want to lose good new members just because they're knocking on
the back door :)

MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Danielle Nunn-Weinberg
> Sent: Tuesday, January 01, 2002 8:18 PM
> To: h-costume@indra.com
> Subject: [h-cost] The H-Costume swap & sell community - a question for
> the list
>
>
> Greetings,
>
> Even though, I started it, I consider it the list's community.  For those
> who used the list "invitation" to sign up they don't need my (the community
> administrator's) approval.  However, those who signed up through the site
> do require approval. So, here is my question.  Should people who sign-up
> (not through "invitation") and don't disclose a name or email be
> approved?  How does everyone feel about that?
>
> Cheers,
> Danielle
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-admin@indra.com  Wed Jan  2 00:55:50 2002
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From: "Margretta de Vries" <mdevries@sunflower.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Re: Kat and violence in LOTR
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Date: Wed, 2 Jan 2002 00:26:00 -0600
Status: RO

You know, Tolkien himself said that these books were not, in fact, a
metaphor for WWII.  I am not sure where the quote is to be found, but I will
look.

Margretta
(delurking)

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Azelana@aol.com
Sent: Tuesday, January 01, 2002 1:37 AM
To: h-costume@indra.com
Subject: [h-cost] Re: Kat and violence in LOTR


In a message dated 12/31/01 2:34:35 AM Eastern Standard Time,
h-costume-request@indra.com writes:

<< I agree with Margo, however. I didn't care much for it as it was
 *way* too violent for me. I spent a good portion of the movie
 (especially in the last part) with my head buried in my husband's
 shoulder going "are they done fighting yet." However, since it is a
 cultural icon, I will go see the other two. >>

Oh dear!  There's going to be a war, ya know...  LOTR is a metaphorical
account of Tolkien's own emotional experiences of WWII, written into a
fantasy story.  I'm afraid it will get MUCH more violent.  Felt I should
warn
you.

--Gillian
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From h-costume-admin@indra.com  Wed Jan  2 00:56:05 2002
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From: "Margretta de Vries" <mdevries@sunflower.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] new year's needlework resolutions
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Date: Wed, 2 Jan 2002 00:26:01 -0600
Status: RO

My needlework resolution is to finish one project every month.  I am trying
to expand my civil war reenacting wardrobe, and this is the only way it is
going to get done!

Margretta de Vries
deluring (again) in Lawrence, KS

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Sunday, December 30, 2001 6:18 PM
To: h-costume@indra.com
Subject: [h-cost] new year's needlework resolutions


The new year begins Tuesday.

One needlework resolution is to finish the macrame purse I should have
finished this year for my ship-captain's-wife Dickens' Fair character.  I
finally got all the string measured out...  This character also needs a
collar and cuff set, petticoat and drawers and chemise lace, and maybe a
breakfast cap, all in crochet.  But I don't know if I want to encumber my
resolution list with those or not.

None of my other historical characters, nor dolls, are screaming for
needlework at this moment.  (I'm sure they will when I'm in the middle of
something else.)

Does anyone else have new year's needlework resolutions?

Kayta
   //// \\\
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From h-costume-admin@indra.com  Wed Jan  2 01:04:32 2002
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Welcome Crissy!!!!

I got a good laugh about the nudist marketplace...... who would have
thought!!!!! ROTFLMBO

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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<DIV>I got a good laugh about the nudist marketplace...... who would =
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<DIV><FONT size=3D2>Penny Ladnier<BR>Owner, The Costume Gallery &amp; =
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Date: Wed, 2 Jan 2002 01:50:29 -0500
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If you came to the Costume Classroom and filled out a registration form for
a class and you have NOT heard back from me, please go to
www.costumeclassroom.com and fill the form out again.  We have had some
major problems with our form for the past month.  We finally have it working
properly.

Drea's class, 16th Century Women, is very close to filling up and I don't
want some of you to miss out on it.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Subject: Re: [h-cost] Re: Anglo-Saxon burials
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Date: Wed, 2 Jan 2002 07:14:00 -0000
Status: RO

>I took Ben's first class and LOVED it. Wonderful info! I haven't been 
able to make anything from it yet except a pair of small brooches, 
but am itching to get started- on the jewelry, at least as much as 
the clothing. I loved the wealth of pictures!


I make early Anglo Saxon brooches see www.pastclass.com

Mel

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Subject: [h-cost] LOTR Costume Detail
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Date: Tue, 1 Jan 2002 23:55:01 -0800
Status: RO

Ring Wraith details:

Here's  a couple of photo of the horsemen not mounted
http://www.theonering.net/movie/scrapbook/large/2351 - full shot
http://www.theonering.net/movie/scrapbook/large/2207 - 3 quarter, w/ hobbit
bed

Here they are as the witch king
http://www.theonering.net/movie/scrapbook/large/2390
http://www.theonering.net/movie/scrapbook/large/2200 - full shot, little
fuzzy


The best pictures are in the silly little Insider Guide.  There are a couple
of photos (well lit) of them at rest where you can even see seam lines

Another thing is check out the toys to get an approximation of what the
costume is "perceived" to look like.

Re: finding black gauze... the fabrics look distressed and over dyed.  For a
really good look you might try to die it and go for different blackish
colors for the layers.  Maybe even start with some layers almost close to
cheese cloth.  (All guesses here.)  If you live near a bit city, head for
the garment district and look for damaged fabric... you want this dusty,
stained, torn, etc.

-Cat-

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Subject: [h-cost] wheelchair historicals
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Date: Wed, 02 Jan 2002 00:40:46 -0800
Status: RO


>
>>
>> I'm presently trying to come up with something beautiful but practical for
>> being in a wheelchair and a herald.;-}
>


Once I saw a book on sewing for wheelchair folks.  One thing it suggested was
leaving open the seam from waist to hem in back (if the person never walks,
this is OK).  Another was to always make the fit loose enough that there was no
binding, no tight spot, anywhere, especially if they had trouble dressing
themselves or with arm motions (I gather you don't have a problem here).

My favourite suggestion for wheelchair folks is to decorate the chair itself. 
This will tend to frame the sitter whatever he/she is wearing.  The simplest
way is to hang a banner (or a nice piece of cloth) down the back of the chair. 
Cloth slipcovers for the arms don't hurt the looks either.  If you do
Renaissance, look at the chairs in Ren. portraits for ideas.  (I was at a
Science Fiction convention, and someone had decorated her chair like a
futuristic transport pod, which went with her space ship uniform.)

My housemate will always have to use a chair, and even tho the thing is really
high tech and motorized (and cost more than my car did) he still looks really
good wearing his evening clothes and sitting in the chair at Dickens' Fair or
historical dances.  He wears his old Ren. Faire clothes when he goes to Ren.
Faire, and so what if the chair isn't period.


Kayta
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Date: Wed, 2 Jan 2002 22:16:13 +1300
Status: RO


- <<Did find the pointy front in the front of just one bodice.  It was very
shallow. and by the way the bodice bows out at the waist, I'll guess
pollyboning was used.  Backs and sides look solidly interfaced and probably
has enough boning to hold the seams solid.  The bust shapes are round and
covered by the square necked bodices.  All are square necked. Guess on
pattern.  Probably darts, partially because the  heaving interfacing and
bias  binding to finish the edges are all theatrical tricks I used to use.
(Amazing the details you can see w/ a jeweler's loop! <G>)>>

Not too sure, having worn costumes made up by the same people, darts are
almost certainly out.
All the costumes I wore and saw in the costume rooms at PR were flatlined,
and used seams for shaping. We are talking from ancient fantasy(Xena) to
18thC fantasy(JoAT) to furturistic fantasy(Cleo). She did not like darts:).
Bias covered cord was used to edge anything boned and fitted and yes,
polyboning is about the only thing you can get in NZ (but it's not Rigilene)
Grommets are used and a placket sewn to one side of the laced openings.
Boned bodices were lined in calico and a double layer for the boning to sit
in, then the linings sewn to the fabric (and overlocked) and then seamed
together. The cording sewn after this, then hand basted inside.
It's how I make my costumes: neater, closer fitting, easily adjustable to
size fluctuations and stong.. that's the big thing. Costumes were in
wardrobe for several years worn by many people and washed many times, so had
to last:) And yes, I was strongly influenced by what I saw in the
department.

And there was at least one woman with a buttoned front bodice, relatively
high curved v neck and in a dullish colour. Reminded me of a riding habit
actually.
And I loved the waist coats of the male hobbits:). It was exactly what I
imagined.. as I thought the desciptions in the book were very "country
gentlman in his home" feeling:)

michaela

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Subject: Re: [h-cost] LOTR - end credits -- again
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Date: Wed, 2 Jan 2002 22:31:46 +1300
Status: RO

> I've been looking on vcarious fan sites and can't find any mention.  But
they do
> say that Maori shamen (or whatever the correct term is) blessed the
various
> shooting sites, so it may be safe to say it's either a thank you or a
blessing
> of some kind.

Tohunga:) Elder rather than shaman.
But it's a thank you to the people (Maori) of New Zealand (Tangata Whenua o
Aoteroa) not specific individuals. The blessing is usually to lift a tapu,
maybe someone had died on a site (we had a blessing at the Mt Wellington RSA
where three people were beaten to death and a women in ICU) and
automatically becomes tapu. And there are a lot of sacred sites, ancestors
burials etc.
A lot of land was taken illegally or by underhand methods in the colonial
days, and in recent years it's been attempted to be recified. The Treaty of
Waitangi is a veru controversial document as there are several versions ...
some say one things some another, definate differences between the maori and
english translations.
So thanking the Tangata Whenua of the land goes some way to recognising the
injustices. Rather than just taking for commerical material gain, it's been
properly asked for and thanked.

It's only just recently that the majority of Pakeha accepted that there are
wrongs to atone for. Or even accept that the word Pakeha does not mean white
pig or some derogatory term.

aroha
michaela
Whenua is pronounced fenua, each vaowel pure like italian, wh is only
pronounced w in certain parts of NZ.. and then some areas use double
vowels...

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Date: Wed, 02 Jan 2002 03:06:52 -0800
Status: RO

I do have favorite
>areas bustle & 1890s eras and Egyptian.

Egyptian from when?  I used to be big into the earlier Dynastic stuff, but
now I prefer the later Coptic stuff, especially the weaving, and the 19th
century 'ethnic' stuff.

Kayta
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  for the list
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Date: Wed, 02 Jan 2002 03:02:20 -0800
Status: RO

Should people who sign-up 
>(not through "invitation") and don't disclose a name or email be 
>approved?  How does everyone feel about that?

I'd say no to that.  They could be collecting addresses for some SPAM list,
for all we knew.

Kayta
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Subject: Re: [h-cost] The H-Costume swap & sell community - a question for the list
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Date: Wed, 2 Jan 2002 06:13:35 -0600
Status: RO

We are talking about exchanging either money or fabric here (not sure which
is more important!) I would feel funny about sending money to someone who
won't even disclose their name or email!

Dianne
----- Original Message -----
From: "Danielle Nunn-Weinberg" <dannw@mediaone.net>
To: <h-costume@indra.com>
Sent: Tuesday, January 01, 2002 10:17 PM
Subject: [h-cost] The H-Costume swap & sell community - a question for the
list


> Greetings,
>
> Even though, I started it, I consider it the list's community.  For those
> who used the list "invitation" to sign up they don't need my (the
community
> administrator's) approval.  However, those who signed up through the site
> do require approval. So, here is my question.  Should people who sign-up
> (not through "invitation") and don't disclose a name or email be
> approved?  How does everyone feel about that?
>
> Cheers,
> Danielle
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] Re: stolen clothes
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> That's terrible!  A holiday nightmare!  I wish there was something to
> be done, but I can only suggest watching all the local consignment
> shops for the next 2 months. The thieves will want to make some money
> off the venture, and consignment is the pawn shop for fancy clothes.

What's a consignment shop?

Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] LOTR
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Date: Wed, 02 Jan 2002 12:07:56 +0000 (GMT)
Status: RO


> After all the raving, maybe it's time for a different opinion....
> 
> I was looking forward to LOTR, becasue I've never been able to get
> through the books, and I was hoping the movie would show me just what
> it is that so many people love about this story.  Unfortunately, the
> movie took what I didn't like about the books and made it more so. 

I'm not a great fan of the books - too much long boring description 
of endless travel through meticulously described countryside which 
could all be cut and make it one book instead of three and still tell 
the story.  It was a much better read the second time around as I 
knew which bits were nothing but travelogue and could be skipped 
without missing them....<g>   

I *did* like the film. 

All except the Elven Bint's dress... I sat there thinking "Surely a 
powerful elf could come up with something better than white nylon 
lace with spangles - she looked like she'd just stepped out of a bad 
1980's medieval fancy-dress party.....<shudder>

Other than that, I thought it was a wonderfully *lose yourself in the 
on-screen action* film.

Teddy 
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Opps
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Date: Wed, 02 Jan 2002 11:45:22 +0000 (GMT)
Status: RO


> > Unless you have typical baby-fine northern european hair.  Then the
> > silky stuff looks stiff next to your own hair.
> 
> Actually, I do have baby fine northern european hair, and it's
> extremely difficult to do anything with it at all. 

I can vouch for that - Stevie's hair has that lovely baby-whispy 
texture that looks great but must be hell to do anything with.

Teddy
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Subject: Re: [h-cost] Re: stolen clothes
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Date: Wed, 2 Jan 2002 08:28:37 -0500
Status: RO

Hi Teddy, Happy New Year!

A consignment shop is a type of resale shop.  If you have an item to sell,
but don't want to go through the hassle of advertising it yourself, then a
consignment shop will accept the item for sale in their shop. Length of
contracts vary, but are usually around 90 days.  The one I go to locally
starts to mark down after 30 days, and then again at 60 days, trying to move
the item. They get a percentage of the sale price for doing virtually all of
the work, but it is a really easy way to sell off furniture, better
clothing, jewelry, electronics, etc.  My local shop carries quite a bit of
formal wear, so it's very possible that your stolen costumes may turn up in
such a place.

Linda

---- Original Message -----
From: "Teddy"
Subject: Re: [h-cost] Re: stolen clothes


> What's a consignment shop?
>
> Teddy
>

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Date: Wed, 02 Jan 2002 13:44:08 +0000
Status: RO

I seem to remember reading that Montrose's army (Scots Royalists in the "English" Civil War) on ce fought a battle in a heatwave, when the Highlanders took off their heavy plaids and fought in their shirts with the tails knotted together. I'll see if I can find the reference when I get home.
I've also seen a list of clothing issued to English soldiers at this period, including shirts but not drawers, which made me wonder idly whether the common man perhaps didn't wear them? 


Kate Bunting
Library, University of Derby

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Subject: [h-cost] Re: sorcerer's stone vs. philosopher's stone
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Date: Wed, 02 Jan 2002 09:33:35 -0500
Status: RO


I heard a radio interviewer ask this very question. The answer is not that
Americans are too stupid to know what the philosopher's stone is, but that
the marketers thought "sorcerer" would sound more exciting to American kids
than "philosopher." I have to agree that that's probably true, but I also
imagine it's irrelevant, considering the worldwide popularity of the book.

The same person being interviewed (I forget who it was) said that the film
called "The Madness of King George" in the USA was originally called either
"King George III" or "The Madness of King George III" -- British folks,
please enlighten us. The US marketers left off the III because they thought
Americans would be confused and think it referred to a sequel -- you know,
coming after "The Madness of King George II."

Gail Finke


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] LOTR
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Date: Wed, 02 Jan 2002 14:44:14 +0000
Status: RO

There's no accounting for taste - what I like *best* about the books is the imaginary geography and the adventure story. I read Vol.1 from the library when I was a student about to spend a year abroad, and HAD to buy the omnibus edition to take with me as I couldn't bear not to know what happened next. I know the mythological part was most important to Prof. Tolkien, but personally I find it rather tedious.
Costume note; I haven't seen the film yet, but I notice from clips that not much seems to have been made of the hobbits' famous hairy feet. I thought they were supposed to be so thickly furred that the hobbits didn't need to wear shoes or stockings, which must affect the males' choice of legwear?


Kate Bunting
Library, University of Derby

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] redingote
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Date: Wed, 02 Jan 2002 14:42:12 +0000 (GMT)
Status: RO


> A couple of my friends and I are doing costumes for Costume Con in
> 2003. 
>  The gentleman involved is not confident enough to draft his own
> pattern, so he wants to know what commercially available pattern is
> the most accurate, easiest to use, etc.

<SNIP> 

> the ones on this site: http://www.harriets.com/Colonialmen.htm 
> 
> Could you let me know if either of these are any good, or if there are
> others he should consider instead?  He is looking for a 1740's look
> (to match his wife's outfit). 

I used 47A shown on that site for my red and white brocade coat 
that was stolen before Christmas.  The coat came out OK in the 
end but the pattern was less than helpful (no instructions for a 
start), the sizing was "small, medium or large" and there was only 
one size of sleeves (the largest) which needed several inces cut off 
both seams in order to make them anywhere near narrow enough 
for the medium size.... and fitting the sleeve-head to the armhole 
was a nightmare.  The fullness of the skirts, on the other hand, was 
wonderfully swirly.

Just my opinion of it.... 

Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Wed, 02 Jan 2002 14:25:05 +0000 (GMT)
Status: RO


> I was under the impression a guy wrapped his parts in his shirt tail
> and then put the wrapped package into the codpiece.

That's what works for me (except it's the front of the shirt not the 
back "tails").

Teddy
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From: Kate <ailithmac@yahoo.com>
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Date: Wed, 2 Jan 2002 06:51:37 -0800 (PST)
Status: RO

One of my earliest memories is being in my Gran's NE Ohio home
sitting on the floor watching the wheel spin while she worked the
treadle on her old Singer sewing machine. It absolutely fascinated
me! By the time I was six, I was making my doll clothes--so I began
sewing fairly early. My first costume attempt for myself was sometime
before I was 10--I tried to make a Little Bo Peep costume by myself.

When I was in my early twenties, a friend and I discovered science
fiction conventions and fantasy costuming. My first (for her) was a
"Pre-Reform Vulcan" that looked more like an escapee from a harem!
:-D

Much later, after I got married, another friend invited me to come
visit her in Germany. Needless to say, I jumped at the chance to
go--a free place to stay--I only needed my air fare and spending
money!

Anyway, she was in the SCA and there was an event going on just about
the same time that I arrived, so I needed to bring a gown to wear. I
borrowed someone's Known World Handbook and made a gown based on its
the instructions (ugly thing too!). She helped me make sleeves for it
when I got there.

The day of the event (Drachenwald's investiture of a new Prince and
Princess), I was stunned by the breathtakingly wonderful clothing I
saw--ladies in Cavalier, gentlemen in Landskenect (sp?), Italian
Renaissance clothing--that was it, I was hooked!

I've been doing 16th century Italian gowns ever since (almost 12
years, now). It gives me a *reason* to collect all of the nifty
fabrics that I love so much! :-) Where ever I go, I keep an eye out
for appropriate fabric and buy it when I find it. You just never know
when you might need 10 yards of deep green brocade!

The gown that I made for my first SCA event lives on and is worn
occasionally by a friend of mine...It's an olive-y green silk blend
that will never die! ;-D

If I weren't in the SCA I'd still make costumes of some kind, even if
they weren't for real people. I make cloth dolls that look like
children and love to dress them in period styles of clothing (ranging
from the Renaissance to Edwardian mostly). I've only made a few in
recent years, but I still have the patterns and hope to find the time
to make more of my "kids" when I graduate in a couple of years
(computer science and technology).

Kate




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Date: Wed, 02 Jan 2002 09:47:01 -0500
Status: RO


I didn't think Galadriel's dress was made of lace fabric. It was pretty huge
up there on the screen, and it looked like a sort of beaded gauze scarf from
India that I used to have and love. It hung like gauze, anyway, not like
lace. My particular scarf had spangly things glued to it, or maybe glittery
things in the glue, but this might have been actually hand-beaded, of
course. And Boromir's cote seemed to be made of an Indian sari fabric to me.

I also wouldn't call it Pre-Raphaelite in style. It was much simpler even
than that -- the P-Rs liked smocking and other details. Some of the other
costumes, however, had that influence.

I enjoyed the costumes very much, even if I did't care for them all
personally. What a nice job everyone did.

Gail Finke

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Subject: Re: [h-cost] LOTR
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Date: Wed, 2 Jan 2002 10:08:28 -0500
Status: RO

The hairy feet were there, and they looked great. None of the men hobbits
were wearing any kind of footwear and the pant legs were of the "highwater"
style.  I remember reading an interview with Elijah Wood, he said that the
prosthetics were a pain, they kept coming off at all the wrong times.  With
all the action that the hobbits did, from running, climbing, swordfighting
and even swimming, I don't think I ever saw them not look like they were
real. I guess that's just the magic of post-production work.

Linda
Virginia Beach, Va. USA

----- Original Message -----
From: "Kate M Bunting"
Subject: Re: [h-cost] LOTR


> Costume note; I haven't seen the film yet, but I notice from clips that
not much seems to have been made of the hobbits' famous hairy feet. I
thought they were supposed to be so thickly furred that the hobbits didn't
need to wear shoes or stockings, which must affect the males' choice of
legwear?
>
>
> Kate Bunting
> Library, University of Derby


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] Re: sorcerer's stone vs. philosopher's stone
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Date: Wed, 02 Jan 2002 15:06:48 +0000
Status: RO

Alan Bennett's play is called "The madness of George III".  According to www.snopes2.com, the reason for the change of title for the film was not so much the oft-quoted "people would think it was a sequel", as a perceived need to add the word "King" for the benefit of American audiences.


Kate Bunting
Library, University of Derby

>>> gailscott@eos.net 01/02/02 02:33pm >>>

I heard a radio interviewer ask this very question. The answer is not that
Americans are too stupid to know what the philosopher's stone is, but that
the marketers thought "sorcerer" would sound more exciting to American kids
than "philosopher." I have to agree that that's probably true, but I also
imagine it's irrelevant, considering the worldwide popularity of the book.

The same person being interviewed (I forget who it was) said that the film
called "The Madness of King George" in the USA was originally called either
"King George III" or "The Madness of King George III" -- British folks,
please enlighten us. The US marketers left off the III because they thought
Americans would be confused and think it referred to a sequel -- you know,
coming after "The Madness of King George II."

Gail Finke


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] LOTR - Elvish and costumes
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Date: Wed, 02 Jan 2002 14:53:16 +0000 (GMT)
Status: RO

> when Galadriel first descends the stairs to meet the travelers --
> all bright, shimmery and opalescent. Yummy! 

Sorry to disagree - but I thought it looked cheap and tacky.... it was 
the one jarring part of the entire film for me (I got elbowed by the 
person sitting next to me for squeaking, "Ugh!  Nylon lace!!")

Teddy

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From: Teddy <teddy1@mdx.ac.uk>
Subject: RE: [h-cost] The H-Costume swap & sell community - a question
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Date: Wed, 02 Jan 2002 15:20:01 +0000 (GMT)
Status: RO


> > Even though, I started it, I consider it the list's community.  For
> > those who used the list "invitation" to sign up they don't need my
> > (the community administrator's) approval.  However, those who signed
> > up through the site do require approval. 

I wouldn't be able to register at all as Surname is a required field 
and I don't have one.

Teddy
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Subject: Re: [h-cost] Re: Why I got into Costume
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Date: Wed, 2 Jan 2002 10:59:47 -0500
Status: RO

Kayta,

My interest is very broad over the entire culture.  My husband has traveled
all over Egypt.  For our 30 wedding anniversary, we are planning to stay in
Egypt for a month.  Since we are only at our 23rd year presently, we have a
lot of time for planning.

Did you see the four hour special on A&E last night about the pharaohs?  If
you did, do you have any opinions of the show?

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Subject: RE: [h-cost] The H-Costume swap & sell community - a question
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Date: Wed, 2 Jan 2002 11:56:07 -0600 (CST)
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On Wed, 2 Jan 2002, Teddy wrote:

> I wouldn't be able to register at all as Surname is a required field 
> and I don't have one.

Maybe, for the purposes of the list, you could use Evilbunny?

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Subject: Re: [h-cost] Colors 2002 Predictions
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Date: Wed, 02 Jan 2002 09:20:35 -0800
Status: RO

--=====================_4008359==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

Ever looked for a deep blue shirt in what appears to be a sea of the same 
french blue shirt? Ever walked through a mall looking for a certain item in 
a certain color and noticed that every seems to have the variations on the 
same garment but not in the color you wanted?

When I was in school and I had to designs lines or groups, these books were 
essential!  These subscriptions sell for thousands.  I was lucky in that I 
had free access to these during my school days. But when I graduated and 
began really designing for a living (not costumes),  I really felt out of 
the loop if the company I worked for didn't have them available.  If you 
work for a larger garment producer, they will have all these volumes in 
their design libraries.  Trust me, when you have to spec out lines 18 
months in advance, you really love these services.

There are similar subscription services for silhouettes and fabric trends, 
along with just the color forecasts.  These are forecasted out 2 years in 
advance in quarterly segments.

Now not everyone follows these forecasts exactly.  Sometimes a designer 
will add color options into a line that were nothing near the forecasted 
colors.  This is a calculated risk.  If everyone is doing chinese red 
turtlenecks and you offer the only deep eggplant turtleneck out there 
(provided the costing points are relatively the same), you should see a 
nice rise in sales.  Or you'll end up with a ton of these turtlenecks going 
to outlets, whence the calculated risk.  There are lots of ways the 
calculated risk can pay off besides increased sales of one item but I'll 
leave all that to the merchandising folks.

At 06:28 PM 12/31/2001 +0000, you wrote:
>Are these people related to wine critics?  "A multicultural red" ..." a
>hueful neutral"  Do you think we'll be able to tell them from western
>imperialist red and light grey?
>
>Jean
>
> >Overall, Color Directions for 2002 are fresh and clean,
> >yet the colors are fascinatingly adaptable. Hues are ambiguous
> >with mixed undertones that allow them to cross color families
> >without being wholly defined by one.

Gwyn Carnegie
University of California, Davis

--=====================_4008359==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<font face="Arial, Helvetica">Ever looked for a deep blue shirt in what
appears to be a sea of the same french blue shirt? Ever walked through a
mall looking for a certain item in a certain color and noticed that every
seems to have the variations on the same garment but not in the color you
wanted?  <br><br>
When I was in school and I had to designs lines or groups, these books
were essential!&nbsp; These subscriptions sell for thousands.&nbsp; I was
lucky in that I had free access to these during my school days. But when
I graduated and began really designing for a living (not costumes),&nbsp;
I really felt out of the loop if the company I worked for didn't have
them available.&nbsp; If you work for a larger garment producer, they
will have all these volumes in their design libraries.&nbsp; Trust me,
when you have to spec out lines 18 months in advance, you really love
these services.<br><br>
There are similar subscription services for silhouettes and fabric
trends, along with just the color forecasts.&nbsp; These are forecasted
out 2 years in advance in quarterly segments.&nbsp; <br><br>
Now not everyone follows these forecasts exactly.&nbsp; Sometimes a
designer will add color options into a line that were nothing near the
forecasted colors.&nbsp; This is a calculated risk.&nbsp; If everyone is
doing chinese red turtlenecks and you offer the only deep eggplant
turtleneck out there (provided the costing points are relatively the
same), you should see a nice rise in sales.&nbsp; Or you'll end up with a
ton of these turtlenecks going to outlets, whence the calculated
risk.&nbsp; There are lots of ways the calculated risk can pay off
besides increased sales of one item but I'll leave all that to the
merchandising folks.<br><br>
At 06:28 PM 12/31/2001 +0000, you wrote:<br>
<blockquote type=cite class=cite cite>Are these people related to wine
critics?&nbsp; &quot;A multicultural red&quot; ...&quot; a<br>
hueful neutral&quot;&nbsp; Do you think we'll be able to tell them from
western<br>
imperialist red and light grey?<br><br>
Jean<br><br>
&gt;Overall, Color Directions for 2002 are fresh and clean,<br>
&gt;yet the colors are fascinatingly adaptable. Hues are ambiguous<br>
&gt;with mixed undertones that allow them to cross color families<br>
&gt;without being wholly defined by one.<br>
</font></blockquote>
<x-sigsep><p></x-sigsep>
<font face="Arial, Helvetica" color="#0000FF"><b>Gwyn Carnegie<br>
</font><font face="Arial, Helvetica">University of California, Davis
<br>
</font></b></html>

--=====================_4008359==_.ALT--

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Date: Wed, 2 Jan 2002 12:31:49 EST
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Somehow I missed out on the original and didn't get signed up (at least I 
don't think I did) and now they are making me go through the whole 
application thing.  I did it, but have not been "approved" yet.  What a 
bummer.  If I am not approved I will just forget it.  Does that tell you how 
us "outsiders" feel?

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Somehow I missed out on the original and didn't get signed up (at least I don't think I did) and now they are making me go through the whole application thing. &nbsp;I did it, but have not been "approved" yet. &nbsp;What a bummer. &nbsp;If I am not approved I will just forget it. &nbsp;Does that tell you how us "outsiders" feel?
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Subject: Re: [h-cost] The H-Costume swap & sell community - a question for the list
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Date: Wed, 2 Jan 2002 12:33:03 EST
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In a message dated 1/1/02 11:49:55 PM Eastern Standard Time, chiara@io.com 
writes:


> My answer is no. No shirt, no shoes, no name, no email, no entrance.
> 
       You might want to add to that NO SPAM

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 1/1/02 11:49:55 PM Eastern Standard Time, chiara@io.com writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">My answer is no. No shirt, no shoes, no name, no email, no entrance.
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;You might want to add to that NO SPAM
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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From h-costume-admin@indra.com  Wed Jan  2 13:22:29 2002
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From: Margo@Margospatterns.com
Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Wed, 2 Jan 2002 10:51:40 -0800
Status: RO

At 02:25 PM 01/02/2002 +0000, you wrote:
>
>> I was under the impression a guy wrapped his parts in his shirt tail
>> and then put the wrapped package into the codpiece.
>
>That's what works for me (except it's the front of the shirt not the 
>back "tails").


Okay, this brings up a new set of questions.  Those who do not enjoy
explicit  discussions of anatomical detail may wish to move on...

(Move along, you lot.  Nothing here you want to see...)



In looking at the codpieces in Arnold, I'm confused as to their
functionality.  Yes, they look as if they could contain the genitals, but
the center front openings of the slops appear to meet behind them.  What's
happening here? Wouldn't things get...pinched?

Also, the one codpiece we see the inside of shows a nicely padded circular
bit. Oh heavens, there is no ladylike way to ask this question....does just
the penis go in the codpiece or is it somehow supposed to hold the scrotum
as well?  

And just how does one accomplish that wrapping the shirt tail around it
first bit?


Sorry for the graphic nature of this post, but the question's been bugging
me ever since I fiest saw the book. What that says about me, I don't think I
want to know....

Margo

(Blushing) 



Margo Anderson's Historic Costume Patterns
margospatterns.com

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From h-costume-admin@indra.com  Wed Jan  2 14:16:12 2002
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Date: Wed,  2 Jan 2002 13:28:11 -0600
Status: RO

>In looking at the codpieces in Arnold, I'm confused as to their
>functionality.  Yes, they look as if they could contain the genitals, but >the center front openings of the slops appear to meet behind them.  What's >happening here? Wouldn't things get...pinched?
>
>Also, the one codpiece we see the inside of shows a nicely padded circular >bit. Oh heavens, there is no ladylike way to ask this question....does just >the penis go in the codpiece or is it somehow supposed to hold the scrotum >as well?  


Okay, I don't have the right plumbing to really answer this with any real authority, but I have heard stories that that pocket behind the codpiece was just that, a pocket, to put stuff, like coins, etc, not one's uhm-person.  I have always understood that the codpiece was just a cover of the split in the slops, since early in the tudor period they weren't using buttons.

Alex
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From h-costume-admin@indra.com  Wed Jan  2 14:21:18 2002
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Date: Wed, 2 Jan 2002 14:49:09 -0500 (EST)
Status: RO

On Tue, 1 Jan 2002 Azelana@aol.com wrote:
> Yes!  50 meters!  And my fiance' wants me to make him that costume!  The 
> price may just kill me.  Anyone know where I can get black guaze real cheap?  
> Also, it seemed to me that I'd have to make it shorter if he won't be 
> mounted, since there'd be cloth trailing all over the floor.  I also make 
> carved boiled leather armor, so he wants me to replicate the plate armor of 
> the King of the Nazgul.  (I do chainmail too sometimes.)  I'm wondering what 
> other small requests he'll be making of me...LOL

Sounds like it's time for him to learn to sew / make leather armor / make
chain mail!  ;D

-- Mara

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From h-costume-admin@indra.com  Wed Jan  2 14:36:06 2002
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Date: Wed, 2 Jan 2002 15:05:02 -0500 (EST)
Status: RO

Will joining this community mean I get deluged with tons of spam?

-- Mara


On Wed, 2 Jan 2002, Danielle Nunn-Weinberg wrote:

> For those of you who missed the invitation for the
> communities the first time - here it is again.
> 
> Cheers,
> Danielle

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Date: Wed, 2 Jan 2002 14:13:19 -0600 (CST)
Status: RO

Ya know. I opened my mail this morning and expected a lot of spam and got
none. BUT my alternate email address got spammed out of h - e - double
sticks! :(

-- 
Sincerely,
Chiara Francesca
chiara@io.com

On Wed, 2 Jan 2002, Kevin & Mara Riley wrote:

Will joining this community mean I get deluged with tons of spam?

-- Mara


On Wed, 2 Jan 2002, Danielle Nunn-Weinberg wrote:

> For those of you who missed the invitation for the
> communities the first time - here it is again.
>
> Cheers,
> Danielle
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: [h-cost] Re: Wearing 16th Century Shirts - intimate details
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Date: Wed, 2 Jan 2002 20:31:14 +0000
Status: RO

Lady, you need to find you a man :-)

I'm more familiar with earlier codpieces than Elizabethan, but as far as
I'm aware, they don't really contain the genitals, they just hide the
gap.  In some cases, the hose really are open in a V at the centre
front, so the codpiece is the only thing preserving his modesty (thus
the need for shirt or underwear).  In other styles, the hose / slops are
closed and the codpiece is mostly decorative, maybe functional just
because the closure could gape when he moves.  The fancy, puffed,
elephant trunks etc are just advertising and are stuffed with padding,
not with ... him.

I think one of the reasons codpieces developed is that hose were tied to
the doublet.  You can't make a fully closed front without it crossing,
and then you would have to untie it from the doublet to open it, which
is a pain.  The codpiece is separately laced to the top of the hose, not
the doublet, so it's easy to let down.

I love the idea of wrapping it in his shirt tail, I have a picture of
wrapping it up like fish and chips!

JEan

In message <200201021851.KAA14387@artemis.directcon.net>,
Margo@Margospatterns.com writes
>At 02:25 PM 01/02/2002 +0000, you wrote:
>>
>>> I was under the impression a guy wrapped his parts in his shirt tail
>>> and then put the wrapped package into the codpiece.
>>
>>That's what works for me (except it's the front of the shirt not the 
>>back "tails").
>
>
>Okay, this brings up a new set of questions.  Those who do not enjoy
>explicit  discussions of anatomical detail may wish to move on...
>
>(Move along, you lot.  Nothing here you want to see...)
>
>
>
>In looking at the codpieces in Arnold, I'm confused as to their
>functionality.  Yes, they look as if they could contain the genitals, but
>the center front openings of the slops appear to meet behind them.  What's
>happening here? Wouldn't things get...pinched?
>
>Also, the one codpiece we see the inside of shows a nicely padded circular
>bit. Oh heavens, there is no ladylike way to ask this question....does just
>the penis go in the codpiece or is it somehow supposed to hold the scrotum
>as well?  
>
>And just how does one accomplish that wrapping the shirt tail around it
>first bit?
>
>
>Sorry for the graphic nature of this post, but the question's been bugging
>me ever since I fiest saw the book. What that says about me, I don't think I
>want to know....
>
>Margo
>
>(Blushing) 
>
>
>Margo Anderson's Historic Costume Patterns
>margospatterns.com

-- 
Jean Waddie
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Subject: Re: [h-cost] Wools and a little silk
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Date: Wed, 02 Jan 2002 12:42:45 -0800
Status: RO

I just added an unfinished elizabethan outfit that desperately needs a 
loving home.  I spent tons of time on it only to find it wont quite fit even 
without the extra 20lbs I've added since cutting it out.  I just want a 
little materials money for it since it isn't completely 
finished(undergarments) but I'm a compulsive and wont make one the right 
size with this floating in my shop.  I will take pics if anyone is 
interested.

Jennifer Sena
stant Designs
"mystash"


>From: Robin Netherton <robin@shell.nightowl.net>
>Reply-To: h-costume@indra.com
>To: Historic Costume List <h-costume@indra.com>
>Subject: [h-cost] Wools and a little silk
>Date: Tue, 1 Jan 2002 21:25:58 -0600 (CST)
>
>
>I've just posted a bunch of fabric for sale to the h-cost marketplace
>list. If you missed out on the discussion of this, you can join at
><www.communityzero.com/hcostume/index.cfm>. Or, if you prefer, email me
>directly and I'll send you a list of what I have available.
>
>--Robin

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Subject: [h-cost] masked ball costume
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Date: Wed, 2 Jan 2002 12:57:58 -0800
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Greetings,

For anybody in the Portland area, there is going to be a masked ball at =
the Art Museum.  Since I have never been so brave as to go there, what =
recommendations does anybody have for myself and my spouse to wear?  I =
probably would need to make these costumes myself (Value Village =
curtains here I come). 

Are these supposed to be masks that are affixed with elastic things or =
those carry-on-a-stick variety? 

ANY HELP? 

Thanks,

Sidne/
In the SCA, Estrelda

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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Greetings, </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>For anybody in the Portland area, there is going to =
be a
masked ball at the Art Museum.&nbsp; Since I have never been so brave as =
to go
there, what recommendations does anybody have for myself and my spouse =
to
wear?&nbsp; I probably would need to make these costumes myself (Value =
Village
curtains here I come).&nbsp; </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Are these supposed to be masks that are affixed with =
elastic
things or those carry-on-a-stick variety?&nbsp; </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>ANY HELP?&nbsp; </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Thanks, </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Sidne/</FONT></DIV>
<DIV><FONT size=3D2>In the SCA, Estrelda </FONT></DIV></BODY></HTML>

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Subject: Re: [h-cost] masked ball costume
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Date: Wed, 02 Jan 2002 12:59:03 -0800
Status: RO

I heard that the ball was for members at the $150 level only... is that not
true or are you a big museum donor?  Or is this a different event-- please
tell.



> From: "Sidne Kneeland" <skskaw@worldaccessnet.com>
> Reply-To: h-costume@indra.com
> Date: Wed, 2 Jan 2002 12:57:58 -0800
> To: "historic costume" <h-costume@indra.com>,
> <KitchenPicnicTable@yahoogroups.com>
> Subject: [h-cost] masked ball costume
> 
> Greetings, 
> 
> For anybody in the Portland area, there is going to be a masked ball at the
> Art Museum.  Since I have never been so brave as to go there, what
> recommendations does anybody have for myself and my spouse to wear?  I
> probably would need to make these costumes myself (Value Village curtains here
> I come).  
> 
> Are these supposed to be masks that are affixed with elastic things or those
> carry-on-a-stick variety?
> 
> ANY HELP?  
> 
> Thanks, 
> 
> Sidne/
> In the SCA, Estrelda
> 

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Date: Wed, 2 Jan 2002 16:22:33 -0500
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Portland Maine or Portland Oregon?  or another state yet?
I could go to Portland Maine.
Rowena
  ----- Original Message -----
  From: Sidne Kneeland
  To: historic costume ; KitchenPicnicTable@yahoogroups.com
  Sent: Wednesday, January 02, 2002 3:57 PM
  Subject: [h-cost] masked ball costume


  Greetings,

  For anybody in the Portland area, there is going to be a masked ball =
at the Art Museum.  Since I have never been so brave as to go there, =
what recommendations does anybody have for myself and my spouse to wear? =
 I probably would need to make these costumes myself (Value Village =
curtains here I come). 

  Are these supposed to be masks that are affixed with elastic things or =
those carry-on-a-stick variety? 

  ANY HELP? 

  Thanks,

  Sidne/
  In the SCA, Estrelda

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<META content=3D"MSHTML 6.00.2712.300" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Portland Maine or Portland =
Oregon?&nbsp; or another
state yet?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I could go to Portland =
Maine.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Rowena</FONT></DIV>
<BLOCKQUOTE dir=3Dltr
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
  <A title=3Dskskaw@worldaccessnet.com
  href=3D"mailto:skskaw@worldaccessnet.com">Sidne Kneeland</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dh-costume@indra.com
  href=3D"mailto:h-costume@indra.com">historic costume</A> ; <A
  title=3DKitchenPicnicTable@yahoogroups.com
  =
href=3D"mailto:KitchenPicnicTable@yahoogroups.com">KitchenPicnicTable@yah=
oogroups.com</A>
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Wednesday, January 02, =
2002 3:57
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] masked ball
  costume</DIV>
  <DIV><BR></DIV>
  <DIV><FONT size=3D2>Greetings, </FONT></DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT size=3D2>For anybody in the Portland area, there is going =
to be a
  masked ball at the Art Museum.&nbsp; Since I have never been so brave =
as to go
  there, what recommendations does anybody have for myself and my spouse =
to
  wear?&nbsp; I probably would need to make these costumes myself (Value =
Village
  curtains here I come).&nbsp; </FONT></DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT size=3D2>Are these supposed to be masks that are affixed =
with elastic
  things or those carry-on-a-stick variety?&nbsp; </FONT></DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT size=3D2>ANY HELP?&nbsp; </FONT></DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT size=3D2>Thanks, </FONT></DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT size=3D2>Sidne/</FONT></DIV>
  <DIV><FONT size=3D2>In the SCA, Estrelda =
</FONT></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_00EB_01C193A9.AEB2E400--

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Date: Wed, 2 Jan 2002 21:43:25 -0000
Status: RO

Remember the mexican jacket I was looking for a pattern for ? Well I made it
! Unfortunatly my reched son has grown since I started it so I'm putting it
up at auction so I can buy more leather !!

Thought you might like to see it b4 it goes !

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1685307526

Mel

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Date: Thu, 3 Jan 2002 09:38:37 +1100
Status: RO

the film
called "The Madness of King George" in the USA was originally called either
"King George III" or "The Madness of King George III" The US marketers left
off the III because they thought
Americans would be confused and think it referred to a sequel


Yep, the sequel fear is true. The film is based upon a play called The
Madness of King George III,

-C.

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Date: Wed, 2 Jan 2002 19:29:06 -0600 (CST)
Status: RO


On Wed, 2 Jan 2002, Kevin & Mara Riley wrote:

> Will joining this community mean I get deluged with tons of spam?

I haven't had a noticeable influx. Also, it's not a mailing list. I chose
the option to get a weekly update on what's been posted to the site, and I
read messages on the site.

--Robin

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Subject: [h-cost] A different perspective on LOTR
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Date: Wed, 2 Jan 2002 19:22:42 -0500
Status: RO

Well, I have issues with blood and gore and ick.  I know that.  It cost
me $304.28 plus admission price to see "Raiders of the Lost Ark" as
that's what the ambulance cost after I passed out.  So...even though I'd
been warned, by people who know my tolerance and love me, I went off to
see LOTR yesterday.  I didn't pass out.  However, I left the theatre
twice to throw up, and continued doing so for about 2 hours after the
movie.  I can't tell you many costume details, because I was pretty
miserable and my head was buried in my husband's chest.  We were with a
group, and we drove another couple, so leaving wasn't in the picture,
darn it.  I'm HORRIBLY upset with myself.  I was dumb.    But I'd been
waiting *30* years for someone to do the movies right...
Somehow I don't think the 2 sequels are in my future.
Jeanne
hating that she's a wimp.
"English doesn't borrow from other languages - English follows other
languages down dark alleys, knocks them over and goes through their
pockets
for loose grammar." -- Anonymous


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Date: Thu, 3 Jan 2002 13:49:35 +1300
Status: RO

> I didn't think Galadriel's dress was made of lace fabric. It was pretty
huge
> up there on the screen, and it looked like a sort of beaded gauze scarf
from
> India that I used to have and love. It hung like gauze, anyway, not like
> lace

You are right, it was not lace. I have no idea how anyone could think that.
What I did notice was the wide seam allowances as the light shone through
the fabric. I thought  the raised areas were beaded.
http://www.theonering.net/movie/scrapbook/large/1019
I'm certain that the fabric will be a silk too, we are talking about a
bloody expensive film;)

> I also wouldn't call it Pre-Raphaelite in style. It was much simpler even
> than that -- the P-Rs liked smocking and other details. Some of the other
> costumes, however, had that influence.

It looked like aethetic dress of the very early 20thC, it was influenced by
the PRB, but was a lot simpler:), and being of a lter era had other
influences too.

michaela

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Date: Wed, 02 Jan 2002 19:13:04 -0600
Status: RO

Margo@Margospatterns.com wrote:

>  Oh heavens, there is no ladylike way to ask this question....
>

Margo,

I'm obviously not a guy, but from the period literature, etc, I think we can
assume that the codpiece is purely decorative.  I mean, if a guy can remove an
orange from his codpiece at the theatre, I really, really doubt that there is
anything else squished into the codpiece with it.

-Magdalena

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Date: Wed, 2 Jan 2002 17:21:45 -0800
Status: RO


> P.S. How does one make a Tudor style gable hood? I've looked at a lot of pics
> and I'm totaly stumped.

In case she doesn't speak up, one of the best hood methods I've 
seen so far is done by Jean Waddie.

http://www.montgomerie.demon.co.uk/enghood/enghood1.htm

Have fun!


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] H-cost:  Wearing 16th Century Shirts
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Date: Wed, 02 Jan 2002 19:32:51 -0600
Status: RO

Margo@Margospatterns.com wrote:

> I've drafted a pattern based on the 1585-1600 shirt in the Museum
> of Costume at Bath, as shown in the Janet Arnold shirts and smocks article.
>

So, I'm curious.  Did you draft one with neck gussets, or without?  I've been
researching and playing with period shirts for a while now, and I've come to the
conclusion that I like ones with neck gussets much better.  They seem to have
been made both with and without, but I find that the neck gusset eliminates
pulling and makes gathering to the neckband much easier.  What's your
experience?  I'm recreating the blackworked shirt from the diagram right now.
The spot motifs are in QEW, so I've got the whole thing to scale even.  It's
been lots of fun.  ;>

>
> Can anyone steer me toward documentation for these practices, either written
> or (oh please!) pictorial?  I'd also be interested in hearing from men
> who've worn their shirts this way.
>

My SO finds it uncomfortable.  BTW, at least part of the reason for the length
is that shorter shirts pull out easily.  The first period length shirt I made
him was an experiment made from an old holey sheet, and now I have had to add
strips to all his other shirts, because he won't wear them anymore otherwise.
;>

I think I have a bit about how shirts were worn somewhere.  Now I just need to
dig through my stuff and find it....

In case you would like to see it, my half finished site is at:
http://home.earthlink.net/~magdlena/shirt/index.html

Now the Christmas is over, I hope to have it completed by the end of January.

-Magdalena


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Date: Wed, 2 Jan 2002 10:43:13 -0800
Status: RO

At 12:29 AM -0500 1/2/02, Penny Ladnier wrote:
>The Color Marketing group is actually the largest color organization for
>people in the color related industries.

I'm thinking of forwarding that link to some linguists I know who 
work on the linguistics of color terms.  One of the interesting 
trends you see historically is that an increase in common color words 
in a language (that is, words that people think of as "ordinary" 
words for colors, rather than ad hoc descriptions) goes hand in hand 
with the "marketing" of a wider variety of stable and reproducible 
manufactured colors for objects.  One of the more significant 
"explosions" in color words in European languages seems to have 
paralleled the growth of a medieval cloth industry that involved 
regular, long-distance trade in dyed cloth.  It doesn't seem to have 
been so much the ability to reliably produce particular colors and 
shades, but the desire to be able to label these different colors and 
shades for commercial purposes.  In which case, the Color Marketing 
group is simply the ridiculous extreme of a long historic process.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Wed, 02 Jan 2002 20:45:51 -0500
Status: RO


LOTR was indeed not a fictional account of Tolkien's experiences in WWII.
For one thing, he wasn't in WWII (fighting, anyway -- he was certainly in
England during WWII). And anyway, he wrote it and all his other related
stuff during most of his adult life. While any author's works can fairly be
said to be influenced by his/her experiences, LOTR isn't about WWII or WWI.
If it's "about" anything, it's simply making up a new epic and turning it
into a novel. The man knew every epic that ever was backwards and forwards,
all he had to do was pick up a pen and epic stuff just flowed out.

Personally, I love these books and I think the man was an amazing writer. I
am on tenterhooks to see how the movies handle the coming epic battles --
the Riders of Rohan and the seige of Mordor -- and particularly the deaths
of Theoden and Denethor. But if you don't like them, well, then, you don't
like them. Nothing we have to argue about, surely?

There's a lot of costume stuff to talk about from the movie, let's stick to
that.

Gail Finke


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Date: Wed, 02 Jan 2002 20:45:51 -0500
Status: RO


LOTR was indeed not a fictional account of Tolkien's experiences in WWII.
For one thing, he wasn't in WWII (fighting, anyway -- he was certainly in
England during WWII). And anyway, he wrote it and all his other related
stuff during most of his adult life. While any author's works can fairly be
said to be influenced by his/her experiences, LOTR isn't about WWII or WWI.
If it's "about" anything, it's simply making up a new epic and turning it
into a novel. The man knew every epic that ever was backwards and forwards,
all he had to do was pick up a pen and epic stuff just flowed out.

Personally, I love these books and I think the man was an amazing writer. I
am on tenterhooks to see how the movies handle the coming epic battles --
the Riders of Rohan and the seige of Mordor -- and particularly the deaths
of Theoden and Denethor. But if you don't like them, well, then, you don't
like them. Nothing we have to argue about, surely?

There's a lot of costume stuff to talk about from the movie, let's stick to
that.

Gail Finke


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Date: Wed, 02 Jan 2002 21:14:39 -0500
Status: RO

Hi,
 I found some information on Costumer's Manifesto: Hat's. Millinery and
Feathers Links at  http://www.costumes.org/pages/hats.htm  that might be
of some use to you. Once on that page go down past History to How To.
There I found two sites, the first was Tudor Gable: Illustrated Step by
Step Instructions and Step by step instructions for an English Hood
(Gabled Headress). Hope this is of some use.
 
  Lynne

Carolyn Kayta Barrows wrote:
> 
> P.S. How does one make a Tudor style gable hood? I've looked at a lot of pics
> and I'm totaly stumped.
>
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Date: Wed, 2 Jan 2002 19:21:27 -0800 (PST)
Status: RO

[forgive me if the list is just posting slowly and
this turns up twice, but I think I forgot to hit
"send"]

This year I am going to create The Ultimate Singing
and Harping Dress -- a splendiferous, stupendous,
drop-dead, knock-out,
eat-your-hearts-out-you-pitiful-peasants dress!  Right
now I'm thinking in terms of Folkwears Afghani Nomad
Dress with the bodice in Hot Potatoes' burgundy and
spruce-green cross-dyed velvet (fabric looks burgundy,
but when hot-stamped, the design comes up green.)  I
would stamp it with Hot Potatoes' celtic design
stamps.  I would do the sleeves and the super-duper
extra full skirt in green -- maybe crepe, maybe rayon
-- not sure yet.  Here's the theory -- having such a
glorious gown to wear would surely inspire me to
practice more!!!

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Date: Wed, 02 Jan 2002 22:19:25 -0600
Status: RO

Greetings to all

Having returned from a long hiatus during which I missed you all
immensely, I of course immediately have a question.  There may be a
simple answer, and if so, I'm sure someone on this list will have it.

On the January page of the 2002 Medieval Woman calendar, please consider
the lady to the right (the one in the turban).  Examine, if you will,
the red laces at center front of her bodice.  One can see that the
bottom two seem to pass through the dark dots which might be interpreted
as lacing holes.  This makes sense to me as a single spiral lace holding
the dress together.  The top four, however, seem to lay horizontally
without passing through the dark dots and without the necessary
connecting diagonal of a spiral lace.  

Similarly, the lady on the left has numerous horizontal bars (and no
diagonals) center front.  Because of the gathered nature of her
overgarment (and the lack of diagonals), these wouldn't seem to be
laces--unless they're laces on the undergarment instead (which still
doesn't explain the lack of diagonals!).  For a similar phenomenon, go
to 
http://gallery.euroweb.hu/html/b/botticel/portrait/index.html
and click on "Portrait of a Young Woman" (the second one).   

What is happening here?  Are these just decorative?  Here for
example--go to
http://gallery.euroweb.hu/html/v/veronese/z_other/
and click on "Portrait of a Venetian Woman"--they look pretty vestigial,
but that's much later.  

I was just going to put up my new calendar, and look how much trouble I
got into!  Many thanks for any enlightenment that you can offer.


Melanie Schuessler


p.s. to Robin Netherton:  Check out February for a 16th century Flemish
Sybil in a sideless surcoat-esque garment.
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Date: Wed, 02 Jan 2002 23:01:16 -0600
Status: RO

I mis-remembered which city I wanted to talk about.  It wasn't Rivendell 
that looked like it was designed by Roland, it was Lothlorien.

Sandy

>>Rivendell was pretty even if it did look like Thomas Kinkade designed it.\\
>
>Well, actually it resembled Marc Roland's (a fantasy artist I've been 
>seeing at SF conventions since 1982) design more, but Kinkade is more 
>recognizable to most people, and pretty accurate also.  We've been going 
>to cons and buying art for 20 years or so, so just trying to keep artist's 
>names straight is hard sometimes.
>
>Sandy

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda

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From: "Maggie Secara" <maggiros@adelphia.net>
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Subject: RE: [h-cost] Re: Kat and violence in LOTR
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Date: Wed, 2 Jan 2002 21:16:25 -0800
Status: RO

Read the "Letters" edited by Humphrey Carpenter.  I don't know if it's i nthere,
but his letters to Christopher during that war are there.  Doesn't seem to be
what he's consciously thinking of, anyway.  The war he went through himself was
WWI.

Far more to the point is his unhappiness over the industrialization of England
and the devastation of the countrisude.

However, as this is WAY off topic, let's just drop this, ok?


MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Margretta de Vries
> Sent: Tuesday, January 01, 2002 10:26 PM
> To: h-costume@indra.com
> Subject: RE: [h-cost] Re: Kat and violence in LOTR
>
>
> You know, Tolkien himself said that these books were not, in fact, a
> metaphor for WWII.  I am not sure where the quote is to be found, but I will
> look.
>
> Margretta
> (delurking)
>
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Azelana@aol.com
> Sent: Tuesday, January 01, 2002 1:37 AM
> To: h-costume@indra.com
> Subject: [h-cost] Re: Kat and violence in LOTR
>
>
> In a message dated 12/31/01 2:34:35 AM Eastern Standard Time,
> h-costume-request@indra.com writes:
>
> << I agree with Margo, however. I didn't care much for it as it was
>  *way* too violent for me. I spent a good portion of the movie
>  (especially in the last part) with my head buried in my husband's
>  shoulder going "are they done fighting yet." However, since it is a
>  cultural icon, I will go see the other two. >>
>
> Oh dear!  There's going to be a war, ya know...  LOTR is a metaphorical
> account of Tolkien's own emotional experiences of WWII, written into a
> fantasy story.  I'm afraid it will get MUCH more violent.  Felt I should
> warn
> you.
>
> --Gillian
> _______________________________________________
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From: "Maggie Secara" <maggiros@adelphia.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Re: sorcerer's stone vs. philosopher's stone
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Date: Wed, 2 Jan 2002 21:27:20 -0800
Status: RO

Apparently that time they imagined we *would* get it, without needing a number,
as long as they said "King".  George III is probably the only King George most
Americans under 60 have ever heard of! :)


MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Kate M Bunting
> Sent: Wednesday, January 02, 2002 7:07 AM
> To: h-costume@indra.com
> Subject: [h-cost] Re: sorcerer's stone vs. philosopher's stone
>
>
> Alan Bennett's play is called "The madness of George III".  According
> to www.snopes2.com, the reason for the change of title for the film
> was not so much the oft-quoted "people would think it was a sequel",
> as a perceived need to add the word "King" for the benefit of
> American audiences.
>
>
> Kate Bunting
> Library, University of Derby
>
> >>> gailscott@eos.net 01/02/02 02:33pm >>>
>
> I heard a radio interviewer ask this very question. The answer is not that
> Americans are too stupid to know what the philosopher's stone is, but that
> the marketers thought "sorcerer" would sound more exciting to American kids
> than "philosopher." I have to agree that that's probably true, but I also
> imagine it's irrelevant, considering the worldwide popularity of the book.
>
> The same person being interviewed (I forget who it was) said that the film
> called "The Madness of King George" in the USA was originally called either
> "King George III" or "The Madness of King George III" -- British folks,
> please enlighten us. The US marketers left off the III because they thought
> Americans would be confused and think it referred to a sequel -- you know,
> coming after "The Madness of King George II."
>
> Gail Finke

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Date: Wed, 2 Jan 2002 21:28:11 -0800
Status: RO

LOL, just put "Teddy" in both fields.  We'll know who you are!


MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Teddy
> Sent: Wednesday, January 02, 2002 7:20 AM
> To: h-costume@indra.com
> Subject: RE: [h-cost] The H-Costume swap & sell community - a question
>
>
>
> > > Even though, I started it, I consider it the list's community.  For
> > > those who used the list "invitation" to sign up they don't need my
> > > (the community administrator's) approval.  However, those who signed
> > > up through the site do require approval.
>
> I wouldn't be able to register at all as Surname is a required field
> and I don't have one.
>
> Teddy
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Date: Wed, 02 Jan 2002 23:37:18 -0600
Status: RO

Greetings,

Nope you shouldn't.  I've been part of various communities for over a year 
and have never received any spam from them ever.  They only email you 
should ever receive is if someone posts something to the site.  That's one 
of the reasons I like this set-up.  Besides, you can log in from anywhere.

Cheers,
Danielle

At 03:05 PM 1/2/2002 -0500, you wrote:
>Will joining this community mean I get deluged with tons of spam?
>
>-- Mara

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From: Danielle Nunn-Weinberg <dannw@mediaone.net>
Subject: RE: [h-cost] The H-Costume swap & sell community - a question
  for the list
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Date: Wed, 02 Jan 2002 23:41:38 -0600
Status: RO

That is an excellent suggestion, so consider this past one January's. : 
)  Honestly I didn't even think of including the H-Costume email 
address.  Sorry.  I will remember that for next time.

Cheers,
Danielle

At 10:15 PM 1/1/2002 -0800, you wrote:
>It really is for h-cost members.  You should probably post an invitation 
>to the
>list (as you just did) on a monthly basis or so, because our population is
>constantly changing.
>
>When you returned the "rejection" notice, did you send the h-cost signup
>address? We don't want to lose good new members just because they're 
>knocking on
>the back door :)
>
>MaggiRos

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Date: Wed, 02 Jan 2002 23:43:24 -0600
Status: RO

At 03:20 PM 1/2/2002 +0000, you wrote:

> > > Even though, I started it, I consider it the list's community.  For
> > > those who used the list "invitation" to sign up they don't need my
> > > (the community administrator's) approval.  However, those who signed
> > > up through the site do require approval.
>
>I wouldn't be able to register at all as Surname is a required field
>and I don't have one.
>
>Teddy

Teddy, Evilbunny for a surname was a good idea or put Teddy twice. : )  Or 
just make one up.  Unfortunately that isn't something I can control.

Cheers,
Danielle

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Date: Wed, 02 Jan 2002 23:42:38 -0600
Status: RO

You have been approved Lalah.  Unfortunately, that part means you have to 
wait until I log in again.  I try and do that at least once a day.

Cheers,
Danielle

At 12:31 PM 1/2/2002 -0500, you wrote:
>Somehow I missed out on the original and didn't get signed up (at least I 
>don't think I did) and now they are making me go through the whole 
>application thing.  I did it, but have not been "approved" yet.  What a 
>bummer.  If I am not approved I will just forget it.  Does that tell you 
>how us "outsiders" feel?
>
>Lalah
>Never Give up, Never Surrender,

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Date: Thu, 03 Jan 2002 00:04:44 -0600
Status: RO

Greetings,

After yesterday's little discussion on the list, the main ground rule we 
have so far is:

No one will have their membership application accepted if they don't 
include a name and email address.

Does anyone have any other suggestions?

Cheers,
Danielle

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Date: Wed, 2 Jan 2002 23:12:34 -0800
Status: RO


>>Not too sure, having worn costumes made up by the same people, darts are
>>almost certainly out.
>>All the costumes I wore and saw in the costume rooms at PR were flatlined,
>>and used seams for shaping. We are talking from ancient fantasy(Xena) to
>>18thC fantasy(JoAT) to furturistic fantasy(Cleo). She did not like
darts:).
>>Bias covered cord was used to edge anything boned and fitted and yes,
>>polyboning ... <snip>

Michaela,

Thanks for the info.  Shaping seams is so much better, but out here
(LA/Hollywood) it's hard to convince folks that going the historic root, vs
darts, is hard sometimes.

Did you get a good look at the hobbit blouses???  How are the sleeves done
on the women???  What I could see, looked like elastic, at least in the
sleeves... but am curios.


For everyone looking for Hobbit pictures, I did find some of the "Hero
Hobbits", but lost the links.... tomorrow I'll send it.  BTW, for those not
up on the LOTR terms.  "Hero" was used for any of the detailed costumes for
close  up camera work. Each race had them.  These costumes had a lot more
details.

-Cat-

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From: Lynn Downward <lynnie1@pacbell.net>
Subject: Re: [h-cost] Re: Kat and violence in LOTR
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Date: Thu, 03 Jan 2002 00:21:23 -0800
Status: RO

Gillian wrote:
Oh dear!  There's going to be a war, ya know...  LOTR is a metaphorical
account of Tolkien's own emotional experiences of WWII, written into a
fantasy story.  I'm afraid it will get MUCH more violent.  Felt I should warn
you.

No it isn't metaphore, and Tolkien says so very clearly.  I've been reading it
recently in a one-volume reprint I bought myself for Christmas 2000 (Houghton
Mifflin, ISBN 0-395-97468-2).  I don't mean to be argumentative, but here are his
own words.

In the forward to the second edition, first published in October 1965, (he
deleted the first forward), Professor Tolkien wrote, "As for any inner meaning or
'message', it has in the intention of the author none.  It is neither allegorical
nor topical . . . The crucial chapter, 'The Shadow of the Past', is one of the
oldest parts of the tale.  It was written long before the foreshadow of 1939 had
yet become a threat of inevitable disaster, and from that point the story would
have developed along essentially the same lines, if that disaster had been
averted.  Its sources are things long before in mind, or in some cases already
written, and little or nothing in it was modified by the war that began in 1939
or its sequels."  Tolkein goes on to say that if the book had followed WWII, the
Ring would have been used agains Sauron "not annihilated but enslaved, and
Barad-dur would not have been destroyed but occupied."  He goes on for a couple
more paragraphs on this line, but then says that an author cannot write and be
completely separated from the world around him.  He reminds his readers that he
was caught up in WWI and that was just as bad as WWII for many people; all but
one of his close friends were dead by 1918.  However, he says that the book was
already in his mind before there were even threats of another war.

LynnD
Having read it first at the tender age of 11 or12
in (oh my God) 1963-44

Azelana@aol.com wrote:

> In a message dated 12/31/01 2:34:35 AM Eastern Standard Time,
> h-costume-request@indra.com writes:
>
> << I agree with Margo, however. I didn't care much for it as it was
>  *way* too violent for me. I spent a good portion of the movie
>  (especially in the last part) with my head buried in my husband's
>  shoulder going "are they done fighting yet." However, since it is a
>  cultural icon, I will go see the other two. >>
>
>
>
> --Gillian

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Date: Thu, 03 Jan 2002 00:25:32 -0800
Status: RO

I have to agree that that's probably true, but I also
>imagine it's irrelevant, considering the worldwide popularity of the book.

I just hears someone say that there was an exit poll of grade-school-age
children after some showing of Harry Potter, and a few of the interviewees
said they liked it but the book was better!

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Date: Thu, 03 Jan 2002 01:29:16 -0800
Status: RO

>> I was under the impression a guy wrapped his parts in his shirt tail
>> and then put the wrapped package into the codpiece.
>
>That's what works for me (except it's the front of the shirt not the 
>back "tails").

'scuse me for being a Yank, but I thought the front and back were both
tails, hence the plural.  But then, my plumbing is different than yours is. 

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Date: Thu, 03 Jan 2002 00:32:19 -0800
Status: RO

>My interest is very broad over the entire culture.  My husband has traveled
>all over Egypt.  For our 30 wedding anniversary, we are planning to stay in
>Egypt for a month.  Since we are only at our 23rd year presently, we have a
>lot of time for planning.

Go for it!  I wish I had the means to go there, and about 30 other ethnic
places (many of which are not safe for those of us with blue eyes).

>Did you see the four hour special on A&E last night about the pharaohs?

No TV, so I missed it.

Kayta
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Date: Thu, 03 Jan 2002 01:29:48 -0800
Status: RO

>In looking at the codpieces in Arnold, I'm confused as to their
>functionality.  Yes, they look as if they could contain the genitals,

I heard two (unsubstantiated) stories about what actually went into
late-period codpieces like those, and it was nothing anatomical.  One was
the story of some man producing an orange from his codpiece and offering it
to a lady.  The other was of different man hiding his coins in there, and
still having his 'pocket' picked. 

-snip-

>Okay, I don't have the right plumbing to really answer this with any real 
>authority, but I have heard stories that that pocket behind the codpiece was 
>just that, a pocket, to put stuff, like coins, etc, not one's uhm-person.  I 
>have always understood that the codpiece was just a cover of the split in 
>the slops, since early in the tudor period they weren't using buttons.

Earlier flap-style codpiece-things were probably just to cover the
center-front gap between the two legs of the hose.  Later shaped ones could
contain anatomy, my guess being after it was wrapped in a shirt tail to
help contain it.  Later garments, like the ones in Janet Arnold, actually
lace together behind the codpiece, precluding the codpiece's use for
containing anatomy.  But these are hollow, so something else could be put
in there. 

Kayta
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Date: Thu, 03 Jan 2002 01:29:28 -0800
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>I've also seen a list of clothing issued to English soldiers at this period, 
>including shirts but not drawers, which made me wonder idly whether the 
>common man perhaps didn't wear them? 

I think this is true (with long shirt tails, you don't need them).  But
then again, many men today don't wear them ;) 

Kayta
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Subject: Re: [h-cost] Colors 2002 Predictions
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Date: Thu, 3 Jan 2002 10:33:17 +0100
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Henk & Pauline 't Jong
tScapreel
Medieval Consultants
Dordrecht - Netherland


Hi Heather,

You wrote:
  One of the more significant
  "explosions" in color words in European languages seems to have
  paralleled the growth of a medieval cloth industry that involved
  regular, long-distance trade in dyed cloth.  It doesn't seem to have
  been so much the ability to reliably produce particular colors and
  shades, but the desire to be able to label these different colors and
  shades for commercial purposes. 

  That's a very interesting obseravtion. Do you know of any literature =
about this? Up to now (as you know I 'do' 1250-1350) I have not found =
many colour names in 'my' period, just (in translation) red, darkred or =
carmine, blue and darkblue (perse), 'brun' ( a problem colour in the way =
of describing it properly), green, grey, black, uncoloured and mixed, =
and very rarely purple. No yellow to speak off.

  In which case, the Color Marketing
  group is simply the ridiculous extreme of a long historic process.

  I would stress the word 'rediculous'. The whole lot reminds me of my =
education and years in advertising. Best soonest forgotten.


  Henk


  Visit the revised and even more colourful tScapreel website;
  Separate English pages clickable from the Dutch homepage
  Now on our very own domain: www.scapreel.nl


------=_NextPart_000_004D_01C19442.0EC309E0
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<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>&nbsp;</DIV>
<DIV>Henk &amp; Pauline 't Jong<BR>tScapreel<BR>Medieval
Consultants<BR>Dordrecht - Netherland</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>Hi Heather,</DIV>
<DIV>&nbsp;</DIV>
<DIV>You wrote:</DIV>
<BLOCKQUOTE
style=3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
  <DIV>One of the more significant <BR>"explosions" in color words in =
European
  languages seems to have <BR>paralleled the growth of a medieval cloth =
industry
  that involved <BR>regular, long-distance trade in dyed cloth.&nbsp; It =
doesn't
  seem to have <BR>been so much the ability to reliably produce =
particular
  colors and <BR>shades, but the desire to be able to label these =
different
  colors and <BR>shades for commercial purposes.&nbsp; </DIV>
  <DIV>&nbsp;</DIV>
  <DIV>That's a very interesting obseravtion. Do you know of any =
literature
  about this? Up to now (as you know I 'do' 1250-1350) I have not found =
many
  colour names in 'my' period, just (in translation) red, darkred or =
carmine,
  blue and darkblue (perse), 'brun' ( a problem colour in the way of =
describing
  it properly), green, grey, black, uncoloured and mixed, and very =
rarely
  purple. No yellow to speak off.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>In which case, the Color Marketing <BR>group is simply the =
ridiculous
  extreme of a long historic process.<BR><BR>I would stress the word
  'rediculous'. The whole lot reminds me of my education and years in
  advertising. Best soonest forgotten.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Henk</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Visit the revised and even more colourful tScapreel =
website;<BR>Separate
  English pages clickable from the Dutch homepage <BR>Now on our very =
own
  domain: <A href=3D"http://www.scapreel.nl">www.scapreel.nl</A></DIV>
  <DIV>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: Re: [h-cost] masked ball costume
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Date: Thu, 03 Jan 2002 02:14:50 -0800
Status: RO

I could go to Portland OR!!  Is there a specific theme? Historic period?  It 
sounds like a blast.

Jennifer


>From: "Rowena" <sleepyunicorn@citlink.net>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: Re: [h-cost] masked ball costume
>Date: Wed, 2 Jan 2002 16:22:33 -0500
>
>Portland Maine or Portland Oregon?  or another state yet?
>I could go to Portland Maine.
>Rowena
>   ----- Original Message -----
>   From: Sidne Kneeland
>   To: historic costume ; KitchenPicnicTable@yahoogroups.com
>   Sent: Wednesday, January 02, 2002 3:57 PM
>   Subject: [h-cost] masked ball costume
>
>
>   Greetings,
>
>   For anybody in the Portland area, there is going to be a masked ball at 
>the Art Museum.  Since I have never been so brave as to go there, what 
>recommendations does anybody have for myself and my spouse to wear?  I 
>probably would need to make these costumes myself (Value Village curtains 
>here I come).
>
>   Are these supposed to be masks that are affixed with elastic things or 
>those carry-on-a-stick variety?
>
>   ANY HELP?
>
>   Thanks,
>
>   Sidne/
>   In the SCA, Estrelda
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Subject: Re:  [h-cost] Re:LOTR
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Date: Thu, 03 Jan 2002 10:33:22 +0000 (GMT)
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> I didn't think Galadriel's dress was made of lace fabric. It was
> pretty huge up there on the screen, and it looked like a sort of
> beaded gauze scarf from India that I used to have and love. It hung
> like gauze, anyway, not like lace.

It sure looked like it to me.  Actually, more like net-curtain fabric with 
sparkles (sequins or beads, I couldn't tell) sewn all over.... 
<shudder>

> I enjoyed the costumes very much, even if I did't care for them all
> personally. What a nice job everyone did.

Absolutely.  As I say, Galadriel'sfrock was the only jarring moment 
in the film for me and for the most part (appart from really liking the 
hobbit-girl look) The costumes went un-noticed in the general 
enjoyment of the film anyway.

Teddy
 

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Date: Thu, 03 Jan 2002 10:45:14 +0000
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Gwyn Carnegie wrote:

Kate Bunting
Library, University of Derby

>>> Ever looked for a deep blue shirt in what appears to be a sea of the >same french blue shirt? Ever walked through a mall looking for a certain >item in a certain color and noticed that every seems to have the variations >on the same garment but not in the color you wanted?

Yes, it seems like every time I decide I need a garment of a particular colour, that shade is unobtainable that year. This season I wanted a top in a dark oxblood red (to go with a print skirt I have) and all the reds are bright, even one calling itself "burnt red"!
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Date: Thu, 03 Jan 2002 11:07:26 +0000 (GMT)
Status: RO


> > I wouldn't be able to register at all as Surname is a required field
> > and I don't have one.
> 
> Maybe, for the purposes of the list, you could use Evilbunny?

<snortle>  I'd really rather not.

I have a long and involved set of issues with "petty officialdom" 
requring Surnames, when they aren't a legal requirement, and 
insisting on adding titles (Mr, Mrs, Mis, Ms etc) to names when they 
aren't actually *part* of anybody's name but an outmoded and 
completely unnecessary form of address that people should have 
the *choice* of attaching to their names or not.  The advent of 
widespread computer systems has made the whole thing worse.  
iv'e had to threaten places like banks and my employer with legal 
action under Data Protection laws for knowingly keeping inaccurate 
personal information on their databases because their systems 
had been set up with Surname and Title as mandatory fields that 
couldn't be left blank so they had me listed as Mr T. Teddy.

<steps down, folds up handy portable soap-box and wanders off 
behind the piles of unfinished sewing projects>

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Thu, 03 Jan 2002 11:34:46 +0000 (GMT)
Status: RO


> In looking at the codpieces in Arnold, I'm confused as to their
> functionality.  Yes, they look as if they could contain the
> genitals, but the center front openings of the slops appear to meet
> behind them. What's happening here? Wouldn't things get...pinched? 

Speaking form the 15th century perspective here (and it shouldn't 
be that much digfferent for 16th century, on the assumption that the 
inner layers of the trunk-hose aren't as baggy as the outer so the 
genetalia wouldn't just hang inside the trunks in the way it would in 
modern boxer shorts).... most of my fitted/sewn hose have a 
similar arrangement (the codpieces just aren't shaped/padded like 
the 16th century ones) and the edges of the front openings part 
around the base of the genitals and don't pinch at all.
 
> Also, the one codpiece we see the inside of shows a nicely padded
> circular bit. Oh heavens, there is no ladylike way to ask this
> question....does just the penis go in the codpiece or is it somehow
> supposed to hold the scrotum as well?  

Provided the space inside the codpiece is big enough, it quite 
comfortably holds both.

> And just how does one accomplish that wrapping the shirt tail around
> it first bit?

Speaking for myself... I sort of pouch the bottom of the shirt front so 
that the bottom edge is nestled behind (underneath and up both 
sides of) the scrotum and the resultant "package" or pouchfull sits 
comfortably inside the codpiece and neatly does away with the 
worry of flashing the world if the codpiece should come unfastened. 
 
I hope this is of some help (and the sys-admin people here at work 
have no problems with the content...<g>)

Teddy


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Re:LOTR - Galadriel's frock.
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Date: Thu, 03 Jan 2002 11:47:21 +0000 (GMT)
Status: RO

 
> You are right, it was not lace. I have no idea how anyone could think
> that. What I did notice was the wide seam allowances as the light
> shone through the fabric. I thought  the raised areas were beaded.
> http://www.theonering.net/movie/scrapbook/large/1019 I'm certain that
> the fabric will be a silk too, we are talking about a bloody expensive
> film;)

What it's actually made of is ireelevant.  It *looks* like the "lace" 
fabric that started appearing on market stalls (here at least) in the 
80s, some of which comes pre-sequinned.  I once bought some of 
the black version (un-sequinned) to make a "goth" outfit for my 
cousin... but that wasn't meant to look in any way classy.

The stuff used in the film might be pure silk and hand beaded, for 
all I know,  but it still looks like cheap tacky 1980's nylon lace with 
sparkly bits added to me.

Teddy.
 


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From: Teddy <teddy1@mdx.ac.uk>
Subject: [h-cost] Re: Wearing 16th Century Shirts - II
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Date: Thu, 03 Jan 2002 12:02:12 +0000 (GMT)
Status: RO


> >That's what works for me (except it's the front of the shirt not the
> >back "tails").
> 
> 'scuse me for being a Yank, but I thought the front and back were both
> tails, hence the plural.  But then, my plumbing is different than
> yours is. 

<laugh!>  You may well be right, techinically, Kayta.  I have no idea. 
 All I know is that if someone mentions "shirt-tails" I think of the bit 
that hangs doen at the *back* not the front.

Teddy
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 community
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Date: Thu, 3 Jan 2002 08:54:18 -0600 (CST)
Status: RO


On Thu, 3 Jan 2002, Danielle Nunn-Weinberg wrote:

> After yesterday's little discussion on the list, the main ground rule
> we have so far is:
> 
> No one will have their membership application accepted if they don't
> include a name and email address.
> 
> Does anyone have any other suggestions?

They have to be on h-cost.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Medieval Woman calendar mystery
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Date: Thu, 3 Jan 2002 09:25:18 -0600 (CST)
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On Wed, 2 Jan 2002, Melanie Schuessler wrote:

> On the January page of the 2002 Medieval Woman calendar, please
> consider the lady to the right (the one in the turban).  Examine, if
> you will, the red laces at center front of her bodice.  One can see
> that the bottom two seem to pass through the dark dots which might be
> interpreted as lacing holes.  This makes sense to me as a single
> spiral lace holding the dress together.  The top four, however, seem
> to lay horizontally without passing through the dark dots and without
> the necessary connecting diagonal of a spiral lace.
> 
> Similarly, the lady on the left has numerous horizontal bars (and no
> diagonals) center front.  Because of the gathered nature of her
> overgarment (and the lack of diagonals), these wouldn't seem to be
> laces--unless they're laces on the undergarment instead (which still
> doesn't explain the lack of diagonals!).  For a similar phenomenon, go
> to http://gallery.euroweb.hu/html/b/botticel/portrait/index.html and
> click on "Portrait of a Young Woman" (the second one).
> 
> What is happening here?  Are these just decorative?

I noticed the same thing last week when I put up my calendar, and decided
that these are probably just a poor rendering. One of the things I'm
wondering is how much the image has been enlarged. Sometimes in
reproductions you get a very large picture of something that was extremely
small to begin with. On my wall I have a National Gallery poster of a
Raphael angel who's reprinted in at least 3/4 life-size, but in the
original, she's all of five or six inches tall. That explains some
significant losses in costume details -- e.g. a string of beads with
spaces in between and no connecting cord. In the original, the beads look
connected because the spaces are so tiny as to be invisible (and the cord
would have been impossible to paint).

In this case, on the turbaned lady, I think we do have an impression of
the diagonals, but very sketchy and not accurately placed: they appear as
shadowy pale red horizontal lines in the white space between the dominant
laces. As for the fact they don't go through the holes, either it's a
mistake, or there's a convention of putting lacing rings on the inside
behind decorative dots on the edging. Again, a significant enlargement
would explain this loss of accuracy in detail. Ditto for the lady in the
back.

Alternatively, there is a lacing method that produces only horizontals,
and it may explain the occasional appearance of the horizontal-row lacings
(which seem to me to be primarily a German feature and occasionally
Burgundian, but I haven't examined this issue in detail). The lacing
method uses hooks or rings at the edge or just inside the inside edge of
the fabric. You lace straight across, then (on the inside) go up one, then
lace back across, then go up one, and so on. I've never done this myself,
and it would seem to me that this is not something that could take a lot
of stress, but would be sufficient to keep an overdress lying flat and
organized.

Or the "laces" may be sewn in for decorative effect -- vestigial, as you
suggest. This ornamentation does show up eventually, I think.

But I wouldn't read a whole lot into the use of laces with a gathered
overgarment. This is an altarpiece, and these are almost certainly
Biblical/historial figures. In this period, I've found loads of fanciful
dresses on such characters that combine elements of "fantasy" or
"historical" dress with modern fashionable details, often in physically
incompatible ways. (Melanie, if you saw my sideless surcote lecture, you
might remember an image of a saint in a sideless surcote that had the
currently fashionable 15th-century V-neck, complete with black inset
panel, grafted into it.)

> p.s. to Robin Netherton:  Check out February for a 16th century
> Flemish Sybil in a sideless surcoat-esque garment.

Yes, I've got her for my collection. In fact, I think I got her "live" at
the Cluny, but I still haven't sorted all my tapestry slides (at least 200
of them) that I took in Paris a year ago. I am despairing of figuring out
the titles/dates for all those images.

--Robin


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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Re: LOTR
To: h-costume@indra.com
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Date: Thu, 3 Jan 2002 14:14:10 +0000 (GMT)
Status: RO

The LOTR was written by Tolkein as part of what he saw
as giving back to England part of her native folklore,
on which alot of the book is written.  To get a better
view of this you should read the Silmarillion which is
truely his masterpeice.  It is a collection of
stories, myths etc from middle earth.  Tolkein
borrowed from Anglo-Saxon myths, and elvish is in part
based on Anglo Saxon.  Not much to do with wars etc!

Rachel



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From: sustre@pixelations.com
Subject: Re: [h-cost] Re: Anglo-Saxon burials
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Date: Thu, 3 Jan 2002 10:12:38 -0500
Status: RO

Mel said:

>I make early Anglo Saxon brooches see www.pastclass.com

Nice stuff! For myself, I'm having a blast making various pieces. If 
any turn out particularly well, I might make a few extra for sale 
myself, especially since we seem to be interested in different pieces.

Good luck with yours!

-Amanda
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From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Medieval Woman calendar mystery
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Date: Thu, 3 Jan 2002 09:15:05 -0600 (CST)
Status: RO

I also wondered about this picture but for other reasons. That black thing
that she is wearing underneath almost looks like a harness of some sort.

I took the red lacings to be a mistake honestly and did not really go past
that thought.

The lady in the back looks more like she was sewn into her over bodice
than anything. That is what it looks like when I sew the lacings in front
of my bodice cause I did not have the time to make the rings. :)

Not the answer your looking for I know, you want some kind of
documentation to explain what this is. The best that I can offer is a
lady's email address here in Texas that specilizes in this artist
rendering of costumes and see if she has an idea. Let me know privately.

-- 
Sincerely,
Chiara Francesca
chiara@io.com


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Date: Thu, 3 Jan 2002 09:01:29 -0800
Status: RO


> On the January page of the 2002 Medieval Woman calendar, please consider
> the lady to the right (the one in the turban).  Examine, if you will,
> the red laces at center front of her bodice.  One can see that the
> bottom two seem to pass through the dark dots which might be interpreted
> as lacing holes.  This makes sense to me as a single spiral lace holding
> the dress together.  The top four, however, seem to lay horizontally
> without passing through the dark dots and without the necessary
> connecting diagonal of a spiral lace. 

The diagonals are on the back side of the lacings. It was actually a 
very common lacing pattern.

Also, chemises and the like are often laced. You can see this quite 
well in some of the courtesan's chemises in Lynn Lawner's book on 
courtesans. 

Fun calendar, eh! (One of my students has decided that she gets 
to give me the calendar for Christmas every year. Hey, I'm not 
going to complain!)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: Katie <nejma@tds.net>
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Date: Thu, 03 Jan 2002 10:37:36 -0600
Status: RO

I went wandering around that site and found this..

http://gallery.euroweb.hu/html/zgothic/gothic/2/index.html

look at the "Wise Virgins" and note the pleating/gathering 
of fabric going from under the arm to the waist.  

Do you think this is the construction of the garment??

Katie

Melanie Schuessler wrote:
> 
> Greetings to all
> 
> Having returned from a long hiatus during which I missed you all
> immensely, I of course immediately have a question.  There may be a
> simple answer, and if so, I'm sure someone on this list will have it.
> 
> On the January page of the 2002 Medieval Woman calendar, please consider
> the lady to the right (the one in the turban).  Examine, if you will,
> the red laces at center front of her bodice.  One can see that the
> bottom two seem to pass through the dark dots which might be interpreted
> as lacing holes.  This makes sense to me as a single spiral lace holding
> the dress together.  The top four, however, seem to lay horizontally
> without passing through the dark dots and without the necessary
> connecting diagonal of a spiral lace.
> 
> Similarly, the lady on the left has numerous horizontal bars (and no
> diagonals) center front.  Because of the gathered nature of her
> overgarment (and the lack of diagonals), these wouldn't seem to be
> laces--unless they're laces on the undergarment instead (which still
> doesn't explain the lack of diagonals!).  For a similar phenomenon, go
> to
> http://gallery.euroweb.hu/html/b/botticel/portrait/index.html
> and click on "Portrait of a Young Woman" (the second one).
> 
> What is happening here?  Are these just decorative?  Here for
> example--go to
> http://gallery.euroweb.hu/html/v/veronese/z_other/
> and click on "Portrait of a Venetian Woman"--they look pretty vestigial,
> but that's much later.
> 
> I was just going to put up my new calendar, and look how much trouble I
> got into!  Many thanks for any enlightenment that you can offer.
> 
> Melanie Schuessler
> 
> p.s. to Robin Netherton:  Check out February for a 16th century Flemish
> Sybil in a sideless surcoat-esque garment.
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--part1_c8.20300c29.29660185_boundary
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       It is a good looking jacket.  Too bad kids tend to keep on growing and 
growing and growing.  Not just kids either -- it is a good thing I have just 
T-tunics and sideless surcoats in my garb wardrobe right now, because I sure 
overindulged over the holidays.  

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



--part1_c8.20300c29.29660185_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;It is a good looking jacket. &nbsp;Too bad kids tend to keep on growing and growing and growing. &nbsp;Not just kids either -- it is a good thing I have just T-tunics and sideless surcoats in my garb wardrobe right now, because I sure overindulged over the holidays. &nbsp;
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

--part1_c8.20300c29.29660185_boundary--
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Date: Thu, 03 Jan 2002 11:15:56 -0600
Status: RO

Isn't that a bliaut??  

Audrey Bergeron-Morin wrote:
> 
> Hi,
> 
> I will be attending a "medieval wedding" this summer. (I don't think it'll
> be what *I* could call medieval, but hey, it's a good occasion to wear a
> costume ;-)
> 
> So, I found this dress in Peacock. I know he's not a very good reference for
> periodness, but I love the dress (not the hat, I'll wear a veil and a
> circlet with flowers on my head)
> You can see it here.
> http://www.geocities.com/audreybmorin/Varia/dress.jpg
> 
> I don't mind the dress not being 100% accurate, but if I can make it more
> period without making apparent alterations, I'd be happy. So now with my
> questions.
> 
> Would you make it with underarm gussets? It is tight-fitting so could it be
> laced on the sides? I'm guessing it would probably be made with gores at the
> sides and back starting at hip level, but would you also put a gore in
> front? How do I obtain the right shape for the train? What shape would you
> make the sleeves?
> 
> Are there any other things you can think of that would help me construct the
> dress? I've made a bunch of t-tunics already with different widths and
> shapes so making a dress without a pattern doesn't really scare me, but
> there are things like lacing or sleeves that I have never done yet.
> 
> I'm thinking green silk. Crepe maybe, as it falls nicely and is not too
> shiny. Any other ideas for what kind of silk I could use? White linen
> underdress, with hidden lacing on the forearm so it's tight-fitting. It will
> be long enough that I'm not worried about shoes, so that's not a problem.
> I'll try to find false hair to make a very long braid out of and hide the
> attachment point under the veil, my hair is way too short to do anything
> with.
> 
> Thanks a lot,
> Alix
> 
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From: "Joan Broneske" <unicorn@softcom.net>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] Re: LOTR
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Date: Thu, 3 Jan 2002 13:50:48 -0800
Status: RO

My husband believes that a lot of LOTR was based on Nordic mythology;
afterall, there is Gandalf (a lot like Odin), elves, dwarves and "little
people" (hobbits).  I can see the similarity, at least in the races of
characters that were used.



                        ,%%%,
Joan Broneske       --==% `%%%,
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                        \_/\ @%%,
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----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>; <h-costume@net.indra.com>
Sent: Wednesday, January 02, 2002 5:45 PM
Subject: [h-cost] Re: LOTR


>
> LOTR was indeed not a fictional account of Tolkien's experiences in WWII.
> For one thing, he wasn't in WWII (fighting, anyway -- he was certainly in
> England during WWII). And anyway, he wrote it and all his other related
> stuff during most of his adult life. While any author's works can fairly
be
> said to be influenced by his/her experiences, LOTR isn't about WWII or
WWI.
> If it's "about" anything, it's simply making up a new epic and turning it
> into a novel. The man knew every epic that ever was backwards and
forwards,
> all he had to do was pick up a pen and epic stuff just flowed out.
>
> Personally, I love these books and I think the man was an amazing writer.
I
> am on tenterhooks to see how the movies handle the coming epic battles --
> the Riders of Rohan and the seige of Mordor -- and particularly the deaths
> of Theoden and Denethor. But if you don't like them, well, then, you don't
> like them. Nothing we have to argue about, surely?
>
> There's a lot of costume stuff to talk about from the movie, let's stick
to
> that.
>
> Gail Finke

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Subject: [h-cost] Re: color marketing group
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Date: Thu, 03 Jan 2002 20:10:16 -0500
Status: RO



The Color Marketing Group is, in my opinion, a giant scam. They "forecast"
colors for the coming year, colors which they also happen to make available
to paying customers. Everyone has to use them, because if you don't, then
your stuff doesn't match everyone else's stuff. Your carpet lines don't
match the current upholstery fabrics, for instance, or your car upholstery
vinyl doesn't match the available car paint colors. And they're not cheap!

Yes, I have a rather violent opinion of them, and yes, it is an informed
opinion. I have worked in the graphic design field for more than a decade,
and I have interviewed "forecasters" and gone to seminars they put on. IMHO,
it's a terrible trick!

Gail Finke

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From h-costume-admin@indra.com  Thu Jan  3 19:52:00 2002
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To: h-costume@indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Loonie King George the Threeth
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Date: Thu, 3 Jan 2002 10:58:44 -0800
Status: RO

At 9:38 AM +1100 1/3/02, Christopher Ballis wrote:
>the film
>called "The Madness of King George" in the USA was originally called either
>"King George III" or "The Madness of King George III" The US marketers left
>off the III because they thought
>Americans would be confused and think it referred to a sequel
>
>
>Yep, the sequel fear is true. The film is based upon a play called The
>Madness of King George III,
>

I think that that interpretation may be more a snide and humorous 
joke on American pop culture than a likely motivation for the name 
change.  I'd see it as simply a cultural context thing: for a British 
audience, there were lots of Kings George running around, and even 
the reference to madness might not immediately pin it down.  But for 
a US audience, there is one extremely salient King George -- if you 
say "King George" to a USAn with any historical knowledge at all, 
they will first and foremost think of the George on the throne during 
our Revolutionary War.  So the "III" part is superfluous for 
identification.  (Now, if you wanted to make a movie for a US 
audience about one of the _other_ Kings George, you might need to 
include numbers or some other identification.)

If US audiences were really that incapable of dealing with movies 
with numbers in the title, we would have had problems with "Henry V" 
and "Malcolm X".  (And, yes, jokes were made about people 
interpreting both those titles as involving sequel numbers ... but 
they were _jokes_, not actual logistical problems.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Thu Jan  3 19:52:49 2002
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Date: Thu, 3 Jan 2002 19:39:53 -0500
Status: RO

Tonight on A&E is showing the 1st part of the movie Victoria and Albert.
The 2nd part airs Friday night.  On the east coast of the US, the movie
begins at 9 PM and an encore at 1AM.  This movie originally aired a few
months ago.  I really enjoyed it.  For more information on this show go to
http://www.aande.com/tv/shows/victoria/

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Subject: [h-cost] Re:LOTR - Calendar!
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Date: Thu, 3 Jan 2002 19:52:40 -0500
Status: RO

I just ordered the daily calendar for LoTR.  has anyone seen it?  The info
says:
"The Lord of the Rings" Daily Boxed Calendar
Based on J.R.R. Tolkien's classic tale of good and evil, this 2002 daily
boxed calendar showcases famous characters and settings from the
much-heralded new movie. The sturdy plastic frame can rest flat or be
propped up for easy viewing. The Lord of the Rings, The Fellowship of the
Ring and the characters and the places therein: Copyright The Saul Zaentz
Company d/b/a Tolkien Enterprises under license to New Line Productions,
Inc. All Rights Reserved.
Daily boxed calendar, 6 1/4" x 5 1/4"
ISBN #4460

They have datebooks, journals, as well as a "locker" calendar.
It is at http://www.cedco.com - anyone ever here of them or the calendar?
Rowena ni Dhonnchaidh


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Subject: Re: [h-cost] The H-Costume swap & sell community - a question for the list
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Date: Thu, 3 Jan 2002 13:54:55 EST
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No problem.  I have spent my fabric allowance and then some at Fabric.com and 
will have to just wait a while before drooling over any more fabric.  Thanks,

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>No problem. &nbsp;I have spent my fabric allowance and then some at Fabric.com and will have to just wait a while before drooling over any more fabric. &nbsp;Thanks,
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Date: Thu, 3 Jan 2002 17:14:57 -0500
Status: RO

It sounds lovely! And what a great resolution!

Does Hot Potatoes have an online site? The velvet sounds yummy, and 
I'd love to look at the stamps....

It was my impression that hot-stamping washes out and needs to be 
re-done- am I wrong about that?

Anyway, it sounds marvellous! I've made the Nomad Dress myself a few 
times, and it's very comfortable and easy to move in, so I think it's 
a great choice.

-Amanda
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Subject: [h-cost] Re: masked ball costume
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Date: Thu, 3 Jan 2002 14:58:14 -0800
Status: RO

This is a multi-part message in MIME format.

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Greetings,

Yes, I just looked.  It's the masked Parisian Cabaret for Young at Art =
members.  There an exhibition preview with reception ($100 per person)_ =
or the ball and reception ($300 per person). 

Here is a link for the Young at Art one: 
http://www.pam.org/museum%20plaza/calendar%20and%20events/calendar%20and%=
20events.html

I received a card with an elaborate mask on it and it said 'Le Bal =
Masque.'  I did see the admission prices but didn't pay much attention.  =
I wondered what a _real_ masked ball was like, since they seem to have =
them at the Art Museum yearly.   We are members, as a family, but not =
THAT much members. 

Sidne/
Estrelda in the SCA

  If it's the masked Parisian Cabaret you are speaking of, it is just a =
formal, not costumed and the masks are pretty much whatever you want!

  If you talking about another one, let me know!

  -Giliana



------=_NextPart_000_0020_01C19467.11EEF5A0
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2712.300" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Greetings, </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Yes, I just looked.&nbsp; It's the masked Parisian =
Cabaret for
Young at Art members.&nbsp; There&nbsp;an exhibition preview with =
reception
($100 per person)_ or the ball and reception ($300 per person).&nbsp;
</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Here is a link for the Young at Art one:&nbsp; =
</FONT></DIV>
<DIV><A
href=3D"http://www.pam.org/museum%20plaza/calendar%20and%20events/calenda=
r%20and%20events.html">http://www.pam.org/museum%20plaza/calendar%20and%2=
0events/calendar%20and%20events.html</A></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>I received a card with an elaborate mask on it and =
it said 'Le
Bal Masque.'&nbsp; I did see the admission prices but didn't pay much
attention.&nbsp; I wondered what a _real_ masked ball was like, since =
they seem
to have them at the Art Museum yearly.&nbsp;&nbsp; We are members, as a =
family,
but not THAT much members.&nbsp; </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Sidne/</FONT></DIV>
<DIV><FONT size=3D2>Estrelda in the SCA </FONT></DIV>
<BLOCKQUOTE
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">&nbsp;</DIV>If it's the masked =
Parisian Cabaret
  you are speaking of, it is just a formal, not costumed and the masks =
are
  pretty much whatever you want!<BR><BR>If you talking about another =
one, let me
  know!<BR><BR>-Giliana<BR><BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0020_01C19467.11EEF5A0--

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Date: Thu, 03 Jan 2002 18:21:06 -0600
Status: RO

At 09:25 AM 1/3/2002 -0600, you wrote:
>Alternatively, there is a lacing method that produces only horizontals,
>and it may explain the occasional appearance of the horizontal-row lacings
>(which seem to me to be primarily a German feature and occasionally
>Burgundian, but I haven't examined this issue in detail). The lacing
>method uses hooks or rings at the edge or just inside the inside edge of
>the fabric. You lace straight across, then (on the inside) go up one, then
>lace back across, then go up one, and so on. I've never done this myself,
>and it would seem to me that this is not something that could take a lot
>of stress, but would be sufficient to keep an overdress lying flat and
>organized.

Actually, when I was in the military we used to lace our boots with the 
straight across lacing and never had any problems with it.  I've also seen 
it done on Italian gowns effective.  It was nick-named "ladder lacing" on 
some email lists.  This page has a reasonable explanation of one way of 
doing it.  http://homepage.mac.com/festive_attyre/research/lacing/lacing.html

Cheers,
Danielle

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From: "Joan Broneske" <unicorn@softcom.net>
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Subject: Re: [h-cost] A different perspective on LOTR
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Date: Thu, 3 Jan 2002 13:57:42 -0800
Status: RO

I mean no offense or to be insensitive, but it looks like you have more than
issues with "gore and ick"!  I can't stand horror or hacker/slasher movies,
they give me nightmares, but "Raiders of the Lost Ark" causing you to have
to go to the hospital and "LOTR" making you throw up?  My Goodness!  I don't
know how I would survive life, if I was that sensitive!



                        ,%%%,
Joan Broneske       --==% `%%%,
unicorn@softcom.net     |' )`%%,
                        \_/\ @%%,
                          __@@" %%%--"""-.%,
                        /`__|             \%%
                        \\  \   /   |     /'%,
                         \]  | /----'.   < `%,
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                             ||       ///`
                             /(      //(


----- Original Message -----
From: "Jeanne Harney" <jeanne@parrotfantasy.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 02, 2002 4:22 PM
Subject: [h-cost] A different perspective on LOTR


> Well, I have issues with blood and gore and ick.  I know that.  It cost
> me $304.28 plus admission price to see "Raiders of the Lost Ark" as
> that's what the ambulance cost after I passed out.  So...even though I'd
> been warned, by people who know my tolerance and love me, I went off to
> see LOTR yesterday.  I didn't pass out.  However, I left the theatre
> twice to throw up, and continued doing so for about 2 hours after the
> movie.  I can't tell you many costume details, because I was pretty
> miserable and my head was buried in my husband's chest.  We were with a
> group, and we drove another couple, so leaving wasn't in the picture,
> darn it.  I'm HORRIBLY upset with myself.  I was dumb.    But I'd been
> waiting *30* years for someone to do the movies right...
> Somehow I don't think the 2 sequels are in my future.
> Jeanne
> hating that she's a wimp.
> "English doesn't borrow from other languages - English follows other
> languages down dark alleys, knocks them over and goes through their
> pockets
> for loose grammar." -- Anonymous
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From: Leif Drews <drewscph@post12.tele.dk>
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Date: Thu, 03 Jan 2002 21:04:13 +0100
Status: RO

Hello
Today i had a meting with another h-costume listmember, my very first 
meting with another costume friend: Barbara Maren Winkler from Berlin, 
Germany.
She had asked me some time ago, if i would like to met her if she came 
to Copenhagen.
That she did, and we met at the railroad station. She broaght with her 
her little daughter, very charming and patiente little girl. We went to 
a cafe and had coffe, and we had a very long chat talking lace, 
embroidery and costume. Barbara showed me some costumes she had made and 
whe also had taken photos of a visit she had taken to UZBEKISTAN, where 
they make the finest gold embroidery you would ever imagine. It was 
photos from a workshop.
Later we went to a shop to buy some bobbins she was going to use in the 
lace class at Penny Ladniers Costume Gallery. There i had a very fine 
chat to the lady who has the shop about gold embroidery. I had taken my 
goldembroidery for the costume i make for myself with me to show 
Barbara, now i showed it to the lady in the shop also. Would you know? 
she actually sells this goldthread in the shop! I was very surprised of 
that, and she also carries the gold sequins i use!
The best thing of it all was, that i learned what a buillon thread is 
called in Danish. I had no idea about that. It is called  Kantille thread.
In many ways today was a very special day, it was very lucky we went to 
that shop. Now i dont have to import from America any more, she imports 
from England, Benton and Johnson.
Barbara is travelling home again tomorrow. It was very special and 
lovely to talk to her.

Many greetings

Bjarne in a cold frosty Copenhagen.  

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: Wearing 16th Century Shirts
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Date: Thu, 3 Jan 2002 11:21:28 -0800
Status: RO

At 7:32 PM -0600 1/2/02, Magdalena wrote:
>So, I'm curious.  Did you draft one with neck gussets, or without?  I've been
>researching and playing with period shirts for a while now, and I've 
>come to the
>conclusion that I like ones with neck gussets much better.  They seem to have
>been made both with and without, but I find that the neck gusset eliminates
>pulling and makes gathering to the neckband much easier.  What's your
>experience?

This reminds me that I made a 16th-century shirt for an honorary 
"brother" of mine, who informed me after a while that it was 
uncomfortable to wear because it didn't have a back yoke. He pointed 
out that, if a shirt is merely gathered into the neckline at the 
back, there is extra fullness at the upper back shoulder line that 
tends to migrate toward the front, causing the sleeves to twist. This 
tightens the shirt in the upper arm area, which he finds 
uncomfortable.

I've noticed the same tendency for the sleeves to twist in my own 
shirts, but what I didn't realize is that since my shoulders slope, 
there's still plenty of ease in that area, so it doesn't bother me if 
the upper sleeves are twisted. He has shoulders that are wider and 
much more square than mine, so there isn't as much ease.

A back yoke, even just a couple of inches deep, helps this problem 
considerably, since it holds the fullness back and prevents it being 
pulled forward over the arm. However, I have no idea whether shirts 
in the 16th century had this problem, or if so, how they solved it.

Anyone else have this experience?
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
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Subject: [h-cost] Needlework resolutions
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Date: Thu, 3 Jan 2002 16:53:12 -0800
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This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

------_=_NextPart_001_01C194BA.2FC19C10
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I made 3 needlework resolutions (actually they were the only resolutions I
made at all):
 * No solid fashion fabrics -- I find that if I dont force myself, I tend to
choose solid fabrics because they are somehow "safe". Whether this means
safe from long fabric searches, safe from the snarks, safe from my own
self-critique doesnt really matter.  Thus I am resolved to head for stripes,
plaids, brocades, paisley, whatever. (Monochrome damask weaves still count
as "solid" and will be put aside this year.)
 * Work lighter -- Coming at historic costume thru the Victorian door, I
find a tendancy to over-structure garments.  Many times this isnt bad,
especially in corsets, tailored jackets, & evening bodices that last thru
many wearings.  This year I'm resolved to lighten up & work in airy fabrics
& styles that require a gentle hand, new techniques and less room in the
closet.
 * Finish my 31st quilt with a 3-D design.
--cin 
Cynthia in Tokyo

------_=_NextPart_001_01C194BA.2FC19C10
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	charset="iso-8859-1"

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
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<META content="MSHTML 5.00.3315.2870" name=GENERATOR></HEAD>
<BODY>
<DIV><FONT size=2><SPAN class=037423400-04012002>I made&nbsp;3 needlework 
resolutions (actually they were the only resolutions I made at 
all):</SPAN></FONT></DIV>
<DIV><FONT size=2><SPAN class=037423400-04012002>&nbsp;*&nbsp;No solid fashion 
fabrics -- I find that if I dont force myself, I tend to choose solid fabrics 
because they are somehow "safe". Whether this means safe from long fabric 
searches, safe from the snarks, safe from my own self-critique doesnt really 
matter.&nbsp; Thus I am resolved to head for stripes, plaids, brocades, paisley, 
whatever. (Monochrome damask weaves still count as "solid" and will be put aside 
this year.)</SPAN></FONT></DIV>
<DIV><FONT size=2><SPAN class=037423400-04012002>&nbsp;* Work lighter -- Coming 
at historic costume thru the Victorian door, I find a tendancy to over-structure 
garments.&nbsp; Many times this isnt bad, especially in corsets, tailored 
jackets, &amp; evening bodices that last thru many wearings.&nbsp; This year I'm 
resolved to lighten up &amp; work in airy fabrics &amp; styles that require a 
gentle hand, new techniques and less room in the closet.</SPAN></FONT></DIV>
<DIV><FONT size=2><SPAN class=037423400-04012002>&nbsp;* Finish my 31st quilt 
with a 3-D design.</SPAN></FONT></DIV>
<DIV>
<DIV class=MsoNormal><FONT size=2>--cin <BR>Cynthia&nbsp;<SPAN 
class=037423400-04012002>in</SPAN> Tokyo</FONT></DIV></DIV></BODY></HTML>

------_=_NextPart_001_01C194BA.2FC19C10--
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From h-costume-admin@indra.com  Thu Jan  3 19:59:02 2002
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Date: Thu, 03 Jan 2002 22:54:11 +0100
Status: RO

Hello
Someone on the lace list sended this charming little rabbit or hare? who 
makes lace :
http://www.porterfieldsfineart.com/MelindaCopper/thelacemaker.htm

-- I thoaght you should se it also :-)

Bjarne

 Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Colors 2002 Predictions
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Date: Thu, 3 Jan 2002 10:48:24 -0800
Status: RO

At 10:33 AM +0100 1/3/02, Henk 't Jong - tScapreel wrote:
>Hi Heather,
>
>You wrote:
>
>One of the more significant
>"explosions" in color words in European languages seems to have
>paralleled the growth of a medieval cloth industry that involved
>regular, long-distance trade in dyed cloth.  It doesn't seem to have
>been so much the ability to reliably produce particular colors and
>shades, but the desire to be able to label these different colors and
>shades for commercial purposes.
>
>That's a very interesting obseravtion. Do you know of any literature 
>about this? Up to now (as you know I 'do' 1250-1350) I have not 
>found many colour names in 'my' period, just (in translation) red, 
>darkred or carmine, blue and darkblue (perse), 'brun' ( a problem 
>colour in the way of describing it properly), green, grey, black, 
>uncoloured and mixed, and very rarely purple. No yellow to speak off.

The most convenient single-source volume for recent color-term 
linguistic studies is "Color Categories in Thought and Language" 
edited by C.L. Hardin and Luisa Maffi (Cambridge University Press, 
1997).  The specific article in the collection on the above topic is 
focusing on English color words: "Color shift: evolution of English 
color terms from brightness to hue" by Ronald W. Casson.  But as with 
most academic articles, there are also lots of works in the 
bibliography for further pursuit.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] A new dress
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Date: Thu, 3 Jan 2002 20:33:50 -0500
Status: RO

That was my guess, but it's not my period, so I was not 100% sure, and
Peacock has a tendency to misdraw some things.

It still doesn't change the fact that I'm not sure how to construct it :-)
Though I'm starting to have a better idea...

----- Original Message -----
From: "Katie" <nejma@tds.net>
To: <h-costume@indra.com>
Sent: Thursday, January 03, 2002 12:15 PM
Subject: Re: [h-cost] A new dress


> Isn't that a bliaut??
>
> Audrey Bergeron-Morin wrote:
> >
> > Hi,
> >
> > I will be attending a "medieval wedding" this summer. (I don't think it'll
> > be what *I* could call medieval, but hey, it's a good occasion to wear a
> > costume ;-)
> >
> > So, I found this dress in Peacock. I know he's not a very good reference for
> > periodness, but I love the dress (not the hat, I'll wear a veil and a
> > circlet with flowers on my head)
> > You can see it here.
> > http://www.geocities.com/audreybmorin/Varia/dress.jpg
> >
> > I don't mind the dress not being 100% accurate, but if I can make it more
> > period without making apparent alterations, I'd be happy. So now with my
> > questions.
> >
> > Would you make it with underarm gussets? It is tight-fitting so could it be
> > laced on the sides? I'm guessing it would probably be made with gores at the
> > sides and back starting at hip level, but would you also put a gore in
> > front? How do I obtain the right shape for the train? What shape would you
> > make the sleeves?
> >
> > Are there any other things you can think of that would help me construct the
> > dress? I've made a bunch of t-tunics already with different widths and
> > shapes so making a dress without a pattern doesn't really scare me, but
> > there are things like lacing or sleeves that I have never done yet.
> >
> > I'm thinking green silk. Crepe maybe, as it falls nicely and is not too
> > shiny. Any other ideas for what kind of silk I could use? White linen
> > underdress, with hidden lacing on the forearm so it's tight-fitting. It will
> > be long enough that I'm not worried about shoes, so that's not a problem.
> > I'll try to find false hair to make a very long braid out of and hide the
> > attachment point under the veil, my hair is way too short to do anything
> > with.
> >
> > Thanks a lot,
> > Alix

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Date: Thu, 3 Jan 2002 20:56:07 -0600 (CST)
Status: RO


On Thu, 3 Jan 2002, Danielle Nunn-Weinberg wrote:

> At 09:25 AM 1/3/2002 -0600, you wrote:
> >Alternatively, there is a lacing method that produces only horizontals,
> >and it may explain the occasional appearance of the horizontal-row lacings
> >(which seem to me to be primarily a German feature and occasionally
> >Burgundian, but I haven't examined this issue in detail). The lacing
> >method uses hooks or rings at the edge or just inside the inside edge of
> >the fabric. You lace straight across, then (on the inside) go up one, then
> >lace back across, then go up one, and so on. I've never done this myself,
> >and it would seem to me that this is not something that could take a lot
> >of stress, but would be sufficient to keep an overdress lying flat and
> >organized.
> 
> Actually, when I was in the military we used to lace our boots with the 
> straight across lacing and never had any problems with it.  I've also seen 
> it done on Italian gowns effective.  It was nick-named "ladder lacing" on 
> some email lists.  This page has a reasonable explanation of one way of 
> doing it.  http://homepage.mac.com/festive_attyre/research/lacing/lacing.html

Did you do your boots with a single lace or a double? I know it works well
with two laces going in opposite directions; the pressure balances. I'm
not so sure how it would do with a single lace, which would put vertical
pressure in only half the spaces.

--Robin


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       Bravo Teddy!  I love a man with convictions who has the nerve to stand 
up to the system and fight.  

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Bravo Teddy! &nbsp;I love a man with convictions who has the nerve to stand up to the system and fight. &nbsp;
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Date: Thu, 03 Jan 2002 17:55:09 -0800
Status: RO

To Leif-

Ooooh, thank you for sending this site to the list.  This art is just
adorable;  take a look at the Gerbils on Stage, how perfect!!!
The artist found just the right animal for the subject, for instance,
Kitty on the Half Shell is over the top.  Thank you, thank you.  P.S.
Happy New Year!!!

Theresa Eacker

Leif Drews wrote:
> 
> Hello
> Someone on the lace list sended this charming little rabbit or hare? who
> makes lace :
> http://www.porterfieldsfineart.com/MelindaCopper/thelacemaker.htm
> 
> -- I thoaght you should se it also :-)
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Date: Thu, 3 Jan 2002 20:04:09 -0600
Status: RO

To read about one Scandinavian influence on Tolkein, here is an article
from National Geographic:

http://news.nationalgeographic.com/news/2001/12/1219_tolkienroots.html

Kim

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Date: Thu, 3 Jan 2002 21:25:27 EST
Status: RO


--part1_10d.b416305.29666c97_boundary
Content-Type: text/plain; charset="US-ASCII"
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In a message dated 1/3/02 5:44:30 PM Pacific Standard Time, 
drewscph@post12.tele.dk writes:


> Barbara is travelling home again tomorrow. It was very special and 
> lovely to talk to her.
> 
> Many greetings
> 
> Bjarne in a cold frosty Copenhagen.  
> 

Bjarne,  What a nice letter.  I hope Barbara reads it too!

Darla

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<HTML><FONT FACE=arial,helvetica><FONT  COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>In a message dated 1/3/02 5:44:30 PM Pacific Standard Time, drewscph@post12.tele.dk writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></B>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Barbara is travelling home again tomorrow. It was very special and 
<BR>lovely to talk to her.
<BR>
<BR>Many greetings
<BR>
<BR>Bjarne in a cold frosty Copenhagen. &nbsp;
<BR></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>
<BR>Bjarne, &nbsp;What a nice letter. &nbsp;I hope Barbara reads it too!
<BR>
<BR>Darla</B></FONT></HTML>

--part1_10d.b416305.29666c97_boundary--
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From h-costume-admin@indra.com  Thu Jan  3 21:11:01 2002
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
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Subject: [h-cost] Permanent velvet stamping
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Date: Thu, 3 Jan 2002 18:38:33 -0800 (PST)
Status: RO

just visit www.hotpotatoes.com and all will become
clear!  It works, it's gorgeous and you can make
fabulous gifts -- for Christmas I gave my
sister-in-law an evening bag made from cobalt blue
velvet stamped with a forget-me-not design that I then
picked out in gold thread and champagne-colored seed
beads.

I don't know aboutpermanence -- I've never used it to
make something that gets washed.  They also now have
stamp-able velvet ribbon.

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

--- sustre@pixelations.com wrote:
> It sounds lovely! And what a great resolution!
> 
> Does Hot Potatoes have an online site? The velvet
> sounds yummy, and 
> I'd love to look at the stamps....
> 
> It was my impression that hot-stamping washes out
> and needs to be 
> re-done- am I wrong about that?
> 
> Anyway, it sounds marvellous! I've made the Nomad
> Dress myself a few 
> times, and it's very comfortable and easy to move
> in, so I think it's 
> a great choice.
> 
> -Amanda
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Date: Thu, 03 Jan 2002 18:54:24 -0800
Status: RO


Could someone please repost the link to the swap and sell community?  My 
husband's computer ate it and I need to put up the pictures of the 
Elizabethan outfit.  No, the beautiful teenaged daughter is not included. 
<G...moreGiggles>

Jennifer
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From h-costume-admin@indra.com  Thu Jan  3 21:38:31 2002
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Date: Thu, 3 Jan 2002 22:06:30 -0500
Status: RO

Oh, Bjarne how lovely to go on a shopping trip. Barbara is one lucky
lady!!!!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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From h-costume-admin@indra.com  Thu Jan  3 21:50:35 2002
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From: Purple Kat <purplkat@optonline.net>
Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Thu, 03 Jan 2002 22:19:29 -0500
Status: RO

If I may add my 2 cents here --

speaking from a woman's perspective --

I sometimes wear shirts that are *way* too long for me. When I wear a skirt 
it is no problem, but when I am wearing any type of pants/ slacks/ trousers 
I generally pull the center back of the shirt through the middle of my 
legs, and with the front of the shirt unbuttoned I pull the 2 front "tails" 
through to the back *over* the back piece.

This sometimes adds an extra bit of *lumpiness* to the crotch area, but 
with a little bit of moving, and a little but of *pouffing* on the shirt's 
part, everything looks great.

also, I remember seeing a book with the different months portrayed, and 
IIRC one of the pics has a man bent over showing his backside. it looks 
IIRC like he is wearing a "diaper/ nappy" with his shirt tucked into it.

Kat

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From h-costume-admin@indra.com  Thu Jan  3 21:56:29 2002
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Subject: [h-cost] Ladder Lacing
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Date: Thu, 03 Jan 2002 21:25:32 -0600
Status: RO

If I may - this is the traditional form of ladder lacing on shoes.

http://www.personal.utulsa.edu/~marc-carlson/shoe2/IMAGES/LACE.GIF

Marc

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Date: Thu, 03 Jan 2002 21:58:18 -0600
Status: RO

Is this what you are looking for? http://www.communityzero.com/

Cheers,
Danielle

At 06:54 PM 1/3/2002 -0800, you wrote:

>Could someone please repost the link to the swap and sell community?  My 
>husband's computer ate it and I need to put up the pictures of the 
>Elizabethan outfit.  No, the beautiful teenaged daughter is not included. 
><G...moreGiggles>
>
>Jennifer

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From: Danielle Nunn-Weinberg <dannw@mediaone.net>
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Date: Thu, 03 Jan 2002 22:01:18 -0600
Status: RO

At 08:56 PM 1/3/2002 -0600, you wrote:

>On Thu, 3 Jan 2002, Danielle Nunn-Weinberg wrote:
> > At 09:25 AM 1/3/2002 -0600, you wrote:
> > >Alternatively, there is a lacing method that produces only horizontals,
> > >and it may explain the occasional appearance of the horizontal-row lacings
> > >(which seem to me to be primarily a German feature and occasionally
> > >Burgundian, but I haven't examined this issue in detail). The lacing
> > >method uses hooks or rings at the edge or just inside the inside edge of
> > >the fabric. You lace straight across, then (on the inside) go up one, then
> > >lace back across, then go up one, and so on. I've never done this myself,
> > >and it would seem to me that this is not something that could take a lot
> > >of stress, but would be sufficient to keep an overdress lying flat and
> > >organized.
> >
> > Actually, when I was in the military we used to lace our boots with the
> > straight across lacing and never had any problems with it.  I've also seen
> > it done on Italian gowns effective.  It was nick-named "ladder lacing" on
> > some email lists.  This page has a reasonable explanation of one way of
> > doing 
> it.  http://homepage.mac.com/festive_attyre/research/lacing/lacing.html
>
>Did you do your boots with a single lace or a double? I know it works well
>with two laces going in opposite directions; the pressure balances. I'm
>not so sure how it would do with a single lace, which would put vertical
>pressure in only half the spaces.
>
>--Robin

It was kind of odd - both really.  You start the lace normally across the 
bottom holes and then draw one end (you need to make it much shorter than 
the other) up the inside to the top hole and then out.  The other end of 
the lace you treat like a single lace in that fashion and when you get to 
the top you tie your ends together like normal.  It worked out to be the 
right number of holes on our boots - I don't know if that would work on all 
things...

Cheers,
Danielle

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From: Danielle Nunn-Weinberg <dannw@mediaone.net>
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Date: Thu, 03 Jan 2002 22:03:21 -0600
Status: RO

At 09:25 PM 1/3/2002 -0600, you wrote:
>If I may - this is the traditional form of ladder lacing on shoes.
>
>http://www.personal.utulsa.edu/~marc-carlson/shoe2/IMAGES/LACE.GIF
>
>Marc

You're right Marc.  That is right - I had misremembered.  I just realized 
it's been almost 7 years since I've had to lace boots that way.... Oh my!

Cheers,
Danielle

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Date: Thu, 03 Jan 2002 23:00:00 -0500
Status: RO

Hi, All. Karen, I can't speak for either of the patterns, but if you don't
mind a little extra work in enlarging a graphed pattern, you can get a
booklet inexpensively from Parks Canada entitled "Man's Coat 1730-1750, a
visual guide to cut and construction". It was produced for sale at the
Fortress of Louisbourg and has a lot of good historical and construction
details that you don't get with modern patterns. The pattern and costruction
details are based on originals from assorted museums, and you have the added
benefit of supporting a good cause. The ISBN is 0-662-23532-0. I think I got
mine from a gift shop in Williamsburg, but a few 18th Cent. Sutlers carry
them. Good Luck, Mike T.



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Subject: Re: [h-cost] Re:LOTR - Galadriel's frock.
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Date: Fri, 4 Jan 2002 17:04:03 +1300
Status: RO

> What it's actually made of is ireelevant.  It *looks* like the "lace"
> fabric that started appearing on market stalls (here at least) in the
> 80s, some of which comes pre-sequinned.

Oh I'm sorry, I thought your many emails on the subject denoted some sort of
importance to the subject.

You see what you see, sure, but do look again: First Impressions was the
original title for Pride and Prejudice after all.

Wasn't the original thread about working out how the costumes were made
anyway?

michaela

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Ladder Lacing
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Date: Thu, 3 Jan 2002 23:46:15 -0600 (CST)
Status: RO


Marc wrote:
> >If I may - this is the traditional form of ladder lacing on shoes.
> >
> >http://www.personal.utulsa.edu/~marc-carlson/shoe2/IMAGES/LACE.GIF

Danielle replied:
> You're right Marc.  That is right - I had misremembered.  I just realized 
> it's been almost 7 years since I've had to lace boots that way.... Oh my!

Now this one I know. It's like a spiral lace, but double-ended, with the
end that isn't spiraling brought up crosswise to balance the diagonal pull
of the spiral. I've seen that before (and I think I may have even seen it
on some bodice in a painting).

So that's very different from the right-angled zigzag we were postulating
for the weird lacing representation in the calendar picture. That, done
with a single lace, probably wouldn't be able to hold a lot of stress
without making the laced edges pull and bunch in awkward ways.

--Robin


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Date: Thu, 03 Jan 2002 22:53:39 -0600
Status: RO

I need to go to Wally World tomorrow cause I don't have the right 
shade of green threat to attach the trim to my new dress and I 
wondered..."Did they worry about matching thread back then?"

I mean do you think the dyed threat with material so that they matched, 
or was thread just thread??

Katie
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Date: Fri, 4 Jan 2002 00:11:36 -0600 (CST)
Status: RO


On Thu, 3 Jan 2002, Katie wrote:

> I went wandering around that site and found this..
> 
> http://gallery.euroweb.hu/html/zgothic/gothic/2/index.html
> 
> look at the "Wise Virgins" and note the pleating/gathering 
> of fabric going from under the arm to the waist.  
> 
> Do you think this is the construction of the garment??

My GOD these are weird. I've never seen anything like this. I'd think
pleats before gathers, and I've seen something similar on cloaks, but
under the arm? It would sure make fullness in a surcote, but it could also
mean a lot of excess fabric in the sides and not enough in front and back.

It says 1245, Cathedral, Magdeburg. Where is that? (Yeah, I could go look
it up, and I suppose I will eventually.) The faces on the sculptures look
German in style.

Maybe it's a regional thing. If this is accurate, and at all widespread,
it would mean a lot of rethinking for me. But the Wise Virgins are about
as reliable as the Virgin Mary as costume sources, meaning ... sometimes.

--Robin



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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Fri, 4 Jan 2002 00:13:01 -0600 (CST)
Status: RO


On Thu, 3 Jan 2002, Katie wrote:

> Isn't that a bliaut??  

I think it thinks it's a bliaut. For Peacock, it's not as awful as a lot
of his other stuff.

--Robin

> Audrey Bergeron-Morin wrote:
> > 
> > Hi,
> > 
> > I will be attending a "medieval wedding" this summer. (I don't think it'll
> > be what *I* could call medieval, but hey, it's a good occasion to wear a
> > costume ;-)
> > 
> > So, I found this dress in Peacock. I know he's not a very good reference for
> > periodness, but I love the dress (not the hat, I'll wear a veil and a
> > circlet with flowers on my head)
> > You can see it here.
> > http://www.geocities.com/audreybmorin/Varia/dress.jpg

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Date: Thu, 03 Jan 2002 23:01:42 -0600
Status: RO

Man I need sleep replace all "threat"s with "thread"

Sorry about that

Katie wrote:
> 
> I need to go to Wally World tomorrow cause I don't have the right
> shade of green threat to attach the trim to my new dress and I
> wondered..."Did they worry about matching thread back then?"
> 
> I mean do you think the dyed threat with material so that they matched,
> or was thread just thread??
> 
> Katie
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Date: Thu, 03 Jan 2002 23:21:24 -0600
Status: RO

I put Magdeburg in google and one of the links says 
"Messe Magdeburg, mitten in Deutschland" and if I 
remember the little German I learned the 2 years I 
lived there I think "mitten" means middle.  But hey 
you saw my post about thread, so I wouldn't bet the 
farm on it...even if I had a farm. *L*

Robin Netherton wrote:
> 
> On Thu, 3 Jan 2002, Katie wrote:
> 
> > I went wandering around that site and found this..
> >
> > http://gallery.euroweb.hu/html/zgothic/gothic/2/index.html
> >
> > look at the "Wise Virgins" and note the pleating/gathering
> > of fabric going from under the arm to the waist.
> >
> > Do you think this is the construction of the garment??
> 
> My GOD these are weird. I've never seen anything like this. I'd think
> pleats before gathers, and I've seen something similar on cloaks, but
> under the arm? It would sure make fullness in a surcote, but it could also
> mean a lot of excess fabric in the sides and not enough in front and back.
> 
> It says 1245, Cathedral, Magdeburg. Where is that? (Yeah, I could go look
> it up, and I suppose I will eventually.) The faces on the sculptures look
> German in style.
> 
> Maybe it's a regional thing. If this is accurate, and at all widespread,
> it would mean a lot of rethinking for me. But the Wise Virgins are about
> as reliable as the Virgin Mary as costume sources, meaning ... sometimes.
> 
> --Robin
> 
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Date: Thu, 03 Jan 2002 22:32:12 -0700
Status: RO

Could it be a result of the same sort of into-the-armpit gores you see
on recreations of those "10-gore" dresses? There doesn't look to be a
great deal of extra fullness lower down on the dresses, though.....
Magdeburg's in Germany (Saxony, to be more precise).  The cathedral in
question was started in 1208 by Albert II, and not finished for 156
years, so who knows the actual dates for the statuary <g>.
Another website I looked at refers to Magdeburg as the state capital of
the German state of Sachsen-Anhalt.  It's apparently on the river
Elbe...
Here's a link with more pictures of the town and the cathedral:
http://www.green-basketball.de/magdeburg-engl.htm

Gawd, ain't Google handy <g>
--Sue

Robin Netherton wrote:
> 
> On Thu, 3 Jan 2002, Katie wrote:
> 
> > I went wandering around that site and found this..
> >
> > http://gallery.euroweb.hu/html/zgothic/gothic/2/index.html
> >
> > look at the "Wise Virgins" and note the pleating/gathering
> > of fabric going from under the arm to the waist.
> >
> > Do you think this is the construction of the garment??
> 
> My GOD these are weird. I've never seen anything like this. I'd think
> pleats before gathers, and I've seen something similar on cloaks, but
> under the arm? It would sure make fullness in a surcote, but it could also
> mean a lot of excess fabric in the sides and not enough in front and back.
> 
> It says 1245, Cathedral, Magdeburg. Where is that? (Yeah, I could go look
> it up, and I suppose I will eventually.) The faces on the sculptures look
> German in style.
> 
> Maybe it's a regional thing. If this is accurate, and at all widespread,
> it would mean a lot of rethinking for me. But the Wise Virgins are about
> as reliable as the Virgin Mary as costume sources, meaning ... sometimes.
> 
> --Robin
> 
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Date: Thu, 03 Jan 2002 23:27:47 -0600
Status: RO

Well the one I was making from the Wingeo pattern was a 
total mess.  I bought more material and cheated doing the
fold/cut/sew/hem method.  Using one of my kirtles for
the fitted upper sleeves/upper body part, and the sleeve
from the pattern to get the "swooping" sleeve.  I will
be wearing it to 12th Night for my Barony on Saturday and 
will get some pics.  If any one wants to see what I 
came up with let me know.  I know it will not be "period"
construction, but hey if I can fake it I will. *L*

Katie 
A blonde always looking for short cuts....
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Date: Thu, 03 Jan 2002 22:35:12 -0700
Status: RO

ROTFLMAO....good thing I'm not drinking tea at this hour of the night,
or I'd be wiping it off my monitor ;-P
--Sue

Robin Netherton wrote:
> 
> On Thu, 3 Jan 2002, Katie wrote:
> 
> > Isn't that a bliaut??
> 
> I think it thinks it's a bliaut. For Peacock, it's not as awful as a lot
> of his other stuff.
> 
> --Robin
> 
> > Audrey Bergeron-Morin wrote:
> > >
> > > Hi,
> > >
> > > I will be attending a "medieval wedding" this summer. (I don't think it'll
> > > be what *I* could call medieval, but hey, it's a good occasion to wear a
> > > costume ;-)
> > >
> > > So, I found this dress in Peacock. I know he's not a very good reference for
> > > periodness, but I love the dress (not the hat, I'll wear a veil and a
> > > circlet with flowers on my head)
> > > You can see it here.
> > > http://www.geocities.com/audreybmorin/Varia/dress.jpg
> 
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Date: Thu, 03 Jan 2002 22:37:37 -0700
Status: RO

What got me some Kewl Stuff (tm) with Google was entering Magdeburg, and
then doing an advanced search, using "cathedral," and specifying
"English language," since the only few words I know in German are -uhm-
scatalogical....<g> [actually costume related....taught to me by a
german lady with whom I worked in a costume shop a long time ago)
--Sue

Katie wrote:
> 
> I put Magdeburg in google and one of the links says
> "Messe Magdeburg, mitten in Deutschland" and if I
> remember the little German I learned the 2 years I
> lived there I think "mitten" means middle.  But hey
> you saw my post about thread, so I wouldn't bet the
> farm on it...even if I had a farm. *L*
> 
> Robin Netherton wrote:
> >
> > On Thu, 3 Jan 2002, Katie wrote:
> >
> > > I went wandering around that site and found this..
> > >
> > > http://gallery.euroweb.hu/html/zgothic/gothic/2/index.html
> > >
> > > look at the "Wise Virgins" and note the pleating/gathering
> > > of fabric going from under the arm to the waist.
> > >
> > > Do you think this is the construction of the garment??
> >
> > My GOD these are weird. I've never seen anything like this. I'd think
> > pleats before gathers, and I've seen something similar on cloaks, but
> > under the arm? It would sure make fullness in a surcote, but it could also
> > mean a lot of excess fabric in the sides and not enough in front and back.
> >
> > It says 1245, Cathedral, Magdeburg. Where is that? (Yeah, I could go look
> > it up, and I suppose I will eventually.) The faces on the sculptures look
> > German in style.
> >
> > Maybe it's a regional thing. If this is accurate, and at all widespread,
> > it would mean a lot of rethinking for me. But the Wise Virgins are about
> > as reliable as the Virgin Mary as costume sources, meaning ... sometimes.
> >
> > --Robin
> >
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Subject: Re: [h-cost] Ladder Lacing
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Date: Thu, 03 Jan 2002 23:38:15 -0600
Status: RO

Thanks to all for explaining different forms of ladder lacing to me!

> Marc wrote:
> > >If I may - this is the traditional form of ladder lacing on shoes.
> > >
> > >http://www.personal.utulsa.edu/~marc-carlson/shoe2/IMAGES/LACE.GIF

Yes indeed (though I didn't learn to lace my shoes that way until I went
to Ireland).  I don't know that this is what is taking place on these
bodices (not that you said it was, of course), because you'd still end
up with diagonals across the open space behind.

Robin Netherton wrote:
>  
> So that's very different from the right-angled zigzag we were postulating
> for the weird lacing representation in the calendar picture. That, done
> with a single lace, probably wouldn't be able to hold a lot of stress
> without making the laced edges pull and bunch in awkward ways.

I would tend to agree, though I've never tried it.  Is this what's
happening in the Cranach pictures and other Germans with horizontal
laces?  The edges must have been boned, because the gowns look very
closely fitted. 
See http://gallery.euroweb.hu/html/c/cranach/lucas_e/3/ the "Saxon
Princesses Sibylla, Emilia and Sidonia," two of which have spiral lacing
with diagonals connecting and one of which has ladder-looking-lacing.

kat@grendal.rain.com wrote:
> 
> The diagonals are on the back side of the lacings. It was actually a
> very common lacing pattern.

On the back side of the lacings?  I'm not sure what you mean by this. 
When the edges to be laced do not meet, the back side of the lacing
would also be visible.

Thanks again for all the interesting discussion!
Melanie
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Date: Thu, 03 Jan 2002 23:37:36 -0600
Status: RO

Robin Netherton wrote:
> 
> I noticed the same thing last week when I put up my calendar, and decided
> that these are probably just a poor rendering. One of the things I'm
> wondering is how much the image has been enlarged.

This is a good point, but everything else looks fairly detailed, so I
don't think it can have been enlarged too terribly much.  I'm willing to
go with painter error.

> In this case, on the turbaned lady, I think we do have an impression of
> the diagonals, but very sketchy and not accurately placed: they appear as
> shadowy pale red horizontal lines in the white space between the dominant
> laces.

I interpreted these lines as the shadows cast by the laces on the
underlayer.  I'm not sure I would agree with them being an inaccurate
rendering of diagonals.

> But I wouldn't read a whole lot into the use of laces with a gathered
> overgarment. This is an altarpiece, and these are almost certainly
> Biblical/historial figures.

True enough, and yet I'm still curious about Botticelli's "Young Woman"
(the 2nd one here
http://gallery.euroweb.hu/html/b/botticel/portrait/index.html ).  To be
sure, her hair is rather...fanciful...but it is labelled as a portrait
(ok, that probably doesn't mean anything!).  I've always been curious
about this dress, as it seems to be not only gathered into the neckline
but also into the armscye.  Any thoughts?

Melanie
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Date: Thu, 03 Jan 2002 23:36:35 -0600
Status: RO

Katie wrote:
> 
> I went wandering around that site and found this..
> 
> http://gallery.euroweb.hu/html/zgothic/gothic/2/index.html
> 
> look at the "Wise Virgins" and note the pleating/gathering
> of fabric going from under the arm to the waist.
> 
> Do you think this is the construction of the garment??

I've never actually seen this before.  I'm not sure that it is directly
related, as it's a couple of centuries earlier.  I can't see the fronts
very well, but I don't think these lace up there.  They also look a
little flat across the front, as if most of the fullness were coming
from under the arm.

I am curious about this gathering/pleating in the armpit.  Does anyone
know this construction?  Other examples?

Melanie
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Date: Thu, 03 Jan 2002 22:52:14 -0700
Status: RO

My take is that construction thread was just thread. It was linen, for
the most part. I'd suspect (with nothing to prove it) that for sewing on
ornamentation, some sort of "embroidery" thread may have been used,
possibly silk. The color matching fetish is a gift from the Victorians.

No supporting documentation, just an educated guess.

MD/MArged
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Date: Thu, 03 Jan 2002 23:48:50 -0600
Status: RO

So the beige threat I have might actually be more "in tune" then 
going and buying matching green thread? *L*  

Katie

Mary Denise Smith wrote:
> 
> My take is that construction thread was just thread. It was linen, for
> the most part. I'd suspect (with nothing to prove it) that for sewing on
> ornamentation, some sort of "embroidery" thread may have been used,
> possibly silk. The color matching fetish is a gift from the Victorians.
> 
> No supporting documentation, just an educated guess.
> 
> MD/MArged
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Date: Thu, 03 Jan 2002 23:52:55 -0600
Status: RO

What is it with me and the word threaD tonight????????

Katie wrote:
> 
> So the beige threat I have might actually be more "in tune" then
> going and buying matching green thread? *L*
> 
> Katie
> 
> Mary Denise Smith wrote:
> >
> > My take is that construction thread was just thread. It was linen, for
> > the most part. I'd suspect (with nothing to prove it) that for sewing on
> > ornamentation, some sort of "embroidery" thread may have been used,
> > possibly silk. The color matching fetish is a gift from the Victorians.
> >
> > No supporting documentation, just an educated guess.
> >
> > MD/MArged
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Date: Thu, 03 Jan 2002 23:06:38 -0700
Status: RO

In paintings and in such originals as I have seen, I have not noticed a
color contrast in the thread used to attach ornamentation. Think of it
like this - the attaching thread is either "invisible" or part of the ornamentation.

Robin? Jump in here!

MD/Marged
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Subject: [h-cost] Re: Ladder Lacing
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Date: Thu, 03 Jan 2002 23:57:51 -0600
Status: RO

>From: Robin Netherton <robin@shell.nightowl.net>
>Danielle:
>>You're right Marc.  That is right - I had misremembered.  I just 
>> >>realized it's been almost 7 years since I've had to lace boots that 
>>way.... Oh my!

Almost 15 for me, but it came up not long ago regarding lacing Oxfords 
correctly

>Now this one I know. It's like a spiral lace, but double-ended, with >the 
>end that isn't spiraling brought up crosswise to balance the diagonal pull 
>of the spiral. I've seen that before (and I think I may have even seen it 
>on some bodice in a painting).
>
>So that's very different from the right-angled zigzag we were >postulating 
>for the weird lacing representation in the calendar picture. That, done 
>with a single lace, probably wouldn't be able to hold a lot of stress 
>without making the laced edges pull and bunch in awkward ways.

I haven't seen the picture so I can't say.  I know that this system works 
well with leather, and reinforced fabric -- something to stiffen things up a 
bit.

Marc



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Subject: [h-cost] Re: LOTR final credit quote
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Date: Fri, 04 Jan 2002 00:13:04 -0600
Status: RO

I've managed to acquire the text for the LOTR final quote I asked about 
last week:

"HE MIHI NUI HOKI KI NGA TANGATA WHENUS O AOTEAROA. MA RANGI RAUAKO PAPA 
TATOU E MAHAAKI, E TIAKI HEI HGA TAU E UT MAI NEI.

Does this help?

Sandy

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Matching thread?
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Date: Fri, 4 Jan 2002 01:33:19 -0600 (CST)
Status: RO


On Thu, 3 Jan 2002, Mary Denise Smith wrote:

> My take is that construction thread was just thread. It was linen, for
> the most part.

This is my understanding too. The last time I looked at this issue, which
was a while ago, I came away with the impression that for seams, the
default is undyed linen thread, meaning beige or off-white in most cases.
I've seen that on a handful of artifacts, when I've remembered to look,
and I've used it myself with success; if you're sewing fulled wool, the
thread disappears in the depths of the fabric.

There's certainly existing evidence of wool thread used for seams, too,
though I don't know if it was routinely dyed, and I don't remember the
wheres and whens offhand.

Silk thread would typically be used only for silk fabric, for the very
practical reason that it is stronger than other fibers and, if used on
other fibers, can cut the seams over time.

A longstanding option is to pull a thread from the edge of the fabric
you're using and sew with that. Not so easy to do with most modern
fabrics, but maybe more practical for strong handwoven fabrics. If your
fabric is dyed, the thread would be the same color and fiber, of course.

Of course, it's hard to tell with a lot of extant garments just what the
thread was. Depending on the conditions they've experienced, the thread
might have disintegrated (e.g. linen might disappear in some environments,
like graves, while wool cloth remains, leaving only stitching holes to go
by). This can skew our evidence. Items kept for their value (e.g. saints'
relics, church vestments) might have been resewn at a later date. Heather
would have a better read on this than I do, as extant items are her
specialty.

Decorative sewing may be different, as Mary Denise noted:

>  I'd suspect (with nothing to prove it) that for sewing on
> ornamentation, some sort of "embroidery" thread may have been used,
> possibly silk.

That rings true to me, but I'm not the one to ask. This is one of many
areas I've been meaning to get more solid information on.

--Robin

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From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
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Date: Fri, 4 Jan 2002 06:34:08 -0000
Status: RO

>     It is a good looking jacket.  Too bad kids tend to keep on growing and
growing and growing.  Not just kids either -- it is a good thing I have just
T-tunics and sideless surcoats in my garb wardrobe right now, because I sure
overindulged over the holidays.

Tee Hee

My Victorian stuff "tells" me when I've overdone it !

Mel

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From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
To: <h-costume@indra.com>
References: <F253LiC1h1jYhAOylhg0000eeb6@hotmail.com><004c01c19243$d4e92d80$12250218@chstfld1.va.home.com> <p05001903b857fd63ad72@[192.168.1.100]><003f01c1935d$0d938da0$53114ed5@pavilion> <p05001900b85a24c32c8d@[192.168.1.100]>
Subject: Re: [h-cost] Re: Anglo-Saxon burials
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Date: Fri, 4 Jan 2002 06:33:11 -0000
Status: RO

>Nice stuff! For myself, I'm having a blast making various pieces. If 
any turn out particularly well, I might make a few extra for sale 
myself, especially since we seem to be interested in different pieces.



Let me know if you do I know most of the Anglo Saxons here in the UK

Mel

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From: Cynthia Barnes <Cynthia_Barnes@Phoenix.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Wearing 16th Century Shirts
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Date: Thu, 3 Jan 2002 22:35:39 -0800
Status: RO


I did a mock up of the Medici suit over the summer. (Cosimo, I think;
1562-ish?)  When I did it, I interpreted the dashed line in the codpiece
pieces as a fold & sew arrangement.  If the codpiece is a decorative fly
stuffed with batting, this is reasonable.  If the codpiece is a place for a
guy to tuck his parts, then what is the dotted line on the pattern piece
supposed to signify?
--cin 
Cynthia in Tokyo who never actually made or wore a 16th c anything, but
might someday

> > In looking at the codpieces in Arnold, I'm confused as to their
> > functionality. 
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From h-costume-admin@indra.com  Fri Jan  4 01:15:47 2002
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Medieval Woman calendar mystery
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Date: Fri, 4 Jan 2002 02:00:05 -0600 (CST)
Status: RO


On Thu, 3 Jan 2002, Melanie Schuessler wrote:

> True enough, and yet I'm still curious about Botticelli's "Young
> Woman" (the 2nd one here
> http://gallery.euroweb.hu/html/b/botticel/portrait/index.html ).  To
> be sure, her hair is rather...fanciful...but it is labelled as a
> portrait (ok, that probably doesn't mean anything!).  I've always been
> curious about this dress, as it seems to be not only gathered into the
> neckline but also into the armscye.  Any thoughts?

Not my period, and I really have no clue on what's happening on the front
-- e.g. what's under, what's over, and whether those stripes are lacings
or just decoration.

But I do notice that the part of the bodice that seems gathered into the
armscye is only the area connected to the sleeve. The edge of the armscye
that forms the opening (where the chemise puffs out) is smooth. So maybe
the armscye is pulled up a bit along that seam connecting the bodice to
the shoulder of the sleeve?

I should also note that Botticelli is known for treating clothing (and
hair and other elements) rather imaginatively as served his own purposes,
so I wouldn't take him to the bank. I'm sure that many of the bits he
includes are realistic, but others aren't, and I don't feel competent to
guess which are which.

--Robin

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From h-costume-admin@indra.com  Fri Jan  4 02:31:11 2002
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: Re: [h-cost] link?
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Date: Fri, 04 Jan 2002 00:00:16 -0800
Status: RO




>From: Danielle Nunn-Weinberg <dannw@mediaone.net>

>Is this what you are looking for? http://www.communityzero.com/
>
>Cheers,
>Danielle
>
>I need to put up the pictures of the
>>Elizabethan outfit.  >>
>>Jennifer
>
Thank You!!!

I did it!!  I only put two up in general, but if anyone wants to see the 
other views I'll send them privately.  Please let me know what you think of 
the gown.

Jennifer
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From h-costume-admin@indra.com  Fri Jan  4 03:06:49 2002
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Subject: [h-cost] Merveilleuse mockup
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Date: Fri, 4 Jan 2002 00:36:02 -0800
Status: RO

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I've always wanted one of those French merveilleuse style gowns... within
limits of decency.  I also love those descriptions of the French court, and
diplomatic wives in their gold encrusted evening gowns.   Happily the French
werent quite so shy about color, if you flip thru "Modes Revolutionaires"
and "Revolution in Fashion".
In a fit of obsession,  I've spent the last 6 days drafting, fitting &
mocking up a gown.  Mostly, I used the Norah Waugh book "Cut of Women's
Clothes", diagram XXXV and photo #43 (2 different gowns). I'm at the final
mockup wherein the gown is done up in fabrics close to the final in weight,
fiber & hue.  Idea is to check the hang, figure out real yardage needed,
eyeball strongly patterned panels & borders and generally work thru problem
areas.  Here's my comments:

 * The gold brocade (originally the sari's palou) is way too heavy. Looks ok
in the bodice, but the sleeves are too stiff. They should be drapey.
 * That 7 meter sari wasnt long enough. The train finished 8" too short.
 * Uk, too much yardage in the CB & on the side.  Ironing may help this, but
I doubt it. (I laughed when I looked at it. You can, too!)
 * Binding at neckline - yeah, it's lighter in weight than the brocade.
 * The bra-like front closure under the "bib" is very successful. (See photo
#43, Waugh's book.) The forward & upward tug creates clevage without
corsetting.

 <http://photos.yahoo.com\hatchikohysteria>
http://photos.yahoo.com\hatchikohysteria the Click the folder "Bib-front
Gown 1803".

So, questions for you, ladies & gents:
 * What else needs work?
 * Would you gather the decorated panel (marked "embroidered panel" in
N.Waugh diagr XXXV) or leave it flat?
 * Was the sari fabric , while light in weight, too crisp?
 * Should the "waist" line gathering be ironed flat?
 * The whole thing has a "short and dumpy" effect.  How to fix it?
 * Other critique?

That was *supposed* to be my final muslin for an 1803 bib-front gown.  Yeah,
I'll probably take some of the excess out of the skirt, then finish it with
a "good enough for Gaskell's" attitude.
--cin
Cynthia in Tokyo 

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<DIV><FONT size=2>I've always wanted one of those French merveilleuse style 
gowns... within limits of decency.&nbsp; I also love those descriptions of the 
French court<SPAN class=543041507-04012002>,</SPAN> and diplomatic wives in 
their gold encrusted evening gowns.&nbsp;&nbsp; Happily the French werent quite 
so shy about color, if you flip thru "Modes Revolutionaires" and "Revolution in 
Fashion".<BR>In a fit of obsession,&nbsp; I've spent the last 6 days drafting, 
fitting &amp; mocking up a gown.&nbsp; Mostly, I used the Norah Waugh book "Cut 
of Women's Clothes", diagram XXXV and photo #43 (2 different gowns). I'm at the 
final mockup wherein the gown is done up in fabrics close to the final in 
weight, fiber &amp; hue.&nbsp; Idea is to check the hang, figure out real 
yardage needed, eyeball strongly patterned panels &amp; borders and generally 
work thru problem areas.&nbsp; Here's my comments:<BR><BR>&nbsp;* The gold 
brocade (originally the sari's palou) is way too heavy. Looks ok in the bodice, 
but the sleeves are too stiff. They should be drapey.<BR>&nbsp;* That 7 meter 
sari wasnt long enough. The train finished 8" too short.<BR>&nbsp;* Uk, too much 
yardage in the CB &amp; on the side.&nbsp; Ironing may help this, but I doubt 
it. (I laughed when I looked at it. You can, too!)<BR>&nbsp;* Binding at 
neckline - yeah, it's lighter in weight than the brocade.<BR>&nbsp;* The 
bra-like front closure under the "bib" is very successful. (See photo #43, 
Waugh's book.) The forward &amp; upward tug creates clevage without 
corsetting.<BR><BR></FONT><A href="http://photos.yahoo.com\hatchikohysteria" 
target=_blank><FONT 
size=2>http://photos.yahoo.com\hatchikohysteria</FONT></A><FONT size=2> the 
Click the folder "Bib-front Gown 1803".<BR><BR>So, questions for you, ladies 
&amp; gents:<BR>&nbsp;* What else needs work?<BR>&nbsp;* Would you gather the 
decorated panel (marked "embroidered panel" in N.Waugh diagr XXXV) or leave it 
flat?<BR>&nbsp;* Was the sari fabric , while light in weight, too 
crisp?<BR>&nbsp;* Should the "waist" line gather<SPAN 
class=543041507-04012002>ing</SPAN> be ironed flat?<SPAN 
class=543041507-04012002></SPAN></FONT></DIV>
<DIV><FONT size=2><SPAN class=543041507-04012002>&nbsp;* The whole thing has a 
"short and dumpy" effect.&nbsp; How to fix it?</SPAN><BR>&nbsp;* Other 
critique?<BR><BR>That was *supposed* to be my final muslin for an 1803 bib-front 
gown.&nbsp; Yeah, I'll probably take some of the excess out of the skirt, then 
finish it with a "good enough for Gaskell's" attitude.<BR>--cin<BR>Cynthia in 
Tokyo </FONT></DIV></BODY></HTML>

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Subject: [h-cost] lucas de haare - london ladiies sleeve question
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Date: Fri, 4 Jan 2002 09:09:29 +0000 (GMT)
Status: RO

Greetings,

I am having a bit of trouble drafting a pattern for
the sleeves of the gown in the picture of four london
ladies by Lucas de Haare:

http://www.dnaco.net/~aleed/corsets/gallery/middle-wmn.html

I am trying to recreate the second gown from the left.
 I have the body of the gown sorted out but I am stuck
on the construction of the sleeve and the correct
setting of the collar.  Could anyone help?  I am not
interested in buying patterns as they never fit
properly I would much rather draft it myself.

Any help is much appreciated.

Many Thanks

Rachel (UK).

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From: "Henk 't Jong - tScapreel" <scapreel@tip.nl>
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References: <0Xb$AEAc5KM8Iw3A@montgomerie.demon.co.uk><006901c1934e$66e37780$12250218@chstfld1.va.home.com> <p04320401b859039bb012@[136.152.196.2]><00a201c1943e$ec87f1e0$a4dbf1c3@henk> <p04320401b85a56e37411@[136.152.196.26]>
Subject: Re: [h-cost] Colors 2002 Predictions
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Date: Fri, 4 Jan 2002 10:47:48 +0100
Status: RO

This is a multi-part message in MIME format.

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Henk & Pauline 't Jong
tScapreel
Medieval Consultants
Dordrecht - Netherland


Hi,

You wrote:
  The most convenient single-source volume for recent color-term
  linguistic studies is "Color Categories in Thought and Language"
  edited by C.L. Hardin and Luisa Maffi (Cambridge University Press,
  1997).  The specific article in the collection on the above topic is
  focusing on English color words: "Color shift: evolution of English
  color terms from brightness to hue" by Ronald W. Casson.  But as with
  most academic articles, there are also lots of works in the
  bibliography for further pursuit.

  Thanks, Heather, I'll see if I can get it.

  Henk


  Visit the revised and even more colourful tScapreel website;
  Separate English pages clickable from the Dutch homepage
  Now on our very own domain: www.scapreel.nl

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>&nbsp;</DIV>
<DIV>Henk &amp; Pauline 't Jong<BR>tScapreel<BR>Medieval
Consultants<BR>Dordrecht - Netherland</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>Hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>You wrote:</DIV>
<BLOCKQUOTE
style=3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
  <DIV>The most convenient single-source volume for recent color-term
  <BR>linguistic studies is "Color Categories in Thought and Language"
  <BR>edited by C.L. Hardin and Luisa Maffi (Cambridge University Press, =

  <BR>1997).&nbsp; The specific article in the collection on the above =
topic is
  <BR>focusing on English color words: "Color shift: evolution of =
English
  <BR>color terms from brightness to hue" by Ronald W. Casson.&nbsp; But =
as with
  <BR>most academic articles, there are also lots of works in the
  <BR>bibliography for further pursuit.<BR><BR>Thanks, Heather, I'll see =
if I
  can get it.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Henk</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Visit the revised and even more colourful tScapreel =
website;<BR>Separate
  English pages clickable from the Dutch homepage <BR>Now on our very =
own
  domain: <A
href=3D"http://www.scapreel.nl">www.scapreel.nl</A></DIV></BLOCKQUOTE></B=
ODY></HTML>

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From: Ella Lynoure Rajamaki <lynoure@tuug.fi>
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Subject: [h-cost] weird shirt fastening?
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Date: Fri, 4 Jan 2002 13:08:01 +0200 (EET)
Status: RO


Hello,

I ran into http://www.marquise.de/1500/pics/1522_2.shtml and noticed that
the shirt almost looks like it fastens at side front (where a raglan seam
might be). Even in a zoomed view it looks more like an opening than a
stain or slash. Can this be?  However, there is somethign in center
front too...something that looks like a pink ribbon going through two
lacing holes. Which is the fastening and what in the world is the
other? Does anybody have a bigger and clearer picture of this?

-- 
Lynoure Rajamaki
lynoure@tuug.fi



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From: "michaela" <thebruce@ihug.co.nz>
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Subject: [h-cost] LOTR final credit quote, Maori
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Date: Sat, 5 Jan 2002 00:04:59 +1300
Status: RO

While I'm here:
http://www.akiko.co.nz/NZ/Culture/NZDic.html nz phrases into us equivalents
for those who may get cofused by what I say;)


> "HE MIHI NUI HOKI KI NGA TANGATA WHENUA O AOTEAROA. MA RANGI RAUAKO PAPA
> TATOU E MAHAAKI, E TIAKI HEI NGA TAU E UT MAI NEI.*
> Does this help?
> Sandy
yeppers:)
*I replaced the s in whenua to the correct a, easy typo to do:), not sure if
ut is utu or uta, based on the surrounding words, I suspect uta, and hga to
nga..
he=a, fail, some, wrong
mihi=greet, admire, lament
nui=many, in public, abundant, large
hoki= also, and, beacause, for, return (used for emphasis)
ki=at. against, for, full, into, if, on, say, towards, with, (connects verb
with subject)
nga Tangata Whenua o Aotearoa= the people of the land of Aotearoa (New
Zealand)
ma=and
    rangi=heaven
    rauako= ?? raua=them ko=at, to (address a girl)
    papa=buttocks, board, flat but Papa=earth together I think it's the sky
father and earth mother.
tatou=we
e= o!, a number, participle denoting progress in past/present/future, when
mahaaki=mahaki=calm, sick, meek, mild
tiaki=guard hei=as, at, for, to , in, with tau=young, be able, alight,
lover, time, (utu=price, reward) uta=the land mai=action to the speaker
nei=nearness to the speaker
With so many meanings to the words, this is either a greeting from the
People of the land of new Zealand, or an apology to Nga Tangata o Aotearoa.
I may ask for a translation tomorrow.

I'm not so hot on Maori grammar, structuring sentances is a tad difficult.
And I can't find a translator online to do a whole sentance.
http://www.maoricd.co.nz/home.htm

michaela


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Re:LOTR - Galadriel's frock.
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Date: Fri, 04 Jan 2002 11:16:12 +0000 (GMT)
Status: RO

Hi Michaela,

> Oh I'm sorry, I thought your many emails on the subject denoted
> some sort of importance to the subject. 

Good grief no.  I was just saying what the costume looks like to me.
 
> You see what you see, sure, but do look again: First Impressions was
> the original title for Pride and Prejudice after all.

I've looked at several stills on the web and in a couple of books and 
it still looks like tacky nylon-lace fabric to me.  Each to their own, of 
course, but I *can't* see a dress in that fabric as being in any way 
attractive.
 
> Wasn't the original thread about working out how the costumes were
> made anyway?

Not the one I first responded to - it was about the film and the 
costumes in general.  I loved the film and that costume was the 
one moment where the costume was the foremost thought on my 
mind.

Teddy
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Date: Fri, 4 Jan 2002 08:55:54 -0500 (EST)
Status: RO

On Thu, 3 Jan 2002, Joan Broneske wrote:
> I can't stand horror or hacker/slasher movies,
> they give me nightmares,

Speaking for myself -- I have problems with horror movies too, for the
same reason.  I have no problem with LOTR or Raiders or any of that
sort of thing; I suppose because I know the 'good guys' win in the end,
unlike horror movies where almost everyone winds up dead for no
particularly good reason.  Unfortunately, I do have problems
with things like the rape scene in Rob Roy, which really has kept me from
watching the movie again (even though I have it on tape)... a pity,
because I really do want to go back through it and look at the costumes,
just for fun.  I started watching it again once, and just kept dreading
what I knew was coming up -- it spoiled it for me enough that I popped the
tape out and haven't tried to watch it again since.

I really wish they'd intimated that scene (noises coming from inside the
cottage, filmed from outside the cottage) rather than showing it plain...

-- Mara

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Date: Fri, 04 Jan 2002 07:10:14 -0700
Status: RO

Hi, Cynthia...I'd love to look at it, but when I try your link I get one
of those obnoxious "server not found" errors.
--sue

> Cynthia Barnes wrote:
 
> http://photos.yahoo.com\hatchikohysteria the Click the folder
> "Bib-front Gown 1803".
> 
> So, questions for you, ladies & gents:
>  * What else needs work?
>  * Would you gather the decorated panel (marked "embroidered panel" in
> N.Waugh diagr XXXV) or leave it flat?
>  * Was the sari fabric , while light in weight, too crisp?
>  * Should the "waist" line gathering be ironed flat?
>  * The whole thing has a "short and dumpy" effect.  How to fix it?
>  * Other critique?
> 
> That was *supposed* to be my final muslin for an 1803 bib-front gown.
> Yeah, I'll probably take some of the excess out of the skirt, then
> finish it with a "good enough for Gaskell's" attitude.
> --cin
> Cynthia in Tokyo
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Date: Fri, 04 Jan 2002 09:16:16 -0500
Status: RO

Bjarne wrote:
> The best thing of it all was, that i learned what a buillon thread is
> called in Danish. I had no idea about that. It is called  Kantille thread.
> In many ways today was a very special day, it was very lucky we went to
> that shop. Now i dont have to import from America any more, she imports
> from England, Benton and Johnson.

Bjarne-
	Have you ever been to Silke-Annet's shop up in Farum? She
does a lot of bobbin lace and assorted historic costume and
has lots of stuff. She's where I got all for my supplies for
my High-Hat outfit this past summer. I can give you her
phone and address is you're interested. Just in case you're
looking for another shop for supplies, you know.
	-Judy Mitchell
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Date: Fri, 4 Jan 2002 15:17:22 +0100 (CET)
Status: RO

On Fri, 4 Jan 2002, Sue Clemenger wrote:
> Hi, Cynthia...I'd love to look at it, but when I try your link I get one
> of those obnoxious "server not found" errors.
>  
> > http://photos.yahoo.com\hatchikohysteria the Click the folder
> > "Bib-front Gown 1803".

The address works fine for me, but I can't find any folder with that 
name. Am I blind/stupid, or is something else going on? :)

Ingrid

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Date: Fri, 04 Jan 2002 15:48:34 +0100
Status: RO



Cynthia Barnes wrote:

> I
> So, questions for you, ladies & gents:
>  * What else needs work?
>  * Would you gather the decorated panel (marked "embroidered panel" in 
> N.Waugh diagr XXXV) or leave it flat?
>  * Was the sari fabric , while light in weight, too crisp?
>  * Should the "waist" line gathering be ironed flat?
>
>  * The whole thing has a "short and dumpy" effect.  How to fix it?
>  * Other critique?
>
> That was *supposed* to be my final muslin for an 1803 bib-front gown.  
> Yeah, I'll probably take some of the excess out of the skirt, then 
> finish it with a "good enough for Gaskell's" attitude.
> --cin
> Cynthia in Toky
>

Dear Cynthia.

It is a very small world here. I am making the excaktly same 
gown!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Except, i dont make it with the embroidered ribbon. But if i had used 
one, i wouldnt gather it at the waistline. I have just finished the 
corset from 1795 in Norah Waughs book to go with it and i just came home 
today from the fabric shop. I have baught bridal satin and silk chiffon. 
White. It is for the norwegian lady i made the sack dress with 
beadembroidery for. I make the dress doubble one layer of bridal satin 
and one layer of chiffon. I think the chiffon will give it this greek 
look. I didnt have the time to embroider the band myself and went trough 
a lot of stores to fine one i could use, but no.
Therefore i  dont make it with this.
When you gather the skirt and  you have sewed it to the bodice, you 
should make a band inside the bodice to cover the thick gatherring. Make 
a bend in the band and hide the seam behind the band and the bodice.
Regency dresses was mostly made in fabrics that falls heavy. Light 
materials as well. I think that a gold brokade is two stiff. The fabric 
must fall in fine wawes if you know what i men. For gods sake i cant 
spell men from mening! Sorry, time for coffe!!
This was a coinsidense, i am going to make it this week end.

Bjarne
  


-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html



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Date: Fri, 04 Jan 2002 16:16:36 +0100
Status: RO



Kevin & Mara Riley wrote:

>On Thu, 3 Jan 2002, Joan Broneske wrote:
>
>>I can't stand horror or hacker/slasher movies,
>>they give me nightmares,
>>

The movie Alien gave me nightmares many years. I wish i never had gone 
to se that movie. And i lived in a forrest in the countryside in those 
days and had to go trough a pech black forrest when i was going home!

Bjarne


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Date: Sat, 29 Dec 2001 08:48:17 -0800 (PST)
Status: RO

--- Margo@margospatterns.com wrote:
> After all the raving, maybe it's time for a different opinion....
(snip) 
> More scenery....and
> surprise,
> here come some Things That want To Kill You.

Hm... well, my co-worker Loie (who is a Quaker) never managed to get
through the books either... she had pretty much the same reaction to
the movie as you did, I think: she thought it was too violent.  (This
didn't bother me, but then I guess I expected it.)  She said that the
movie definitely made her want to go visit New Zealand, though.

I guess I got more from the books about what having the ultimate
power (the Ring) does to even good people (Bilbo, or Gandalf or
Galadriel if they'd taken the Ring).  It's rather odd that the books
were written before the Bomb was invented.

Anyway...  you're not obliged to like them!  Really!  De gustibus non
disputandem and all that.

I think of all the Tolkien stuff, I liked his smaller stories a
little better.  I re-read those a lot more (and sections of the
Silmarillion) than the LoTR trilogy.  And re-read C.S. Lewis's books
a lot more than Tolkien's -- sort of the difference between sagas
(Tolkien) and folk tales (Lewis).  Tolkien was really setting out to
create a new epic mythology, and that sort of mythos is notoriously
lacking in humor -- the grand sweep of it doesn't lend itself well
toward that kind of thing.  And mythology deals very much in
stereotypes and broadly-painted characterizations.  Loie said that
the Ring trilogy seems very Wagnerian to her.  I guess that could be
a good comparison.

> Things I did like:  The art direction and design.  I loved Bag End,
> an Arts
> and Crafts Movement hole in the ground!  

Yes, wasn't that a hoot?  Who wouldn't want to live in such a home? 
I saw a "making of" special -- they planted the gardens in Hobbiton a
year before they started filming, so the plants would have a chance
to mature in place and look right.  And yes, the costumes were
gorgeous.  The hobbits' costumes got me thinking about tweed jackets
and velvet or damask waistcoats...

I don't think the movie ruined anything for people who already liked
the books -- it just didn't win over people like you, and Loie, who
weren't already fans.

-- Mara

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Date: Fri, 4 Jan 2002 02:35:48 -0500
Status: RO

Today we received our first snow for the winter.  Every year it is such a
chore to find something to cover my daughter's head (she's the one with a
lot of long thick hair).  We finally found some thing that works.  So I
thought I would share with you who might have the same problem... it is tam
or beret hat.  The one we found is made of 85% nylon &15% acetate.  It is
really stretchy and repels water!!!!!  My daughter pulls her hair in a
ponytail and then rolls it up into the hat.  Now, she can go sledding or
make snow angels and not have a hair-related accident or end up with wet
hair.  She looks really cute in it.  If she shifts the weight of her hair to
the back of the hat, it kinda looks like a cal.

For those in the U.S. I found the hat at Big Lots and they were $2.99.  They
are in different colors too!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Date: Fri, 4 Jan 2002 15:27:52 GMT
Status: RO

Hi Cyn,


Just my tuppence on this but, I'd say that the fabric is indeed too crisp. I feel that to get the right look with this style (and it's a tricky style to wear if you aren't built like a 12 year old boy)a very, very soft and drapey fabric is essential. Something along the lines of a well-washed hankie linen or a cotton batiste. This is the perfect style to use all those silks that are just too soft and drapey for the earlier 18th century fashions. Perhaps pressing the gathers/pleats down at the waist would help. I love the colors, and they style looks very interesting. I've only done a couple of French Revolution/Regency dresses but the bib front style is one I'd like to try.


Karen


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Date: Fri, 04 Jan 2002 16:37:02 +0100
Status: RO

Hello.
I am not expert in this period, but could the sleave be cut like a tunic 
and then gathered at the armscye? It looks that way, weird!

Bjarne

Robin Netherton wrote:

>On Thu, 3 Jan 2002, Melanie Schuessler wrote:
>
>>True enough, and yet I'm still curious about Botticelli's "Young
>>Woman" (the 2nd one here
>>http://gallery.euroweb.hu/html/b/botticel/portrait/index.html ).  To
>>be sure, her hair is rather...fanciful...but it is labelled as a
>>portrait (ok, that probably doesn't mean anything!).  I've always been
>>curious about this dress, as it seems to be not only gathered into the
>>neckline but also into the armscye.  Any thoughts?
>>
>
>Not my period, and I really have no clue on what's happening on the front
>-- e.g. what's under, what's over, and whether those stripes are lacings
>or just decoration.
>
>But I do notice that the part of the bodice that seems gathered into the
>armscye is only the area connected to the sleeve. The edge of the armscye
>that forms the opening (where the chemise puffs out) is smooth. So maybe
>the armscye is pulled up a bit along that seam connecting the bodice to
>the shoulder of the sleeve?
>
>I should also note that Botticelli is known for treating clothing (and
>hair and other elements) rather imaginatively as served his own purposes,
>so I wouldn't take him to the bank. I'm sure that many of the bits he
>includes are realistic, but others aren't, and I don't feel competent to
>guess which are which.
>
>--Robin
>
>_______________________________________________
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-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

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Date: Fri, 4 Jan 2002 11:28:13 -0500 (EST)
Status: RO


Lovely fabric! I agree with the gathering--if you got rid of the front
gathers and just put one pleat at either side, pushing the rest of the
fulness to the back, you'd get a better look.  I used "stroked pleats" to
make the skirt on my muslin gown.  It's basically like
mini-cartridge-pleats, pulled up and then pushed flat. It managed to get a
lot of bulk into a small area yet keep things from poofing out. (three
and a half yards gathered into 12 inches of space)!  That
might help flatten the gathers on the back.

Perhaps you could try gently washing a small sample in cool water
with a mild soap, to see if this removes some of the crispness from the
fabric.

Thanks for the pics (and I wish I could wear that color),

Drea





On Fri, 4 Jan 2002, Cynthia Barnes wrote:

> I've always wanted one of those French merveilleuse style gowns... within
> limits of decency.  I also love those descriptions of the French court, and
> diplomatic wives in their gold encrusted evening gowns.   Happily the French
> werent quite so shy about color, if you flip thru "Modes Revolutionaires"
> and "Revolution in Fashion".
> In a fit of obsession,  I've spent the last 6 days drafting, fitting &
> mocking up a gown.  Mostly, I used the Norah Waugh book "Cut of Women's
> Clothes", diagram XXXV and photo #43 (2 different gowns). I'm at the final
> mockup wherein the gown is done up in fabrics close to the final in weight,
> fiber & hue.  Idea is to check the hang, figure out real yardage needed,
> eyeball strongly patterned panels & borders and generally work thru problem
> areas.  Here's my comments:
>
>  * The gold brocade (originally the sari's palou) is way too heavy. Looks ok
> in the bodice, but the sleeves are too stiff. They should be drapey.
>  * That 7 meter sari wasnt long enough. The train finished 8" too short.
>  * Uk, too much yardage in the CB & on the side.  Ironing may help this, but
> I doubt it. (I laughed when I looked at it. You can, too!)
>  * Binding at neckline - yeah, it's lighter in weight than the brocade.
>  * The bra-like front closure under the "bib" is very successful. (See photo
> #43, Waugh's book.) The forward & upward tug creates clevage without
> corsetting.
>
>  <http://photos.yahoo.com\hatchikohysteria>
> http://photos.yahoo.com\hatchikohysteria the Click the folder "Bib-front
> Gown 1803".
>
> So, questions for you, ladies & gents:
>  * What else needs work?
>  * Would you gather the decorated panel (marked "embroidered panel" in
> N.Waugh diagr XXXV) or leave it flat?
>  * Was the sari fabric , while light in weight, too crisp?
>  * Should the "waist" line gathering be ironed flat?
>  * The whole thing has a "short and dumpy" effect.  How to fix it?
>  * Other critique?
>
> That was *supposed* to be my final muslin for an 1803 bib-front gown.  Yeah,
> I'll probably take some of the excess out of the skirt, then finish it with
> a "good enough for Gaskell's" attitude.
> --cin
> Cynthia in Tokyo
>


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Date: Fri, 4 Jan 2002 11:43:55 -0500 (EST)
Status: RO

>
> http://www.dnaco.net/~aleed/corsets/gallery/middle-wmn.html
>
> I am trying to recreate the second gown from the left.
>  I have the body of the gown sorted out but I am stuck
> on the construction of the sleeve and the correct
> setting of the collar.  Could anyone help?  I am not
> interested in buying patterns as they never fit
> properly I would much rather draft it myself.
>

I had trouble with those sleeves, too.  I was recreating the first gown
on the left. I tried to build a base for the
sleeve based on the boned sleeve on Arnold's Ropa in Patterns of Fashion,
using shaped heavy buckram stuffed with batting.  The
fabric was lumpy over it, and it wasn't very sturdy--one push on the
buckram would leave a hollow. Even when I supplemented it with poly
boning, it still looked lumpy.

I ended up creating a close-fitting undersleeve, sewing a network of poly
boning still in the fabric sleeves to it, stuffing it with poly boning and
fitting a layer of cotton batting over the boning to soften the line.
The outer sleeve I built by hand, fitting and draping fabric over the
structure.  I'm not completely satisfied with the result, but it came out
pretty well. I included light boning inside the black velvet guards on
the sleeves, which also helped.

For the collar, I just extended the fabric of the front pieces into a
point at the collar, and extended the back neckline up. Kind of like the
partlet pattern at
http://www.dnaco.net/~aleed/corsets/lowerclass/images/partlet-pat.jpg,
only with a higher collar.

There's a pic of the gown at http://www.dnaco.net/~aleed/corsets/wardrobe/
http://www.dnaco.net/~aleed/corsets/wardrobe/gownkirtle.html

Good luck,

Drea

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Date: Fri, 4 Jan 2002 09:04:20 -0800
Status: RO


> > The diagonals are on the back side of the lacings. It was actually a
> > very common lacing pattern.
> 
> On the back side of the lacings?  I'm not sure what you mean by this. 
> When the edges to be laced do not meet, the back side of the lacing
> would also be visible.

In a photograph that would be true, but sometimes the laces on the 
underside are not shown. (Artist's convention?)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Fri, 4 Jan 2002 15:20:07 EST
Status: RO

In a message dated 1/2/02 9:56:41 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<<  He wears his old Ren. Faire clothes when he goes to Ren.
 Faire, and so what if the chair isn't period.>>

Ooh!   He could make it look like a throne!  Instant charisma.

I'll have to look around, but I do believe I saw a book once on fashion 
designing for the  wheelchair-bound...  I'll try to find a link and post it 
here soon.  I think this a worthy topic.

--Gillian
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Subject: [h-cost] Re: Tolkien not WWII?
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Date: Fri, 4 Jan 2002 15:03:36 EST
Status: RO

In a message dated 1/2/02 1:39:50 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< You know, Tolkien himself said that these books were not, in fact, a
 metaphor for WWII.  I am not sure where the quote is to be found, but I will
 look.
 
 Margretta
 (delurking) >>

Hmm, ok.  I'd be interested to read that.  The only quote I knew of was that 
he denied it was a treatise against the atomic bomb (being used in WW II).  
He was quite adamant about that.  We do know Tolkien's work was influenced by 
his preoccupance with death, however, which resulted from most of his friends 
dying in the war, when he was only in his 20's.

Go ahead and e-me privately if you find that tidbit.  I am always up for 
discussion of this profound work of literature.

Thanks,
Gillian
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Date: Fri, 4 Jan 2002 20:49:40 +0200 (EET)
Status: RO

On Fri, 4 Jan 2002, Judy Mitchell wrote:

> 	Have you ever been to Silke-Annet's shop up in Farum? She
> does a lot of bobbin lace and assorted historic costume and
> has lots of stuff. She's where I got all for my supplies for
> my High-Hat outfit this past summer. I can give you her
> phone and address is you're interested. Just in case you're
> looking for another shop for supplies, you know.

Could you post her address to the list? I'm would like it too, and I'm
sure I am not the only one, especially if she'd do mail order.

-- 
Lynoure Rajamaki
lynoure@tuug.fi


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Date: Fri, 4 Jan 2002 15:35:43 EST
Status: RO

In a message dated 1/2/02 9:56:41 AM Eastern Standard Time, 
h-costume-request@indra.com writes:

<< Bias covered cord was used to edge anything boned and fitted>>

Yes, this technique is much easier than attempting to turn a lined and boned 
garment.  For anyone wondering how to do this, see the instructions on the 
bodice for Simplicity pattern # 8881.  FYI, "bias covered cord" is also 
called "piping" in the U.S., and can be found pre-made in the notions areas 
of fabric stores.  

<< and yes, polyboning is about the only thing you can get in NZ (but it's 
not Rigilene) >>

Well, here's a website you can buy steel boning from that seems to ship 
internationally.  Good prices, and I've never had a problem with my orders.

http://www.granndgarb.com

--Gillian Tedcastle, "Keeping the world corseted..."

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From: chimericalgirl@attbi.com
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Tolkien not WWII?
Organization: The Corner of my Desk
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Date: Fri, 04 Jan 2002 20:39:01 GMT
Status: RO

On Fri, 4 Jan 2002 15:03:36 EST, the following was written in this
electric book by Azelana@aol.com:

>The only quote I knew of was that 
>he denied it was a treatise against the atomic bomb (being used in WW II).  
>He was quite adamant about that.  We do know Tolkien's work was influenced by 
>his preoccupance with death, however, which resulted from most of his friends 
>dying in the war, when he was only in his 20's.

He was in WWI - In France, I think - he was a Mustard Gas casualty.
His son might have been in WWII, late in the war, IIRC. He was in his
50's during WWII:

http://us.imdb.com/Name?Tolkien,+J.R.R.

Maura
---chimericalgirl@attbi.com-Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
        }{ http://www.chimericalgirl.net }{
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Re:LOTR - Galadriel's frock.
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Date: Fri, 04 Jan 2002 13:27:35 -0800
Status: RO




>I've looked at several stills on the web and in a couple of books and
>it still looks like tacky nylon-lace fabric to me.  Each to their own, of
>course, but I *can't* see a dress in that fabric as being in any way
>attractive.
>
I was thinking of making a purple one in acid peeled velvet over buttersoft 
satin.  I've used that kind of velvet before and the textures are really 
fun.  But then I really like soft, fuzzy, and purple. ;)

Jennifer

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From: Deb Rand <martyr@gti.net>
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Date: Fri, 04 Jan 2002 16:39:39 -0500
Status: RO

No Sue, you aren't blind <g>... the one slash after 'com' was reversed.
This is the address:
http://photos.yahoo.com/hatchikohysteria
AND
You have to sign into Yahoo! to view the Bib Front file.
If you don't sign in, that particular file does not come up for
some reason..
Guests aren't allowed, I guess.
Deb R.


> The address works fine for me, but I can't find any folder with that
> name. Am I blind/stupid, or is something else going on? :)

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Subject: Re: [h-cost] Costume flicks and violence
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Date: Fri, 4 Jan 2002 16:47:17 -0600
Status: RO

I have seen an occasional slasher movie--in my home, with my DH to tell me
when to duck--but the ones that give me nightmares are the ones in which
children are hurt.

OTOH, I read a horror comic when I was eight about a large orange monster
that came out of a closet. Until I left home at seventeen, I could NOT sleep
with my closet door open. For years, I kept a tiny child's rocking chair up
against that door at night. Living in a haunted house didn't help any,
either.

Dianne
----- Original Message -----
From: "Kevin & Mara Riley" <lindo@radix.net>
To: <h-costume@indra.com>
Sent: Friday, January 04, 2002 7:55 AM
Subject: [h-cost] Costume flicks and violence


> On Thu, 3 Jan 2002, Joan Broneske wrote:
> > I can't stand horror or hacker/slasher movies,
> > they give me nightmares,
>
> Speaking for myself -- I have problems with horror movies too, for the
> same reason.  I have no problem with LOTR or Raiders or any of that
> sort of thing; I suppose because I know the 'good guys' win in the end,
> unlike horror movies where almost everyone winds up dead for no
> particularly good reason.  Unfortunately, I do have problems
> with things like the rape scene in Rob Roy, which really has kept me from
> watching the movie again (even though I have it on tape)... a pity,
> because I really do want to go back through it and look at the costumes,
> just for fun.  I started watching it again once, and just kept dreading
> what I knew was coming up -- it spoiled it for me enough that I popped the
> tape out and haven't tried to watch it again since.
>
> I really wish they'd intimated that scene (noises coming from inside the
> cottage, filmed from outside the cottage) rather than showing it plain...
>
> -- Mara
>
>

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Subject: Re: [h-cost] Re: Tolkien not WWII? 
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Date: Fri, 4 Jan 2002 15:28:39 -0800
Status: RO


It is in the introduction to the first book - at least the one that I have,
a mid 70s version.  But it is WWI that he says it isn't a metaphor for.  It
is suppose to be in protest to the industrialization of the English
countryside that happened after WWI.

Susan Courney

>
> << You know, Tolkien himself said that these books were not, in fact, a
>  metaphor for WWII.  I am not sure where the quote is to be found, but I will
>  look.
>
>  Margretta
>  (delurking) >>
>
> Hmm, ok.  I'd be interested to read that.  The only quote I knew of was
that
> he denied it was a treatise against the atomic bomb (being used in WW II).
> He was quite adamant about that.  We do know Tolkien's work was influenced by
> his preoccupance with death, however, which resulted from most of his friends
> dying in the war, when he was only in his 20's.
>
> Go ahead and e-me privately if you find that tidbit.  I am always up for
> discussion of this profound work of literature.
>
> Thanks,
> Gillian

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Date: Fri, 04 Jan 2002 18:53:35 -0500
Status: RO

Hi Ella- 
> Could you post her address to the list? I'm would like it too, and I'm
> sure I am not the only one, especially if she'd do mail order.

 She goes by  the name Silke-Annet her address is: 
Dorthesvej 2 Dk-3520 Farum and
her phone is 44-95-05-55. Oh, she does have email (which is
mostly how I was in touch with her), but she seemed somewhat
slow to answer. Probably because she ran most of it through
her son to deal with the English. Her email is:
silke-annet@detail.dk. I don't know how much mail order she
does, but you could certainly ask her.

	-Judy Mitchell
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Date: Fri, 04 Jan 2002 18:59:01 -0500
Status: RO

Susan wrote:
> It is in the introduction to the first book - at least the one that I have,
> a mid 70s version.  But it is WWI that he says it isn't a metaphor for.  It
> is suppose to be in protest to the industrialization of the English
> countryside that happened after WWI.

	There was a show on PBS  the week before the movie came out
(the show was called "JRR Tolkien") that mentioned that the
only time his experiences in the War come into the book is
in the section about the Dead Marshes and the faces he sees
in them. The show also interviewed Queen Margrethe of
Denmark  because she had written a fan letter to Tolkien
when she read it as a teenager. She found it fascinating how
he involved aspects of sagas and norse mythology, which of
course she was well versed in, and wrote to tell him so. She
also was certain that some of the Elvish seemed to sound
Finnish. In some of his letters he explains that Quenya was
based largely on the sounds of Finnish, while Sindarin grew
from his fascination with Welsh.
	-Judy Mitchell (who will get to see the movie again since I
was given two gift passes!)
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Subject: Re: [h-cost] Re: Tolkien not WWII?
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Date: Fri, 04 Jan 2002 16:03:16 -0800
Status: RO

To the Liste:

The January issue of Smithsonian (with a beautiful tiger face on the
cover) has an article called "J.R.R. Tolkien and the Lord of the Rings",
in which the influences of WWI/WWII on Tolkien are touched upon. 
Interesting reading and might answer some of the questions in this thread.

Theresa Eacker

Susan wrote:
> 
> It is in the introduction to the first book - at least the one that I have,
> a mid 70s version.  But it is WWI that he says it isn't a metaphor for.  It
> is suppose to be in protest to the industrialization of the English
> countryside that happened after WWI.
> 
> Susan Courney
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Date: Fri, 4 Jan 2002 16:34:59 -0800
Status: RO

At 07:32 PM 01/02/2002 -0600, you wrote:
>Margo@Margospatterns.com wrote:
>
>> I've drafted a pattern based on the 1585-1600 shirt in the Museum
>> of Costume at Bath, as shown in the Janet Arnold shirts and smocks article.
>>
>
>So, I'm curious.  Did you draft one with neck gussets, or without?  I've been
>researching and playing with period shirts for a while now, and I've come
to the
>conclusion that I like ones with neck gussets much better.  They seem to have
>been made both with and without, but I find that the neck gusset eliminates
>pulling and makes gathering to the neckband much easier.  What's your
>experience? 

I used the neck gussets.  You're right, they make the garment fit better,
and are much more comfortable and durable.  They seem scary to sew at first,
but once you get the hang of it they're no big deal.

Margo


Margo Anderson's Historic Costume Patterns
margospatterns.com

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Subject: Re: [h-cost] Re: Tolkien not WWII?
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Date: Fri, 04 Jan 2002 17:16:23 -0800
Status: RO

Delurking briefly since I'm on break and can actually read this while
its still being discussed.

The LotR was started in 1936.  But due to his need to flesh out the
history and the outbreak of WWII, its completion was delayed.  Actually his son,
Christopher, was in the RAF in South Africa during WWII and he sent excerpts for
him to read as he was working on it at home.  He would get his son's feedback as
he worked on the story.   Tolkien says that he went through a variety of other
personal changes that slowed down the process as well.  He moved, changed jobs
and typed and retyped it himself.  He finally completed it in 1949.  He said it
was not based on either war, but said that author's are influenced by their
experiences.  He does not like allegory but prefers history, whether real or feigned.
This is from Tolkien's prologue from the 1973 Ballantine edition where he gives
a small insight into his writing process.

Personally, I loved the books and the movie.  Of course I like epics.  I
also enjoy the Homeric Poems and find many interesting similarities
between them.

Ok, back into lurk mode

Karolee Smiley

Azelana@aol.com wrote:

> In a message dated 1/2/02 1:39:50 AM Eastern Standard Time,
> h-costume-request@indra.com writes:
>
> << You know, Tolkien himself said that these books were not, in fact, a
>  metaphor for WWII.  I am not sure where the quote is to be found, but I will
>  look.
>
>  Margretta
>  (delurking) >>
>
> Hmm, ok.  I'd be interested to read that.  The only quote I knew of was that
> he denied it was a treatise against the atomic bomb (being used in WW II).
> He was quite adamant about that.  We do know Tolkien's work was influenced by
> his preoccupance with death, however, which resulted from most of his friends
> dying in the war, when he was only in his 20's.
>
> Go ahead and e-me privately if you find that tidbit.  I am always up for
> discussion of this profound work of literature.
>
> Thanks,
> Gillian
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Date: Fri, 04 Jan 2002 18:55:49 -0700
Status: RO

Well, darn it, you're right...and I don't "do" yahoo....grump,
grump....does anyone have another picture of this dress? It sounds
really pretty.....:-(
--sue

Deb Rand wrote:
> 
> No Sue, you aren't blind <g>... the one slash after 'com' was reversed.
> This is the address:
> http://photos.yahoo.com/hatchikohysteria
> AND
> You have to sign into Yahoo! to view the Bib Front file.
> If you don't sign in, that particular file does not come up for
> some reason..
> Guests aren't allowed, I guess.
> Deb R.
> 
> > The address works fine for me, but I can't find any folder with that
> > name. Am I blind/stupid, or is something else going on? :)
> 
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From: Lynn Downward <lynnie1@pacbell.net>
Subject: Re: [h-cost] Re: Tolkien not WWII?
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Date: Fri, 04 Jan 2002 18:05:13 -0800
Status: RO

I've been having problems with sending out e-mails lately from home.  I sent this
message on Thursday and quoted from the forward.  Hopefully, it will reach the
list this time.  Here's the quote you were looking for.
LynnD

Gillian wrote:
Oh dear!  There's going to be a war, ya know...  LOTR is a metaphorical
account of Tolkien's own emotional experiences of WWII, written into a
fantasy story.  I'm afraid it will get MUCH more violent.  Felt I should warn
you.

No it isn't metaphore, and Tolkien says so very clearly.  I've been reading it
recently in a one-volume reprint I bought myself for Christmas 2000 (Houghton
Mifflin, ISBN 0-395-97468-2).  I don't mean to be argumentative, but here are his

own words.

In the forward to the second edition, first published in October 1965, (he
deleted the first forward), Professor Tolkien wrote, "As for any inner meaning or

'message', it has in the intention of the author none.  It is neither allegorical

nor topical . . . The crucial chapter, 'The Shadow of the Past', is one of the
oldest parts of the tale.  It was written long before the foreshadow of 1939 had
yet become a threat of inevitable disaster, and from that point the story would
have developed along essentially the same lines, if that disaster had been
averted.  Its sources are things long before in mind, or in some cases already
written, and little or nothing in it was modified by the war that began in 1939
or its sequels."  Tolkein goes on to say that if the book had followed WWII, the
Ring would have been used agains Sauron "not annihilated but enslaved, and
Barad-dur would not have been destroyed but occupied."  He goes on for a couple
more paragraphs on this line, but then says that an author cannot write and be
completely separated from the world around him.  He reminds his readers that he
was caught up in WWI and that was just as bad as WWII for many people; all but
one of his close friends were dead by 1918.  However, he says that the book was
already in his mind before there were even threats of another war.

LynnD
Having read it first at the tender age of 11 or12
in (oh my God) 1963-44

Azelana@aol.com wrote:

> In a message dated 12/31/01 2:34:35 AM Eastern Standard Time,
> h-costume-request@indra.com writes:
>
> << I agree with Margo, however. I didn't care much for it as it was
>  *way* too violent for me. I spent a good portion of the movie
>  (especially in the last part) with my head buried in my husband's
>  shoulder going "are they done fighting yet." However, since it is a
>  cultural icon, I will go see the other two. >>
>
>
>
> --Gillian

Azelana@aol.com wrote:

> In a message dated 1/2/02 1:39:50 AM Eastern Standard Time,
> h-costume-request@indra.com writes:
>
> << You know, Tolkien himself said that these books were not, in fact, a
>  metaphor for WWII.  I am not sure where the quote is to be found, but I will
>  look.
>
>  Margretta
>  (delurking) >>
>
> Hmm, ok.  I'd be interested to read that.  The only quote I knew of was that
> he denied it was a treatise against the atomic bomb (being used in WW II).
> He was quite adamant about that.  We do know Tolkien's work was influenced by
> his preoccupance with death, however, which resulted from most of his friends
> dying in the war, when he was only in his 20's.
>
> Go ahead and e-me privately if you find that tidbit.  I am always up for
> discussion of this profound work of literature.
>
> Thanks,
> Gillian

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Date: Fri, 4 Jan 2002 22:25:13 -0500
Status: RO

Thanks for all of the ideas.  One of my biggest problems is getting skirts
caught in the wheels, especially when I am in a position to us my manual
chair for the day.  What figures is that I absolutely fell in love with
Elizabethan and early Tudor just before being stuck in these things, and
love full skirts, etc.  Unfortunately, I can't even get away with a full
length tunic, let alone the full stuff.;-p  I guess I could have worse
problems.;-}
YIS,
Moira

  Another was to always make the fit loose enough that there was no
> binding, no tight spot, anywhere, especially if they had trouble dressing
> themselves or with arm motions (I gather you don't have a problem here).
>
> My favourite suggestion for wheelchair folks is to decorate the chair
itself.
> This will tend to frame the sitter whatever he/she is wearing.  The
simplest
> way is to hang a banner (or a nice piece of cloth) down the back of the
chair.
> Cloth slipcovers for the arms don't hurt the looks either.  If you do
> Renaissance, look at the chairs in Ren. portraits for ideas.  (I was at a
> Science Fiction convention, and someone had decorated her chair like a
> futuristic transport pod, which went with her space ship uniform.)
>
> My housemate will always have to use a chair, and even tho the thing is
really
> high tech and motorized (and cost more than my car did) he still looks
really
> good wearing his evening clothes and sitting in the chair at Dickens' Fair
or
> historical dances.  He wears his old Ren. Faire clothes when he goes to
Ren.
> Faire, and so what if the chair isn't period.
>
>
> Kayta
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
> /----\   /---\))
>

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From: "Lori Sharpsteen" <lsharp@fidnet.com>
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Date: Fri, 4 Jan 2002 21:52:12 -0600
Status: RO

I have two books on this subject, actually. (I once considered starting a
clothing company specializing in garments for physical limitations and
calling it User Friendly Clothing Company) One is published by Simplicity
and called "Design Without Limits" The other is titled "Dressing With Pride"
by Evelyn S. Kennedy and was published by PRIDE (Promote Real Independence
for the Disabled and Elderly) in 1981. If you want more info about the
books, let me know.

Lori Sharpsteen

-----Original Message-----
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Behalf Of h-costume-request@indra.com
Sent: Friday, January 04, 2002 8:15 PM
To: h-costume@net.indra.com
Subject: h-costume digest, Vol 1 #580 - 15 msgs


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Today's Topics:

   1. Re: Tolkien not WWII? (Azelana@aol.com)
   2. Re: wheelchair costumes (Azelana@aol.com)
   3. Re: piped edges and boning (Azelana@aol.com)
   4. Re: Re: Tolkien not WWII? (chimericalgirl@attbi.com)
   5. Re: Re:LOTR - Galadriel's frock. (Jennifer Sena)
   6. Re: Merveilleuse mockup (Deb Rand)
   7. Re: Costume flicks and violence (Greg and Dianne Stucki)
   8. Re: Re: Tolkien not WWII? (Susan)
   9. Re: listmembermeting (Judy Mitchell)
  10. Re: Re: Tolkien not WWII? (Judy Mitchell)
  11. Re: Re: Tolkien not WWII? (Theresa Eacker)
  12. Re: H-cost:  Wearing 16th Century Shirts (Margo@Margospatterns.com)
  13. Re: Re: Tolkien not WWII? (Karolee Smiley)
  14. Re: Merveilleuse mockup (Sue Clemenger)
  15. Re: Re: Tolkien not WWII? (Lynn Downward)

--__--__--

Message: 1
From: Azelana@aol.com
Date: Fri, 4 Jan 2002 15:03:36 EST
To: h-costume@net.indra.com
Subject: [h-cost] Re: Tolkien not WWII?
Reply-To: h-costume@mail.indra.com

In a message dated 1/2/02 1:39:50 AM Eastern Standard Time,
h-costume-request@indra.com writes:

<< You know, Tolkien himself said that these books were not, in fact, a
 metaphor for WWII.  I am not sure where the quote is to be found, but I
will
 look.

 Margretta
 (delurking) >>

Hmm, ok.  I'd be interested to read that.  The only quote I knew of was that
he denied it was a treatise against the atomic bomb (being used in WW II).
He was quite adamant about that.  We do know Tolkien's work was influenced
by
his preoccupance with death, however, which resulted from most of his
friends
dying in the war, when he was only in his 20's.

Go ahead and e-me privately if you find that tidbit.  I am always up for
discussion of this profound work of literature.

Thanks,
Gillian

--__--__--

Message: 2
From: Azelana@aol.com
Date: Fri, 4 Jan 2002 15:20:07 EST
To: h-costume@net.indra.com
Subject: [h-cost] Re: wheelchair costumes
Reply-To: h-costume@mail.indra.com

In a message dated 1/2/02 9:56:41 AM Eastern Standard Time,
h-costume-request@indra.com writes:

<<  He wears his old Ren. Faire clothes when he goes to Ren.
 Faire, and so what if the chair isn't period.>>

Ooh!   He could make it look like a throne!  Instant charisma.

I'll have to look around, but I do believe I saw a book once on fashion
designing for the  wheelchair-bound...  I'll try to find a link and post it
here soon.  I think this a worthy topic.

--Gillian

--__--__--

Message: 3
From: Azelana@aol.com
Date: Fri, 4 Jan 2002 15:35:43 EST
To: h-costume@net.indra.com
Subject: [h-cost] Re: piped edges and boning
Reply-To: h-costume@mail.indra.com

In a message dated 1/2/02 9:56:41 AM Eastern Standard Time,
h-costume-request@indra.com writes:

<< Bias covered cord was used to edge anything boned and fitted>>

Yes, this technique is much easier than attempting to turn a lined and boned
garment.  For anyone wondering how to do this, see the instructions on the
bodice for Simplicity pattern # 8881.  FYI, "bias covered cord" is also
called "piping" in the U.S., and can be found pre-made in the notions areas
of fabric stores.

<< and yes, polyboning is about the only thing you can get in NZ (but it's
not Rigilene) >>

Well, here's a website you can buy steel boning from that seems to ship
internationally.  Good prices, and I've never had a problem with my orders.

http://www.granndgarb.com

--Gillian Tedcastle, "Keeping the world corseted..."


--__--__--

Message: 4
From: chimericalgirl@attbi.com
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Tolkien not WWII?
Date: Fri, 04 Jan 2002 20:39:01 GMT
Organization: The Corner of my Desk
Reply-To: h-costume@mail.indra.com

On Fri, 4 Jan 2002 15:03:36 EST, the following was written in this
electric book by Azelana@aol.com:

>The only quote I knew of was that
>he denied it was a treatise against the atomic bomb (being used in WW II).
>He was quite adamant about that.  We do know Tolkien's work was influenced
by
>his preoccupance with death, however, which resulted from most of his
friends
>dying in the war, when he was only in his 20's.

He was in WWI - In France, I think - he was a Mustard Gas casualty.
His son might have been in WWII, late in the war, IIRC. He was in his
50's during WWII:

http://us.imdb.com/Name?Tolkien,+J.R.R.

Maura
---chimericalgirl@attbi.com-Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either
hand..." - the Flash Girls
        }{ http://www.chimericalgirl.net }{

--__--__--

Message: 5
From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Re:LOTR - Galadriel's frock.
Date: Fri, 04 Jan 2002 13:27:35 -0800
Reply-To: h-costume@mail.indra.com




>I've looked at several stills on the web and in a couple of books and
>it still looks like tacky nylon-lace fabric to me.  Each to their own, of
>course, but I *can't* see a dress in that fabric as being in any way
>attractive.
>
I was thinking of making a purple one in acid peeled velvet over buttersoft
satin.  I've used that kind of velvet before and the textures are really
fun.  But then I really like soft, fuzzy, and purple. ;)

Jennifer

_________________________________________________________________
MSN Photos is the easiest way to share and print your photos:
http://photos.msn.com/support/worldwide.aspx


--__--__--

Message: 6
Date: Fri, 04 Jan 2002 16:39:39 -0500
From: Deb Rand <martyr@gti.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Merveilleuse mockup
Reply-To: h-costume@mail.indra.com

No Sue, you aren't blind <g>... the one slash after 'com' was reversed.
This is the address:
http://photos.yahoo.com/hatchikohysteria
AND
You have to sign into Yahoo! to view the Bib Front file.
If you don't sign in, that particular file does not come up for
some reason..
Guests aren't allowed, I guess.
Deb R.


> The address works fine for me, but I can't find any folder with that
> name. Am I blind/stupid, or is something else going on? :)


--__--__--

Message: 7
From: "Greg and Dianne Stucki" <goofy1@suscom.net>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Costume flicks and violence
Date: Fri, 4 Jan 2002 16:47:17 -0600
Reply-To: h-costume@mail.indra.com

I have seen an occasional slasher movie--in my home, with my DH to tell me
when to duck--but the ones that give me nightmares are the ones in which
children are hurt.

OTOH, I read a horror comic when I was eight about a large orange monster
that came out of a closet. Until I left home at seventeen, I could NOT sleep
with my closet door open. For years, I kept a tiny child's rocking chair up
against that door at night. Living in a haunted house didn't help any,
either.

Dianne
----- Original Message -----
From: "Kevin & Mara Riley" <lindo@radix.net>
To: <h-costume@indra.com>
Sent: Friday, January 04, 2002 7:55 AM
Subject: [h-cost] Costume flicks and violence


> On Thu, 3 Jan 2002, Joan Broneske wrote:
> > I can't stand horror or hacker/slasher movies,
> > they give me nightmares,
>
> Speaking for myself -- I have problems with horror movies too, for the
> same reason.  I have no problem with LOTR or Raiders or any of that
> sort of thing; I suppose because I know the 'good guys' win in the end,
> unlike horror movies where almost everyone winds up dead for no
> particularly good reason.  Unfortunately, I do have problems
> with things like the rape scene in Rob Roy, which really has kept me from
> watching the movie again (even though I have it on tape)... a pity,
> because I really do want to go back through it and look at the costumes,
> just for fun.  I started watching it again once, and just kept dreading
> what I knew was coming up -- it spoiled it for me enough that I popped the
> tape out and haven't tried to watch it again since.
>
> I really wish they'd intimated that scene (noises coming from inside the
> cottage, filmed from outside the cottage) rather than showing it plain...
>
> -- Mara
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


--__--__--

Message: 8
From: "Susan" <costumer@dendarii.org>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Re: Tolkien not WWII?
Date: Fri, 4 Jan 2002 15:28:39 -0800
Reply-To: h-costume@mail.indra.com


It is in the introduction to the first book - at least the one that I have,
a mid 70s version.  But it is WWI that he says it isn't a metaphor for.  It
is suppose to be in protest to the industrialization of the English
countryside that happened after WWI.

Susan Courney

>
> << You know, Tolkien himself said that these books were not, in fact, a
>  metaphor for WWII.  I am not sure where the quote is to be found, but I
will
>  look.
>
>  Margretta
>  (delurking) >>
>
> Hmm, ok.  I'd be interested to read that.  The only quote I knew of was
that
> he denied it was a treatise against the atomic bomb (being used in WW II).
> He was quite adamant about that.  We do know Tolkien's work was influenced
by
> his preoccupance with death, however, which resulted from most of his
friends
> dying in the war, when he was only in his 20's.
>
> Go ahead and e-me privately if you find that tidbit.  I am always up for
> discussion of this profound work of literature.
>
> Thanks,
> Gillian
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


--__--__--

Message: 9
Date: Fri, 04 Jan 2002 18:53:35 -0500
From: Judy Mitchell <judymitch@oldwaylane.net>
To: h-costume@indra.com
Subject: Re: [h-cost] listmembermeting
Reply-To: h-costume@mail.indra.com

Hi Ella-
> Could you post her address to the list? I'm would like it too, and I'm
> sure I am not the only one, especially if she'd do mail order.

 She goes by  the name Silke-Annet her address is:
Dorthesvej 2 Dk-3520 Farum and
her phone is 44-95-05-55. Oh, she does have email (which is
mostly how I was in touch with her), but she seemed somewhat
slow to answer. Probably because she ran most of it through
her son to deal with the English. Her email is:
silke-annet@detail.dk. I don't know how much mail order she
does, but you could certainly ask her.

	-Judy Mitchell

--__--__--

Message: 10
Date: Fri, 04 Jan 2002 18:59:01 -0500
From: Judy Mitchell <judymitch@oldwaylane.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Tolkien not WWII?
Reply-To: h-costume@mail.indra.com

Susan wrote:
> It is in the introduction to the first book - at least the one that I
have,
> a mid 70s version.  But it is WWI that he says it isn't a metaphor for.
It
> is suppose to be in protest to the industrialization of the English
> countryside that happened after WWI.

	There was a show on PBS  the week before the movie came out
(the show was called "JRR Tolkien") that mentioned that the
only time his experiences in the War come into the book is
in the section about the Dead Marshes and the faces he sees
in them. The show also interviewed Queen Margrethe of
Denmark  because she had written a fan letter to Tolkien
when she read it as a teenager. She found it fascinating how
he involved aspects of sagas and norse mythology, which of
course she was well versed in, and wrote to tell him so. She
also was certain that some of the Elvish seemed to sound
Finnish. In some of his letters he explains that Quenya was
based largely on the sounds of Finnish, while Sindarin grew
from his fascination with Welsh.
	-Judy Mitchell (who will get to see the movie again since I
was given two gift passes!)

--__--__--

Message: 11
Date: Fri, 04 Jan 2002 16:03:16 -0800
From: Theresa Eacker <theresa@misc.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Tolkien not WWII?
Repl

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Date: Fri, 04 Jan 2002 23:09:20 -0500
Status: RO

Hi, All. I don't know, Teddy, but the thought of wrapping my bits up in
any part of my shirt that might shift when I sit down makes me a wee bit
edgy. It might be a fun experience, experimental archaeology-wise, but
something I'll want to try only once (okay, twice if it feels good).
Seriously though, in my experience with shirts, codpieces and
netherbreeches, I have found that I can usually shift everything in such a
way that I can do my necessities and still appear decent afterwards, even
after having a few too many beers and needing to use a poorly lit jakes. I
still swear by netherbreeches, though. I have made boxers and briefs,
based on images of historical examples. and they have always been more
comfortable than just a shirt, although I have been able to manage either
way... Mike T.

Teddy wrote:

> > I was under the impression a guy wrapped his parts in his shirt tail
> > and then put the wrapped package into the codpiece.
>
> That's what works for me (except it's the front of the shirt not the
> back "tails").
>
> Teddy

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Date: Fri, 04 Jan 2002 23:25:18 -0500
Status: RO

Hi, All. Margo, no need to blush. Your friendly neighborhood Barber-Surgeon here
will explain all in a no-nonsense medical fashion. I really don't believe that
the male anatomy was intended to be stuffed into a codpiece. The way that the
codpiece evolved, from a flap which covered the separation of the hose, to the
late 16th Cent, monstrosity, seems to simply be a manifestation of what the
"owner" wished to display rather than what was actually IN the clothing item.
Owing to the information that some later variants were used as storage areas for
ones money, lunch and other valuables seems to leave little room for the "family
jewels", regardless of the paucity of that particular package ( isn't
alliteration wonderful?). Besides, the constriction that would result from such
a position would be somewhat uncomfortable. Suffice it to say that the codpiece
was most probably the most obvious type of window dressing, a sort of
advertisement of masculine proportions, so to speak.  Mike T.



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Date: Fri, 4 Jan 2002 21:07:36 -0800
Status: RO


I can send something to you directly.  Is a 400K JPG ok for you?
--cin 
Cynthia in Tokyo 

> Well, darn it, you're right...and I don't "do" yahoo....grump,
> grump....does anyone have another picture of this dress? It sounds
> really pretty.....:-(
> --sue
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Date: Fri, 04 Jan 2002 23:11:54 -0600
Status: RO

Robin Netherton wrote:
> 
> Maybe it's a regional thing. If this is accurate, and at all widespread,
> it would mean a lot of rethinking for me. But the Wise Virgins are about
> as reliable as the Virgin Mary as costume sources, meaning ... sometimes.

Ok, I stumbled across another fullness-from-the-armpit garment today. 
Back in the fifteenth century, and it's a chemise, but it has a bunch of
fullness (pleats? gathers?) right under the arm.  It's in Birbari's
_Dress in Italian Painting_, fig. 28, and I can't find it online
anywhere.  It's a closeup of Griselda in her shift, poor thing.  Birbari
has found enough pictures of chemises with this feature to make her
think it was a common cut.  Could this have any relation?  Seems a bit
of a stretch, but since it fell into my lap today, I thought I would
bring it up.

The more I learn, the more I don't know.
Melanie
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Date: Fri, 04 Jan 2002 21:36:13 -0800
Status: RO

>late 16th Cent, monstrosity, seems to simply be a manifestation of what the
>"owner" wished to display rather than what was actually IN the clothing item.

Wishful thinking?  False advertising?

Kayta
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Date: Fri, 04 Jan 2002 21:31:40 -0800
Status: RO

><<  He wears his old Ren. Faire clothes when he goes to Ren.
> Faire, and so what if the chair isn't period.>>
>
>Ooh!   He could make it look like a throne!  Instant charisma.

One of the SCA Barons in Southern California, in the fourth or fifth year
of the SCA, was in a wheelchair.  Dressed up in his Baronial robes and
crown he didn't need to decorate his chair to make it look like a throne.
OTOH, my housemate does lower-class/peasant, which doesn't go with thrones.

>I'll have to look around, but I do believe I saw a book once on fashion 
>designing for the  wheelchair-bound...  I'll try to find a link and post it 
>here soon.  I think this a worthy topic.

I know I saw such a book - a little paperback thing. It could be the same
book, not that I would recognize it now, as there can't be many books on
that subject.

Kayta
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Date: Fri, 4 Jan 2002 21:50:15 -0800
Status: RO

Quoth DebR:
> You have to sign into Yahoo! to view the Bib Front file.
> If you don't sign in, that particular file does not come up for
> some reason..

Mea culpa. Turns out the "age restriction" was on. Default turns out to be
dont show to the chillins. All better now.

I just took 2 ft out of the back section, swept the borders a little farther
back.  Drat. With all the fabric I took out I could have made the train to
spec.  Looks like the 7 meters would have been just fine, after all.

Quoth Karen:
>(and it's a tricky style to wear if you aren't built like a 12 year old
boy)

But I am!  That's what is so maddening about it.  Measuring the N.Waugh
diagram I see 28-39" at the high waist.  I'm only 31".

Quoth Drea:
>Lovely fabric! I agree with the gathering--if you got rid of the front
>gathers and just put one pleat at either side, pushing the rest of the
>fulness to the back, you'd get a better look.  I used "stroked pleats" to
>make the skirt on my muslin gown.

Giggle. It's just a cheap sari I bought in Singapore over Thanksgiving.  The
real fabric (embroidered lawn or hankie linen batiste) is either
unobtainable here in Japan or frighteningly expensive.  It's so backwards to
do the mockup in silk & the real thing in cotton.  Like I told y'all before
it's all "because Japan is an island".

The single pleat idea is good to make it hang flat at the side. Instead, I
deepened the dart shown the diagram.  Helps that back-sweep effect.   I'll
give the stroked pleats a shot in the real thing. 

Quoth Bjarne:
>When you gather the skirt and  you have sewed it to the bodice, you 
>should make a band inside the bodice to cover the thick gatherring. Make 
>a bend in the band and hide the seam behind the band and the bodice.

Do you mean bias binding? Should it connect to the bodice or just hang
freely?

It's really fun that you're making this one too.  Cant wait to see how yours
comes out.

Thanks one & all for being my on-line sewing circle!
--cin 
Cynthia in Tokyo

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Date: Fri, 4 Jan 2002 21:53:23 -0800
Status: RO


> >late 16th Cent, monstrosity, seems to simply be a 
> manifestation of what the
> >"owner" wished to display rather than what was actually IN 
> the clothing item.
> 
> Wishful thinking?  False advertising?

Over-inflated ego?  Testoterone poisoning? A triumph of hope over reality?
--cin giggling in Tokyo
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From: Lee Thompson-Herbert <lee@retro.com>
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Subject: Re: [h-cost] wheelchair historicals
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Date: Fri, 4 Jan 2002 22:13:35 -0800 (PST)
Status: RO

"Heather" <moirabeaneoin@prodigy.net> wrote:
> 
> Thanks for all of the ideas.  One of my biggest problems is getting skirts
> caught in the wheels, especially when I am in a position to us my manual
> chair for the day.  What figures is that I absolutely fell in love with
> Elizabethan and early Tudor just before being stuck in these things, and
> love full skirts, etc.  Unfortunately, I can't even get away with a full
> length tunic, let alone the full stuff.;-p  I guess I could have worse
> problems.;-}

Ah-hah.  Now that's something I can help on.  I occasionally have to use
a cane to walk, and come up against similar problems.  What you really want
is some way to contain the excess skirt so it won't get caught in the wheels.
I have certainly made skirts that have internal ties (similar to 1880s 
hobble skirts but not so confining) that grab up the _back_ of the skirt.
You could certainly make a sort of lacing or straps that would catch up
the back of the skirt and keep it tucked under your knees and calves
while you're sitting in the chair.  It's not 100% period, but neither is
riding around in a wheelchair.  And I decided some time ago that "period"
goes out the window when it gets in the way of my mobility.  

Picture a strap/buckle setup that runs from side seam to side seam across
the back of your calves.  You reach down, buckle (or button or tie) your
strap down tight enough that the back of the skirt no longer drags, make
sure your legs aren't too confined, then off you go.  This actually can 
be combined with the idea of a open-backed garment if you never get out
of the chair during the normal course of an event.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Date: Fri, 04 Jan 2002 23:02:37 -0700
Status: RO

Yup. I gots lotsa room in my mail box.
--sue

Cynthia Barnes wrote:
> 
> I can send something to you directly.  Is a 400K JPG ok for you?
> --cin
> Cynthia in Tokyo
> 
> > Well, darn it, you're right...and I don't "do" yahoo....grump,
> > grump....does anyone have another picture of this dress? It sounds
> > really pretty.....:-(
> > --sue
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Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Fri, 04 Jan 2002 23:05:15 -0700
Status: RO

16th century male version of those wonder bras? <g>
--Sue

Carolyn Kayta Barrows wrote:
> 
> >late 16th Cent, monstrosity, seems to simply be a manifestation of what the
> >"owner" wished to display rather than what was actually IN the clothing item.
> 
> Wishful thinking?  False advertising?
> 
> Kayta
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Subject: Re: [h-cost] Ladder Lacing
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Date: Sat, 5 Jan 2002 19:25:12 +1300
Status: RO

> > On the back side of the lacings?  I'm not sure what you mean by this.
> > When the edges to be laced do not meet, the back side of the lacing
> > would also be visible.
> In a photograph that would be true, but sometimes the laces on the
> underside are not shown. (Artist's convention?)

probably not. I say this as I've just copied copiously from the Frei-..
Friedlander book on Cranach. There are two types pf lacing wich has
horizontal lines:
= *and* z shapes, ie both that have been described.

That book is great, it has even *more* images of those half open bodices
that are seen in Christ and the Adulteress and Lucretia paintings. Admitedly
inthose genres, but also more women breastfeeding. Fantastic. I have looked
in the library a multitude of times, why there were *two* Cranach books all
of a sudden I do not know.

Anyway, just to say there are definatly paintings showing both descriptions
of acheiving horizontal lines inthe lacing.
Oh, and there is at least one showing the style in Italian (venetian?)
dress, which shows the stress marks the "ladder" lacing has on the opening.
Ladder lacing really needs very strong boning to prevent the lacing pulling
vertically puckering the opening:
 ___                    ____
(___)                  |____|
(___) rather than |____|
(___)                  |____|

Well strong enough to resist the pull anyway:) seeing as the garments these
are usually found on are firm around the body atthe least.

michaela


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From: "Maggie Secara" <maggiros@adelphia.net>
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Subject: RE: [h-cost] Re: Wearing 16th Century Shirts
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Date: Fri, 4 Jan 2002 23:16:49 -0800
Status: RO



>
>
> > >late 16th Cent, monstrosity, seems to simply be a
> > manifestation of what the
> > >"owner" wished to display rather than what was actually IN
> > the clothing item.
> >
> > Wishful thinking?  False advertising?
>
> Over-inflated ego?  Testoterone poisoning? A triumph of hope over reality?

Art?  "High" Art?


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To: h-costume@indra.com
From: kris <ionization@telus.net>
Subject: Re: [h-cost] H-cost:  Wearing 16th Century Shirts
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Date: Fri, 04 Jan 2002 23:26:00 -0800
Status: RO

At 04:34 PM 1/4/02 -0800, you wrote:
>At 07:32 PM 01/02/2002 -0600, you wrote:
> >So, I'm curious.  Did you draft one with neck gussets, or without?  I've 
> been
> >researching and playing with period shirts for a while now, and I've come
>to the
> >conclusion that I like ones with neck gussets much better.  They seem to 
> have
> >been made both with and without, but I find that the neck gusset eliminates
> >pulling and makes gathering to the neckband much easier.  What's your
> >experience?
>
>I used the neck gussets.  You're right, they make the garment fit better,
>and are much more comfortable and durable.  They seem scary to sew at first,
>but once you get the hang of it they're no big deal.

what, exactly, are neck gussets? Is there a pic online that I could see, or 
can someone give simple directions for this jet lagged brain? *S*

kris

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Subject: Re: [h-cost] Merveilleuse mockup
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Date: Sat, 05 Jan 2002 11:46:01 +0100
Status: RO



Cynthia Barnes wrote:

>
>Do you mean bias binding? Should it connect to the bodice or just hang
>freely?
>
>It's really fun that you're making this one too.  Cant wait to see how yours
>comes out.
>
>Thanks one & all for being my on-line sewing circle!
>--cin 
>Cynthia in Tokyo
>
Dear Cynthia.

Yes bias binding and you could sew it to a linning. But you dont make a 
linning in yours  do you?
Well if you dont, i guess it wouldnt be a good idea to do that.
I can se in your "mock up" that it is really deep in the back ( 
bustline) i didnt realise that. I have to make the back higher because 
of the corset.
And apropos this corset from 1795 even if Norah Waugh says it was worn 
well into the next century, i believe that it was those who didnt follow 
the new fashion. The bustcurve is absolutely just like 18th century, and 
it is not good to make a regency dress.
I have to get another regency corset pattern, i saw one at 5rivers wich 
was good. However i have to finish this dress in 10 days and no way i 
can import a regency corset pattern. Then my costumer has to wear the 
dress without a corset.
Cynthia did you notice that the back is very narrow and bust very big. 
It wants to go into the armscye, (the front bust part)
Have you tryed to wear the mock up? My corset does the same thing. I 
guess you have to pull your shoulders back when you wear this dress.
Ill post pictures when i have finished, promise
Bjarne

>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html



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Subject: Re: [h-cost] Re: wheelchair costumes
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Date: Sat, 5 Jan 2002 06:19:31 -0600
Status: RO

Try doing a search for Dawn Wells (yes, of Gilligan's Island fame.) She
designs clothing for the physically challenged. Not historical, but you
might be able to pick up some tips.

Dianne
----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Friday, January 04, 2002 11:31 PM
Subject: Re: [h-cost] Re: wheelchair costumes


> ><<  He wears his old Ren. Faire clothes when he goes to Ren.
> > Faire, and so what if the chair isn't period.>>
> >
> >Ooh!   He could make it look like a throne!  Instant charisma.
>
> One of the SCA Barons in Southern California, in the fourth or fifth year
> of the SCA, was in a wheelchair.  Dressed up in his Baronial robes and
> crown he didn't need to decorate his chair to make it look like a throne.
> OTOH, my housemate does lower-class/peasant, which doesn't go with
thrones.
>
> >I'll have to look around, but I do believe I saw a book once on fashion
> >designing for the  wheelchair-bound...  I'll try to find a link and post
it
> >here soon.  I think this a worthy topic.
>
> I know I saw such a book - a little paperback thing. It could be the same
> book, not that I would recognize it now, as there can't be many books on
> that subject.
>
> Kayta
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
> /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] A different perspective on LOTR
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Date: Sat, 5 Jan 2002 09:05:51 -0500
Status: RO


----- Original Message -----
From: "Joan Broneske" <unicorn@softcom.net>


> I mean no offense or to be insensitive, but it looks like you have more than
> issues with "gore and ick"!  I can't stand horror or hacker/slasher movies,
> they give me nightmares, but "Raiders of the Lost Ark" causing you to have
> to go to the hospital and "LOTR" making you throw up?  My Goodness!  I don't
> know how I would survive life, if I was that sensitive!
>
It isn't easy.  However, at the tender age of 4, I was thrown from the
backseat of my parents' car, through the windshield, when we were hit
headon by a drunk driver at 70mph, and spent 35 days in ICU, having 5
surgeries, and having my face rebuilt.  I'm talking part of my jawbone,
part of my occipital ridge, ALL my nose cartilage (my nose was gone) etc
are now built of plastic.  I was separated from my mother and lived for
5 months with both arms splinted straight out in front of me because it
was the only way to control my ripping the stitches out and such.
I had great surgeons, and the results are virtually invisible, now that
I'm 42.
The psychologists I've seen have said that anything having to do with
blood brings back all the pain and separation anxieties from that time,
though I have no conscious memories of it.  Personally, I don't mind
living in a G-rated world, and the "sensitization" process is something
WAY too long and painful to think of doing.  I just avoid things that
would upset me.

Jeanne

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Date: Sat, 5 Jan 2002 12:35:36 EST
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       Have you tried having someone make something like the old chain covers 
for bikes?  It should be possible to affix something that would keep your 
skirts out of the wheels.  Wish I were closer, I love this kind of challenge.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Have you tried having someone make something like the old chain covers for bikes? &nbsp;It should be possible to affix something that would keep your skirts out of the wheels. &nbsp;Wish I were closer, I love this kind of challenge.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Subject: [h-cost] what do you think
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Date: Sat, 05 Jan 2002 18:49:22 +0100
Status: RO

Now i have finished this 1795 corset i want to use for the dress from 
1803. But i need some help.
What should i do.
This corset is very oldfashioned. The bustline goes all the way down to 
the nipples. The front of the corset is so wide that you have to pull 
your shoulders back to fill it out. I guess the wearer would get the 
right body strukture, but  really?
I think it would be just the right thing to use for those Direktoire 
dresses, but this dress from 1803 is another thing.
Do you think i should give it up and dont make a corset for the dress? I 
dont have a pattern for a real regency dress, and i have to finish the 
dress in 10 days. I think it would be wise to make the dress alone and 
then ask my  lady to whom i am making it, to use a push up bra in stead.
Please what do you think i should do?

Bjarne

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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Date: Sat, 5 Jan 2002 09:45:06 -0800
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Expanding on this wonderful topic, when my littlest was too young to walk=
, and I wanted to go to merchants row, I had to put her in her stroller. =
 I have FMS, which makes it impossible to keep picking her up and carryin=
g her.  

Her little full skirts kept getting caught in the wheels too.  But I made=
 a tie-on cozy that worked really well, plus being made out of a machine =
wash heavy material.  I went to the local thrift store and got a heavy ty=
pe fabric bedspread (twin?) that draped over the seat, then had enough to=
 drape to the back, and cover the wheels in the front.  It kinda looked l=
ike a 'envelope' across the front.  The back wheels still showed a little=
.

But the cozy made the 'good first impression' test.  I liked this because=
 it kept her skirts from being caught in the wheels, and when it was mudd=
y, the 'splatter' didn't get on her.  It got on the cozy.

I don't think this would work for manual wheelchairs, if the occupant had=
 to the propelling, but it might work if there was an assistant, maybe?  =
I have no experience in this, and would love to learn more. My mom loves =
to go to fairs, and it's easier when she's in a chair.

Gia/Giacinta

----- Original Message -----
From: Cynthia Barnes
Sent: Friday, January 04, 2002 9:55 PM
To: 'h-costume@indra.com'
Subject: RE: [h-cost] Merveilleuse mockup

Quoth DebR:
> You have to sign into Yahoo! to view the Bib Front file.
> If you don't sign in, that particular file does not come up for
> some reason..

Mea culpa. Turns out the "age restriction" was on. Default turns out to be
dont show to the chillins. All better now.

I just took 2 ft out of the back section, swept the borders a little fart her
back.  Drat. With all the fabric I took out I could have made the train to
spec.  Looks like the 7 meters would have been just fine, after all.

Quoth Karen:
>(and it's a tricky style to wear if you aren't built like a 12 year old
boy)

But I am!  That's what is so maddening about it.  Measuring the N.Waugh
diagram I see 28-39" at the high waist.  I'm only 31".

Quoth Drea:
>Lovely fabric! I agree with the gathering--if you got rid of the front
>gathers and just put one pleat at either side, pushing the rest of the
>fulness to the back, you'd get a better look.  I used "stroked pleats" to
>make the skirt on my muslin gown.

Giggle. It's just a cheap sari I bought in Singapore over Thanksgiving.  The
real fabric (embroidered lawn or hankie linen batiste) is either
unobtainable here in Japan or frighteningly expensive.  It's so backwardsto
do the mockup in silk & the real thing in cotton.  Like I told y'all before
it's all "because Japan is an island".

The single pleat idea is good to make it hang flat at the side. Instead, I
deepened the dart shown the diagram.  Helps that back-sweep effect.   I'll
give the stroked pleats a shot in the real thing.

Quoth Bjarne:
>When you gather the skirt and  you have sewed it to the bodice, you
>should make a band inside the bodice to cover the thick gatherring. Make
>a bend in the band and hide the seam behind the band and the bodice.

Do you mean bias binding? Should it connect to the bodice or just hang
freely?

It's really fun that you're making this one too.  Cant wait to see how yours
comes out.

Thanks one & all for being my on-line sewing circle!
--cin
Cynthia in Tokyo

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<HTML><BODY STYLE=3D"font:10pt verdana; border:none;"><DIV>Expanding on t=
his wonderful topic, when my littlest was too young to walk, and I wanted=
 to go to merchants row, I had to put her in her stroller.&nbsp; I have F=
MS, which makes it impossible to keep picking her up and carrying her.&nb=
sp; </DIV> <DIV>&nbsp;</DIV> <DIV>Her little full skirts kept getting cau=
ght in the wheels too.&nbsp; But I made a tie-on cozy that worked really =
well, plus being made out of a machine wash heavy material.&nbsp; I went =
to the local thrift store and got a heavy type fabric bedspread (twin?) t=
hat draped over the seat, then had enough to drape to the back, and cover=
 the wheels in the front.&nbsp; It kinda looked like a 'envelope' across =
the front.&nbsp; The back wheels still showed a little.</DIV> <DIV>&nbsp;=
</DIV> <DIV>But the cozy made the 'good first impression' test.&nbsp; I l=
iked this because it kept her skirts from being caught in the wheels, and=
 when it was muddy, the 'splatter' didn't get on her.&nbsp; It got on the=
 cozy.</DIV> <DIV>&nbsp;</DIV> <DIV>I don't think this would work for man=
ual wheelchairs, if the occupant had to the propelling, but it might work=
 if there was an assistant, maybe?&nbsp; I have no experience in this, an=
d would love to learn more. My mom loves to go to fairs, and it's easier =
when she's in a chair.</DIV> <DIV>&nbsp;</DIV> <DIV>Gia/Giacinta</DIV> <D=
IV>&nbsp;</DIV> <BLOCKQUOTE style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5p=
x; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> =
<DIV style=3D"FONT: 10pt Arial">----- Original Message -----</DIV> <DIV s=
tyle=3D"BACKGROUND: #e4e4e4; FONT: 10pt Arial; COLOR: black"><B>From:</B>=
 Cynthia Barnes</DIV> <DIV style=3D"FONT: 10pt Arial"><B>Sent:</B> Friday=
, January 04, 2002 9:55 PM</DIV> <DIV style=3D"FONT: 10pt Arial"><B>To:</=
B> 'h-costume@indra.com'</DIV> <DIV style=3D"FONT: 10pt Arial"><B>Subject=
:</B> RE: [h-cost] Merveilleuse mockup</DIV> <DIV>&nbsp;</DIV>Quoth DebR:=
<BR>&gt; You have to sign into Yahoo! to view the Bib Front file.<BR>&gt;=
 If you don't sign in, that particular file does not come up for<BR>&gt; =
some reason..<BR><BR>Mea culpa. Turns out the "age restriction" was on. D=
efault turns out to be<BR>dont show to the chillins. All better now.<BR><=
BR>I just took 2 ft out of the back section, swept the borders a little f=
arther<BR>back.&nbsp; Drat. With all the fabric I took out I could have m=
ade the train to<BR>spec.&nbsp; Looks like the 7 meters would have been j=
ust fine, after all.<BR><BR>Quoth Karen:<BR>&gt;(and it's a tricky style =
to wear if you aren't built like a 12 year old<BR>boy)<BR><BR>But I am!&n=
bsp; That's what is so maddening about it.&nbsp; Measuring the N.Waugh<BR=
>diagram I see 28-39" at the high waist.&nbsp; I'm only 31".<BR><BR>Quoth=
 Drea:<BR>&gt;Lovely fabric! I agree with the gathering--if you got rid o=
f the front<BR>&gt;gathers and just put one pleat at either side, pushing=
 the rest of the<BR>&gt;fulness to the back, you'd get a better look.&nbs=
p; I used "stroked pleats" to<BR>&gt;make the skirt on my muslin gown.<BR=
><BR>Giggle. It's just a cheap sari I bought in Singapore over Thanksgivi=
ng.&nbsp; The<BR>real fabric (embroidered lawn or hankie linen batiste) i=
s either<BR>unobtainable here in Japan or frighteningly expensive.&nbsp; =
It's so backwards to<BR>do the mockup in silk &amp; the real thing in cot=
ton.&nbsp; Like I told y'all before<BR>it's all "because Japan is an isla=
nd".<BR><BR>The single pleat idea is good to make it hang flat at the sid=
e. Instead, I<BR>deepened the dart shown the diagram.&nbsp; Helps that ba=
ck-sweep effect.&nbsp;&nbsp; I'll<BR>give the stroked pleats a shot in th=
e real thing.<BR><BR>Quoth Bjarne:<BR>&gt;When you gather the skirt and&n=
bsp; you have sewed it to the bodice, you<BR>&gt;should make a band insid=
e the bodice to cover the thick gatherring. Make<BR>&gt;a bend in the ban=
d and hide the seam behind the band and the bodice.<BR><BR>Do you mean bi=
as binding? Should it connect to the bodice or just hang<BR>freely?<BR><B=
R>It's really fun that you're making this one too.&nbsp; Cant wait to see=
 how yours<BR>comes out.<BR><BR>Thanks one &amp; all for being my on-line=
 sewing circle!<BR>--cin<BR>Cynthia in Tokyo<BR><BR>_____________________=
__________________________<BR>h-costume mailing list<BR>h-costume@mail.in=
dra.com<BR>http://mail.indra.com/mailman/listinfo/h-costume<BR></BLOCKQUO=
TE></BODY></HTML>

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Subject: Re: [h-cost] Ladder Lacing
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Date: Sat, 05 Jan 2002 18:01:56 +0000
Status: RO

Hello All

delurking, just to put in my two penn'orth

when straight lacing a corset (17th C)  the laces don't cross at the 
back,  the crossing from one side to the other is all in front of the fabric.

back to lurking again.

Jill


At 19:25 05/01/2002 +1300, you wrote:
> > > On the back side of the lacings?  I'm not sure what you mean by this.
> > > When the edges to be laced do not meet, the back side of the lacing
> > > would also be visible.
> > In a photograph that would be true, but sometimes the laces on the
> > underside are not shown. (Artist's convention?)

Sir Thomas Tyldesley's Regiment of Foote -  Kings Army - being part of the 
English Civil War Society
www.jigrah.co.uk  -  JigraH Resources

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       I think that if you made a correct corset, it was probably meant to 
force the shoulders back.  Look at pictures of the period -- those ladies did 
not slouch over like we do.  If your customer thinks it is too uncomfortable 
let her get her own bra, but it will not give the period look that your 
corset will.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;I think that if you made a correct corset, it was probably meant to force the shoulders back. &nbsp;Look at pictures of the period -- those ladies did not slouch over like we do. &nbsp;If your customer thinks it is too uncomfortable let her get her own bra, but it will not give the period look that your corset will.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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To: h-costume@indra.com
Subject: Re: [h-cost] H-cost:  Wearing 16th Century Shirts
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Date: Sat, 05 Jan 2002 13:51:22 -0600
Status: RO

kris wrote:

>
> what, exactly, are neck gussets? Is there a pic online that I could see, or
> can someone give simple directions for this jet lagged brain? *S*
>

OK, your standard 16th century shirt has a T slit cut for the neckline.  The
crossbar of the T is gathered into a neckband.  A neck gusset is a little
triangular piece that gets sewn into the ends of the crossbar, making the slit
slightly more circular and one continuous piece instead of two fronts and a back.
Clear as mud?

For a look at a period shirt pattern (from Arnold), go to:
http://home.earthlink.net/~magdlena/shirt/images/BlackworkShirtPattern2_a2.jpg

-Magdalena



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Date: Sat, 5 Jan 2002 10:59:52 -0800 (PST)
Status: RO

So, I was looking at a picture of a Jane Seymour
portrait I have framed in my sewing room
<http://www.dnaco.net/~aleed/corsets/gallery/1536.html>
and thinking that the dress looked like velveteen (in
my print at least), and then I thought that of any
time of the year to try and buy velveteen, now might
be a good one, because stores will theoretically be
clearancing their stocks they had for holiday
projects.  And I thought "hey, I might want to do a
Tudor dress within the next year - I should go buy
some velveteen!"

But the thing is, so far I really don't know much
about Tudor.  Is velveteen really as good a choice as
it seems to me?  How much should I buy to make sure I
have enough for the main part of a dress? (I'm not
exceptionally huge or anything.)

Thanks for supporting my fabric-buying addiction!

-Angela

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Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Sat, 05 Jan 2002 13:57:07 -0600
Status: RO

Chris Laning wrote:

> He pointed
> out that, if a shirt is merely gathered into the neckline at the
> back, there is extra fullness at the upper back shoulder line that
> tends to migrate toward the front, causing the sleeves to twist. This
> tightens the shirt in the upper arm area, which he finds
> uncomfortable.
>
> Anyone else have this experience?

Chris,

    Have you tried gathering more compactly at center back?  I measure the neck,
the back of the neck, and the front of the neck.  When I gather to a neckline, I
make sure that the back half of the shirt is gathered to the back of the neck
measurement.  (Otherwise it _really_ twists).  I also gather unevenly, with the
majority of the material for the back gathered tightly to center back and the
gathers gradually loosening as they head toward the shoulders.  Make sense?

-Magdalena

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From: Leif Drews <drewscph@post12.tele.dk>
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Date: Sat, 05 Jan 2002 21:20:53 +0100
Status: RO

I juat read that the Italians has found another old city near Vesuvius 
vulcan. It is near the city Nola and it is older than Pompei and 
Herculanum. It is burried of the Vulcans ashes just like the other 
cities and it is 4000 years old.
The Experts expect Vesuvius to get another eruption just as powerfull as 
the one that destroyed the cities within 20 years. I am glad that i dont 
live in Neples.

Bjarne

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

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Date: Sat, 05 Jan 2002 11:14:03 -0800
Status: RO

Yesterday, I received a package from my family containing the gifts
they forgot to send with the first two Christmas packages.  These
include a hand-knitted garment from my brother, which, I must admit,
stumps me.

Tearing my husband away from our mutual scientific pursuit of trying
to identify our species of ant so we can buy the correct traps (our
current ant "restaurants" are patronized only by B-list ants), I asked

his opinion.  He thinks it is a sweater for a python--a python whose
color chart recommends a combination of charcoal gray, ivory, and
black in stripes.  Though the shape and size of the garment favor this

theory, my brother knows we don't own a python.

Reminding myself that it's the duty of a writer on technical subjects
to boldy confront mysterious objects and procedures without the
support of a user manual, I analyzed the garment.  Specs: Hand
knitted, about 4 3/4  feet long and 1 foot wide (the knit's elasticity

makes it hard to measure, and like all knits it can stretch larger).
About 15 inches on each end sewn into a tube.  The middle not sewn
into a tube, though tending to curl inwards.  A muffler?  Possibly,
though a rather long and large one.  Seam facing outward for about 6
1/2 inches on each tubular end, indicating that end is designed to be
turned up, especially since one end bears a contrasting label reading
"smith & hone."  Sleeves?  I put an arm into each end.  This resulted
in a garment with two rather short sleeves and large turned-up cuffs,
with the nontubular part hanging like a stole across my back.

So I know how to wear it . . . maybe.  What I don't know is what it's
called, and more importantly, what to wear it _with_.  Is this
sportswear?  Evening wear?  Is it worn over long-sleeved,
short-sleeved, or sleeveless garments?  Over dresses or ??  It seems
to be more of an accessory than for functional warmth--but with
fashion you never know.

Whatever the Knitted Thing is, it's sure to be trendy in Manhattan.
My brother never gives me anything that's not trendy in Manhattan. It
may also be expensive, since his gifts tend to be. The sequined
evening purse he gave me looks like the sequins were applied with
nanotechnology that went out of control.

So--can any New York fashion mavens on the list help me?

Fran
---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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As a totally fashion challenged person, this is not my area of expertise, but 
I was fascinated.  Take a look at this website and see if you can get some 
help here. <A HREF="http://www.sowear.com/designers/smith_hone/look.html">Fashion Designer: Smith & Hone</A> 

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>As a totally fashion challenged person, this is not my area of expertise, but I was fascinated. &nbsp;Take a look at this website and see if you can get some help here. <A HREF="http://www.sowear.com/designers/smith_hone/look.html">Fashion Designer: Smith &amp; Hone</A> 
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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       Was the article in English?  Where can I find more information?  I am 
fascinated by Vesuvius and have visited both Herculanum and Pompeii and 
walked around the rim of the volcano watching the puffs of steam venting out 
of it.  That wasn't nearly as freightening as the ride down the mountain at 
full speed ahead with a taxi driver who smelled of beer and came to every 
curve with his horn blasting away and seemed to have forgotten where the 
break pedal was.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Was the article in English? &nbsp;Where can I find more information? &nbsp;I am fascinated by Vesuvius and have visited both Herculanum and Pompeii and walked around the rim of the volcano watching the puffs of steam venting out of it. &nbsp;That wasn't nearly as freightening as the ride down the mountain at full speed ahead with a taxi driver who smelled of beer and came to every curve with his horn blasting away and seemed to have forgotten where the break pedal was.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Subject: Re: [h-cost] H-cost:  Wearing 16th Century Shirts
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Date: Sat, 5 Jan 2002 17:34:13 -0500
Status: RO

So you need to make the slit wider in order to insert the gusset than it
would have been if there hadn't been a gusset there, right?

----- Original Message -----
From: "Magdalena" <magdlena@earthlink.net>
To: <h-costume@indra.com>
Sent: Saturday, January 05, 2002 2:51 PM
Subject: Re: [h-cost] H-cost: Wearing 16th Century Shirts


> kris wrote:
>
> > what, exactly, are neck gussets? Is there a pic online that I could see, or
> > can someone give simple directions for this jet lagged brain? *S*
> >
>
> OK, your standard 16th century shirt has a T slit cut for the neckline.  The
> crossbar of the T is gathered into a neckband.  A neck gusset is a little
> triangular piece that gets sewn into the ends of the crossbar, making the slit
> slightly more circular and one continuous piece instead of two fronts and a back.
> Clear as mud?
>
> For a look at a period shirt pattern (from Arnold), go to:
>
http://home.earthlink.net/~magdlena/shirt/images/BlackworkShirtPattern2_a2.jpg
>
> -Magdalena

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From: "Maggie Secara" <maggiros@adelphia.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Fabricaholic tempted by Tudor
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Date: Sat, 5 Jan 2002 14:35:34 -0800
Status: RO

Velveteen is perfect, and buy 10 yards.  Ok, I always say buy 10 yards of
anything, but in this case, if you mean Tudor, with the wide turnback sleeves,
you do want to make sure you have plenty, including enough to experiment with.
And don't skimp on the skirt!

Just my tuppence ha'penny, of course.


MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Angela Kovatch
> Sent: Saturday, January 05, 2002 11:00 AM
> To: h-costume@indra.com
> Subject: [h-cost] Fabricaholic tempted by Tudor
>
>
> So, I was looking at a picture of a Jane Seymour
> portrait I have framed in my sewing room
> <http://www.dnaco.net/~aleed/corsets/gallery/1536.html>
> and thinking that the dress looked like velveteen (in
> my print at least), and then I thought that of any
> time of the year to try and buy velveteen, now might
> be a good one, because stores will theoretically be
> clearancing their stocks they had for holiday
> projects.  And I thought "hey, I might want to do a
> Tudor dress within the next year - I should go buy
> some velveteen!"
>
> But the thing is, so far I really don't know much
> about Tudor.  Is velveteen really as good a choice as
> it seems to me?  How much should I buy to make sure I
> have enough for the main part of a dress? (I'm not
> exceptionally huge or anything.)
>
> Thanks for supporting my fabric-buying addiction!
>
> -Angela
>


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From: Cynthia Barnes <Cynthia_Barnes@Phoenix.com>
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Subject: RE: [h-cost] what do you think (1798 corset)
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Date: Sat, 5 Jan 2002 14:52:11 -0800
Status: RO


IMO, a push up bra would give the wrong contour line.  How 'bout widely set
shoulderstraps on the corset?  Lots of 18th corsets had straps like the 1793
one in "Corsets & Crinolines".  If you havent already got built-in straps
you could add them with a panel, gromments & ribbon ties. If you do have
straps, perhaps they are just in the wrong place, slightly off angle, too
loose or too tight. (Uck, so many possibilities!)

> The front of the corset is so wide that you have to pull 
> your shoulders back to fill it out.

Re-reading this, I now wonder whether it's actually laced snug enough. Even
with my boyish figure, there's something to squish.  Others, more generously
endowed, might be able to "rearrange their assets" but I've never had this
option.

In truth I'd need to a photo of the wearer, but would understand completely
if she didnt want to be viewed online even by a bunch of caring costumers
such as ourselves.  Quite honestly, I'd like a similar opinion, but have
opted to be coy.
--cin 
Cynthia in Tokyo 

> This corset is very oldfashioned. The bustline goes all the 
> way down to 
> the nipples. The front of the corset is so wide that you have to pull 
> your shoulders back to fill it out. 

>I guess the wearer would get the 
> right body strukture, but  really?
> I think it would be just the right thing to use for those Direktoire 
> dresses, but this dress from 1803 is another thing.
> Do you think i should give it up and dont make a corset for 
> the dress?> 
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Subject: Re: [h-cost] Need ID of Modern Mystery Garment
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Date: Sat, 05 Jan 2002 15:07:33 -0800
Status: RO

Thanks!  It's the tube scarf/shrug on this page:

http://store.yahoo.com/sowear/sweaters.html

But to achieve _that_ look, in terms of coordinates, I'd have to
polish my behind.

What are you supposed to wear a shrug with?

Fran

LalahTT@aol.com wrote:

> As a totally fashion challenged person, this is not my area of
> expertise, but I was fascinated.  Take a look at this website and
> see if you can get some help here. Fashion Designer: Smith & Hone
>
> Lalah
> Never Give up, Never Surrender,

--
---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] Need ID of Modern Mystery Garment
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 5, 2002 11:14:03 am"
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Date: Sat, 5 Jan 2002 15:09:40 -0800 (PST)
Status: RO

It sounds like a "thneed" -- you see them a lot in SF.  THey stretch amazingly,
and can be worn over the shoulders [with your head going through the 
hole] -- as a scarf, as a dress [if you are daring] etc etc etc --
or as a bicycle seat cover.

.heather.


> Yesterday, I received a package from my family containing the gifts
> they forgot to send with the first two Christmas packages.  These
> include a hand-knitted garment from my brother, which, I must admit,
> stumps me.
> 
> Tearing my husband away from our mutual scientific pursuit of trying
> to identify our species of ant so we can buy the correct traps (our
> current ant "restaurants" are patronized only by B-list ants), I asked
> 
> his opinion.  He thinks it is a sweater for a python--a python whose
> color chart recommends a combination of charcoal gray, ivory, and
> black in stripes.  Though the shape and size of the garment favor this
> 
> theory, my brother knows we don't own a python.
> 
> Reminding myself that it's the duty of a writer on technical subjects
> to boldy confront mysterious objects and procedures without the
> support of a user manual, I analyzed the garment.  Specs: Hand
> knitted, about 4 3/4  feet long and 1 foot wide (the knit's elasticity
> 
> makes it hard to measure, and like all knits it can stretch larger).
> About 15 inches on each end sewn into a tube.  The middle not sewn
> into a tube, though tending to curl inwards.  A muffler?  Possibly,
> though a rather long and large one.  Seam facing outward for about 6
> 1/2 inches on each tubular end, indicating that end is designed to be
> turned up, especially since one end bears a contrasting label reading
> "smith & hone."  Sleeves?  I put an arm into each end.  This resulted
> in a garment with two rather short sleeves and large turned-up cuffs,
> with the nontubular part hanging like a stole across my back.
> 
> So I know how to wear it . . . maybe.  What I don't know is what it's
> called, and more importantly, what to wear it _with_.  Is this
> sportswear?  Evening wear?  Is it worn over long-sleeved,
> short-sleeved, or sleeveless garments?  Over dresses or ??  It seems
> to be more of an accessory than for functional warmth--but with
> fashion you never know.
> 
> Whatever the Knitted Thing is, it's sure to be trendy in Manhattan.
> My brother never gives me anything that's not trendy in Manhattan. It
> may also be expensive, since his gifts tend to be. The sequined
> evening purse he gave me looks like the sequins were applied with
> nanotechnology that went out of control.
> 
> So--can any New York fashion mavens on the list help me?
> 
> Fran
> 

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Subject: Re: [h-cost] Need ID of Modern Mystery Garment
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Date: Sat, 05 Jan 2002 18:28:34 -0800
Status: RO

on 1/5/02 11:14 AM, Lavolta Press at fran@lavoltapress.com wrote:

> Yesterday, I received a package from my family containing the gifts
> they forgot to send with the first two Christmas packages.  These
> include a hand-knitted garment from my brother, which, I must admit,
> stumps me.
> 
> Tearing my husband away from our mutual scientific pursuit of trying
> to identify our species of ant so we can buy the correct traps (our
> current ant "restaurants" are patronized only by B-list ants), I asked
> 
> his opinion.  He thinks it is a sweater for a python--a python whose
> color chart recommends a combination of charcoal gray, ivory, and
> black in stripes.  Though the shape and size of the garment favor this
> 
> theory, my brother knows we don't own a python.
> 
> Reminding myself that it's the duty of a writer on technical subjects
> to boldy confront mysterious objects and procedures without the
> support of a user manual, I analyzed the garment.  Specs: Hand
> knitted, about 4 3/4  feet long and 1 foot wide (the knit's elasticity
> 
> makes it hard to measure, and like all knits it can stretch larger).
> About 15 inches on each end sewn into a tube.  The middle not sewn
> into a tube, though tending to curl inwards.  A muffler?  Possibly,
> though a rather long and large one.  Seam facing outward for about 6
> 1/2 inches on each tubular end, indicating that end is designed to be
> turned up, especially since one end bears a contrasting label reading
> "smith & hone."  Sleeves?  I put an arm into each end.  This resulted
> in a garment with two rather short sleeves and large turned-up cuffs,
> with the nontubular part hanging like a stole across my back.
> 
> So I know how to wear it . . . maybe.  What I don't know is what it's
> called, and more importantly, what to wear it _with_.  Is this
> sportswear?  Evening wear?  Is it worn over long-sleeved,
> short-sleeved, or sleeveless garments?  Over dresses or ??  It seems
> to be more of an accessory than for functional warmth--but with
> fashion you never know.
> 
> Whatever the Knitted Thing is, it's sure to be trendy in Manhattan.
> My brother never gives me anything that's not trendy in Manhattan. It
> may also be expensive, since his gifts tend to be. The sequined
> evening purse he gave me looks like the sequins were applied with
> nanotechnology that went out of control.
> 
> So--can any New York fashion mavens on the list help me?
> 
> Fran
It sounds like a shrug.  They are are often worn over dresses (especially in
the evening) and lately have been textured (fuzzy) or even sparkley.
They were worn in the 1950's for a time and can be very chic.
Bettina

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In a message dated 1/5/02 6:08:16 PM Eastern Standard Time, 
fran@lavoltapress.com writes:


> What are you supposed to wear a shrug with?
> 
       Darned if I know.  I think that sort of thing was popular back when I 
was younger and I found them useless.  Not warm enough to keep you from being 
cold or too warm otherwise
.
Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 1/5/02 6:08:16 PM Eastern Standard Time, fran@lavoltapress.com writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">What are you supposed to wear a shrug with?
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Darned if I know. &nbsp;I think that sort of thing was popular back when I was younger and I found them useless. &nbsp;Not warm enough to keep you from being cold or too warm otherwise
<BR>.
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Date: Sat, 5 Jan 2002 15:24:16 -0800
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Wow!  How 'bout a Fortuny gown?  It occurs to me, that in all the years I've
known you, I've never seen you in anything other than historicals.
(... and hello to Allan)
--cin 
Cynthia in Tokyo
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From: Leif Drews <drewscph@post12.tele.dk>
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References: <8d.11f080f9.2968d617@aol.com> <3C378735.86755BC0@lavoltapress.com>
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Date: Sun, 06 Jan 2002 00:33:27 +0100
Status: RO

Hello.
I would never have guessed what it was, but now i se it, i rather like 
it. Very nice!

Bjarne

Lavolta Press wrote:

>Thanks!  It's the tube scarf/shrug on this page:
>
>http://store.yahoo.com/sowear/sweaters.html
>
>But to achieve _that_ look, in terms of coordinates, I'd have to
>polish my behind.
>
>What are you supposed to wear a shrug with?
>
>Fran
>
>LalahTT@aol.com wrote:
>
>>As a totally fashion challenged person, this is not my area of
>>expertise, but I was fascinated.  Take a look at this website and
>>see if you can get some help here. Fashion Designer: Smith & Hone
>>
>>Lalah
>>Never Give up, Never Surrender,
>>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html



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Subject: [h-cost] LOTR costume details - hobbit women
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Date: Sat, 5 Jan 2002 15:37:53 -0800
Status: RO

Here are a few shots of hobbit women from the front:

http://www.fantasyplanet.cz/lotr/picture_show.asp?id=958&obr_url=../gfx%2Fpi
ctures%5Fclanky%2Flotr%5Fgal%5Fvelky%5F2001%5F12%5F15%5F20%5F11%5F10%2Ejpg -
extras 2/ shot
http://www.fantasyplanet.cz/lotr/picture_show.asp?id=736&obr_url=../gfx%2Fpi
ctures%5Fclanky%2Flotr%5Fgal%5Fvelky%5F2001%5F11%5F28%5F9%5F29%5F21%2Ejpg -
girl, hero, full bodice

Went and watched the film again last night with pad and pen.  These pictures
do not do justice to the detailing on a lot of the "hero hobbit" bodices.  A
lot of those had fabric mixes of plaids or stripes with a more solid color.
Seeing these, it's easy to see where they seamed the pieces to shape the
bodices.  The bodices are very colorful with braid edging  the joined fabric
pieces.  There are also colorful tabs across the bodice tops. Another had a
narrow "V" pattern of lacings, couldn't tell if it was false.  Not all the
fancy bodices have square necks, some are shaped, some have cut out in the
front.

Colors examples:  Brown plaid bodice front, green sides, brown trim; red
stripes in the side with lighter colors in front.  These are very obvious
differences and make the bodices very bright... and very fun looking.

Question of all.... I know we're been Off Topic with the LOTR costume stuff,
but I haven't found other groups doing serious discussion.  Is there enough
interest to start a board somewhere for discussion???

-Cat-

Children didn't seem to have bodices, more like jumpers, with a bit of
wings.

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Bjarne, it occurs to me, that since you're doing the same 1803 dress,
perhaps the same corset solution will work for your version.  Corset-less.
I interpret the bandeau under the bib-front (picture #43 N.Waugh) as the
only corset-like thing around.  Since I intended to do Merveilleuse,
corset-less it is. Now a *real* Merveilleuse apparently would go ahead and
show her nipples to the world.  I have an 1801 Italian fashion plate showing
one low-cut gown. The models nipples are not drawn in, but they are colored
in pale pink.  Looks like fruit on a platter. Wish I could show you!  It's
in the storage locker in Calif.
That's all a bit too shocking for me. I chose to put the front neck up just
a tad.  Tho you are right. The CF on mine is too full & in the wrong place.
Back to the drawing board... or the Hanazono shrine antiques flea market.
--cin 
Cynthia in Tokyo 

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<DIV><FONT color=#0000ff size=2><SPAN class=302210000-06012002>Bjarne, it occurs 
to me, that since you're doing the same 1803 dress, perhaps the same corset 
solution will work for your version.&nbsp; Corset-less.&nbsp; I interpret the 
bandeau under the bib-front (picture #43 N.Waugh) as the only corset-like thing 
around.&nbsp; Since I intended to do Merveilleuse, corset-less it is. Now a 
*real* Merveilleuse apparently would go ahead and&nbsp;show her nipples to the 
world.&nbsp; I have an 1801 Italian fashion plate showing one low-cut gown. The 
models nipples are not drawn in, but they are colored in pale pink.&nbsp; Looks 
like fruit on a platter.  Wish I could show you!&nbsp; It's in the storage 
locker in Calif.</SPAN></FONT></DIV>
<DIV><FONT color=#0000ff size=2><SPAN class=302210000-06012002>That's all a bit 
too shocking for me. I chose to put the front neck up just a tad.&nbsp; Tho you 
are right. The CF on mine is too full &amp; in the wrong place. Back to the 
drawing board... or the Hanazono shrine antiques flea 
market.</SPAN></FONT></DIV>
<DIV>
<DIV class=MsoNormal><FONT color=#0000ff><FONT size=2>--cin 
<BR>Cynthia&nbsp;<SPAN class=302210000-06012002>in</SPAN><SPAN 
class=302210000-06012002>&nbsp;Tokyo&nbsp;</SPAN><FONT 
face=arial,helvetica></DIV></DIV></FONT></FONT></FONT></BODY></HTML>

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Subject: RE: [h-cost] LOTR costume details - hobbit women
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f-costume?  some of this group are subscribers.
--cin in Tokyo
> Question of all.... I know we're been Off Topic with the LOTR 
> costume stuff,
> but I haven't found other groups doing serious discussion.  
> Is there enough
> interest to start a board somewhere for discussion???
> 
> -Cat-
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Date: Sat, 05 Jan 2002 16:17:41 -0800
Status: RO

My brother, apparently, thinks I'm always going to modern black tie events.  He
says _everybody_ does that in New York.  On the other hand, this beats the
upholstery-cleaning machine he gave me last year.  He thinks I do _housework_?
I'm still trying to think of a way to unload the thing.

Fran

Cynthia Barnes wrote:

> Wow!  How 'bout a Fortuny gown?  It occurs to me, that in all the years I've
> known you, I've never seen you in anything other than historicals.
> (... and hello to Allan)
> --cin
> Cynthia in Tokyo
> _______________________________________________

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Subject: Re: [h-cost] LOTR costume details - hobbit women
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Date: Sat, 05 Jan 2002 19:38:51 -0500
Status: RO

Cat Devereaux wrote:
> 
> Here are a few shots of hobbit women from the front:
> 
> http://www.fantasyplanet.cz/lotr/picture_show.asp?id=958&obr_url=../gfx%2Fpi
> ctures%5Fclanky%2Flotr%5Fgal%5Fvelky%5F2001%5F12%5F15%5F20%5F11%5F10%2Ejpg -
> extras 2/ shot
> http://www.fantasyplanet.cz/lotr/picture_show.asp?id=736&obr_url=../gfx%2Fpi
> ctures%5Fclanky%2Flotr%5Fgal%5Fvelky%5F2001%5F11%5F28%5F9%5F29%5F21%2Ejpg -
> girl, hero, full bodice

Ok, I'm confused! All I get is something that looks
Czechoslovakian and no pictures. I can't even figure out how
to navigate! The pictures sound great and I'm heading off to
Jo-Mar Fabrics in Philly tomorrow (for anyone in the Philly
area: Jo-Mar is having their 50% clearance sale until Jan
28).

 
> Went and watched the film again last night with pad and pen.  These pictures
> do not do justice to the detailing on a lot of the "hero hobbit" bodices.  A
> lot of those had fabric mixes of plaids or stripes with a more solid color.
> Seeing these, it's easy to see where they seamed the pieces to shape the
> bodices. 
	I know you mentioned this before... do you mean  by shaped
pieces, that the bodice is more of a "princess style" front
rather than a conventional vest that uses darts?

	-Judy Mitchell
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f-costume is really quiet right now.

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http://www.costumeclassroom.com


----- Original Message -----
From: "Cynthia Barnes" <Cynthia_Barnes@phoenix.com>
To: <h-costume@indra.com>
Sent: Saturday, January 05, 2002 7:17 PM
Subject: RE: [h-cost] LOTR costume details - hobbit women


>
> f-costume?  some of this group are subscribers.
> --cin in Tokyo
> > Question of all.... I know we're been Off Topic with the LOTR
> > costume stuff,
> > but I haven't found other groups doing serious discussion.
> > Is there enough
> > interest to start a board somewhere for discussion???
> >
> > -Cat-
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Sat, 5 Jan 2002 19:51:47 -0600
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Just tried to sign up.  Keep getting thre message that my user name (Genie
or kero)is already taken.

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Date: Sat, 5 Jan 2002 18:30:59 -0800 (PST)
Status: RO

I have one that is just the thing after a dance
practice, when the team goes to a restaurant or
something.  Any time other than actual winter, I just
need something on my arms, and the little bit across
my back is just right.  Of course, mine is not NY Chic
(more like $20 and machine washable), so I don't mind
if it gets kinda sweaty.

-Angela


--- LalahTT@aol.com wrote:
> In a message dated 1/5/02 6:08:16 PM Eastern
> Standard Time, 
> fran@lavoltapress.com writes:
> 
> 
> > What are you supposed to wear a shrug with?
> > 
>        Darned if I know.  I think that sort of thing
> was popular back when I 
> was younger and I found them useless.  Not warm
> enough to keep you from being 
> cold or too warm otherwise
> .
> Lalah
> Never Give up, Never Surrender,
> - - - - - - - - - - - - - - - - - - - - - - - - - -
> - - - - - -
> Looking for a great gift?  Check out Beary Classy
> Bears at
>
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
> 
> 
> 


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Subject: [h-cost] Regency winter dresses
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Date: Sun, 06 Jan 2002 03:44:35 +0100
Status: RO

Hello, all! All the talk about the merveilleuse gown has made me
remember something: in March I'll be going to an event where I'll be
wearing late 18th century gowns. I've not yet made them and have not
decided on a pattern, although I suppose I'll draft something based on
Arnold. That's not the problem however; what I'm wondering is this: what
fabrics would Regency gowns be made of for winter use? I'm thinking
maybe thin, soft wools, or maybe printed cotton with a flannel
underdress. Or something? It can't be very fancy; I need to look like a
lower middle class type person - but I also need to be warm. :) The
event will last for five days; housing will be in really old houses and
a lot will probably happen out of doors, so staying warm is of the
essence. However, I'm NOT built like a 12-year old, and I would prefer
not to look like a complete walrus if at all possible. (I will of course
be wearing stays, but there's limits to the kind of magic they can work.
;) )

Also, does anyone have any tips about what items of clothing I'll need
apart from the dresses themselves? Are spencers more a summer thing, or
do they work in winter as well? Are there any types of winter coats I
should consider especially? I'd be grateful for any help; I have never
done this period before, and haven't found answers to these questions
anywhere I've looked (mailnly online). :)

Ingrid
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Subject: Re: [h-cost] Need ID of Modern Mystery Garment
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Date: Sat, 5 Jan 2002 21:50:35 -0600
Status: RO

It sounds vaguely like a shrug--I guess they are to be used when the only
thing you want kept warm is your arms..I have seen such an item, I couldn't
tell you about its practicality or lack thereof.

Dianne
----- Original Message -----
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Saturday, January 05, 2002 1:14 PM
Subject: [h-cost] Need ID of Modern Mystery Garment


> Yesterday, I received a package from my family containing the gifts
> they forgot to send with the first two Christmas packages.  These
> include a hand-knitted garment from my brother, which, I must admit,
> stumps me.
>
> Tearing my husband away from our mutual scientific pursuit of trying
> to identify our species of ant so we can buy the correct traps (our
> current ant "restaurants" are patronized only by B-list ants), I asked
>
> his opinion.  He thinks it is a sweater for a python--a python whose
> color chart recommends a combination of charcoal gray, ivory, and
> black in stripes.  Though the shape and size of the garment favor this
>
> theory, my brother knows we don't own a python.
>
> Reminding myself that it's the duty of a writer on technical subjects
> to boldy confront mysterious objects and procedures without the
> support of a user manual, I analyzed the garment.  Specs: Hand
> knitted, about 4 3/4  feet long and 1 foot wide (the knit's elasticity
>
> makes it hard to measure, and like all knits it can stretch larger).
> About 15 inches on each end sewn into a tube.  The middle not sewn
> into a tube, though tending to curl inwards.  A muffler?  Possibly,
> though a rather long and large one.  Seam facing outward for about 6
> 1/2 inches on each tubular end, indicating that end is designed to be
> turned up, especially since one end bears a contrasting label reading
> "smith & hone."  Sleeves?  I put an arm into each end.  This resulted
> in a garment with two rather short sleeves and large turned-up cuffs,
> with the nontubular part hanging like a stole across my back.
>
> So I know how to wear it . . . maybe.  What I don't know is what it's
> called, and more importantly, what to wear it _with_.  Is this
> sportswear?  Evening wear?  Is it worn over long-sleeved,
> short-sleeved, or sleeveless garments?  Over dresses or ??  It seems
> to be more of an accessory than for functional warmth--but with
> fashion you never know.
>
> Whatever the Knitted Thing is, it's sure to be trendy in Manhattan.
> My brother never gives me anything that's not trendy in Manhattan. It
> may also be expensive, since his gifts tend to be. The sequined
> evening purse he gave me looks like the sequins were applied with
> nanotechnology that went out of control.
>
> So--can any New York fashion mavens on the list help me?
>
> Fran
> ---------------------------------------------
> Visit our web pages!
> Books on historic costume and vintage clothes
> http://www.lavoltapress.com
> Historic and vintage dance
> http://www.lavoltapress.com/dance
>
>
> _______________________________________________
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From h-costume-admin@indra.com  Sat Jan  5 22:28:38 2002
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From: "Mary Temple" <noxcat@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Fabricaholic tempted by Tudor
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Date: Sun, 06 Jan 2002 03:58:29
Status: RO

Velveteen is a wonderful fabric to make a Tudor dress out of. (It's what I 
used - my wedding dress was a Tudor dress) I purchased over 8 yards of 
velveteen, and we still had to piece the gores. The next time I made the 
dress from a 54" wide linen/cotton blend, I bought 10 yards. No piecing, and 
almost a yard left over. (I didn't make a stomacher for the first dress, and 
haven't yet made it for the second.) My wedding dress had an 18" train on it 
- the second dress didn't.

BTW - I'm not exceptionally huge either. 5'2" and approx. 130 pounds.

Mary/Katerine
(who will Someday get the pics of that dress up on her website)

>So, I was looking at a picture of a Jane Seymour
>portrait I have framed in my sewing room
><http://www.dnaco.net/~aleed/corsets/gallery/1536.html>
>and thinking that the dress looked like velveteen (in
>my print at least), and then I thought that of any
>time of the year to try and buy velveteen, now might
>be a good one, because stores will theoretically be
>clearancing their stocks they had for holiday
>projects.  And I thought "hey, I might want to do a
>Tudor dress within the next year - I should go buy
>some velveteen!"
>
>But the thing is, so far I really don't know much
>about Tudor.  Is velveteen really as good a choice as
>it seems to me?  How much should I buy to make sure I
>have enough for the main part of a dress? (I'm not
>exceptionally huge or anything.)
>
>Thanks for supporting my fabric-buying addiction!
>
>-Angela
>
>__________________________________________________
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To: h-costume@indra.com
From: Sheryl Nance-Durst <sherylnd@sound.net>
Subject: Re: [h-cost] LOTR costume details - hobbit women
In-Reply-To: <3C379C9B.AD72D3C8@oldwaylane.net>
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Date: Sat, 05 Jan 2002 22:18:42 -0600
Status: RO

At 07:38 PM 1/5/02 -0500, you wrote:
>Cat Devereaux wrote:
> >
> > Here are a few shots of hobbit women from the front:
> >
> > 
> http://www.fantasyplanet.cz/lotr/picture_show.asp?id=958&obr_url=../gfx%2Fpi
> > ctures%5Fclanky%2Flotr%5Fgal%5Fvelky%5F2001%5F12%5F15%5F20%5F11%5F10%2Ejpg
>
>Ok, I'm confused! All I get is something that looks
>Czechoslovakian and no pictures. I can't even figure out how
>to navigate!

The URL is extremely long and has wrapped around onto 2 lines.
Copy and paste the 2 parts together & then enter them in your browser's
location bar.

HTH!

Sheryl Nance-Durst



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Subject: Re: [h-cost] LOTR costume details - hobbit women
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Date: Sun, 6 Jan 2002 17:02:37 +1300
Status: RO

> I know you mentioned this before... do you mean  by shaped
> pieces, that the bodice is more of a "princess style" front
> rather than a conventional vest that uses darts?

 Not princess styled, but use of vertical panels to acheive shaping, very
little.. mostly tubuler but feminine.. I think to keep them from being
pinned in any historical era.
And no darts. I've not ever seen any darts on her work. In fantasy she has
used cup shaped peices for shaping round the bosom, but even on Cleo I don't
recall darts (except when extras had to provide their own base costume of
course).... I think she doesn't like them:)

This thread is reminding me why I need to get a better agent.. I need to be
out there again working!

michaela

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From: "Cat Devereaux" <CatDevereaux@AlleyCatScratch.com>
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Subject: [h-cost] LOTR - details - link problems
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Date: Sat, 5 Jan 2002 20:41:22 -0800
Status: RO


>>Ok, I'm confused! All I get is something that looks
>>Czechoslovakian and no pictures. I can't even figure out how
>>to navigate!

All the links are two lines... you've got to get the whole thing... or to
look at all 600 plus images,
http://www.fantasyplanet.cz/lotr/galeriefilm.asp.  Be careful when you're on
this site, it's not good about going backwards... bookmark as you browse
because sometimes you lose the ability to navigate back to the index.  Some
images are very large... so be patient.

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Date: Sun, 06 Jan 2002 01:35:16 -0800
Status: RO

>> > Wishful thinking?  False advertising?
>>
>> Over-inflated ego?  Testoterone poisoning? A triumph of hope over reality?
>
>Art?  "High" Art?

Well, I've seen some which looked like stuffed animals:  roosters,
elephants, and fish, to name a few.  No way do I think those are period.

Kayta
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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] Re: LOTR
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Date: Sun, 6 Jan 2002 01:54:49 -0800
Status: RO

Time for him to do some reading up on the Tolkien's background.  I heartily
suggest "The Master of Middle-Earth".  Certainly the books have as a good
basic background those arch-types that English and Pre-WWI school children
grew up knowing about.  Not only was Tolkien a professor of languages and
their origins, he was also a child of his times.

Regina

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Joan Broneske
Sent: Thursday, January 03, 2002 1:51 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Re: LOTR


My husband believes that a lot of LOTR was based on Nordic mythology;
afterall, there is Gandalf (a lot like Odin), elves, dwarves and "little
people" (hobbits).  I can see the similarity, at least in the races of
characters that were used.



                        ,%%%,
Joan Broneske       --==% `%%%,
unicorn@softcom.net     |' )`%%,
                        \_/\ @%%,
                          __@@" %%%--"""-.%,
                        /`__|             \%%
>
> __________________________________________


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Subject: Re: [h-cost] what do you think (1798 corset & Merveilleuse)
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Date: Sun, 06 Jan 2002 12:01:58 +0100
Status: RO

Dear Cynthia
You are absolutely right. But my lady is going to a Sct. Petersball in 
London and people i know says she is very shy. No way she would go to 
the ball like that!
I think i make it without a corset! :-)

Bjarne

Cynthia Barnes wrote:

>  
>
> Bjarne, it occurs to me, that since you're doing the same 1803 dress, 
> perhaps the same corset solution will work for your version.  
> Corset-less.  I interpret the bandeau under the bib-front (picture #43 
> N.Waugh) as the only corset-like thing around.  Since I intended to do 
> Merveilleuse, corset-less it is. Now a *real* Merveilleuse apparently 
> would go ahead and show her nipples to the world.  I have an 1801 
> Italian fashion plate showing one low-cut gown. The models nipples are 
> not drawn in, but they are colored in pale pink.  Looks like fruit on 
> a platter. Wish I could show you!  It's in the storage locker in Calif.
>
> That's all a bit too shocking for me. I chose to put the front neck up 
> just a tad.  Tho you are right. The CF on mine is too full & in the 
> wrong place. Back to the drawing board... or the Hanazono shrine 
> antiques flea market.
>
> --cin
> Cynthia in  Tokyo 
>

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

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Subject: Re: [h-cost] Regency winter dresses
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Date: Sun, 06 Jan 2002 12:05:49 +0100
Status: RO

Dear Ingtid.
In the costume exhibit i saw at Lund, Sweden. There was a quilted winter 
coat for a lady. It was quilted with big pipes at the bottom and along 
the center front opening. It was made in silk but it was lined with wool.
The colour was ice-blue

Bjarne

Ingrid G. Storrø wrote:

>Hello, all! All the talk about the merveilleuse gown has made me
>remember something: in March I'll be going to an event where I'll be
>wearing late 18th century gowns. I've not yet made them and have not
>decided on a pattern, although I suppose I'll draft something based on
>Arnold. That's not the problem however; what I'm wondering is this: what
>fabrics would Regency gowns be made of for winter use? I'm thinking
>maybe thin, soft wools, or maybe printed cotton with a flannel
>underdress. Or something? It can't be very fancy; I need to look like a
>lower middle class type person - but I also need to be warm. :) The
>event will last for five days; housing will be in really old houses and
>a lot will probably happen out of doors, so staying warm is of the
>essence. However, I'm NOT built like a 12-year old, and I would prefer
>not to look like a complete walrus if at all possible. (I will of course
>be wearing stays, but there's limits to the kind of magic they can work.
>;) )
>
>Also, does anyone have any tips about what items of clothing I'll need
>apart from the dresses themselves? Are spencers more a summer thing, or
>do they work in winter as well? Are there any types of winter coats I
>should consider especially? I'd be grateful for any help; I have never
>done this period before, and haven't found answers to these questions
>anywhere I've looked (mailnly online). :)
>
>Ingrid
>_______________________________________________
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-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html



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Date: Sun, 06 Jan 2002 15:56:54 +0100
Status: RO

Hey would you know. I have had a request from a 46 year old man, if i 
would make him a large, large dress! :-) I think it could be fun.

Bjarne

 Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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To: h-costume@indra.com
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Subject: Re: [h-cost] Re: color marketing group
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Date: Sat, 5 Jan 2002 19:43:05 +0000
Status: RO

I wish nobody bothered matching things, and then maybe we could get
colours we like.  Who will end the rule of pink, purple and powder blue?
I'm an autumn person, for goodness' sake!

JEan


In message <B85929AB.9F9%gailscott@eos.net>, Gail & Scott Finke
<gailscott@eos.net> writes
>
>
>The Color Marketing Group is, in my opinion, a giant scam. They "forecast"
>colors for the coming year, colors which they also happen to make available
>to paying customers. Everyone has to use them, because if you don't, then
>your stuff doesn't match everyone else's stuff. Your carpet lines don't
>match the current upholstery fabrics, for instance, or your car upholstery
>vinyl doesn't match the available car paint colors. And they're not cheap!
>
>Yes, I have a rather violent opinion of them, and yes, it is an informed
>opinion. I have worked in the graphic design field for more than a decade,
>and I have interviewed "forecasters" and gone to seminars they put on. IMHO,
>it's a terrible trick!
>
>Gail Finke
>
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From h-costume-admin@indra.com  Sun Jan  6 09:44:51 2002
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
To: costume list <h-costume@net.indra.com>
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Subject: [h-cost] 12th Century English Costume
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Date: Sun, 6 Jan 2002 07:13:44 -0800 (PST)
Status: RO

Headgear question for above (noblewoman's attire):

Must there be a fillet-thing, or can I get by with
just the barbette & veil?  If there is a fillet, can
it just be a stiffened circle of the same 1-1/2" trim
used on the over-tunic?  What exactly holds the fillet
onto your head -- is it just sitting there or fastened
down somehow?

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Date: Sun, 06 Jan 2002 10:50:15 -0600
Status: RO

The shrug or the cleaner? *L*

Katie

Lavolta Press wrote:
> 
> My brother, apparently, thinks I'm always going to modern black tie events.  He
> says _everybody_ does that in New York.  On the other hand, this beats the
> upholstery-cleaning machine he gave me last year.  He thinks I do _housework_?
> I'm still trying to think of a way to unload the thing.
> 
> Fran
> 
> Cynthia Barnes wrote:
> 
> > Wow!  How 'bout a Fortuny gown?  It occurs to me, that in all the years I've
> > known you, I've never seen you in anything other than historicals.
> > (... and hello to Allan)
> > --cin
> > Cynthia in Tokyo
> > _______________________________________________
> 
> ---------------------------------------------
> Visit our web pages!
> Books on historic costume and vintage clothes
> http://www.lavoltapress.com
> Historic and vintage dance
> http://www.lavoltapress.com/dance
> 
> _______________________________________________
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Date: Sun, 06 Jan 2002 09:03:08 -0800
Status: RO

Defniitely the cleaner.

Fran

Katie wrote:

> The shrug or the cleaner? *L*
>
> Katie
>
> Lavolta Press wrote:
> >
> > My brother, apparently, thinks I'm always going to modern black tie events.  He
> > says _everybody_ does that in New York.  On the other hand, this beats the
> > upholstery-cleaning machine he gave me last year.  He thinks I do _housework_?
> > I'm still trying to think of a way to unload the thing.
> >
> > Fran
> >
> > Cynthia Barnes wrote:
> >
> > > Wow!  How 'bout a Fortuny gown?  It occurs to me, that in all the years I've
> > > known you, I've never seen you in anything other than historicals.
> > > (... and hello to Allan)
> > > --cin
> > > Cynthia in Tokyo
> > > _______________________________________________
> >
> > ---------------------------------------------
> > Visit our web pages!
> > Books on historic costume and vintage clothes
> > http://www.lavoltapress.com
> > Historic and vintage dance
> > http://www.lavoltapress.com/dance
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

--
---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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Date: Sun, 6 Jan 2002 12:17:08 EST
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--part1_121.9ea93e5.2969e094_boundary
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In a message dated 1/6/2002 9:59:22 AM Eastern Standard Time, 
drewscph@post12.tele.dk writes:


> Hey would you know. I have had a request from a 46 year old man, if i 
> would make him a large, large dress! :-) I think it could be fun.
> 
> 

Especially if he's into period drag!


Get paid up front!

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 1/6/2002 9:59:22 AM Eastern Standard Time, drewscph@post12.tele.dk writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Hey would you know. I have had a request from a 46 year old man, if i 
<BR>would make him a large, large dress! :-) I think it could be fun.
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Especially if he's into period drag!
<BR>
<BR>
<BR>Get paid up front!</FONT></HTML>

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Date: Sun, 06 Jan 2002 11:24:43 -0600
Status: RO

Audrey Bergeron-Morin wrote:

> So you need to make the slit wider in order to insert the gusset than it
> would have been if there hadn't been a gusset there, right?
>

No, not at all.  Fold your gusset so that the two equal edges meet (fold starts
at right angle and goes to middle of the long edge).  Fold your body fabric so
that the crossbar of the T slit is at the top.  Slip your folded gusset, fold
down, into the slit.  Sew along the cut edges.  Try it with a piece of paper and
you'll see what I mean.

-Magdalena

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Subject: [h-cost] Re: Modern Mystery Garment
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Date: Sun, 6 Jan 2002 11:30:38 -0600
Status: RO

My mother made something similiar to this out of cotton knit fabric for
wheelchair bound folks.  Hers was just a straight length of fabric that was
cuffed on each end.

Genie, back to lurk mode now.

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Date: Sun, 6 Jan 2002 12:43:05 -0600 (CST)
Status: RO


On Sun, 6 Jan 2002, Lavolta Press wrote:

> Defniitely the cleaner.

Is it a Green Machine? Boy, I'd love one of those, but can't afford it.

--Robin

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Date: Sun, 06 Jan 2002 09:36:44 -0800
Status: RO

It's a hand upholstery and carpet cleaner called the Dirt Devil.  But we
have hardwood floors and brocade upholstery.

Fran

Robin Netherton wrote:

> On Sun, 6 Jan 2002, Lavolta Press wrote:
>
> > Defniitely the cleaner.
>
> Is it a Green Machine? Boy, I'd love one of those, but can't afford it.
>
> --Robin
>
> _______________________________________________
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--
---------------------------------------------
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Date: Sun, 06 Jan 2002 11:38:46 -0600
Status: RO

Okay after a years of bugging me, I am going to cut about 3" off my 
daughter's hair.  Her hair is the same color as mine and I will take 
what I cut from hers and use it for the ends of my braid cases. 
*g*



Katie
The blonde finds another short cut...pardon the pun.
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Subject: Re: [h-cost] Wish me luck...
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Date: Sun, 6 Jan 2002 09:52:00 -0800 (PST)
Status: RO

Best of luck to you!  How old is your daughter?  Mine
is 34 years old now but I still remember some
nightmarish haircutting episodes, mainly involving
styles she wanted that I couldn't do!!..and we won't
even discuss the Halloween she cut all her hair off...

Please please talk to me about braid cases. What did
you make them from?  How do you fasten them to the end
of your braid?  My hair is only a couple of inches
below my shoulders--would braid cases even work for
me?

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"



--- Katie <nejma@tds.net> wrote:
> Okay after a years of bugging me, I am going to cut
> about 3" off my 
> daughter's hair.  Her hair is the same color as mine
> and I will take 
> what I cut from hers and use it for the ends of my
> braid cases. 
> *g*
> 
> 
> 
> Katie
> The blonde finds another short cut...pardon the pun.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sat, 05 Jan 2002 07:30:36 -0500
Status: RO

At 11:01 PM 01/03/2002 -0600, you wrote:
>Man I need sleep replace all "threat"s with "thread"
>
>Sorry about that

Actually, that could be pretty funny.  "What threat do I need to go with
this costume?" could be an interesting question if you were playing a heavy
-- assasin, pirate, anything like that ;)

"Hand over your doubloons or I'll slit yer throat!"

"Surrender all your lupines!"

<grin>

-- Mara

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From: Kevin + Mara Riley <lindo@radix.net>
Subject: Re: [h-cost] Merveilleuse mockup
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Date: Sat, 05 Jan 2002 08:08:46 -0500
Status: RO

<html>
At 12:36 AM 01/04/2002 -0800, you wrote: <br>
<font size=3D2><blockquote type=3Dcite cite>=A0* Uk, too much yardage in the=
 CB
&amp; on the side.=A0 Ironing may help this, but I doubt it. (I laughed
when I looked at it. You can, too!)</font></blockquote><br>
<font size=3D3>I actually think the back looks great.=A0 When I made my
Regency work dresses (one bib-front, one not) last summer, I wound up
putting two knife pleats over each hip, and moving all of the gathers to
the back of the gown, for a more columnar look.=A0 I found that gathers
over the hip really made me look...=A0 hippy.=A0 Moreso than usual, that is.=
=A0
I also gauged the gathers/pleats in back on the light blue gown, which
worked very well to control the fabric.=A0 On the dark blue gown, I used
deep knife pleats on the skirts to put a lot of fullness into the gown
(as much as in the original I was working from, in Bradford), but not
have it look bulky.<br>
<br>
</font><font size=3D2><blockquote type=3Dcite cite>=A0* The bra-like front
closure under the &quot;bib&quot; is very successful. (See photo #43,
Waugh's book.) The forward &amp; upward tug creates clevage without
corsetting.</font></blockquote><br>
<font size=3D3>Cool.=A0 I found it didn't work for me and had to make a
corset, but different body types require different solutions...<br>
<br>
</font><font size=3D2><blockquote type=3Dcite cite><a href=3D"http://photos.=
yahoo.com\hatchikohysteria">http://photos.yahoo.com\hatchikohysteria</a>
the Click the folder &quot;Bib-front Gown 1803&quot;.<br>
<br>
So, questions for you, ladies &amp; gents:<br>
=A0* What else needs work?<br>
=A0* Would you gather the decorated panel (marked &quot;embroidered
panel&quot; in N.Waugh diagr XXXV) or leave it
flat?</font></blockquote><br>
<font size=3D3>What worked for me was to leave it flat, except for two
small pleats/gathers under each breast.=A0 Gathering the full width of the
panel made it bunch up, rather like what you've got here, but having an
absolutely flat panel didn't work either, because it gapped strangely at
the outside of the bust.=A0 I think there's another bib-fronted gown in
either Waugh or Bradfield or Arnold that has this treatment... anyway,
that worked for me.<br>
<br>
</font><font size=3D2><blockquote type=3Dcite cite>=A0* Was the sari fabric =
,
while light in weight, too crisp?</font></blockquote><br>
<font size=3D3>The more I look at it, the less I think so, but
maybe...&nbsp; the suggestion about washing a sample was good, I think.
<br>
<br>
</font><font size=3D2><blockquote type=3Dcite cite>=A0* Should the
&quot;waist&quot; line gathering be ironed
flat?</font></blockquote><br>
<font size=3D3>Either that, or use pleats, and iron them...<br>
<br>
</font><font size=3D2><blockquote type=3Dcite cite>=A0* The whole thing has =
a
&quot;short and dumpy&quot; effect.=A0 How to fix
it?</font></blockquote><br>
<font size=3D3>Pleats, not gathers ;)=A0 The fabric is too stiff for gathers
to work, I think (see below)<br>
<br>
</font><font size=3D2><blockquote type=3Dcite cite>=A0* Other critique?<br>
<br>
That was *supposed* to be my final muslin for an 1803 bib-front gown.=A0
Yeah, I'll probably take some of the excess out of the skirt, then finish
it with a &quot;good enough for Gaskell's&quot; attitude.<br>
--cin<br>
Cynthia in Tokyo </font></blockquote><br>
<font size=3D3>It looks gorgeous.=A0 I think if you gauge the pleats and/or
move most of them to the back, that'll give you more of a columnar
effect, and control the gathers.=A0 I'm very envious :)<br>
<br>
These pictures are dreadful, and the fabrics I used were cotton (for the
light blue) and cotton/linen blend (for the dark blue), but for
comparison, here they are:<br>
http://www47.pair.com/lindo/Temp/dkblue.jpg<br>
http://www47.pair.com/lindo/Temp/ltblue-front.jpg<br>
http://www47.pair.com/lindo/Temp/ltblue-back.jpg<br>
<br>
The wind was blowing when the picture of the light blue dress was taken;
it's not quite so awkward as that, usually.=A0 The dark blue fabric is the
heavier of the two, and I used knife pleats for the skirt on that gown,
as gathers _really_ didn't work -- way too bulky.=A0 If I have time today
I'll have some more pics shot...<br>
<br>
Please post more pics as the project evolves!<br>
<br>
-- Mara<br>
<br>
<br>
</font>
<BR>
</html>
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From h-costume-admin@indra.com  Sun Jan  6 12:37:03 2002
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From: Katie <nejma@tds.net>
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Subject: Re: [h-cost] Wish me luck...
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Date: Sun, 06 Jan 2002 12:05:50 -0600
Status: RO

She is 14 and she just wants a straight cut to about her shoulders.
Her hair is to the middle of her back.  I have been fobidding her 
to cut her hair telling her that she has beautiful hair.  It is 
thicker then mine and has more golden highlights.  It is sickening, 
but I figured this way we both get what we want.  I get the "real" 
hair ends for the braid cases without coughing up a bunch of money, 
and she gets a hair cut. 

I have an idea for the braid cases, but haven't started on them. 
On this page

http://www.virtue.to/articles/braiding.html

The author talks about using a ribbon as the third strand to 
braid with.  I figured using that would aleaviate some of the 
weight everyone says braid cases put on your hair.  Then 
I was just going to get a yard of fabric and do some embroidery 
and jewel work. Then  hot glue my daughter's hair to the end of 
the braid case.  Sew the braid case closed then stuff it and 
use the 4 strand method on the page above.  

If anyone thinks my theory will not work, please chime in. 

Katie

Joan Garner wrote:
> 
> Best of luck to you!  How old is your daughter?  Mine
> is 34 years old now but I still remember some
> nightmarish haircutting episodes, mainly involving
> styles she wanted that I couldn't do!!..and we won't
> even discuss the Halloween she cut all her hair off...
> 
> Please please talk to me about braid cases. What did
> you make them from?  How do you fasten them to the end
> of your braid?  My hair is only a couple of inches
> below my shoulders--would braid cases even work for
> me?
> 
> Joan Hall
> "If my home is my castle, where are the servants?"
> "Hey, you!  Are you a servant?"
> 
> --- Katie <nejma@tds.net> wrote:
> > Okay after a years of bugging me, I am going to cut
> > about 3" off my
> > daughter's hair.  Her hair is the same color as mine
> > and I will take
> > what I cut from hers and use it for the ends of my
> > braid cases.
> > *g*
> >
> >
> >
> > Katie
> > The blonde finds another short cut...pardon the pun.
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> 
> __________________________________________________
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From h-costume-admin@indra.com  Sun Jan  6 12:42:56 2002
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Regency winter dresses
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Date: Sun, 6 Jan 2002 18:09:16 +0000
Status: RO

It's not my period, but I have seen people wearing really gorgeous
winter coats for regency / Jane Austen.  They have the very high waist
and puff at the top of the sleeve, the rest of the sleeve being tight.
They are very flattering, and can look quite imposing and statuesque on
the less-than-waiflike figure.  And you could wear it for modern
afterwards!

Jean

In message <3C37BA13.EAC4266B@studorg.hiof.no>, "Ingrid G. =?iso-
8859-1?Q?Storr=F8?=" <ingridgs@studorg.hiof.no> writes
>Hello, all! All the talk about the merveilleuse gown has made me
>remember something: in March I'll be going to an event where I'll be
>wearing late 18th century gowns. I've not yet made them and have not
>decided on a pattern, although I suppose I'll draft something based on
>Arnold. That's not the problem however; what I'm wondering is this: what
>fabrics would Regency gowns be made of for winter use? I'm thinking
>maybe thin, soft wools, or maybe printed cotton with a flannel
>underdress. Or something? It can't be very fancy; I need to look like a
>lower middle class type person - but I also need to be warm. :) The
>event will last for five days; housing will be in really old houses and
>a lot will probably happen out of doors, so staying warm is of the
>essence. However, I'm NOT built like a 12-year old, and I would prefer
>not to look like a complete walrus if at all possible. (I will of course
>be wearing stays, but there's limits to the kind of magic they can work.
>;) )
>
>Also, does anyone have any tips about what items of clothing I'll need
>apart from the dresses themselves? Are spencers more a summer thing, or
>do they work in winter as well? Are there any types of winter coats I
>should consider especially? I'd be grateful for any help; I have never
>done this period before, and haven't found answers to these questions
>anywhere I've looked (mailnly online). :)
>
>Ingrid
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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Date: Sun, 06 Jan 2002 12:14:40 -0600
Status: RO

I was thinking about doing an alt "Viking" persona.  I guess that 
would work for that persona....or a Mongol. *L*

Katie

Kevin + Mara Riley wrote:
> 
> At 11:01 PM 01/03/2002 -0600, you wrote:
> >Man I need sleep replace all "threat"s with "thread"
> >
> >Sorry about that
> 
> Actually, that could be pretty funny.  "What threat do I need to go with
> this costume?" could be an interesting question if you were playing a heavy
> -- assasin, pirate, anything like that ;)
> 
> "Hand over your doubloons or I'll slit yer throat!"
> 
> "Surrender all your lupines!"
> 
> <grin>
> 
> -- Mara
> 
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Date: Sun, 6 Jan 2002 09:17:08 +0000
Status: RO

I'ld like to know who told fashion designers we can all wear orange. Or
lime green. Or fuschia.

Then there are the folks who decided on Spandex for everybody, but that a
whole 'nother story!

			Arlys, who looks best in classic colors
			and simply can't take fashion designers seriously anymore

On Sat, 5 Jan 2002 19:43:05 +0000 Jean Waddie
<anne@montgomerie.demon.co.uk> writes:
> I wish nobody bothered matching things, and then maybe we could get
> colours we like.  Who will end the rule of pink, purple and powder 
> blue?
> I'm an autumn person, for goodness' sake!
> 
> JEan
> 
> 
> In message <B85929AB.9F9%gailscott@eos.net>, Gail & Scott Finke
> <gailscott@eos.net> writes
> >
> >
> >The Color Marketing Group is, in my opinion, a giant scam. They 
> "forecast"
> >colors for the coming year, colors which they also happen to make 
> available
> >to paying customers. Everyone has to use them, because if you 
> don't, then
> >your stuff doesn't match everyone else's stuff. Your carpet lines 
> don't
> >match the current upholstery fabrics, for instance, or your car 
> upholstery
> >vinyl doesn't match the available car paint colors. And they're not 
> cheap!
> >
> >Yes, I have a rather violent opinion of them, and yes, it is an 
> informed
> >opinion. I have worked in the graphic design field for more than a 
> decade,
> >and I have interviewed "forecasters" and gone to seminars they put 
> on. IMHO,
> >it's a terrible trick!
> >
> >Gail Finke
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> 
> -- 
> Jean Waddie
> _______________________________________________
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Subject: Re: [h-cost] what do you think (1798 corset & Merveilleuse)
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Date: Sun, 06 Jan 2002 13:30:19 -0500
Status: RO


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Hi, All. Cyn, I think that the corsetless look was just what the fashion
of that time was trying to create, what with the raised waistline. The
rise of Neo-Classical forms was followed both on architecture as well as
dress. When Ken Russell did his movie "Gothic", I think he was trying to
portray the Shelleys and Byron as historical Hippies, looking for
freedom from conformity (Perhaps a sort of early 19th cent. bra burning,
although they didn't create the style, they just followed it). Some of
the paintings of women of that time are similar to the amount of flesh
shown in Botticelli paintings. Sorry, not trying to use a movie as
documentation or anything, just noting Russell's attempt to get inside
the heads of some historical figures of the time. BTW, I think his
costume person did a great job with the movie, considering some of his
other films (although that is not my period of interest) Ramblingly
yours, Mike T.

Cynthia Barnes wrote:

>   Bjarne, it occurs to me, that since you're doing the same 1803
> dress, perhaps the same corset solution will work for your version.
> Corset-less.  I interpret the bandeau under the bib-front (picture #43
> N.Waugh) as the only corset-like thing around.  Since I intended to do
> Merveilleuse, corset-less it is. Now a *real* Merveilleuse apparently
> would go ahead and show her nipples to the world.  I have an 1801
> Italian fashion plate showing one low-cut gown. The models nipples are
> not drawn in, but they are colored in pale pink.  Looks like fruit on
> a platter. Wish I could show you!  It's in the storage locker in
> Calif.That's all a bit too shocking for me. I chose to put the front
> neck up just a tad.  Tho you are right. The CF on mine is too full &
> in the wrong place. Back to the drawing board... or the Hanazono
> shrine antiques flea market.
> --cin
> Cynthia in Tokyo
>

--------------8E6D5A0FBDA19424EF7B6BE0
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Hi, All. Cyn, I think that the corsetless look was just what the fashion
of that time was trying to create, what with the raised waistline. The
rise of Neo-Classical forms was followed both on architecture as well as
dress. When Ken Russell did his movie "Gothic", I think he was trying to
portray the Shelleys and Byron as historical Hippies, looking for freedom
from conformity (Perhaps a sort of early 19th cent. bra burning, although
they didn't create the style, they just followed it). Some of the paintings
of women of that time are similar to the amount of flesh shown in Botticelli
paintings. Sorry, not trying to use a movie as documentation or anything,
just noting Russell's attempt to get inside the heads of some historical
figures of the time. BTW, I think his costume person did a great job with
the movie, considering some of his other films (although that is not my
period of interest) Ramblingly yours, Mike T.
<p>Cynthia Barnes wrote:
<blockquote TYPE=CITE>&nbsp;&nbsp;<span class=302210000-06012002><font color="#0000FF"><font size=-1>Bjarne,
it occurs to me, that since you're doing the same 1803 dress, perhaps the
same corset solution will work for your version.&nbsp; Corset-less.&nbsp;
I interpret the bandeau under the bib-front (picture #43 N.Waugh) as the
only corset-like thing around.&nbsp; Since I intended to do Merveilleuse,
corset-less it is. Now a *real* Merveilleuse apparently would go ahead
and show her nipples to the world.&nbsp; I have an 1801 Italian fashion
plate showing one low-cut gown. The models nipples are not drawn in, but
they are colored in pale pink.&nbsp; Looks like fruit on a platter. Wish
I could show you!&nbsp; It's in the storage locker in Calif.</font></font></span><span class=302210000-06012002><font color="#0000FF"><font size=-1>That's
all a bit too shocking for me. I chose to put the front neck up just a
tad.&nbsp; Tho you are right. The CF on mine is too full &amp; in the wrong
place. Back to the drawing board... or the Hanazono shrine antiques flea
market.</font></font></span>
<div class=MsoNormal><font color="#0000FF"><font size=-1>--cin</font></font>
<br><font color="#0000FF"><font size=-1>Cynthia&nbsp;<span class=302210000-06012002>in</span><span 
class=302210000-06012002>
Tokyo&nbsp;</font></font></span></div>
</blockquote>
</html>

--------------8E6D5A0FBDA19424EF7B6BE0--

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From: "Joan Broneske" <unicorn@softcom.net>
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Subject: Re: [h-cost] A different perspective on LOTR
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Date: Sun, 6 Jan 2002 10:49:05 -0800
Status: RO

I see!...well, that's puts a bit of a different spin on it, eh?  Sorry to
hear that you had to go through all of that.

Joan
----- Original Message -----
From: "Jeanne Harney" <jeanne@parrotfantasy.com>
To: <h-costume@indra.com>
Sent: Saturday, January 05, 2002 6:05 AM
Subject: Re: [h-cost] A different perspective on LOTR


>
> ----- Original Message -----
> From: "Joan Broneske" <unicorn@softcom.net>
>
>
> > I mean no offense or to be insensitive, but it looks like you have
> more than
> > issues with "gore and ick"!  I can't stand horror or hacker/slasher
> movies,
> > they give me nightmares, but "Raiders of the Lost Ark" causing you to
> have
> > to go to the hospital and "LOTR" making you throw up?  My Goodness!  I
> don't
> > know how I would survive life, if I was that sensitive!
> >
> It isn't easy.  However, at the tender age of 4, I was thrown from the
> backseat of my parents' car, through the windshield, when we were hit
> headon by a drunk driver at 70mph, and spent 35 days in ICU, having 5
> surgeries, and having my face rebuilt.  I'm talking part of my jawbone,
> part of my occipital ridge, ALL my nose cartilage (my nose was gone) etc
> are now built of plastic.  I was separated from my mother and lived for
> 5 months with both arms splinted straight out in front of me because it
> was the only way to control my ripping the stitches out and such.
> I had great surgeons, and the results are virtually invisible, now that
> I'm 42.
> The psychologists I've seen have said that anything having to do with
> blood brings back all the pain and separation anxieties from that time,
> though I have no conscious memories of it.  Personally, I don't mind
> living in a G-rated world, and the "sensitization" process is something
> WAY too long and painful to think of doing.  I just avoid things that
> would upset me.
>
> Jeanne
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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I know more about early 19th century than late 18th, but I would say you 
could definitely wear a spencer--the late 18th c. style seems to have a 
really contoured sleeve.  also, the Lady of Distinction recommended a flannel 
(that is, wool) petticoat for English winters.  The dress itself should 
probably be cotton or linen.  Someone else might have a better idea of how 
common wool fabrics were in this period.
And of course you can wrap yourself in a shawl.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I know more about early 19th century than late 18th, but I would say you could definitely wear a spencer--the late 18th c. style seems to have a really contoured sleeve.&nbsp; also, the Lady of Distinction recommended a flannel (that is, wool) petticoat for English winters.&nbsp; The dress itself should probably be cotton or linen.&nbsp; Someone else might have a better idea of how common wool fabrics were in this period.<BR>
And of course you can wrap yourself in a shawl.<BR>
Ann Wass</FONT></HTML>

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From: Sheryl Nance-Durst <sherylnd@sound.net>
Subject: Re: [h-cost] Wish me luck...
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Date: Sun, 06 Jan 2002 14:46:50 -0600
Status: RO

At 12:05 PM 1/6/02 -0600, you wrote:
>She is 14 and she just wants a straight cut to about her shoulders.
>Her hair is to the middle of her back.  I have been fobidding her
>to cut her hair telling her that she has beautiful hair.  It is
>thicker then mine and has more golden highlights.  It is sickening,
>but I figured this way we both get what we want.  I get the "real"
>hair ends for the braid cases without coughing up a bunch of money,
>and she gets a hair cut.

Katie,
Don't stress too much, please.
I had my mom do EXACTLY the same thing at that age!
There was a heat wave that year. <grin>
My mom ended up liking it so much that when I eventually
decided to grow my hair long again, she tried to talk me out
of it!

Sheryl Nance-Durst

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To: h-costume@indra.com
Subject: Re: [h-cost] Wish me luck...
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Date: Sun, 06 Jan 2002 14:59:47 -0600
Status: RO

Well just like every other "mom/teenager" senario, she will just have to 
learn on her own that
when we "round faced" people have short hair it looks like we have a 
perminate case of
the mumps or we are forever mimicing a squirrel with cheeks full of 
nuts. *LOL*

Katie
*just installed Netscape 6.2.1 and can't find the spell check for 
mail...panic panic!!*

Sheryl Nance-Durst wrote:

>
> Katie,
> Don't stress too much, please.
> I had my mom do EXACTLY the same thing at that age!
> There was a heat wave that year. <grin>
> My mom ended up liking it so much that when I eventually
> decided to grow my hair long again, she tried to talk me out
> of it!
>
> Sheryl Nance-Durst
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: [h-cost] Yet another take on LOTR...
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Date: Sun, 6 Jan 2002 16:28:35 EST
Status: RO

When did Tolkein become anything to do with history? I've not seen the movie 
yet and don't want to read a spoiler on it therefore am deleting the whole 
thread. I've also realized that I've deleted MOST of what comes into my 
mailbox from this list over the past few weeks. Is is possible to kill the 
fantasy thread and come up with something that has to do with Historical 
clothing??? I know it's fun and fascinating to talk about but there are more 
appropriate forums.
Warning historical costume content-Eleanora di Toledo's pair of bodyes is of 
tan silk moire, the strips we have always thought were garters are, in 
actuality, the grave bindings.
Have a Lovely Day,
Lady G
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] 12th Century English Costume
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Date: Sun, 6 Jan 2002 21:39:38 +0000
Status: RO

I've found plenty pictures of women wearing veils without fillets.  I'm
not sure whether all fillets are actually coronets, or similar
denotations of rank, or just fashion, but they're definitely not
required to keep the veil on.

I don't think I've seen any period examples where the fillet looks like
trim - they're usually either a plain band which might be metal or might
be ribbon, or if they're decorated they look like metalwork.  This would
make sure it stays on, just by its own weight.  But it depends how
accurate you want to be, lots of people nowadays do it with trim.  You
just need to find a way of fixing it tight enough round your head that
it stays on - tied or pinned or velcro or whatever.  One word of warning
- if it's windy, and your veil flies, it will lift the fillet unless
it's really secure.

JEan

In message <20020106151344.56167.qmail@web20310.mail.yahoo.com>, Joan
Garner <joan_the_harpist1119@yahoo.com> writes
>Headgear question for above (noblewoman's attire):
>
>Must there be a fillet-thing, or can I get by with
>just the barbette & veil?  If there is a fillet, can
>it just be a stiffened circle of the same 1-1/2" trim
>used on the over-tunic?  What exactly holds the fillet
>onto your head -- is it just sitting there or fastened
>down somehow?
>
>Joan Hall
>"If my home is my castle, where are the servants?"
>"Hey, you!  Are you a servant?"
>
>__________________________________________________
>Do You Yahoo!?
>Send FREE video emails in Yahoo! Mail!
>http://promo.yahoo.com/videomail/
>_______________________________________________
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-- 
Jean Waddie
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From h-costume-admin@indra.com  Sun Jan  6 16:14:01 2002
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] 12th Century English Costume
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Date: Sun, 6 Jan 2002 21:39:38 +0000
Status: RO

I've found plenty pictures of women wearing veils without fillets.  I'm
not sure whether all fillets are actually coronets, or similar
denotations of rank, or just fashion, but they're definitely not
required to keep the veil on.

I don't think I've seen any period examples where the fillet looks like
trim - they're usually either a plain band which might be metal or might
be ribbon, or if they're decorated they look like metalwork.  This would
make sure it stays on, just by its own weight.  But it depends how
accurate you want to be, lots of people nowadays do it with trim.  You
just need to find a way of fixing it tight enough round your head that
it stays on - tied or pinned or velcro or whatever.  One word of warning
- if it's windy, and your veil flies, it will lift the fillet unless
it's really secure.

JEan

In message <20020106151344.56167.qmail@web20310.mail.yahoo.com>, Joan
Garner <joan_the_harpist1119@yahoo.com> writes
>Headgear question for above (noblewoman's attire):
>
>Must there be a fillet-thing, or can I get by with
>just the barbette & veil?  If there is a fillet, can
>it just be a stiffened circle of the same 1-1/2" trim
>used on the over-tunic?  What exactly holds the fillet
>onto your head -- is it just sitting there or fastened
>down somehow?
>
>Joan Hall
>"If my home is my castle, where are the servants?"
>"Hey, you!  Are you a servant?"
>
>__________________________________________________
>Do You Yahoo!?
>Send FREE video emails in Yahoo! Mail!
>http://promo.yahoo.com/videomail/
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
_______________________________________________
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From h-costume-admin@indra.com  Sun Jan  6 16:44:35 2002
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From: "Susan Carroll-Clark" <nicolaa@columbus.rr.com>
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Subject: Re: [h-cost] Yet another take on LOTR...
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Date: Sun, 6 Jan 2002 17:12:24 -0500
Status: RO

Greetings--

> When did Tolkein become anything to do with history?

Tolkien has a lot to do with history.  He was a professor of Anglo-Saxon
literature and a linguist, and his works reflect his studies.  They're not
history--but they're a very interesting example of how a knowledge of period
literature can influence a modern story.

>Is is possible to kill the
> fantasy thread and come up with something that has to do with Historical
> clothing???

So start one already! :-)  I'm sure you'll have lots of takers.

Susan


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Subject: Re: [h-cost] Regency winter dresses
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Date: Sun, 6 Jan 2002 23:01:03 -0000
Status: RO

Some of the provancel quilted skirt stuff might be nice. But it isn't high
waisted really.

Mel

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Subject: [h-cost] Re: shrugs
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Date: Sun, 06 Jan 2002 18:06:44 -0500
Status: RO

As to what to wear them with or why?  Basically, any time you could wear a shawl, you could wear an equivalent "shrug".  I've even seen a few designer type varients... can't remember how long ago... where it (obviously) wasn't called a shrug, but went over the shoulders, down to cuffed wrists, and draped
"elegantly" down to near knee length.  Last time I saw one, it was black... I *think* paired with either a grey or silver slim skirted dress... that was also draped side to side ... sort of bunting style?  (don't know how you describe it... think that short piece in the front of some of the styles that
were worn on bustled skirts way back when... ... now that I think of it, the skirt may have resembled that, slim with the drape in front, but only to mid/upper thigh or so)

Problem with odd pictoral memories that pop up... you can almost but not *quite* see what you're remembering...

-Elisabeth

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Subject: [h-cost] Re:Yet another take on LOTR...large can of worms
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Date: Sun, 6 Jan 2002 18:11:28 EST
Status: RO

In a message dated 6/1/02 4:17:27 PM, nicolaa@columbus.rr.com writes:
<< Tolkien has a lot to do with history.  He was a professor of Anglo-Saxon 
literature and a linguist, and his works reflect his studies.  They're not

history--but they're a very interesting example of how a knowledge of period 
literature can influence a modern story. >>

Okay let's rephrase this-what has a fantasy movie set in no where land/no 
when time got to do with historical costuming? I was referring to the Rings 
movie rather than the man himself.
>>So start one already! :-)<<
As my first attempt with the Eleanora items went flat-Here are a few others.
Where does one currently obtain cloth of gold or cloth of silver? If I was 
still in NYC I'd know where to go but not here. Ditto non mylar metallic gold 
and/or silver trims, When are Janet Arnold's new books coming out, what's the 
strangest thing you've heard of concerning garb that is so blatantly 
obvoiusly false (ie "they didn't use ____") and how did you find the correct 
information out, what's the earliest use of an indoor water closet anyone can 
come up with, if the pile on "silk" velvet is rayon/acetate/poly on a silk 
ground and most mundane rayon velvets have a rayon pile what difference would 
it really make to use the rayon velvet (shiny velvet did exist as did shiny 
silk, high shine like way rad nasty bridal satin) {outside of competitions of 
course}, where's a site on Elizabethan stumpwork [for use on clothing not on 
boxes or books I found those], can anyone explain blackwork paths to me in a 
way I can understand? I end up with a mess every time I try and can't find a 
teacher near enough to physically show me what to do, I need 3 pair of slouch 
boots or chukka boots in various colours for a 3 y/o (I found the ones for my 
8 y/o son but nothing small enough for my daughter) any clue as to where to 
get them?, how do I get my husband to wear a fitted doublet? he says he wants 
a doublet then doesn't want it "binding" him, why is it that most of the 
ostrich plume fans look like feather dusters with a staple in the cone part?, 
even plain brown sandals are better than Reboks on a kid in garb (pet peeve), 
I'll post more as I think of them.
I'm in process of making a garnet/black shot silk taffeta version of the 
brown velvet Isabella queen of Portugal gown on Drea's site. The chemise is 
of silk organza with pouffed sleeves with 4mm 14kt gold beads in the poufs on 
the "yoke", the gown lining is black silk taffeta and the trim is 2 inch wide 
gold silk organza ribbon with cultured pearls, the smock is of white silk 
organdy. Another project is the red Anne of Cleves gown made of a 
turquoise/semi-metallic gold shot brocade (for lack of a better term-the 
fabric has the same iridescence as shot silk) with semi-metallic gold 
companion fabric with semi-metallic gold twist trim, lots of beads and pearls.
Hopefully there are enough topics there to let people choose.
In Service,
Lady G
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From h-costume-admin@indra.com  Sun Jan  6 17:53:29 2002
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From: Leif Drews <drewscph@post12.tele.dk>
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Subject: [h-cost] merverilleuse muck up
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Date: Mon, 07 Jan 2002 00:25:40 +0100
Status: RO

Cynthia.
I finished the muslin model of my dress this evening.
But, you know me i cant deside to the model. It is very hard for me not 
to make some of my own design to a garment.
So my merveilleuse dress ended up like this:
The skirt is the same, only i have a seam in the middle of the back 
because i made my model to be laced in the back. I didnt make the bodice 
like the real thing. I made a small back panel and one big forepart 
bodice. Then i have gathered the bodice at the skirt line under each bust.
The sleve is very flattering so i have only made small changes. I dont 
have a cuff. In stead i have gathered the chiffon to a rose in the 
middle of the sleave where the gathers spread out in pleats like a sun. 
This is the only embellishment i have made.
It is a very beautifull dress. I really like the simplissity, so nice. 
Also because the dress is white.
Now here comes a question. Should i make a handle in the train so that 
my lady can danse in it?
How would you suggest i made that?

Bjarne

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Not LOTR (was: Yet another take on LOTR)
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Date: Sun, 6 Jan 2002 19:01:00 -0600 (CST)
Status: RO


On Sun, 6 Jan 2002 LadyGryphon@aol.com wrote:
<requesting a return to historic-costume topics instead of LOTR:>

> As my first attempt with the Eleanora items went flat-Here are a few
> others.
<snip about a dozen unrelated topic suggestions>
> Hopefully there are enough topics there to let people choose.

Lady G., as you have already pointed out, some people with no interest in
LOTR are deleting those threads. So your Eleanora topic and the others you
posted may not reach the people you're trying to reach, since you posted
them under an LOTR subject line.

Also, it would be a service to the list in both the short- and long-term
if you would open new threads with individual posts, under separate,
descriptive subject lines. In the short term, you will get much better
response -- I am sure I am not the only person who deletes posts based on
subject line when my reading time is short, and I will miss queries that
are batched under a subject line that relates to a period I don't do. In
the long term, you will gain the gratitude of people who use Eric P.'s
archive, now that it's searchable *only* by subject line and author, not
through a free-text search (a loss I lament).

--Robin


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Subject: [h-cost] QEII
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Date: Sun, 6 Jan 2002 17:47:56 -0600
Status: RO

This is a multi-part message in MIME format.

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Has anyone seen the dresses of Queen Elizabeth II that are currently =
displayed in Bath "up close and personal"?  If so, please give us a =
personal view.  Which, if any, struck you as one that historical =
costumers four hundred years from now might want to examine?  Which ones =
seem most representative of the "common" person's current lifestyle?  =
Were there any that surprised you in some way?  Were any of such unusual =
coloring or with unique embroidery/ beadwork/jewel encased, etc. that =
they will have interest to needleworkers or seamstresses in the future?  =
Which one would you most like to acquire?  etc.  Tell all, please.

Meg

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<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4611.1300" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Has anyone seen the dresses of Queen =
Elizabeth II
that are currently displayed in Bath "up close and personal"?&nbsp; If =
so,
please give us a personal view.&nbsp; Which, if any,&nbsp;struck you as =
one that
historical costumers four hundred years from now might want to =
examine?&nbsp;
Which ones seem most representative of the "common" person's current
lifestyle?&nbsp; Were there any that surprised you in some way?&nbsp; =
Were any
of such unusual coloring or with unique embroidery/ beadwork/jewel =
encased, etc.
that they will have interest to needleworkers or seamstresses in the
future?&nbsp; Which one would you most like to acquire?&nbsp; etc.&nbsp; =
Tell
all, please.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Meg</FONT></DIV></BODY></HTML>

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Date: Sun, 6 Jan 2002 18:55:42 EST
Status: RO

In a message dated 6/1/02 5:47:08 PM, talk2meg@midwest.net writes:
<< Has anyone seen the dresses of Queen Elizabeth II that are currently 
displayed in Bath "up close and personal"? >>
Come on Teddy-spill.
Lady G
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Subject: [h-cost] Back from Kopenhagen
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Date: Mon, 7 Jan 2002 01:01:56 +0100 (CET)
Status: RO

Hi all,

For 10 hours now, I am back from my Denmark-Kopenhagen trip and 
now finally found the time to get to the net again. I thought
I'd never catch up with all those h-cost postings. Bjarne has 
posted on it, but I couldn't read it until now! So I REALLY 
for the first time met another member of this list -- and it
was Bjarne!! And it was so wonderful! At first I hadn't thought
that I would make it to Denmark at all because child and partner
both had chickenpox over Christmas. The trip got substantially more
expensive than anticipated, but it was worth it! We met at the
station, Bjarne lead us to a very nice cafe in Kopenhagen where
we had coffee and talked about embroidery, costumes, and lace,
while my good little girl slept in her stroller much of the
time. Bjarne had brought me three photo albums of his work,
so I could look at the costumes he had made for a hairdressers'
show! They were incredible. Really, there is this society in
Copenhagen that really does the most exaggerated, most extreme
18th century hairdos -- and they look perfect, like on old paintings!
And they are lucky, so lucky, to have Bjarne who made the proper
18th century costumes. I don't know what was more impressive --
this huge number of costumes he made for that one event? The
colors? The patterns? The hairdos? 
Some of the costumes are at 
http://home0.inet.tele.dk/drewscph/embroideryandlace.htm,
like http://home0.inet.tele.dk/drewscph/pompadour.jpg

All I had, by comparison, was a picture of the one 1880th costume
I made, the "cotehardie-inspired" dress for a friend this summer,
and a couple of pictures of my own FOs (finished objects). 
Because I knew that Bjarne does gold embroidery, I finally did 
something I have wanted to do since 1998 and put my 
pictures of the gold embroiderers in Bokhara (Buchara) in
Uzbekistan (on the silk road) together to form a small documentary
on Bokharan gold embroidery. The interesting thing is that the gold 
embroidery tradition, basically the techniques, seems to have been
big in Paris and even Berlin, too, in the 18th century -- I once
heard a lecture on this -- but while here it was lost, it 
travelled eastward, served the Emir's court in the 19th century 
and is nowadays revived as a popular art. People really wear
gold embroidery (with metallic thread, but not real gold thread
any more, of course) today for festive occasions; the tradition
is alive. And there techniques are still practiced and passed on
that nobody in Europe seems to care about any more.

Except people like Bjarne! Bullion thread is called ``Kantille'',
in German, too. Yes, he really brought me the gold embroidery he
is working on right now -- the front opening of a 1770th man's
jacket, together with matching buttons. Bjarne has put part 
of that embroidery on the net, under
ttp://home0.inet.tele.dk/drewscph/weeklycostume.htm. I saw
some of the embroidery at http://home0.inet.tele.dk/drewscph/goldwork.jpg ,
he also brought some of the buttons at
http://home0.inet.tele.dk/drewscph/lommeknap.JPG  .

But it is SOO different to really touch this in reality!
For some reason, Bjarne has chosen to state that all he
does is chain stitch. I personally disagree, I have seen
(at least) buttonhole stitch, couching, French knots, and
satin stitch, in addition to chain stitch.

Now, when next time I am in Kopenhagen and have time and am
free to do whatever I want, I will see, at least, in addition
to the National Museum which I like a lot and which holds some
of the most famous treasures of Northern European early history
(http://www.natmus.dk), the costume section of the National
Museum, which is somewhere out of town, the National Gallery,
the Design Museum, the Industry Design Museum, the Rosenborg
Castle, and the architecture museum.  Since in 2 days and with
boyfriend and child, time is so limited, I only made it to
the Rosenborg Castle and the National Museum, where I had a
walk through the "Stories of Denmark" exhibit. Nicely, the two
exhibitions I got to see this way quite complemented each other.
The Rosenborg castle, in addition to holding the royal treasure,
was early designed to be a cultural history museum to
display the lifestyle of the kings through the ages - 
each room on the first floor was furnished and decorated by one
king  and in the fashion of his time. Lots of tapestries that
I tried very much to imagine what they looked like before all the
yellow and red color faded out. The "Stories of Denmark" exhibition
in the Nationalmuseet tells the same story, but not only of kings,
but of all people. It has weapons, household items, clothes and
other textiles and really everything that gives a feel for the
life of the times in Denmark, from 1660 to 2000. I even saw a
very nice Icelandic folk dress, a couple of waistcoats the style
Bjarne is making (yes, very very similar), and a few rolls
of To/nder lace.

At last, Bjarne showed me and Sarah to a lacemaking supplies shop
where I got some more bobbins! Before, I didn't have enough
for the lace class, now, I have way in excess of the required
number.

Thanks Bjarne for a wonderful afternoon!

Now to bed -- tomorrow I have to work again...

Barbara Maren
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From h-costume-admin@indra.com  Sun Jan  6 18:39:34 2002
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Subject: [h-cost] Queries, new topics and current projects
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Date: Sun, 6 Jan 2002 19:09:15 EST
Status: RO

This is a reposting of my last posting- Thanks, Robin good suggestion!
>>So start one already! :-)<<
As my first attempt with the Eleanora items went flat-{Eleanora di Toledo's 
pair of bodyes is of tan silk moire, the strips we have always thought were 
garters are, in actuality, the grave bindings} Here are a few others.
Where does one currently obtain cloth of gold or cloth of silver? If I was 
still in NYC I'd know where to go but not here. Ditto non mylar metallic gold 
and/or silver trims, When are Janet Arnold's new books coming out, what's the 
strangest thing you've heard of concerning garb that is so blatantly 
obvoiusly false (ie "they didn't use ____") and how did you find the correct 
information out, what's the earliest common use of an indoor water closet 
anyone can come up with, if the pile on "silk" velvet is rayon/acetate/poly 
on a silk ground and most mundane rayon velvets have a rayon pile what 
difference would it really make to use the rayon velvet (shiny velvet did 
exist as did shiny silk, high shine like way rad nasty bridal satin) {outside 
of competitions of course}, where's a site on Elizabethan stumpwork [for use 
on clothing not on boxes or books I found those], can anyone explain 
blackwork paths to me in a way I can understand? I end up with a mess every 
time I try and can't find a teacher near enough to physically show me what to 
do, I need 3 pair of slouch boots or chukka boots in various colours for a 3 
y/o (I found the ones for my 8 y/o son but nothing small enough for my 
daughter) any clue as to where to get them?, how do I get my husband to wear 
a fitted doublet? he says he wants a doublet then doesn't want it "binding" 
him, why is it that most of the ostrich plume fans look like feather dusters 
with a staple in the cone part?, even plain brown sandals are better than 
Reboks on a kid in garb (pet peeve), I'll post more as I think of them.
I'm in process of making a garnet/black shot silk taffeta version of the 
brown velvet Isabella queen of Portugal gown on Drea's site. The chemise is of
 silk organza with pouffed sleeves with 4mm 14kt gold beads in the poufs on 
the "yoke", the gown lining is black silk taffeta and the trim is 2 inch wide 
gold silk organza ribbon with cultured pearls, the smock is of white silk 
organdy. Another project is the red Anne of Cleves gown made of a 
turquoise/semi-metallic gold shot brocade (for lack of a better term-the 
fabric has the same iridescence as shot silk) with semi-metallic gold 
companion fabric with semi-metallic gold twist trim, lots of beads and pearls.
Hopefully there are enough topics there to let people choose.
In Service,
Lady G
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From h-costume-admin@indra.com  Sun Jan  6 18:40:29 2002
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From: "Kelly Rinne" <kelly@costumedesign.net>
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Subject: Re: [h-cost] large dress for a man
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Date: Sun, 6 Jan 2002 19:10:36 -0500
Status: RO

oh, I used to do drag gowns for men all the time - its great fun. Make sure
you figure out whether or not he plans to do cleavage (breasts)
If he wants to order a set, here in the US Fredericks of Hollywood sells
great silicone-filled sets of two. They look and feel very real, and are
kept on with spirit gum.

Write if you have any questions...

-kel
----- Original Message -----
From: Leif Drews <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Sunday, January 06, 2002 9:56 AM
Subject: [h-cost] large dress for a man


> Hey would you know. I have had a request from a 46 year old man, if i
> would make him a large, large dress! :-) I think it could be fun.
>
> Bjarne
>
>  Leif Drews
> Åboulevard 5, 3 th
> 1635  København V
>
> Bjarne Drews
> Åboulevard 5,3.th
> 1635 København V
>
> tlf. 35 37 13 70
>
> My new domain name: http://www.my-drewscostumes.dk
>
> Homepage: http://home0.inet.tele.dk/drewscph
>
> Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html

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From h-costume-admin@indra.com  Sun Jan  6 18:48:33 2002
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 at "Dec 31, 2001 03:52:11 pm"
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Subject: [h-cost] Re: LOTR again, quite OT, sorry
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Date: Mon, 7 Jan 2002 01:19:22 +0100 (CET)
Status: RO

> From: "Maggie Secara" <maggiros@adelphia.net>
>  For those who would like a laugh:
> > "Galadriel" means "Blondie", more or less.
> 
> Well, no.  The element "galad" means "tree" and her name essentialy means "tree
> lady", if I recall correctly.

Sorry to be so late answering this, only just back
from Kopenhagen where I met Bjarne. If I recall "The
languages of Tolkien's Middle Earth" correctly,
``galad'' means light (Gil-galad: star-light)
``galadh'' is tree (galadhremmin ennorath, tree-woven
middle-earth) (but galad and galadh are sometimes interchangeable,
``el'' is the female ending in Sindarin and ``riel''
means ``crowned girl'', the ``ri-'' supposedly coming
from a root ``rig'', ``to wind a wreath/crown'', and
put everything together, you have the name for a blonde
baby girl: light-crowned girl, Galadriel, Blondie.
Later in Middle Earth, she became the tree lady, and the
name was reinterpreted.

I hate to be discussing this on h-costume and would feel
better if there was another forum for this for those
who are interested, but I don't subscribe to f-costume
and think I won't just for the purpose of discussing LOTR.

LOL means Laughing Out Loud and ROTFL means Rolling On The
Floor Laughing, what is LOTR supposed to mean? Laughing On 
The Run?

Apart from costumes and violence (there was too much in
in in my opinion, too) (and I hate fighting scenes extra
prolonged in films, and lots of scenes were just expanded
for suspense and show: The entry to Moria -- the fight in
the chamber -- the running down the stairs -- and others)
-- I found the views of Orthanc great, the way the camera
swooped over it, the clouds behind, Saruman's figure standing
on top and conjuring a spell. The friend I went to the movie
with said afterwards that what he doesn't like about such 
movies is how flat and badly-made reality looks when you come 
out. When he said that, we were just below a twenty-storey 
glass tower at the Potsdamer Platz in Berlin, and when 
we looked up, could see the December clouds go over it in 
the dark sky at quite a speed, and I thought that reality 
wasn't so badly  designed in comparison to the movie 
after all.

See some of you tomorrow in lace class,


Barbara Maren
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Subject: RE: [h-cost] Regency winter dresses
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Date: Sun, 6 Jan 2002 16:31:36 -0800
Status: RO


You say both "18th c" and "Regency", so I'm a little confused, Ingrid.   I'd
be surprised if spensers were an 18th c item, but I really don't know. Since
you specifically asked about spensers, here's info on that.

Spensers are definitely a wintertime Regency thing.  There's red ones &
hunter green for fun colors, plus the usual blacks & browns. I have a French
fashion plate here dated 1806. Model is viewed from the side back. Cant
describe much about the front except that the fur collar trim extends past
the "waist" level. Deep red jacket, white fur(?) on short puff sleeves.
Light tan gloves, 24 button length, so tops are covered by the spenser
sleeve cuff & fur. The gown is white or ivory, minimal decoration at
hemline. Smallish ivory or white turban. Title is "Robe pour la Promenade".
Unusually, the ensemble is not described further.

Other spensers are trimmed a la military jackets mostly.  Do you have
Boucher's "20K Years of Fashion"? There's a red one in there, too, with
buttons forming a V down the front. "Revolution in Fashion" has my favorite
hunter green wool spenser.

For warmth: wool shawl, lined gloves and a bonnet. For further warmth,
interline the spenser with domette. Try wool challis, if you cant find
domette.

I cant help you with day dresses. Not my thing.
--cin 
Cynthia in Tokyo

> Also, does anyone have any tips about what items of clothing I'll need
> apart from the dresses themselves? Are spensers more a summer 
> thing, or do they work in winter as well? 
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Subject: Re: [h-cost] Back from Kopenhagen
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Date: Sun, 6 Jan 2002 19:49:51 -0500
Status: RO

Barbara,

How exciting!!!!  It is wonderful to meet h-costume people.  Get lots of
sleep... Bjarne's class starts tomorrow.  BTW, did you bring the teacher an
apple? LOL!!!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Subject: [h-cost] Off to England
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Date: Sun, 06 Jan 2002 19:13:58 -0600
Status: RO

Greetings,

Well, I'm off to England (mostly London) this week and would love to meet 
up with some of you H-Costume folk who live across the pond.  Please email 
me or call me at Teddy's where I'll be staying so we can arrange something.

Cheers,
Danielle

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Subject: [h-cost] Moving LOTR costume discussion to f-Costume
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Date: Sun, 6 Jan 2002 17:23:42 -0800
Status: RO

Here's the URL to sign up for f-costume...  We'll do Lord of the Rings
discussion there.

http://mail.indra.com/mailman/listinfo/f-costume

It will give you a choice of Digest or daily.  Let's give it about a day's
break to get anyone interested over there......

-Cat-

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Date: Sun, 6 Jan 2002 20:34:10 -0500
Status: RO

Danielle,

Do you have room in your suitcase for me???  I know you will have a
wonderful trip.  Is Teddy putting you up in his sewing room with all the
boxes????

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Date: Sun, 06 Jan 2002 20:56:06 -0500
Status: RO


>>Thanks!  It's the tube scarf/shrug on this page:
>>
>>http://store.yahoo.com/sowear/sweaters.html
>>
>>But to achieve _that_ look, in terms of coordinates, I'd have to
>>polish my behind.
>>
>>What are you supposed to wear a shrug with?
>>
>>Fran

Oh, how funny!  I'll have to find the directions for  my spinners/weavers
newsletter this month, with a note.  I've seen directions to knit this kind
of thing before; they're usually knit a bit bigger, though, and hang down
to the waist in back, so they're worn rather like a sweater around the
house, when you want something a bit warmish but not too much so.

-- Mara

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Date: Sun, 06 Jan 2002 20:59:03 -0500
Status: RO

At 11:46 AM 01/05/2002 +0100, Bjarne wrote:
>And apropos this corset from 1795 even if Norah Waugh says it was worn 
>well into the next century, i believe that it was those who didnt follow 
>the new fashion. The bustcurve is absolutely just like 18th century, and 
>it is not good to make a regency dress.

I think I made up the corset you're talking about -- it looks like an 18th
c. corset, except that it has a laced opening at the top of the center
front.  If you leave the laces loose on this "gusset", the opening serves
to allow the bust to 'lean out' a bit -- so it's not exactly like earlier
18th c. corsets, which don't allow a bust curve at all.  It worked pretty
well for me -- boosted the bustline without suppressing it altogether.

Yes, the line of the corset is low -- about nipple-height sounds about
right.  The bust is held in above the corset (somewhat) by one's shift.

Cheers,
Mara



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From: Cynthia Barnes <Cynthia_Barnes@Phoenix.com>
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Subject: RE: [h-cost] merveilleuse mock up
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Date: Sun, 6 Jan 2002 18:01:36 -0800
Status: RO

> RE: [h-cost] merverilleuse muck up

I had to laugh when I read your original subj line.  "Muck up!"  I really
doubt you've made a muck up (a mess).  Looking forward to pictures, of
course!

> I finished the muslin model of my dress this evening.
> But, you know me i cant deside to the model. It is very hard 
> for me not to make some of my own design to a garment.

Bravo!  Mine will go in a box.  We've just discovered (yesterday) that we'll
be leaving Japan in about 6 weeks. Eek, so much to do in so little time!

(Mara, thankyou for your comments.  I'm printing out the whole thread and
putting it in the box.  I suspect you & Drea are both right about the hip
gathers becoming pleats.  I re-made the hip gathers w/ 2/3 the original
fabric.  Still looks like I have a deformity. Since I dont have Bradfield or
that particular JArnold here, I wont be tempted away from packing up the
aparto.

>"Ken Russell... sort of early 19th cent. bra burning... movie not
documentation
MikeT, I've vaguely wondered how pervasive the whole Merveilleuse thing was.
Did it happen throughout Paris everyday for several summers?  Was it
something that happened once, when 2 or 3 gals loosened their drawstrings
and held a salon to read naughty poems like Shelley's "The Flower"
whereafter the gossip (like my Italian plate reporting Parisian fashion)
spread like wildfire?  Was it all just a "thought experiment" and in truth
never happened?  I dont know.  Would love to see a first hand account or
six.  Will probably never research it, but hoping someone else will & report
in excrutiating detail.

> Now here comes a question. Should i make a handle in the 
> train so that my lady can danse in it?
> How would you suggest i made that?

I'd drape it over the arm. It's in so many fashion plates.  Do you have the
book of plates from Ackerman's?  N.Waugh mentions that the draped skirts hug
the limbs of the wearer.  Look at some of the contemporary quotes, too.
When waltzing, drape over the lowered right arm.  My vague recollection is
that most of the ballgowns in this decade are without trains. The trains
seem to be for diplomatic receptions, dinners & other formal events. Check
as I'm not sure.

I, for some reason, think that Fran owns a skirt lifter. Metal? Sort of a
rectangular thing with a clip or ratchet arrangement. The metal piece hung
from the wrist with a length of ribbon.  It maybe from a different period
(like 1870s or '80s?). It's the only one I've ever seen.

--cin in Tokyo
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Date: Sun, 6 Jan 2002 21:03:19 EST
Status: RO

Try the link or the (unbelievably LOOOOOOONG) url. Cut and paste works.
<A 
HREF="http://www.thetolkienforum.com/forumdisplay.php?s=c4cbfbaf46f8ce2ece27e5

d3b2c5f662&forumid=19">THETOLKIENFORUM.com @ THELORDOFTHERINGS.com - "â€¦</A>
www.thetolkienforum.com/forumdisplay.php?s=c4cbfbaf46f8ce2ece27e5d3b2c5f662&fo

rumid=19 the bit after the "?" denotes which forum you want to go to, they 
only have about a hundred different ones on this site, so that's an important 
bit.
Thank you one and all,
Lady G
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Date: Sun, 6 Jan 2002 21:13:10 -0500
Status: RO



> I have two books on this subject, actually. (I once considered starting a
> clothing company specializing in garments for physical limitations and
> calling it User Friendly Clothing Company) One is published by Simplicity
> and called "Design Without Limits" The other is titled "Dressing With
Pride"
> by Evelyn S. Kennedy and was published by PRIDE (Promote Real Independence
> for the Disabled and Elderly) in 1981. If you want more info about the
> books, let me know.
>
Actually, that'd be GREAT!!!  Do you have any idea if either is still in
print?  I could always hit my mom up for one of them for a birthday present
for next month.;-D
Moira

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Date: Sun, 06 Jan 2002 21:08:23 -0500
Status: RO

At 03:44 AM 01/06/2002 +0100, you wrote:
>I'm thinking
>maybe thin, soft wools, or maybe printed cotton with a flannel
>underdress. 

Exactly -- thin, soft wools would be perfect.  Or cotton, with a wool
redingote or pelisse worn over...  And a wool shawl, of course... 

>Also, does anyone have any tips about what items of clothing I'll need
>apart from the dresses themselves? Are spencers more a summer thing, or
>do they work in winter as well? Are there any types of winter coats I
>should consider especially? I'd be grateful for any help; I have never
>done this period before, and haven't found answers to these questions
>anywhere I've looked (mailnly online). :)
>
>Ingrid

A redingote of this period would be a long, wool coat, often in green or
blue, with a high waistline and a cape.  I've seen pics online, but can't
recall quite where.  I just did a Google search, and turned this up:

http://locutus.ucr.edu/~cathy/dress/redgt.html

They're a bit late, but give the general idea...

And this:

http://hal.ucr.edu/~cathy/dress/pelisse.html

-- Mara


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  I've thought about it, but hadn't been able to think of something I =
could use reliably at events and remove the rest of the week, when I =
need to get around tight spaces with my 4 children, two of whom are =
preschoolers.  Believe it or not, my biggest problem has been the top or =
lap level of the skirting.  (believe me, a good italian renn skirt gets =
really ugly when pinned in such a way that I could get around.)  I =
usually take the feet off of my manual chair, as I have arthritis in my =
upper body as badly as the rest of me.  For the powerchair, I've =
considered something I could sit on, making it easily removable for the =
rest of the week, but I need to get better batteries before I can put =
that idea to work.;-p
  Moira


       Have you tried having someone make something like the old chain =
covers for bikes?  It should be possible to affix something that would =
keep your skirts out of the wheels.  Wish I were closer, I love this =
kind of challenge.

  Lalah
  Never Give up, Never Surrender,
  - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
  Looking for a great gift?  Check out Beary Classy Bears at
  http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



------=_NextPart_000_00C1_01C196FC.21EBA1A0
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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4134.100" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><FONT face=3DArial size=3D2>I've thought about it, but hadn't =
been able to
  think of something I could use reliably at events and remove the rest =
of the
  week, when I need to get around tight spaces with my 4 children, two =
of whom
  are preschoolers.&nbsp; Believe it or not, my biggest problem has been =
the top
  or lap level of the skirting.&nbsp; (believe me, a good italian renn =
skirt
  gets really ugly when pinned in such a way that I could get =
around.)&nbsp; I
  usually take the feet off of my manual chair, as I have arthritis in =
my upper
  body as badly as the rest of me.&nbsp; For the powerchair, I've =
considered
  something I could sit on, making it easily removable for the rest of =
the week,
  but I need to get better batteries before I can put that idea to
  work.;-p</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>Moira</FONT></DIV>
  <DIV><BR>&nbsp;</DIV><FONT face=3Darial,helvetica><FONT
  size=3D2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Have you tried having someone =
make
  something like the old chain covers for bikes? &nbsp;It should be =
possible to
  affix something that would keep your skirts out of the wheels. =
&nbsp;Wish I
  were closer, I love this kind of challenge. <BR><BR>Lalah <BR>Never =
Give up,
  Never Surrender, <BR>- - - - - - - - - - - - - - - - - - - - - - - - - =
- - - -
  - - - <BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears =
at
  <BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR><BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>

------=_NextPart_000_00C1_01C196FC.21EBA1A0--

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From: Danielle Nunn-Weinberg <dannw@mediaone.net>
Subject: Re: [h-cost] Off to England
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Date: Sun, 06 Jan 2002 21:11:05 -0600
Status: RO

Sorry Penny, I'm sure my suitcases are going to be full both ways. <G>  I 
have to bring clothes for a month as well as costumes for Teddy's 
coronation.  I'm not sure how I'm going to get it all in the suitcase 
actually.   I think that is where he's sticking me.  If he really thinks it 
safe for me to be let loose in his sewing room.... tee hee.

Cheers,
Danielle

At 08:34 PM 1/6/2002 -0500, you wrote:
>Danielle,
>
>Do you have room in your suitcase for me???  I know you will have a
>wonderful trip.  Is Teddy putting you up in his sewing room with all the
>boxes????
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com

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Subject: Re: [h-cost] Back from Kopenhagen
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Date: Mon, 7 Jan 2002 16:39:18 +1300
Status: RO

It's so ice to be on a list with people who have been to the places I have
been:)

> For 10 hours now, I am back from my Denmark-Kopenhagen trip and
> now finally found the time to get to the net again. <snip>We met at the
> station, Bjarne lead us to a very nice cafe in Kopenhagen where
> we had coffee and talked about embroidery, costumes, and lace,
> while my good little girl slept in her stroller much of the
> time.

I crossed between København  and  Malmö several times so was very familiar
with the station;). Even if I did manage to lose my platform the first time
and didn't really get the whole click your own ticket thing...

> <snip>Since in 2 days and with
> boyfriend and child, time is so limited, I only made it to
> the Rosenborg Castle and the National Museum, where I had a
> walk through the "Stories of Denmark" exhibit.

I had a few hours and only managed to stumble across Tivoli (closed) and the
museum by accident;). Pleased I did even if I did have to rush through most
of the exhibits. And if you see my site:
http://phoenix.song.tripod.com/2001trip/kopenhavn.htm I did *not* use a
flash for my photos. It was bloody amazing seeing statues up close enough to
touch.. I was actually nervous of tripping and breaking something.. I wasn't
about to hasten their deterioration by using a flash on my camera!
Of course though, most photos are blurry, oh well...

<snip> It has weapons, household items, clothes and
> other textiles and really everything that gives a feel for the
> life of the times in Denmark, from 1660 to 2000.

Was that the series of rooms? I unfortunatly had to really rush through
those because I had a booking at Det Ny Teater which I ran to meet:).
Bjarne.. you know what I was seeing;)?

It's beautiful isn't it? Even in winter when everyone was asking me "Why are
you here now??"... Apart from the price and the fact it was my 25th
birthday, I like winter.. gives you a real feel for how people really
behave, rather than when everyone is happy with sunny weather:)

Hope you have a nice rest and catch up on sleep.... nice warm glow when you
come back from a cultural trip. Even if i did wind up in bed for a week with
a nasty cold;)

michaela

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From h-costume-admin@indra.com  Sun Jan  6 22:23:32 2002
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Subject: Re: [h-cost] Re:Yet another take on LOTR...large can of worms
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Date: Sun, 06 Jan 2002 22:52:06 -0500
Status: RO

Hi. In answer to the last post, I just want to add that, as I mentioned in a
previous post, John Howe was one of the conceptual designers for the film. John is
a member of the Companie of St George, probably the finest and most authentic 15th
cent. reenactment and Living History groups out there. You can see the quality of
their work in John and Gerry's book "The Medieval Soldier". John managed to sneak
in some great historical stuff into a fantasy film (see notes on a previous post).
As to the questions, I believe that due to the work involved in creating real
cloth of gold/silver, you are looking at India or Pakistan for sources. Tinsel
Trading Company out of NYC has a website. They occasionally have real antique
metallic trims. Check the archives of this list, there was a post earlier
regarding the publishing of JA's work. I've been playing in the SCA for 20+ years,
nothing about pseudo-documentation is strange to me anymore, not even people
trying to justify plastic armor or Nike sneakers. My research started out the same
as all others, with a need to avoid making the same excuses as everyone else, and,
yes, I had some bad stuff "back then" but, as they say "I got better". You can see
an illustration of a water closet in John Harrington's book "A new Discourse of a
Stale Subject, Called the Metamorphosis of Ajax (London 1596). IMO, the feel and
sheen of the silk pile is different, but if it doesn't matter to you, it doesn't
matter to me. If you mean by stumpwork the little stuffed figures, they are not
seen until at least 1620's (that I have seen), but if you mean detached buttonhole
stitch, you can find some on a jacket dated 1600-1625 in the Burrill Collection in
Glasgow. (There might also be some on some glove cuffs, but most of it looks like
satin stitch and couched work to me). It is not in my range of abilities to
explain blackwork, but if you send me a note, I will give you a biblio of all of
my wife's books on the subject, you can ILL them, and possibly one or two of them
together might be able to give you an adequate explanation. For the 3 y.o.'s
boots, are you talking for period or non-period use? I have made all of my son's
shoes for their different periods (one of my pet peeves is nicely made period
clothing without the proper accessories, but I don't push it on others). Tell your
husband that a fitted doublet was done that way so as to create a youthful-looking
silhouette (make the waist smaller and emphasize the shoulders). Tell him that to
do it any other way would be to make him look sloppy, and that you'd never want to
do that to his body proportions or your good name as a seamstress. You might also
want to try tying or hooking his doublet to his breeches. This keeps everything
together, and there is no gap between breeches and doublet. It is actually quite
comfortable that way. The fans probably look that way because they are not well
made (at least in comparison to fans made in period), but since I can't see the
ones you are looking at, I'll reserve my judgement. Hope this helps, Mike T.


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Date: Sun, 06 Jan 2002 21:53:14 -0700
Status: RO

Sorry that I'm probably going to be quoting the whole message, but I
think it got sent in some sort of fancy text, which my computer (sent to
do plain text only) does odd things to when I respond.....
At any rate, Moira, have you ever thought of fudging on the fullness of
the skirts, since that seems to be a major problem (and I can see how it
would be, too <g>).  Certainly, it's a century for large skirts, but
there are some slimmer-styled skirts, too, as well as some with less
fullness in front.  Some of the tudorish stuff, with the almost flat
fronts comes to mind, or that great ropa-and-kirtle from Janet
Arnold.....
Just some ideas.....
--Sue
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Date: Sun, 06 Jan 2002 21:54:40 -0500
Status: RO

Minoan Crete, in Knossos. Don't remember, off-hand, how many centuries
BCE... but quite a few! 

I would suspect that most people who don't want to read about LOTR
didn't read your post, since the subject wasn't changed visibly. 

Anne

LadyGryphon@aol.com wrote:
> 
> what's the earliest use of an indoor water closet anyone can
> come up with,


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Date: Mon, 07 Jan 2002 00:20:12 -0500
Status: RO

have you tried posting this question to the SCA-disabled list??

their addy is medievaldisableds@yahoogroups.com

this list is not only for SCA but all disableds who are into reinactment

Kat

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Subject: Re: [h-cost] Regency winter dresses
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Date: Sun, 6 Jan 2002 22:53:12 -0500
Status: RO

Sounds like a very fun project, Ingrid!

I have personally seen a deep purple wool Regency spencer in the D.A.R.
museum collection, beautifully detailed with velvet "military" trimming and
lined with silk. I've also seen a red wool long cape with hood and a very
thin, lightweight wool daydress with extremely long sleeves (almost to the
fingertips). And, as someone else mentioned, flannel petticoats are
discussed in a couple of period sources (I think they are listed in _The
Mirror of the Graces_ as necessities for winter, but I can't find my copy to
verify this).

And long Regency coats can easily be made by adding a "skirt" to your
spencer. They are very attractive and cozy, too!

Have fun!

Jennie Chancey

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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Date: Sun, 06 Jan 2002 22:22:37 -0800
Status: RO

>grave bindings

What are 'grave bindings'?

>what's the earliest common use of an indoor water closet 
>anyone can come up with

Roman

>can anyone explain 
>blackwork paths to me in a way I can understand? 

Whth double-sided 'Holbein' stitch, you're doing half the pattern on the
first pass, and the other half on the return path.  Where the needle comes
up thru the cloth on the first pass, it goes down there on the return path.
 That way both sides of the design look the same.

>how do I get my husband to wear 
>a fitted doublet? he says he wants a doublet then doesn't want it "binding" 
>him

Explain to him that if he wants one, he has to be willing to wear it.  If
he thinks they look good but isn't willing to wear it, because he thinks it
binds someplace, tell him to get a Ken doll and you'll put one on that for
him to look at.

>why is it that most of the ostrich plume fans look like feather dusters 
>with a staple in the cone part?

Because feather dusters are made from ostrich plumes?  Because the plumes
on the fans aren't attached to the ends of sticks but are fastened together
all at one point?  Gosh, mine never look like that. 

Kayta
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Date: Sun, 06 Jan 2002 22:10:08 -0800
Status: RO


>..and we won't
>even discuss the Halloween she cut all her hair off...

One year one of mine had already cut all her hair off, and for Halloween
she wore all metallic-silver clothes and makeup, I glued silver Mylar
squares all over her head (hair 1/4" long) and she went as a Disco ball
(her idea).

Kayta
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Date: Sun, 06 Jan 2002 22:28:45 -0800
Status: RO


>
>>
>> I've thought about it, but hadn't been able to think of something I could
>> use reliably at events and remove the rest of the week, 
>
> I was thinking of a partial slipcover.  Non-wheeled chairs get full
> slipcovers, so why can't a wheeled one get one which doesn't cover the
> wheels?
>
> And as for dresses which are too big in the skirt, have you considered a male
> persona?  Not to fool anybody, but just to get trousers. 


Kayta
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Subject: [h-cost] question about patterns
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Date: Mon, 7 Jan 2002 00:20:14 -0600
Status: RO

I realize that this may be OT but I am curious as to how to deal with an
individual trying to sell me a photocopy of a pattern.

I believe that it is worth the photocopy paper it is copied on and will only
purchase it if the copyright is free and clear. I will break that rule for
things having to do with research from periodicals that I cannot purchase or
find anywhere else in the world. Not for a commercial pattern that was
printed in the 20th century that is very likely to show up at auction again
or at the lending library for purchase. Am I wrong?

I have not heard back from the seller who contacted me after I lost a bid to
one of many patterns I bid on at a local auction house via a third party. I
am not really sure what pattern they were referring to as the message was
about one sentence long offering me a copy at the price at my highest bid.
Laughable really as I would never pay that much for a photocopy. I am
bidding that high for the ORIGINAL. :)

I just have never really run across this before. What I have run across is
swapping vintage pattern scans of copyright free issues. No money exchanged
hands, no usmail involved. But have always been careful about the
clarification of the copyright.

Sincerely,
Franchesca Havas
McKinney, Texas
 º°`°º¤ø,¸¸,ø¤º°`°º¤ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤

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Date: Sun, 06 Jan 2002 22:48:48 -0800
Status: RO

> I realize that this may be OT but I am curious as to how to deal with an
> individual trying to sell me a photocopy of a pattern.
>
> I believe that it is worth the photocopy paper it is copied on and will only
> purchase it if the copyright is free and clear.

See the following website, "When Works Pass Into the Public Domain":

http://www.unc.edu/~unclng/public-d.htm


> I have not heard back from the seller who contacted me after I lost a bid to
> one of many patterns I bid on at a local auction house via a third party. I
> am not really sure what pattern they were referring to as the message was
> about one sentence long offering me a copy at the price at my highest bid.
> Laughable really as I would never pay that much for a photocopy. I am
> bidding that high for the ORIGINAL. :)

As to the photocopy issues: Ebay prices for pre-1920 or so patterns have tended
to be high. And are further inflated by people who want to sell photocopies of
patterns at prices that, IMO, are much too high for a copy, regardless of
whether the pattern's copyright has expired.  Sellers hope to sell originals for
high prices, over $100 even, then also charge each back bidder a lower price,
but still very high for a copy. They often judge how much the back bidder might
pay by the amount of their bid, so the lower bidders in the same auction are
offered copies of the same pattern at a lower price.  Bidders who paid high
prices for a pattern they won, in turn try to sell overpriced copies to the back
bidders or in a later ebay auction.  If they sell enough copies to continue
buying and selling more patterns at inflated prices, they do it.

One problem with a copy is it can vary a lot in quality. People can trace around
a pattern with varying degrees of accuracy, forget markings, forget to copy
parts of it or the instructions, and so on.  I personally prefer to buy only
originals. And I'm noticing that some ebay sellers are prominently saying, "This
is not a copy" which I assume means I'm not alone in this.

With patterns published after 1900 or so you're pretty sure to eventually
(sometimes quickly) find a similar style in an original on ebay later.  Another
thing is, the recession has really brought ebay pattern prices down and so far
they are continuing to drop.  Usually, someone who sells on ebay but who offers
to sell you something privately off ebay, does it because they think they can
make more money that way than in an open auction. Which says they think demand
isn't that high.  I've refused to buy high-priced items people offered to sell
me privately, which the sellers then put on ebay and sold for less than they
tried to charge me, or they could not sell them at all.

Fran

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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From: =?iso-8859-1?Q?Ingrid_G=2E_Storr=F8?= <ingridgs@studorg.hiof.no>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Regency winter dresses
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Date: Mon, 7 Jan 2002 10:36:34 +0100 (CET)
Status: RO

On Sun, 6 Jan 2002, Cynthia Barnes wrote:

> You say both "18th c" and "Regency", so I'm a little confused, Ingrid.   I'd

Ah, I meant Regency in the broad sense it is sometimes used, to include 
the Empire and Directoire periods (mainly because I'm not sure of 
whether those terms are used to describe clothing in English - in 
Norwegian we only use Empire to describe the high-waisted look of these 
periods (as far as I know)), but the correct period I'm talking about 
would be Directoire. I think. :)

Part of my problem is that the character I'm portraying comes from 
Trondheim in Norway, in the year 1800. I don't have any sources as to 
the dress of that city at that time. But judging from my sources 
from other parts of the country, I've figured that they'd be a few years 
behind British and French fashion, but still up to date enough to 
wear the high-waisted style. However, I won't die if I end up with a 
costume that dates a few years later than 1800 - frankly, I can't 
imagine anyone at this event noticing.

Thanks so much to everyone who have answered; it has helped a great 
deal. :) 

Oh, and I forgot to ask - what about sleeve lengths? Would day dresses 
be short sleeved in winter as well, so that you'd rely on shalws to keep 
warm when inside, without the spencers? Or did sleeves follow the 
seasons (and common sense ;) )?


Ingrid

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From: Joan Garner <joan_the_harpist1119@yahoo.com>
Subject: Re: [h-cost] Wish me luck...
To: h-costume@indra.com
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Date: Mon, 7 Jan 2002 05:09:43 -0800 (PST)
Status: RO

Very cool, and way better than my approach in the same
situation.  Reminding a 3-year-old of your 2 days in
labor is quite remarkably ineffective, as I recall!

That same scissor-happy 3-year-old is now my
30-year-old hair-growing-out buddy.

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> One year one of mine had already cut all her hair
> off, and for Halloween
> she wore all metallic-silver clothes and makeup, I
> glued silver Mylar
> squares all over her head (hair 1/4" long) and she
> went as a Disco ball
> (her idea).


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Subject: Re: [h-cost] Queries: silk velvet
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Date: Mon, 07 Jan 2002 08:07:20 -0600
Status: RO

LadyGryphon@aol.com wrote:
> 
> if the pile on "silk" velvet is rayon/acetate/poly
> on a silk ground and most mundane rayon velvets have a rayon pile what
> difference would it really make to use the rayon velvet (shiny velvet did
> exist as did shiny silk, high shine like way rad nasty bridal satin) {outside
> of competitions of course}

All of the silk velvet I've found (well, silk/rayon velvet) has been FAR
too drapey to successfully use in period applications.  For my purposes
(mostly 16th c.), a good-quality synthetic velvet is actually a better
choice.  If anyone has a source for 100% silk velvet with some body to
it, I would love to hear!

Melanie Schuessler
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Date: Mon, 7 Jan 2002 09:15:19 EST
Status: RO

In a message dated 1/6/2002 9:02:51 PM Eastern Standard Time, 
Cynthia_Barnes@phoenix.com writes:

<< I, for some reason, think that Fran owns a skirt lifter. Metal? Sort of a
 rectangular thing with a clip or ratchet arrangement. The metal piece hung
 from the wrist with a length of ribbon.  It maybe from a different period
 (like 1870s or '80s?). It's the only one I've ever seen. >>
It is my recollection, too, that skirt lifters are late 19th century.  I seem 
to remember patents issued for them, or advertisements for them, or some 
other vague memory of documentation--the bane of our existence!  (I KNOW I 
saw that SOMEWHERE!)
Ann Wass
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From h-costume-admin@indra.com  Mon Jan  7 08:49:25 2002
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From: AnnBWass@aol.com
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Subject: Re: [h-cost] Queries: silk velvet
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Date: Mon, 7 Jan 2002 09:20:42 EST
Status: RO

My thinking regarding velvet is that rayon, being a filament fiber, albeit 
man-made, more readily simulates silk than does cotton.  However, you are 
correct about the weight.  Many velvets are very "drapey."  Some of the 
synthetics, or cotton/synthetic blends, may have the proper weight.
I rather imagine that, if a 100% silk velvet exists today, it, too, will be 
very lightweight, or prohibitively expensive, or both.
Ann Wass
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Subject: Re: [h-cost] Re:LOTR - Galadriel's frock.
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Date: Mon, 07 Jan 2002 15:15:02 +0000 (GMT)
Status: RO


> >I've looked at several stills on the web and in a couple of books and
> >it still looks like tacky nylon-lace fabric to me.  Each to their
> >own, of course, but I *can't* see a dress in that fabric as being in
> >any way attractive.
> >
> I was thinking of making a purple one in acid peeled velvet over
> buttersoft satin.  I've used that kind of velvet before and the
> textures are really fun.  But then I really like soft, fuzzy, and
> purple. ;)

Oooh!  Now that sounds like a *much* more attractive option.

Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] wheelchair historicals
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Date: Mon, 07 Jan 2002 15:35:25 +0000 (GMT)
Status: RO


> Thanks for all of the ideas.  One of my biggest problems is getting
> skirts caught in the wheels, especially when I am in a position to us
> my manual chair for the day.  What figures is that I absolutely fell
> in love with Elizabethan and early Tudor just before being stuck in
> these things, and love full skirts, etc.  Unfortunately, I can't even
> get away with a full length tunic, let alone the full stuff.;-p  I
> guess I could have worse problems.;-} 

Just a suggestion, and one you may already have thought of but....#

Could you make a frame to go over the chair that would hold the 
skirts out over and away from the wheels (like a really big "wheel-
farthingale arrangement)? 

The skirts could drop straight down well beyond the wheels 
(perhaps with hoops lower down to keep the fabric from flapping in 
and catching in the wheels)

I you costumed the back of the wheelchair to look like a period 
regular chair or throne, and had hidden slits in the pleating around 
the top of the "wheel-farthingale" part, you could reach down 
through them to move the wheels when you needed to go 
anywhere and the rest of the time you would simply look like a lady 
sitting down in a large -skirted Elizabethan gown.

It's need a lot of work figuring out the exact size and shape of the 
frame, and how/where to attach it to the wheelchair, but once it 
was done, you could make several different gowns to wear over it.

Alternatively, you could have someone accompany you dressed as 
a servant, and they could push the chair you whenever you wanted 
to move somewhere - so you could do away with the sits hidden in 
the pleats... Of course, then you'd need to pay the servant, I 
suppose.

<steps back and waits for someone to tell him it's crazy and would 
never work>

Teddy
(I can picture it clearly in *my* head, is it my fault reception isn't so 
clear where *you* are?)

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Date: Mon, 7 Jan 2002 10:41:41 -0500
Status: RO

LaLame in NY city is the best for this I've ever found.  They've got 
a full color catalog and will send you samples of anything for free 
(and I mean REALLY nice samples such as 12" square pieces of thier 
real gold on gold fabrics and such).  You can order most of thier 
brocades in almost any color combo you need (as well as gold and 
silver) and they also make lurex metallic versions of most of their 
brocades.  As for trims, they have excellent real metal trims and 
banding.  Thier prices aren't as bad as you might expect (like some 
of the silk sited posted here in the past -- ouch!).  Thier customer 
service is wonderful and thier shipping is always very quick. Hope 
this helps.

Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
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Date: Mon, 7 Jan 2002 10:46:50 -0500
Status: RO

Do they have a website?

Sarah
----- Original Message -----
From: "Kimberly Tribe" <Kimberly@Antiquarum.zzn.com>
To: <h-costume@indra.com>
Sent: Monday, January 07, 2002 10:41 AM
Subject: [h-cost] Cloth of Gold and Metal Trims


> LaLame in NY city is the best for this I've ever found.  They've got
> a full color catalog and will send you samples of anything for free
> (and I mean REALLY nice samples such as 12" square pieces of thier
> real gold on gold fabrics and such).  You can order most of thier
> brocades in almost any color combo you need (as well as gold and
> silver) and they also make lurex metallic versions of most of their
> brocades.  As for trims, they have excellent real metal trims and
> banding.  Thier prices aren't as bad as you might expect (like some
> of the silk sited posted here in the past -- ouch!).  Thier customer
> service is wonderful and thier shipping is always very quick. Hope
> this helps.
>
> Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
> ____________________________________________________________
> Get your own FREE Web and POP E-mail Service in 14 languages at
http://www.zzn.com.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Mon, 7 Jan 2002 11:19:53 EST
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In a message dated 7/1/02 12:24:21 AM, kayta@frys.com writes:

<< What are 'grave bindings'? >>

They tied the hands and feet together to stop postmortem movement during the 
various stages of rigor mortis, the coins on the eyes (which I think everyone 
has heard at one point or another) is to keep the eyes closed. Apparantly 
doesn't take much weight to do that.
Best,
Lady G
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In a message dated 7/1/02 8:07:36 AM, melanie@faucet.net writes:

<< If anyone has a source for 100% silk velvet with some body to it, I would 
love to hear! >>
100% silk velvet is not hard to come by, it's hard to pay for. $400 and UP 
per yard. Can't conscience that.
Lady G
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] QEII
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Date: Mon, 07 Jan 2002 16:27:38 +0000 (GMT)
Status: RO


> In a message dated 6/1/02 5:47:08 PM, talk2meg@midwest.net writes: <<
> Has anyone seen the dresses of Queen Elizabeth II that are currently
> displayed in Bath "up close and personal"? 

>> Come on Teddy-spill.

Not me, Anne, I've only ever travelled *through* Bath on my way to 
other places so have never had the chance to visit the costume 
Museum.

And, if I did, I wouldn't spend any time at all on the current Queen's 
clothing.... not a period I'm really interested in.

Teddy

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Subject: [h-cost] Only slightly OT: bangs (the hair kind, you sillies!)
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Date: Mon, 7 Jan 2002 08:30:44 -0800 (PST)
Status: RO

What do people do with long straight bangs when
wearing "pre-bang" garb?  Or do serious re-enactors
simply bite the bullet & grow them out?  There is
something about the shape of my face that I feel I
look much better with bangs, particularly when wearing
my hair up or back.

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Subject: Re:[h-cost] Only slightly OT: bangs (the hair kind, you sillies!)
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Date: Mon, 7 Jan 2002 16:40:45 GMT
Status: RO


Although I have let my bangs (fringe for our English cousins) grow out in recent years, I did re-enactment for many years with bangs. What one does with them in period garb depends on the period. For many periods, headwear is de rigeur, and by choosing a type of headwear that covers the front of the head or where the bangs can be swept back into the covered area you can hide their existence. If you are doing a high-class persona/costume, or just if you want to, you can wer a wig and just hide your real hair altogether. 

What period are you interested in doing that the bangs wouldn't be correct for? (Gosh that was a bizarre sentence construction!!!)


Karen




---------- Joan Garner <joan_the_harpist1119@yahoo.com> writes:

What do people do with long straight bangs when
wearing "pre-bang" garb?  Or do serious re-enactors
simply bite the bullet & grow them out?  There is
something about the shape of my face that I feel I
look much better with bangs, particularly when wearing
my hair up or back.

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Off to England
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Date: Mon, 07 Jan 2002 16:45:31 +0000 (GMT)
Status: RO


> Sorry Penny, I'm sure my suitcases are going to be full both ways.
> <G> I have to bring clothes for a month as well as costumes for
> Teddy's coronation.  I'm not sure how I'm going to get it all in
> the suitcase actually.   I think that is where he's sticking me. 
> If he really thinks it safe for me to be let loose in his sewing
> room.... tee hee. 

Current plan is Daniell (who arrives first) will be in the spare 
bedroom (some fabric boxes, but very few - it is just across the 
landing from the door into the fabric-storage room in the loft space 
of the sewing room, however).

Karen is next to arrive from Chicago, just before Coronation, she 
gets the sewing room.

Seanan arrives from somehwere near San Francisco on the 
morning that we leave for Coronation.  We pick her and her 
costumes and luggage up on the way to the Coronation and she 
gets the sofa-bed in the livingroom when we get back after 
coronation.

Hmmm...  Five of us, plus costumes - We are *definately* going to 
need a roof-box for the car.

Teddy
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
Subject: Re:[h-cost] Only slightly OT: bangs (the hair kind, you sillies!)
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Date: Mon, 7 Jan 2002 08:55:27 -0800 (PST)
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--- seamstrix@juno.com wrote:
> What period are you interested in doing that the
> bangs wouldn't be correct for? (Gosh that was a
> bizarre sentence construction!!!)

   oooh - remember 7th grade? Let's go to the board
and diagram this sentence!  ;-)

To answer your question, 12th century English.

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Only slightly OT: bangs (the hair kind, you
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Date: Mon, 07 Jan 2002 16:59:13 +0000
Status: RO

I have *extremely* thick hair which it would be difficult (and unflattering) to keep off my face for everyday purposes if I didn't wear a fringe. A few years back, with advice from people on this list, I devised a way of holding it off my face with a toothed hairband thingy and hiding the result under a veil. I wear it like this with my "best" 17th century garb.

Kate Bunting
Library, University of Derby

>>> joan_the_harpist1119@yahoo.com 01/07/02 04:30pm >>>
What do people do with long straight bangs when
wearing "pre-bang" garb?  Or do serious re-enactors
simply bite the bullet & grow them out?  There is
something about the shape of my face that I feel I
look much better with bangs, particularly when wearing
my hair up or back.

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

__________________________________________________
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http://mail.indra.com/mailman/listinfo/h-costume

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Date: Mon, 7 Jan 2002 17:00:22 GMT
Status: RO

Yippeeeee!!! I get the sewing room!!!! 

I am trying to figure out how to pack my Elizabethans in the smallest possible space......but they are still full court Elizabethans!!!!!!

Karen




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Date: Mon, 7 Jan 2002 17:07:05 GMT
Status: RO

---------- Joan Garner <joan_the_harpist1119@yahoo.com> writes:

To answer your question, 12th century English.


Ah! That's an easy one! The 12th century had all sorts of interesting drapey veil things going on. If you do the late end, you can even do one of those 'pork pie', barbette, and caul arrangements. Just sweep your bangs back under the veiling and pretend they don't exist! 


Karen


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Date: Mon, 7 Jan 2002 08:56:01 +0000
Status: RO

I have longish bangs and use an elasticized headband to hold them back
under my veil.

Know how you feel. I look much better with bangs than without.


			Arlys

On Mon, 7 Jan 2002 08:30:44 -0800 (PST) Joan Garner
<joan_the_harpist1119@yahoo.com> writes:
> What do people do with long straight bangs when
> wearing "pre-bang" garb?  Or do serious re-enactors
> simply bite the bullet & grow them out?  There is
> something about the shape of my face that I feel I
> look much better with bangs, particularly when wearing
> my hair up or back.
> 
> Joan Hall
> "If my home is my castle, where are the servants?"
> "Hey, you!  Are you a servant?"
> 
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Date: Mon, 07 Jan 2002 11:28:49 -0600
Status: RO

Veils?  There is a wonderful page about wearing
veils and avoiding the "muffen head" look as the
author puts it

http://www.virtue.to/articles/veils.html

Katie

Joan Garner wrote:

> What do people do with long straight bangs when
> wearing "pre-bang" garb?  Or do serious re-enactors
> simply bite the bullet & grow them out?  There is
> something about the shape of my face that I feel I
> look much better with bangs, particularly when wearing
> my hair up or back.
> 
> Joan Hall
> "If my home is my castle, where are the servants?"
> "Hey, you!  Are you a servant?"
> 
> __________________________________________________
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> 
> 


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Date: Mon, 07 Jan 2002 12:43:32 -0500
Status: RO


I wasn't able to find a webpage, but here's their contact info:

La Lame Inc.
250 W. 39th St., 4th Floor
New York, NY 10018
Phone: (212)921-9770
Fax: (212)921-8167
Toll Free: (800)929-5138
glenschneer@lalame.com

>Do they have a web page?
>
>>LaLame in NY city is the best for this I've ever found.  They've got
>>a full color catalog and will send you samples of anything for free
>>(and I mean REALLY nice samples such as 12" square pieces of thier
>>real gold on gold fabrics and such).  You can order most of thier
>>brocades in almost any color combo you need (as well as gold and
>>silver) and they also make lurex metallic versions of most of their
>>brocades.  As for trims, they have excellent real metal trims and
>>banding.  Thier prices aren't as bad as you might expect (like some
>>of the silk sited posted here in the past -- ouch!).  Thier customer
>>service is wonderful and thier shipping is always very quick. Hope
>>this helps.


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Date: Mon, 07 Jan 2002 12:46:18 -0500
Status: RO




><< What are 'grave bindings'? >>
>
>They tied the hands and feet together to stop postmortem movement during 
>the
>various stages of rigor mortis, the coins on the eyes (which I think 
>everyone
>has heard at one point or another) is to keep the eyes closed. Apparantly
>doesn't take much weight to do that.
>Best,
>Lady G

Some cultures also tied the jaw shut, so that it wouldn't flap open and look 
like the person was screaming.

Parsla

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Date: Mon, 7 Jan 2002 13:44:14 -0500
Status: RO

No, they don't have a webiste... but if you call them , they'll send 
you a free catalog and actuallyhave a good idea of what you mean when 
you describe "period" fabric designs (so you could order some samples 
even before you get the catalog).  

212-921-9770  

La Lame Inc.
250 W. 39th St.
New York, NY
10018

Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
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Date: Sun, 06 Jan 2002 21:43:02 +0100
Status: RO

Hi H-Costumers,

I wonder could a snowball be rolled on by adding city names to a list of 
derivated textile terms?

Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or 
textile objects like "baldachin" from Baghdad and "fez" from the city of 
the same name, etc.?

Sincerely,

Jadran Kale, curator
Zupanijski muzej, P.p.7, HR-22001 Sibenik
Croatia: 385 (0) 22/ 213-880, fax 213-355
  @  http://jagor.srce.hr/muzej_sibenik
- -  Sent with PINE 4.10 from CARNet  - -

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From h-costume-admin@indra.com  Mon Jan  7 13:52:31 2002
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From: Margo Glenn-Lewis <nomad@opalsun.com>
Subject: RE: [h-cost] Matching thread?
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Date: Sun, 06 Jan 2002 15:46:45 -0800
Status: RO

But us Mongols are simple pastoral peace-loving nomads - why would we need
to 'thread' anyone?

Margo Glenn-Lewis
aka Morgan the Unspeakable Mongolian Nomad

> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Katie
> Sent: Sunday, January 06, 2002 10:15 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Matching thread?
>
>
> I was thinking about doing an alt "Viking" persona.  I guess that
> would work for that persona....or a Mongol. *L*
>
> Katie
>
> Kevin + Mara Riley wrote:
> >
> > At 11:01 PM 01/03/2002 -0600, you wrote:
> > >Man I need sleep replace all "threat"s with "thread"
> > >
> > >Sorry about that
> >
> > Actually, that could be pretty funny.  "What threat do I
> need to go with
> > this costume?" could be an interesting question if you were
> playing a heavy
> > -- assasin, pirate, anything like that ;)
> >
> > "Hand over your doubloons or I'll slit yer throat!"
> >
> > "Surrender all your lupines!"
> >
> > <grin>
> >
> > -- Mara
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From h-costume-admin@indra.com  Mon Jan  7 13:53:43 2002
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Subject: [h-cost] What I did on my holidays.....
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Date: Sun, 06 Jan 2002 10:47:44 -0800
Status: RO

Well I am back from 3 weeks with the in-laws, and in the
middle of mopping up a flooded laundry (all my fault of
course) to the tune of baby screams (Erin now expects to
be picked up and cuddled the minute she opens her mouth -
a pox on grandparents I say...).

Anyway, I though I'd take a break to boast a bit.

My hubby has a great aunty who is a bit of a hoarder, of
all things, but I finally got a chance to raid her fabric
stash, and came away with amongst other things:
a pair of gold satin evening gloves, unused
3.6 m of grey angora wool 150cm wide
6m of pearl corduroy
some very stiff cotton? organza with a rose print
some very old woven interfacing
various size pieces (50cm - 2m) of taffeta I think is silk
3m of light blue raw silk
a small piece of silk? brocade (enough for a pair of sleeves)
a small piece of silk? tartan

all measurements and contents are approximate as I haven't
had time to examine it carefully. Most of it also has a very
strong smell of mothballs. Some of it is very old, as
Aunty is about 75 and has been hoarding for about 50yrs

I also scored a lot of fabric money for my b-day and
Christmas which occur close together so I splurged at
the Jan sales:
Just over 18m of velveteen (dark blue and mauve) at A$3/m
5m of dark blue/black shot silk satin $15/m
10m of fine gold chain and 2m of very large link chain (looks
like the big big chains worn in 16th century portraits)
10m of linen (white and black)

yay!!!!

I have evil plans for most of it of course, although I'd
appreciate suggestions for the corduroy. It's not like
the pearl cord I've seen in the shops recently. You could
almost describe it as a patterned velvet (but not of good
velvet quality). I wonder if it would avoid the pre-16th c
controversies about corduroy for this reason....

Oh and does anyone know if angora was used before 1600?
Or more specifically in the 14th/15th centuries? It is
so beautifully soft, although not very finely woven, and
it does have those angora hairs in (kind of like a cat has
rolled on it) which I don't see as going down very well in
period. Oh well.

Claire

PS Bjarne and Mara - As noted I have been away which is why I have
not responded to requests to see my 1780's corset. I don't
actually have any pics of it yet, but I was planning to take
some pics of my more recent work soon so I will let you know
when they are available...

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From h-costume-admin@indra.com  Mon Jan  7 14:03:44 2002
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Date: Mon, 7 Jan 2002 19:34:17 GMT
Status: RO

And there's always damask from Damascus. 




---------- Jadran Kale <jkale@public.srce.hr> writes:

From: Jadran Kale <jkale@public.srce.hr>
To: h-costume@net.indra.com
Subject: [h-cost] query: city names in origins of textile terms
Date: Sun, 06 Jan 2002 21:43:02 +0100

Hi H-Costumers,

I wonder could a snowball be rolled on by adding city names to a list of 
derivated textile terms?

Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or 
textile objects like "baldachin" from Baghdad and "fez" from the city of 
the same name, etc.?

Sincerely,

Jadran Kale, curator
Zupanijski muzej, P.p.7, HR-22001 Sibenik
Croatia: 385 (0) 22/ 213-880, fax 213-355
  @  http://jagor.srce.hr/muzej_sibenik
- -  Sent with PINE 4.10 from CARNet  - -

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From h-costume-admin@indra.com  Mon Jan  7 14:19:23 2002
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Date: Mon, 07 Jan 2002 20:57:46 +0100
Status: RO

Hi H-Costumers,


I wonder could a snowball be rolled on by adding city names to a list of 
derivated textile terms?

Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or 
textile objects like "baldachin" from Baghdad and "fez" from the city of 
the same name, etc.?

Jadran Kale
Zupanijski muzej, P.p.7, HR-22001 Sibenik
Croatia: 385 (0) 22/ 213-880, fax 213-355
  @  http://jagor.srce.hr/muzej_sibenik
- -  Sent with PINE 4.10 from CARNet  - -

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Date: Mon, 07 Jan 2002 20:57:37 +0100
Status: RO

Hi H-Costumers,

I wonder could a snowball be rolled on by adding city names to a list of 
derivated textile terms?

Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or 
textile objects like "baldachin" from Baghdad and "fez" from the city of 
the same name, etc.?

Sincerely,

Jadran Kale
Zupanijski muzej, P.p.7, HR-22001 Sibenik
Croatia: 385 (0) 22/ 213-880, fax 213-355
  @  http://jagor.srce.hr/muzej_sibenik
- -  Sent with PINE 4.10 from CARNet  - -

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Date: Mon, 07 Jan 2002 20:57:27 +0100
Status: RO

Hi H-Costumers,

I wonder could a snowball be rolled on by adding city names to a list of 
derivated textile terms?

Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or 
textile objects like "baldachin" from Baghdad and "fez" from the city of 
the same name, etc.?

Sincerely,

Jadran Kale
Zupanijski muzej, P.p.7, HR-22001 Sibenik
Croatia: 385 (0) 22/ 213-880, fax 213-355
  @  http://jagor.srce.hr/muzej_sibenik
- -  Sent with PINE 4.10 from CARNet  - -

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Subject: Re: [h-cost] What I did on my holidays.....
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Date: Mon, 7 Jan 2002 15:50:30 EST
Status: RO

In a message dated 1/7/2002 2:24:55 PM Eastern Standard Time, 
which_switch_Harry@bigpond.com writes:

<< It is
 so beautifully soft, although not very finely woven, and
 it does have those angora hairs in (kind of like a cat has
 rolled on it) which I don't see as going down very well in
 period. Oh well. >>
Could you try fulling and shrinking it?  (A sample first, of course.)
Ann Wass
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Only slightly OT: bangs (the hair kind, you
  sillies!)
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Date: Mon, 07 Jan 2002 13:35:57 -0800
Status: RO

>What do people do with long straight bangs when
>wearing "pre-bang" garb?  Or do serious re-enactors
>simply bite the bullet & grow them out?  There is
>something about the shape of my face that I feel I
>look much better with bangs, particularly when wearing
>my hair up or back.

Do 1880's.  They had these as part of the period hairstyle.

Kayta
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Subject: Re:[h-cost] Only slightly OT: bangs (the hair kind, you
  sillies!)
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Date: Mon, 07 Jan 2002 13:58:00 -0800
Status: RO


>> What period are you interested in doing that the
>> bangs wouldn't be correct for? (Gosh that was a
>> bizarre sentence construction!!!)
>
>   oooh - remember 7th grade? Let's go to the board
>and diagram this sentence!  ;-)

In what period are you interested, wherein bangs wouldn't be correct?  (or
have I just read too many Victorian novels?) 

Kayta
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Date: Mon, 07 Jan 2002 13:46:24 -0800
Status: RO

>some very stiff cotton? organza 

I think if it's cotton it's organdy, and if something else it's organza.

>I wonder if it would avoid the pre-16th c
>controversies about corduroy for this reason....

Ihad a piece of corduroy with alternate very-wide and kind-of-narrow wales,
and used it for Ren. trim on a German half-circular short cloak.  I loaded
my sewing machine bobbin with thickish gold thread and, from the back side
of the cloth, sewed lines between all the piles.  From the front it looked
like gold cord couched between velvety pile.  I used it in strips, cut on
the diagonal.  It didn't look like corduroy.

Kayta
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From: Shea Young <younganne@usa.net>
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Subject: Re: [Re: [h-cost] Re:LOTR - Galadriel's frock.]
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Date: 7 Jan 2002 13:55:32 PST
Status: RO

Hi Teddy,

We just saw it and I agree with you about the fabric. I know they were trying
to create a light, spiderweb, eternal, nature-like garment, but it didn't
work. But you know, like you, we got caught up in the movie and overall - it
just didn't matter. I was delighted that they were able to produce this film
with so much respect for the books. It was great!

Shea in Oregon

Teddy <teddy1@mdx.ac.uk> wrote:
> 
> > >I've looked at several stills on the web and in a couple of books and
> > >it still looks like tacky nylon-lace fabric to me.  Each to their
> > >own, of course, but I *can't* see a dress in that fabric as being in
> > >any way attractive.
> > >
> > I was thinking of making a purple one in acid peeled velvet over
> > buttersoft satin.  I've used that kind of velvet before and the
> > textures are really fun.  But then I really like soft, fuzzy, and
> > purple. ;)
> 
> Oooh!  Now that sounds like a *much* more attractive option.
> 
> Teddy
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Date: Mon, 7 Jan 2002 17:00:47 -0400
Status: RO

Just curious what this "hiccup" is -- I've rec'd 4 of these....

Sheila B


>Hi H-Costumers,
>
>
>I wonder could a snowball be rolled on by adding city names to a list of
>derivated textile terms?
>
>Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or
>textile objects like "baldachin" from Baghdad and "fez" from the city of
>the same name, etc.?
>
>Jadran Kale
>Zupanijski muzej, P.p.7, HR-22001 Sibenik
>Croatia: 385 (0) 22/ 213-880, fax 213-355
>  @  http://jagor.srce.hr/muzej_sibenik
>- -  Sent with PINE 4.10 from CARNet  - -
>
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
Subject: Re:[h-cost] Only slightly OT: bangs (the hair kind, you  sillies!)
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Date: Mon, 7 Jan 2002 14:06:34 -0800 (PST)
Status: RO

Well, my interest in historical costume, food & music
tapers off quite sharply after about 1600!  (except
for a perverse fascination with making tea sandwiches
-- I am The Dark Queen of Tea Sandwiches)

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:

> In what period are you interested, wherein bangs
> wouldn't be correct?  (or
> have I just read too many Victorian novels?) 


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Subject: Re: [h-cost] wheelchair historicals
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Date: Mon, 7 Jan 2002 17:13:27 -0500
Status: RO

Sue,
Thanks! I think I'll try it out soon. It'll help me do later periods than I
could do otherwise. Then, I'd just need to cut the skirt a bit shorter, and
figure out the corset thing.  (Maybe even choose a decade that didn't do
corsets quite yet.);-D
Moira

> Sorry that I'm probably going to be quoting the whole message, but I
> think it got sent in some sort of fancy text, which my computer (sent to
> do plain text only) does odd things to when I respond.....
> At any rate, Moira, have you ever thought of fudging on the fullness of
> the skirts, since that seems to be a major problem (and I can see how it
> would be, too <g>).  Certainly, it's a century for large skirts, but
> there are some slimmer-styled skirts, too, as well as some with less
> fullness in front.  Some of the tudorish stuff, with the almost flat
> fronts comes to mind, or that great ropa-and-kirtle from Janet
> Arnold.....
> Just some ideas.....
> --Sue


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Date: Mon, 7 Jan 2002 17:14:57 -0500
Status: RO

Actually, I tried a couple of times, and didn't really get anywhere.  Of
course, this was awhile ago.  It could be that more people are on the list
now who could pitch advice my way.;-)
Moira

> have you tried posting this question to the SCA-disabled list??
>
> their addy is medievaldisableds@yahoogroups.com
>
> this list is not only for SCA but all disableds who are into reinactment
>
> Kat


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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Mon, 7 Jan 2002 13:19:09 -0800
Status: RO

At 1:57 PM -0600 1/5/02, Magdalena wrote:
>Chris Laning wrote:
>
>>  He pointed
>>  out that, if a shirt is merely gathered into the neckline at the
>>  back, there is extra fullness at the upper back shoulder line that
>>  tends to migrate toward the front, causing the sleeves to twist. This
>>  tightens the shirt in the upper arm area, which he finds
>>  uncomfortable.
>>
>  > Anyone else have this experience?
>
>     Have you tried gathering more compactly at center back?  I 
>measure the neck,
>the back of the neck, and the front of the neck.  When I gather to a 
>neckline, I
>make sure that the back half of the shirt is gathered to the back of the neck
>measurement.  (Otherwise it _really_ twists).  I also gather 
>unevenly, with the
>majority of the material for the back gathered tightly to center back and the
>gathers gradually loosening as they head toward the shoulders.  Make sense?

Well, duh -- I should have thought of that <g>! Yes, it sounds like 
gathering more tightly in the center would help a lot.  Thanks!

Anyone know if it was done that way in the 16th century? I've never 
looked that closely at the gathering on the back of the few period 
shirts where you can see it.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Mon, 7 Jan 2002 17:24:00 -0500
Status: RO

> >OK, the scary thing is, I think I understand what you mean, although the
mental image I originally got was a bit bizarre.;-D  I even have a hoopskirt
I wouldn't mind abusing to try to experiment with this idea.  (hey, my
neighbors probably already think I'm crazy anyway.  We're still trying to
explain the concept of homeschooling and history being something other than
something you sleep through at school.);-O
Thanks, Teddy.  Could turn into a great excuse to do early 17thC for SCA.;-}
Hugs,
Moira

 I you costumed the back of the wheelchair to look like a period
> regular chair or throne, and had hidden slits in the pleating around
> the top of the "wheel-farthingale" part, you could reach down
> through them to move the wheels when you needed to go
> anywhere and the rest of the time you would simply look like a lady
> sitting down in a large -skirted Elizabethan gown.

> <steps back and waits for someone to tell him it's crazy and would
> never work>
>
> Teddy
> (I can picture it clearly in *my* head, is it my fault reception isn't so
> clear where *you* are?)


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Subject: Re: [h-cost] Only slightly OT: bangs (the hair kind, you sillies!)
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Date: Mon, 7 Jan 2002 10:57:51 -0800
Status: RO

At 8:30 AM -0800 1/7/02, Joan Garner wrote:
>What do people do with long straight bangs when
>wearing "pre-bang" garb?  Or do serious re-enactors
>simply bite the bullet & grow them out?  There is
>something about the shape of my face that I feel I
>look much better with bangs, particularly when wearing
>my hair up or back.

If you're doing an era that involves significant head-linen for 
women, you can make one of your foundation items be a "headband" of 
linen broad enough to hold it back out of sight (as well as serving 
as a foundation for other things to be pinned to).

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Mon, 7 Jan 2002 10:57:51 -0800
Status: RO

At 8:30 AM -0800 1/7/02, Joan Garner wrote:
>What do people do with long straight bangs when
>wearing "pre-bang" garb?  Or do serious re-enactors
>simply bite the bullet & grow them out?  There is
>something about the shape of my face that I feel I
>look much better with bangs, particularly when wearing
>my hair up or back.

If you're doing an era that involves significant head-linen for 
women, you can make one of your foundation items be a "headband" of 
linen broad enough to hold it back out of sight (as well as serving 
as a foundation for other things to be pinned to).

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Tue, 8 Jan 2002 01:20:14 +0100 (CET)
Status: RO

> From: "Penny Ladnier" <penny@costumegallery.com>
> How exciting!!!!  It is wonderful to meet h-costume people.  Get lots of
> sleep... Bjarne's class starts tomorrow.  BTW, did you bring the teacher an
> apple? LOL!!!
> 
> Penny Ladnier

... is this something to do with an English proverb or
joke or custom? Please... my first language is not English.
Can you explain?


Barbara Maren
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From h-costume-admin@indra.com  Mon Jan  7 19:08:06 2002
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Subject: Re: [h-cost] wheelchair historicals
References: <31935D33B47@mdx-rf-s1.nw.mdx.ac.uk> <005601c197ca$01f05480$9c55fe3f@ccc>
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Date: Mon, 07 Jan 2002 19:38:11 -0500
Status: RO

Moira.... this would be a good challenge for me. It's been quite a while since
I've had a good one. We could start plotting after Gulf Wars. ( Sorry I have a
period-esque wedding gown to do before then.)
   This could be fun! Wanna try?
  Crissy

Heather wrote:

> > >OK, the scary thing is, I think I understand what you mean, although the
> mental image I originally got was a bit bizarre.;-D  I even have a hoopskirt
> I wouldn't mind abusing to try to experiment with this idea.  (hey, my
> neighbors probably already think I'm crazy anyway.  We're still trying to
> explain the concept of homeschooling and history being something other than
> something you sleep through at school.);-O
> Thanks, Teddy.  Could turn into a great excuse to do early 17thC for SCA.;-}
> Hugs,
> Moira
>
>  I you costumed the back of the wheelchair to look like a period
> > regular chair or throne, and had hidden slits in the pleating around
> > the top of the "wheel-farthingale" part, you could reach down
> > through them to move the wheels when you needed to go
> > anywhere and the rest of the time you would simply look like a lady
> > sitting down in a large -skirted Elizabethan gown.
>
> > <steps back and waits for someone to tell him it's crazy and would
> > never work>
> >
> > Teddy
> > (I can picture it clearly in *my* head, is it my fault reception isn't so
> > clear where *you* are?)
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-admin@indra.com  Mon Jan  7 19:18:49 2002
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Date: Tue, 8 Jan 2002 00:44:49 GMT
Status: RO

There is an old tradition in the States of children bringing their teachers an apple as a gift. It started back in the pioneer days when simple gifts of food could be very important. It has gotten to the point where a red apple is often used as a symbol for a teacher and an apple by a blackboard is understood as a symbol for  a school. A derogatory use of the image is the term 'apple polisher' because, of course, the children wanted to make a good impression on their teacher, so they would shine the apples and make sure the apples looked their best. Thus the term is used for anyone who is trying very, very hard to make a good impression on someone not by their skills or talents, but by flattery or bribery.

Karen




---------- Barbara Maren Winkler <barbara@math.tu-berlin.de> writes:

From: Barbara Maren Winkler <barbara@math.tu-berlin.de>
To: h-costume@indra.com
Subject: [h-cost] Re: Back from Kopenhagen
Date: Tue, 8 Jan 2002 01:20:14 +0100 (CET)

> From: "Penny Ladnier" <penny@costumegallery.com>
> How exciting!!!!  It is wonderful to meet h-costume people.  Get lots of
> sleep... Bjarne's class starts tomorrow.  BTW, did you bring the teacher an
> apple? LOL!!!
> 
> Penny Ladnier

.... is this something to do with an English proverb or
joke or custom? Please... my first language is not English.
Can you explain?


Barbara Maren
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h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume



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Date: Mon, 7 Jan 2002 16:49:15 -0800
Status: RO


Paisley, Scotland (named for the wrong place, in Scotland were copying
Indian shawl designs)
Madras plaid (may mean the state of Madras, not the city, tho.)
Battenburg and Chantilly laces
Jersey knit
What's "Kelly green" named for?

There ought to be some Chinese silk named after cities. The only Chinese
term
I recall the translation of is Pongee = "home made". Hardly a city name.
I'll ask around and see if my coworkers know any Japanese cityname terms.

Sounds like you're planning an exhibit theme. Please tell!
--cin 
Cynthia in Tokyo 
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Subject: [h-cost] Re: city names and textile terms
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Date: Tue, 8 Jan 2002 01:47:54 +0100 (CET)
Status: RO

> From: Jadran Kale <jkale@public.srce.hr>
> I wonder could a snowball be rolled on by adding city names to a list of 
> derivated textile terms?
> 
> Like textile materials: "jeans" from "Genova", "denim" from "de Nimes", or 
> textile objects like "baldachin" from Baghdad and "fez" from the city of 
> the same name, etc.?

"Paisley" for a design ornament that was produced on shawls
in the Scottish town of the same name, imitating the expensive
Cashmere shawls from Asia. Talking about Cashmere: It is a goat,
a fiber, and a notoriously unstable and much fought-over region
of the world. Also a famous rock song and a (Danish? Norwegian?) 
rock group.


> From: seamstrix@juno.com
> And there's always damask from Damascus. 

One of the recent volumes of Spektrum der Wissenschaft 
(German edition of Scientific American; would be in there as well) 
has given me an interesting idea in this line of associations. 
In Damascus, they forged the incomparable Damascus steel which 
was extremely beautiful, hard and durable and in cooling 
developed a natural pattern of crinkled lines on its surface. 
A "Damascene pattern". Was the fabric named after the metal?
Because with a drawloom and damask patterns, you can 
create damask-like structures on fabric. I'm not saying that
damask wasn't created in Damascus, maybe it was, but my idea
is that it is not as chracteristic of Damascus as the steel
is, and that maybe the name comes from the metalwork to the
fabric, not reverse. Sounds funny that two independent similar-
looking technologies should have developed in the same city
(though maybe they did). Maybe someone with more knowledge can
say more about it.

The article was about how to recreate Damascus blades with
traces of special elements (Vanadium, I think -- and really TINY
traces) added to the alloy that steel is. The extra elements
may have come with the special iron ore the Damascus smiths imported
from India.

Barbara Maren
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From: Danielle Nunn-Weinberg <dannw@mediaone.net>
Subject: Re: [h-cost] Queries: silk velvet
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Date: Mon, 07 Jan 2002 20:41:23 -0600
Status: RO

Greetings,

At 08:07 AM 1/7/2002 -0600, you wrote:
>LadyGryphon@aol.com wrote:
> >
> > if the pile on "silk" velvet is rayon/acetate/poly
> > on a silk ground and most mundane rayon velvets have a rayon pile what
> > difference would it really make to use the rayon velvet (shiny velvet did
> > exist as did shiny silk, high shine like way rad nasty bridal satin) 
> {outside
> > of competitions of course}
>
>All of the silk velvet I've found (well, silk/rayon velvet) has been FAR
>too drapey to successfully use in period applications.  For my purposes
>(mostly 16th c.), a good-quality synthetic velvet is actually a better
>choice.  If anyone has a source for 100% silk velvet with some body to
>it, I would love to hear!
>
>Melanie Schuessler

Actually, I may have recently stumbled across a possibility...  Jack Lenor 
Larson the textile designer, has done a silk upholstery velvet.  There is 
an exhibition of his work on at the Minneapolis Institute of Art at the 
moment and there is some of it on the wall.  Apparently, the silk velvet is 
still available through certain fancy decorator types.  I have no idea bout 
the cost but it might be a viable option...

Cheers,
Danielle

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Date: Mon, 07 Jan 2002 22:01:28 -0500
Status: RO

Hi, All. There is Shantung silk, Crepe de Chine, Surah (from Surat, India, or
was that mentioned already?), Damask (I think we got that one, too) from
Syria, Muslin from the Muslim countries (mostly Egypt, I suppose), Angora
(Ankara?), Calico (Calcutta), Samite (from Samia?), Satin (from Zatun),
Osnaburg (from Osnabruck), Dowlas (from Daoulas, in Brittany), Cambric
(Cambrai), Holland Cloth (obvious), Sarcanet (from the land of the Saracens),
etc. That is besides all of the ones named for their content, like Canvas
(cannabis), and the others like Serge de Nimes, named after the place of
origin specifically. The list grows....Mike T.


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From: "Maggie Secara" <maggiros@adelphia.net>
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Subject: RE: [h-cost] Not LOTR (was: Yet another take on LOTR)
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Date: Mon, 7 Jan 2002 19:08:29 -0800
Status: RO

I also note that the posts directly before and after these have been about many
other (historical) things)


MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Robin Netherton
> Sent: Sunday, January 06, 2002 5:01 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Not LOTR (was: Yet another take on LOTR)
>
>
>
> On Sun, 6 Jan 2002 LadyGryphon@aol.com wrote:
> <requesting a return to historic-costume topics instead of LOTR:>
>
> > As my first attempt with the Eleanora items went flat-Here are a few
> > others.
> <snip about a dozen unrelated topic suggestions>
> > Hopefully there are enough topics there to let people choose.
>
> Lady G., as you have already pointed out, some people with no interest in
> LOTR are deleting those threads. So your Eleanora topic and the others you
> posted may not reach the people you're trying to reach, since you posted
> them under an LOTR subject line.
>
> Also, it would be a service to the list in both the short- and long-term
> if you would open new threads with individual posts, under separate,
> descriptive subject lines. In the short term, you will get much better
> response -- I am sure I am not the only person who deletes posts based on
> subject line when my reading time is short, and I will miss queries that
> are batched under a subject line that relates to a period I don't do. In
> the long term, you will gain the gratitude of people who use Eric P.'s
> archive, now that it's searchable *only* by subject line and author, not
> through a free-text search (a loss I lament).
>
> --Robin
>
>
> _______________________________________________
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Date: Tue, 8 Jan 2002 14:33:02 +1100
Status: RO

 
> >what's the earliest common use of an indoor water closet 
> >anyone can come up with
> 
> Roman
> 

I think the Minoans also had indoor plumbing. 

Glenda.


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Date: Mon, 07 Jan 2002 21:41:17 -0600
Status: RO

Parsla Liepa wrote:
> 
> ><< What are 'grave bindings'? >>
> ><...>
> Some cultures also tied the jaw shut, so that it wouldn't flap open and look
> like the person was screaming.

It took me a long time to figure out that this is the purpose of the
cloth tied around Marley's head (from crown to jaw) in A Christmas
Carol, probably because I never read the story--just saw it on the stage
or television.

In the text it reads: 
"Though he looked the phantom through and through, and saw it standing
before him; though he felt the chilling influence of its death-cold
eyes; and marked the very texture of the folded kerchief bound about its
head and chin, which wrapper he had not observed before: he was still
incredulous, and fought against his senses."

and later on:
"But how much greater was his horror, when the phantom taking off the
bandage round its head, as if it were too warm to wear indoors, its
lower jaw dropped down upon its
breast!"

Melanie
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From: "Glenda Robinson" <glendar@compassnet.com.au>
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Subject: Re: Re:Re: [h-cost] Off to England
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Date: Tue, 8 Jan 2002 14:49:06 +1100
Status: RO

Karen,

You could try those air-exclusion bags that you attach the vacuum cleaner to
to shrink them. I've done it with a few things and they come out OK after a
little hanging time. I'd recommend you have a play first just in case your
specific fabric doesn't take well to the squishing - or you could always put
your everyday clothes into them and leave your Elizabethan clothing
uncompressed. Jumpers/Sweaters/padded things shrink down wonderfully in
these. I did this when I went interstate with 17th century gear for a
friend's mid-winter wedding - shift, 3 petticotes, pair of bodies, bodice,
double thickness cape, shoes and various other accessories took 80% of my
suitcase - the 3 days of everyday clothes were hardly noticable in their
shrink-wrapped state.
In Australia we also have travel bags with a one-way valve for when no
powered vacuum is available.

Don't forget to take an extra suitcase so Teddy doesn't notice his missing
fabric ;-)  If I remember correctly, Teddy, weren't you complaining recently
of having  too much fabric in your stash anyway?

Glenda.
----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 08, 2002 4:00 AM
Subject: Re:Re: [h-cost] Off to England


> Yippeeeee!!! I get the sewing room!!!!
>
> I am trying to figure out how to pack my Elizabethans in the smallest
possible space......but they are still full court Elizabethans!!!!!!
>
> Karen
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-admin@indra.com  Mon Jan  7 22:31:49 2002
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From: Cynthia Barnes <Cynthia_Barnes@Phoenix.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: RE: [h-cost] Regency winter dresses
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Date: Mon, 7 Jan 2002 19:54:48 -0800
Status: RO

> Ah, I meant Regency in the broad sense it is sometimes used, 
> to include 
> the Empire and Directoire periods (mainly because I'm not sure of 
> whether those terms are used to describe clothing in English - in 
> Norwegian we only use Empire to describe the high-waisted 
> look of these 
> periods (as far as I know)), but the correct period I'm talking about 
> would be Directoire. I think. :)

Let me see if I can help with the terms... others, please chime in!

Generally, the name used would be one suitable for the place & time you are
re-creating.  No American would ever say "Directoire" and mean the US
Federal period.  Clearly, Regency refers to England's monarchic arrangement.


For me, "Directoire" is more of a political term than a fashion term.
There's the approx 8 year time when France redesigned everything from
government to the calendar. Basically until about 1805.  In fashion, it
conjures images of the patriotic post-Revolution Francaise tricolor
cockades, the song "Ca Ira", big 1790s skirts "retrousees dans les poches"
(pulled out thru the pockets). At the turn of the century, style suddenly
slims & becomes Neo-classical. The merveilleuse & macaroni, David's designs
for the new Republique's Assemble, gold embroideries on bright colored
gowns.  The use of paillettes. 

Unsurprisingly, most people call 1805-1815 in France "Napoleonic". The
French call it "Deuxieme Empire" or "Second Empire" (same spelling in French
& English) or "Republique".

"Regency", for me, denotes dresses almost unvaringly white or "drab" gown,
Jane Austen novels, Admiral Nelson, the Patrick O'Brian books and way too
many BBC programs to list. The expression denotes English things.

"Federal" calls up American images of building after the War of
Independance, manifest destiny, the French & Indian War, the sacking of
Washington DC by the Brits. At the same time, there's the new territorial
exploration (e.g Lewis & Clark who would HARDLY have cared about fashion).
Fabrics tend to be more sensible & locally made reflecting new national
pride and a postwar rebuilding. Most things were homemade, but the richer,
high-fashion sorts in Northeastern cities like Boston, Philidelphia & NY
would have had access to fancy foreign fabrics.

On the Pacific coast, Alta California was still under Spanish rule and would
be until 1821 and the Mexican War of Independance. Americans, Russians,
Englishmen and the local indian tribes wandered thru Spanish Calif.
Americans included people like Fremont's survey party and Richard Dana
author of "Two Years Before the Mast". Using terms like "regency", "federal"
or "directoire" to describe Spanish colonial clothing in California would be
completely confusing.

Annoyingly, different timeframes are described by the term. Art Historians
mean terms of style, while political historicans dicker over the de facto &
official times when George (soon to be IV) was regent for his father, George
III. It's all very inconsistent.

So there's a boring English lesson for today. The upshot is, that you're
right. "Regency" is a commonly used general term (and therefore confusing)
grouping a broader range of arts, cultures, places & styles.

> Part of my problem is that the character I'm portraying comes from 
> Trondheim in Norway, in the year 1800. I don't have any sources as to 
> the dress of that city at that time. But judging from my sources 
> from other parts of the country, I've figured that they'd be 
> a few years behind British and French fashion,

What was the time period called in Norway? As you think about your design,
you might ask you self these questions:  What were the modifications to the
French & English styles for *Norwegian* weather?  What were locally
available goods?  How did local artistic taste get incorporated?  Were there
any local, nationalistic, political or religious statements made in
clothing?

--cin in Tokyo
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Date: Mon, 07 Jan 2002 18:47:01 -0800
Status: RO


>figure out the corset thing.  (Maybe even choose a decade that didn't do
>corsets quite yet.);-D

Do a thing which looks like a corset, but doesn't fit any tighter than a
modern bustier, and you'll be fine in any corset period.  The things don't
really have to be tight, just snug as a bra.

Kayta
   //// \\\
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Date: Mon, 07 Jan 2002 22:13:02 -0800
Status: RO

>However, I'm NOT built like a 12-year old, and I would prefer
>not to look like a complete walrus if at all possible. (

My solution is to give the bodice a high waistline, but not to attach the
front of the skirt to the body-edge of it.  The back of the skirt attaches
to the bodice, as usual, but I cheat in front.  In front I attach the skirt
a couple of inches from the body-edge of the bodice, such that it hangs
straight down, and doesn't follow the bulge of my post-childbirth belly.  I
don't allow the skirt front to go in at the high waist then drape out again
over the belly.

The / and \ and | below, along the left edge of this post, may give you an
idea of what I'm talking about.  See if you can imagine a side view of a
woman's actual anatomy, and the straight line of a skirt attached where I
said it was attached.

\
 \
  |
 /
/|
\|
 |
 | 

Kayta
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From h-costume-admin@indra.com  Tue Jan  8 00:57:33 2002
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Date: Tue, 8 Jan 2002 01:24:31 -0500
Status: RO

Go see the costumes at this site that does fairytales for children.
http://www.animalx.com/DWmain.htm  Make sure to click on each section.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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Date: Mon, 07 Jan 2002 23:29:01 -0800
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To Penny-

Oh, thank you for the lovely site.  Such beautiful wings and head
pieces!!! Some peoples' creativity just blows me away!!!

Theesa Eacker

Penny Ladnier wrote:
> 
> Go see the costumes at this site that does fairytales for children.
> http://www.animalx.com/DWmain.htm  Make sure to click on each section.
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Subject: Re: [h-cost] You'll love this
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Date: Tue, 8 Jan 2002 02:49:21 -0500
Status: RO

Theesa,

We have some new classes that will be coming aboard very soon.  One class
will be how to make fairy costumes with doing little sewing.  The instructor
was sharing with me tonight some sites with fairy wings. This site was one
of the sites.   This is not her work, we were just playing on the web
together.  I love the lady with the long hair spread all over the wings
(AnimalX).  The little boy is adorable too.

Costume is such a fun industry to work in!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com


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Subject: Re: [h-cost] Regency winter dresses
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Date: Tue, 8 Jan 2002 01:00:55 -0500
Status: RO

One more tidbit for Ingrid -- the wool daydress I saw is in a museum
collection in Denmark and has the extra-long sleeves I mentioned. There is
also a dress in the collection that is knitted -- just like a big, fitted
sweater dress. It looks very 1970s but it straight out of 1810s Denmark!

Have fun!
Jennie

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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Subject: RE: [h-cost] Regency winter dresses
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Date: Tue, 8 Jan 2002 08:34:50 -0000
Status: RO


> Unsurprisingly, most people call 1805-1815 in France "Napoleonic". The
> French call it "Deuxieme Empire" or "Second Empire" (same 
> spelling in French
> & English) or "Republique".

Actually, the Second Empire refers to the rule of Napoleon's nephew from
1852 to 1870. In terms of costume styles it corresponds more to what is
referred to as the crinoline era.
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Subject: [h-cost] fashion atrocities
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Date: Tue, 8 Jan 2002 01:11:03 -0800 (PST)
Status: RO


For those of you not up on obscure english holidays, this Monday was Plough
Monday.  That's the Monday after 12th Night, when groups of dancers would
drag a plough along with them as they cadged for food, drink, and money.
If a well-to-do household _didn't_ give out, the boys ploughed up their
front yard.  Or worse yet, the manure pile.  

Anyway, the longsword dancers made their yearly appearance at the ceili
I run.  After they took off, our dancers announced that _next_ monday
is Plaid Monday.  I'm really frightened at what's going to turn up.
I'll probably wear some of my heinous Clan MacDude plaid if I can find
it...which I of course just did.  It's even uglier than I remembered.
Yellow, fuscia, cyan, purple, black, and threads of lurex.  I may
still be the Bad Plaid champion, but I'm sure the kids will come up
with far worse combinations.  Clash of the Tartans, anyone?  I expect
I'll see all those horrible victorian plaids mixed with even worse 
modern ones. ;}

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Subject: RE: [h-cost] Regency winter dresses
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Date: Tue, 8 Jan 2002 00:55:15 -0800
Status: RO


I just checked at www.invalides.org. You are exactly right.
--cin 

> > Unsurprisingly, most people call 1805-1815 in France 
> "Napoleonic"...
> 
> Actually, the Second Empire refers to the rule of Napoleon's 
> nephew from
> 1852 to 1870. In terms of costume styles it corresponds more 
> to what is referred to as the crinoline era.
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] LOTR - Galadriel's frock
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Date: Tue, 08 Jan 2002 10:40:45 +0000 (GMT)
Status: RO

Hi Shea,

> We just saw it and I agree with you about the fabric. I know they were
> trying to create a light, spiderweb, eternal, nature-like garment, but
> it didn't work. But you know, like you, we got caught up in the movie
> and overall - it just didn't matter. I was delighted that they were
> able to produce this film with so much respect for the books. It was
> great!

Absolutely.  Shame about that one frock, but perhaps I had too-high 
hopes (elves have always been a favourite of mine...<g>)

Teddy
(wearer of many an elf-costume)
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Date: Tue, 08 Jan 2002 10:51:49 +0000 (GMT)
Status: RO


> OK, the scary thing is, I think I understand what you mean,
> although the mental image I originally got was a bit bizarre.;-D  I
> even have a hoopskirt I wouldn't mind abusing to try to experiment
> with this idea. (hey, my neighbors probably already think I'm crazy
> anyway.  We're still trying to explain the concept of homeschooling
> and history being something other than something you sleep through
> at school.);-O Thanks, Teddy. Could turn into a great excuse to do
> early 17thC for SCA.;-} 

You're welcome, Moira 

We will, of course, expect details posted if/when you get it done.... 
and pictures would be good too.

I had some more thoughts about the frame....  if it wasn't fully 
circular, but had a gap in it, the two ends of the metal-boning could 
clip on to the two back uprights of the wheelchair (the ones leading 
up to the handles)  If you had a series of them with the highest at 
waist-height , they should hold the fabric out away from the 
wheels.... or would those uprights be too far forward to hold the 
lower hoops (can't recall if the wheels extend farther back than that)

The other option for the lower ones is that they completely encircle 
the chair and the only parrt of it that is visible would be the back and 
handles (which could be hidden under a long back veil... even 
provide meaky support for one of those big standing ruff-crescent 
shaped affairs,  perhaps?)... Help me out here late-Elizabethan 
style experts!

Teddy
(when will they develop the technology to transmit mental-images?)
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Queries: silk velvet
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Date: Tue, 08 Jan 2002 10:58:02 +0000 (GMT)
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> >All of the silk velvet I've found (well, silk/rayon velvet) has been
> >FAR too drapey to successfully use in period applications.  For my
> >purposes (mostly 16th c.), a good-quality synthetic velvet is
> >actually a better choice.  If anyone has a source for 100% silk
> >velvet with some body to it, I would love to hear!
> >
> >Melanie Schuessler
> 
> Actually, I may have recently stumbled across a possibility...  Jack
> Lenor Larson the textile designer, has done a silk upholstery velvet. 
> There is an exhibition of his work on at the Minneapolis Institute of
> Art at the moment and there is some of it on the wall.  Apparently,
> the silk velvet is still available through certain fancy decorator
> types.  I have no idea bout the cost but it might be a viable
> option...
> 
> Cheers,
> Danielle

The silk mill and museum in Stockholm still makes and sells 100% 
silk velvet (as well as silk brocades to 15th and other century 
patterns) but their fabrics are extremely expensive.  When I visited 
there a couple of years ago the cheapest fabric they sold was 
around £100 a metre and the prices rose steeply from there

The velvet was *lovely* - thick piled nad heavy

Teddy
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Subject: Re: [h-cost] Off to England
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Date: Tue, 08 Jan 2002 11:42:18 +0000 (GMT)
Status: RO


> Don't forget to take an extra suitcase so Teddy doesn't notice his
> missing fabric ;-)  If I remember correctly, Teddy, weren't you
> complaining recently of having  too much fabric in your stash anyway?
> 
> Glenda.

And that problem, at least, has been solved.  Through the powers 
of barter, sale and exchange, I have honed down the fabric stash 
considerably.   Several pieces of velvet and brocade went to some 
friends who are as poor as very poor things (a couple of them given 
to me by one them, years ago when she was better off financially) 
and are now made into new garb for them to wear to my 
Coronation (I'm looking forward to seeing it) and I've used up my 
*entire* stock of my favourite cotton damask.  I use this particular 
stuff a lot because it's cheap, comfortable to wear and comes in a 
wide variety of colours - plus it can be easily machine dyed or re-
dyed, so stuff that's not the right shade or that needs "freshening 
up" after a few years of wear can be made to look new again (I did 
this recently with a tired-looking orange set of 15th century 
costume by stripping out the colour and re-dying the hose royal 
blue, the short houpellande dark forest green and overdying the 
orange with a sunny yellow to perk it up a bit.  Looks like a 
completely new set.  Unfortunately I discovered I was completely 
out of it when I accidentally tore through the middle of a leg piece 
when making some hose for a friend and my standard fix (cutting 
another leg in a different colour of the same fabric and making the 
hose parti-coloured) wasn't possible because I'd used *all my 
previously vast stash of it.....  Luckily, Tom had one small piece left 
in his stash what was just the right size to cut a full leg from.

Anyhow, the fabric stash is much more managable now... ggod 
thing too since I bought the end of a bolt of blue cotton brocade 
(eleven metres) in the sale at John Lewis's on Thursday evening 
(remember thosecotton/ply mix red drapes with the Tudor-style 
pattern repeat that I was going for Anne?  I bought this 100% cotton 
fabric with a similar pattern instead) because it was about a third 
the normal price.....<g>

Teddy

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Subject: [h-cost] Wearing 16th century shirts
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Date: Tue, 08 Jan 2002 09:29:13 -0600
Status: RO

>     Have you tried gathering more compactly at center back?  I 
>measure the neck, >the back of the neck, and the front of the neck.  
When I gather to a >neckline, I >make sure that the back half of the 
shirt is gathered to the back of the neck >measurement.  
(Otherwise it _really_ twists).  I also gather >unevenly, with the
>majority of the material for the back gathered tightly to center back and the
>gathers gradually loosening as they head toward the shoulders.  Make sense?

Well, duh -- I should have thought of that <g>! Yes, it sounds like 
gathering more tightly in the center would help a lot.  Thanks!

Anyone know if it was done that way in the 16th century? I've never 
looked that closely at the gathering on the back of the few period 
shirts where you can see it.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

A method that I have found that seems to help with this problem is, when using a shoulder seam, to cut the back shoulder seam 3 - 4 inches wider than the front.  This extra fabric is gathered to the center third of the front shoulder when the shoulder seam is stitched.  Front and back bodies are still the same width so this means less of the back to be gathered onto the neckband.  It also seems to put extra fabric right where it is needed on broad shouldered guys.

I learned this about 20 years ago from an SCA handout (Robin, you may remember Robert's shirt articles).  Sorry, I don't know the period source.

Catherine


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Date: Tue, 8 Jan 2002 10:54:26 EST
Status: RO


> have you tried posting this question to the SCA-disabled list??
>
> their addy is medievaldisableds@yahoogroups.com
>
> this list is not only for SCA but all disableds who are into reinactment


Does this group allow non-disabled lurkers?  The topic is one I'm interested 
in.

Leah
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Date: Tue, 08 Jan 2002 11:27:56 -0500
Status: RO



>
>For those of you not up on obscure english holidays, this Monday was Plough
>Monday.  That's the Monday after 12th Night, when groups of dancers would
>drag a plough along with them as they cadged for food, drink, and money.
>If a well-to-do household _didn't_ give out, the boys ploughed up their
>front yard.  Or worse yet, the manure pile.
>

Hmmm....   If my Barony's dance group ever needs a fundraiser.....


>Anyway, the longsword dancers made their yearly appearance at the ceili
>I run.  After they took off, our dancers announced that _next_ monday
>is Plaid Monday.  I'm really frightened at what's going to turn up.
>I'll probably wear some of my heinous Clan MacDude plaid if I can find
>it...which I of course just did.  It's even uglier than I remembered.
>Yellow, fuscia, cyan, purple, black, and threads of lurex.  I may
>still be the Bad Plaid champion, but I'm sure the kids will come up
>with far worse combinations.  Clash of the Tartans, anyone?  I expect
>I'll see all those horrible victorian plaids mixed with even worse
>modern ones. ;}


Plaid Monday? I like it!  We often do themed practices like this in my 
Barony.  This week has been dubbed "Pet me, spank me" night -- velvet and 
leather.

Parsla

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: [h-cost] Corsets/stays (was Re: wheelchair historicals)
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Date: Tue, 8 Jan 2002 13:19:12 -0500 (EST)
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On Mon, 7 Jan 2002, Carolyn Kayta Barrows wrote:
> Do a thing which looks like a corset, but doesn't fit any tighter than a
> modern bustier, and you'll be fine in any corset period.  The things don't
> really have to be tight, just snug as a bra.
> 
> Kayta

I think I'd give that advice to just about anybody wearing stays or a
corset -- you _don't_ need to tighten it down so much that you're
uncomfortable.  I don't think most women wore their stays that tight --
most women actually had to work in them, after all.  Only the extremely
fashionable laced themselves so tightly as to injure themselves.

Speaking of stays...

I got a copy of "Support and Seduction: A History of Corsets and Bras" by
Beatrice Fontanel.  Here's my review: Don't bother.  It's got a lot of
pretty pictures, but they're all thrown in with little regard to what
century the author is discussing.  For instance, there's a figure from one
of the Beuckelaer genre paintings (15th c.) in the middle of a section
discussing 18th c. women -- the author specifically claims that
middle-class women in the 18th c. didn't wear stays, when there is very
good evidence to the contrary.  I also find the sensationalistic writing
style ("Look at all the horrible, horrible things women did to their
bodies!  Oh, I'm shocked, shocked!" kind of thing) very distracting.  She
trots out all the old myths, and does debunk a few of them (mentioning,
for instance, that many photos were retouched), but still lets a number
of them pass by.

If someone were looking for a good book on corsets, Waugh's _Corsets and
Crinolines_ is my hands-down favorite.

-- Mara


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Subject: Re: [h-cost] wheelchair historicals - Elizabethan
Organization: The Corner of my Desk
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Date: Tue, 08 Jan 2002 18:28:51 GMT
Status: RO

On Tue, 08 Jan 2002 10:51:49 +0000 (GMT), the following was written in
this electric book by Teddy <teddy1@mdx.ac.uk>:

>(when will they develop the technology to transmit mental-images?)

Oh, I hope we don't. Some of my firends have the oddest sense of
humor. I *don't want* to know what's going on their heads! 

;)

Maura
---chimericalgirl@attbi.com-Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
        }{ http://www.chimericalgirl.net }{
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Subject: Re: [h-cost] Wearing 16th century shirts
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Date: Tue, 8 Jan 2002 14:06:11 -0600 (CST)
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On Tue, 8 Jan 2002, Catherine Kinsey wrote:

> I learned this about 20 years ago from an SCA handout (Robin, you may
> remember Robert's shirt articles).  Sorry, I don't know the period
> source.

Not my period, so I haven't pursued this. I've seen Bob's article, but I
don't think I have a copy. Do I remember correctly that he based the
patterns on something Arnold published earlier -- the famous "shirts and
smocks" article?

--Robin


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In a message dated 1/8/02 12:28:09 PM Central Standard Time, 
h-costume-request@indra.com writes:


> It's even uglier than I remembered.
> Yellow, fuscia, cyan, purple, black, and threads of lurex.  
Do you have a scan of this?  I used to have a plaid that was simular colors 
and I loved it.  I don't think the fuscia was in there though.  I would like 
to someday find something simular to what I had as it looked good on me.
Kelly
m311@aol.com


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 1/8/02 12:28:09 PM Central Standard Time, h-costume-request@indra.com writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">It's even uglier than I remembered.
<BR>Yellow, fuscia, cyan, purple, black, and threads of lurex. &nbsp;</BLOCKQUOTE>
<BR>Do you have a scan of this? &nbsp;I used to have a plaid that was simular colors and I loved it. &nbsp;I don't think the fuscia was in there though. &nbsp;I would like to someday find something simular to what I had as it looked good on me.
<BR>Kelly
<BR>m311@aol.com
<BR></FONT></HTML>

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Only slightly OT: bangs (the hair kind, you  sillies!)
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Date: Tue, 8 Jan 2002 20:15:08 +0000
Status: RO

Tea sandwiches sound sort of - dry and leafy?

JEan


In message <20020107220634.16243.qmail@web20304.mail.yahoo.com>, Joan
Garner <joan_the_harpist1119@yahoo.com> writes
>Well, my interest in historical costume, food & music
>tapers off quite sharply after about 1600!  (except
>for a perverse fascination with making tea sandwiches
>-- I am The Dark Queen of Tea Sandwiches)
>
>Joan Hall
>"If my home is my castle, where are the servants?"
>"Hey, you!  Are you a servant?"
>
>--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
>
>> In what period are you interested, wherein bangs
>> wouldn't be correct?  (or
>> have I just read too many Victorian novels?) 
>
>
>__________________________________________________
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From h-costume-admin@indra.com  Tue Jan  8 15:05:39 2002
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Subject: Re: [h-cost] Wearing 16th century shirts
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Date: Tue, 08 Jan 2002 15:30:39 -0500
Status: RO

At 09:29 AM 1/8/02 -0600, you wrote:
>>     Have you tried gathering more compactly at center back?  I 
>>measure the neck, >the back of the neck, and the front of the neck.  
>When I gather to a >neckline, I >make sure that the back half of the 
>shirt is gathered to the back of the neck >measurement.  
>(Otherwise it _really_ twists).  I also gather >unevenly, with the
>>majority of the material for the back gathered tightly to center back and the
>>gathers gradually loosening as they head toward the shoulders.  Make sense?
>
>Well, duh -- I should have thought of that <g>! Yes, it sounds like 
>gathering more tightly in the center would help a lot.  Thanks!
>
>Anyone know if it was done that way in the 16th century? I've never 
>looked that closely at the gathering on the back of the few period 
>shirts where you can see it.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>
        I can not say for sure regarding the 16th century, having never
examined an extant shirt of the period, but that is how it is done in most
cases on 18th and early 19th century shirts.  

Cheers,
Ron Carnegie
r.carnegie@verizon.net
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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Subject: Re: [h-cost] Only slightly OT: bangs (the hair kind, you  sillies!)
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Date: Tue, 8 Jan 2002 12:50:51 -0800 (PST)
Status: RO

ohmigod!  you've invented a new tea sandwich:  the tea
tea sandwich!!

--- Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
> Tea sandwiches sound sort of - dry and leafy?
> 
> JEan

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Subject: Re: [h-cost] Corsets/stays (was Re: wheelchair historicals)
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Date: Tue, 08 Jan 2002 13:41:36 -0800
Status: RO

>> Do a thing which looks like a corset, but doesn't fit any tighter than a
>> modern bustier, and you'll be fine in any corset period.  The things don't
>> really have to be tight, just snug as a bra.

>I think I'd give that advice to just about anybody wearing stays or a
>corset -- you _don't_ need to tighten it down so much that you're
>uncomfortable.  I don't think most women wore their stays that tight --
>most women actually had to work in them, after all.  Only the extremely
>fashionable laced themselves so tightly as to injure themselves.

It's the difference between 'tight' and 'snug'.  Not so tight it hurts,
interferes with breathing, etc.  Snug enough to do the work of a bra, and
to take the strain of holding one in the period shape off your dress
fabric.  When I teach corset-making classes, first I point out my Sweetie's
more-than-18" neck, and let them think about that as I mention Jessica
Rabbit and discuss the relevant myth*, then I start calling corsets 'period
body-shapers'.

*Yes, I have seen pictures of women who may actually have 18" waists, but
mentioning Jessica Rabbit puts the 18"-waist idea in it's proper perspective.

Kayta
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Subject: Re: [h-cost] Re: Wearing 16th Century Shirts
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Date: Tue, 08 Jan 2002 13:04:23 -1000 (HST)
Status: RO

> Anyone know if it was done that way in the 16th century? I've never
> looked that closely at the gathering on the back of the few period
> shirts where you can see it.

	In the photos I've seen with enough detail to show it, the gathers
are evenly spaced all the way around.

annora

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Date: Tue, 8 Jan 2002 17:49:56 -0600
Status: RO

Can anyone tell me where I might be able to find a better/closer picture of
the following? Heck, can anybody tell me more about this picture in the
first place?

http://www.pconline.com/~tomdolan/costume/thmb6.htm

Thanks!
**********************
Rebecca Schmitt
aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
Bristol,
BRF FOF

So many books, so little time

lotsofteapots@charter.net
**********************


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From: Sheryl Nance-Durst <sherylnd@sound.net>
Subject: Re: [h-cost] Re: shrugs
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Date: Tue, 08 Jan 2002 17:59:01 -0600
Status: RO

For those of you interested in this topic, Threads Magazine had a nice 
article in the Oct/Nov
1999 issue (#85) on sewing shrugs.  Couple of cute ones in there if I 
remember correctly.
Wouldn't you know it.. I can't find my copy right now. :-(

Sheryl Nance-Durst

At 06:06 PM 1/6/02 -0500, you wrote:
>As to what to wear them with or why?  Basically, any time you could wear a 
>shawl, you could wear an equivalent "shrug".  I've even seen a few 
>designer type varients... can't remember how long ago... where it 
>(obviously) wasn't called a shrug, but went over the shoulders, down to 
>cuffed wrists, and draped
>"elegantly" down to near knee length.  Last time I saw one, it was 
>black... I *think* paired with either a grey or silver slim skirted 
>dress... that was also draped side to side ... sort of bunting 
>style?  (don't know how you describe it... think that short piece in the 
>front of some of the styles that
>were worn on bustled skirts way back when... ... now that I think of it, 
>the skirt may have resembled that, slim with the drape in front, but only 
>to mid/upper thigh or so)
>
>Problem with odd pictoral memories that pop up... you can almost but not 
>*quite* see what you're remembering...
>
>-Elisabeth


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Date: Tue, 8 Jan 2002 19:27:56 -0600 (CST)
Status: RO


On Tue, 8 Jan 2002, Rebecca Schmitt wrote:

> Can anyone tell me where I might be able to find a better/closer
> picture of the following? Heck, can anybody tell me more about this
> picture in the first place?
> 
> http://www.pconline.com/~tomdolan/costume/thmb6.htm

Was there a particular one of these pictures you were interested in? The
link you gave shows many pages scanned from one of those Victorian
coffee-table costume books. I don't see a label, but if I had to lay
money, I'd say it's "Costumes of All Nations," by Albert Kretschmer and
Carl Rohrbach, published in 1882 in England according to my notes from my
lecture on Victorian costume scholarship. The authors are German, but I
don't recall whether there was an earlier German edition, or whether the
British publication was first.

--Robin

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Date: Tue, 8 Jan 2002 19:26:49 EST
Status: RO

In a message dated 1/8/2002 3:59:06 AM Eastern Standard Time, 
Cynthia_Barnes@phoenix.com writes:

<< Actually, the Second Empire refers to the rule of Napoleon's 
 > nephew from
 > 1852 to 1870. In terms of costume styles it corresponds more 
 > to what is referred to as the crinoline era. >>
Totally off-topic, but I always thought it was poetic justice that Napoleon 
III was Napoleon's nephew but Josephine's grandson.  (Because Napoleon 
divorced Josephine because she could not provide him an heir.)  Josephine's 
daughter, Hortense, married one of Napoleon's brothers.
Ann Wass
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Date: Tue, 08 Jan 2002 18:26:27 -0600
Status: RO

Rebecca Schmitt wrote:

> Can anyone tell me where I might be able to find a better/closer picture of
> the following? Heck, can anybody tell me more about this picture in the
> first place?
> 
> http://www.pconline.com/~tomdolan/costume/thmb6.htm

http://www.pconline.com/~tomdolan/costume/costume2.htm says "1882
Lithographs by Albert Kretschmer".  A quick search through the OCLC
shows various editions, apparently there was a 1977 reprint in German. 
Looking at bookfinder there are several origins for sale, but they're
well over US$1000.00.  I'd suggest contacting the web site owner for a
complete citation and ordering it through interlibrary loan.

--Charlene

-- 
How can "crash course" and "collision course" have two different
meanings?  -- George Carlin
=====
Free Book Searches (out-of-print, hard-to-find, foreign, used, new) -
mailto:findbook@flash.net
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Date: Tue, 8 Jan 2002 19:28:05 EST
Status: RO

P.S.  There was, of course, functionally no Napoleon II.  I suppose that 
title was reserved for Napoleon's son by Marie Louise, the King of Rome, who 
never became emperor.
Ann Wass
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Date: Tue, 8 Jan 2002 19:44:41 -0600 (CST)
Status: RO


On Tue, 8 Jan 2002, Robin Netherton wrote:

> On Tue, 8 Jan 2002, Rebecca Schmitt wrote:
> 
> > Can anyone tell me where I might be able to find a better/closer
> > picture of the following? Heck, can anybody tell me more about this
> > picture in the first place?
> > 
> > http://www.pconline.com/~tomdolan/costume/thmb6.htm
> 
> Was there a particular one of these pictures you were interested in? The
> link you gave shows many pages scanned from one of those Victorian
> coffee-table costume books. I don't see a label, but if I had to lay
> money, I'd say it's "Costumes of All Nations," by Albert Kretschmer and
> Carl Rohrbach, published in 1882 in England according to my notes from my
> lecture on Victorian costume scholarship. The authors are German, but I
> don't recall whether there was an earlier German edition, or whether the
> British publication was first.

(following up my own post) ...  Well, duh, yeah, there's a link to the
index at the bottom of the page. I didn't see it at first. Yes, that's the
book.

Not a particularly reliable resource for historic costume, though a very
nice one for the study of 19th-century costume scholarship. You can still
find it on the occasional open shelf of some university libraries.

--Robin


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Date: Tue, 8 Jan 2002 16:48:05 -0800 (PST)
Status: RO

Someone mentioned this lately, and I think that person
has the same problem I do.  I understand the concept
of Holbein stitch.  Intellectually I understand how it
is *supposed* to work, but when I try to work anything
more complicated than a simple square or circle it
somehow gets all weird & isn't reversible any more. 
Are some blackwork patterns just too complicated for
Holbein stitch?

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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From: Cynthia Barnes <Cynthia_Barnes@Phoenix.com>
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Date: Tue, 8 Jan 2002 17:25:19 -0800
Status: RO


Jadran-san,

Japanese City name textile terms
Weaving:

Saga nishiki ori - weaving, a tabby brocade form invented by the wife of a
feudal lord circa 1820, Edo period, named for the city of Saga (now in Saga
prefecture). According to my Japanese textile books, Nishiki means "many
beautiful colors together" and can applied to polychrome tabby, twill &
satin weaves. According to my Jpn-Eng dictionary, nishiki means "brocade".
Nishiki is 3, 5 or 7 colors (numerology & folk magic reasons).

Dye:

Edo yuzen - paste resist dye form, used in the most expensive formal kimono,
furosode and the outer robe worn over all white emsemble worn by the bride
at a Shinto wedding. Currently seen in wedding & funeral garments.  Edo is
the old name for Tokyo. (Saw one at the flea market for $120 last weekend.
Multiple thousands of $$$ when new.)

Kyo shibori - Very sophisticated tie-die form from Kyoto; the most prized
Kyo shibori seems to be Kyo "fawn-spot" shibori.  I've seen these mostly at
cherry blossom parties, summer festivals, shichi-go-san and other happy
semi-formal occasions. Also spotted (pardon the pun) on a maiko in the Gion
district of Kyoto one October evening.

Kaga yuzen - is another paste resist dye method named for the city of Kaga
(now in Kaga prefecture).

(There was also a stencil-dye technique name that I've forgotten.)

Embroidery:

none that I could find. The only one named for a place was named for China.

Clothing names:

Nagoya obi - a braided tie-on "belt" that complete replaces the obi most
people are familiar with.  I've never seen one worn, but I havent been to
Nagoya either.

The books I have are out of print or only available in Japan.  You might try
_Japanese Textiles: In the Victoria and Albert Museum_, for more info.

--cin 
Cynthia in Tokyo 

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Date: Tue, 08 Jan 2002 19:58:40 -0600
Status: RO



Joan Garner wrote:
> 
> Someone mentioned this lately, and I think that person
> has the same problem I do.  I understand the concept
> of Holbein stitch.  Intellectually I understand how it
> is *supposed* to work, but when I try to work anything
> more complicated than a simple square or circle it
> somehow gets all weird & isn't reversible any more.
> Are some blackwork patterns just too complicated for
> Holbein stitch?
> 


There are some patterns that aren't meant to be reversible.  They are
often nearly so, but not quite.  

The best thing I could suggest is tracing the pattern on graph paper. 
Use one color marker, say red, for the out going path, then use another,
say blue, for the return. That might help get the feel for it better.  I
know when I first started blackwork I was working with library books so
I was copying by hand the patterns for later reference. I was using one
color for the whole motif, unless it was real complicated and required
more colors.  somewhere during those copying efforts it "click" for me.
Alexandria
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From: Megan McConnell <madilayn@yahoo.com>
Subject: Re: [h-cost] Blackwork "paths"
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Date: Tue, 8 Jan 2002 17:51:31 -0800 (PST)
Status: RO

Hi Joan

In short - yes!  Some are too difficult to do.  

I can  get about 90% of blackwork reversable - but it
does take a while in "reading" the pattern

The best thing I found was to "practice" using a graph
paper and black pen and draw the pattern to learn
paths.

Megan M
--- Joan Garner <joan_the_harpist1119@yahoo.com>
wrote:
> Someone mentioned this lately, and I think that
> person
> has the same problem I do.  I understand the concept
> of Holbein stitch.  Intellectually I understand how
> it
> is *supposed* to work, but when I try to work
> anything
> more complicated than a simple square or circle it
> somehow gets all weird & isn't reversible any more. 
> Are some blackwork patterns just too complicated for
> Holbein stitch?


=====
Megan McConnell
ICQ:  57164109

"When I'm old, I don't want them to say of me, "She's  so charming." I want them to say, "Be careful, I think she's armed."    -G. Stoddart

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Subject: Re: [h-cost] Regency winter dresses
References: <Pine.LNX.4.33.0201071022370.20403-100000@studorg.hiof.no> <013d01c19809$d6e2cd00$ac37fea9@jchancey>
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Date: Tue, 08 Jan 2002 19:58:49 -0600
Status: RO

Ooh, tell us more about that one!  I'm always looking for information on 
knitted items, particularly something like a dress - you don't see many 
of them (at least *I* don't).

Karen

Jennie Chancey wrote:

>One more tidbit for Ingrid -- the wool daydress I saw is in a museum
>collection in Denmark and has the extra-long sleeves I mentioned. There is
>also a dress in the collection that is knitted -- just like a big, fitted
>sweater dress. It looks very 1970s but it straight out of 1810s Denmark!
>


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From h-costume-admin@indra.com  Tue Jan  8 21:33:27 2002
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Date: Tue, 08 Jan 2002 22:04:11 -0500
Status: RO

At 1/8/2002 10:54 AM, you wrote:
> > have you tried posting this question to the SCA-disabled list??
> > their addy is medievaldisableds@yahoogroups.com
> > this list is not only for SCA but all disableds who are into reinactment
>
>Does this group allow non-disabled lurkers?  The topic is one I'm 
>interested in.
>Leah

Well, I'm on it, and I'm not disabled.

so I guess you can lurk also.  8-)

Kat

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From: "Maggie Secara" <maggiros@adelphia.net>
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Subject: RE: [h-cost] Rebecca's link, was: no subject
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Date: Tue, 8 Jan 2002 19:03:03 -0800
Status: RO

According to the main page, they are:

1882 Lithographs by

Albert Kretschmer

Painter and Costumer to the Royal Court Theatre, Berlin


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Robin Netherton
> Sent: Tuesday, January 08, 2002 5:28 PM
> To: h-costume@indra.com
> Subject: [h-cost] Rebecca's link, was: no subject
>
>
>
> On Tue, 8 Jan 2002, Rebecca Schmitt wrote:
>
> > Can anyone tell me where I might be able to find a better/closer
> > picture of the following? Heck, can anybody tell me more about this
> > picture in the first place?
> >
> > http://www.pconline.com/~tomdolan/costume/thmb6.htm
>
> Was there a particular one of these pictures you were interested in? The
> link you gave shows many pages scanned from one of those Victorian
> coffee-table costume books. I don't see a label, but if I had to lay
> money, I'd say it's "Costumes of All Nations," by Albert Kretschmer and
> Carl Rohrbach, published in 1882 in England according to my notes from my
> lecture on Victorian costume scholarship. The authors are German, but I
> don't recall whether there was an earlier German edition, or whether the
> British publication was first.
>
> --Robin
>
> _______________________________________________
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From: "Maggie Secara" <maggiros@adelphia.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Blackwork "paths"
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Date: Tue, 8 Jan 2002 19:05:37 -0800
Status: RO

Some really great blackwork patterns, including double-running, and information
is at
http://www.blackworkarchives.com/

The designer is my webmistress and best pal, Paula Kate Marmor. :-)

MaggiRos


> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Megan McConnell
> Sent: Tuesday, January 08, 2002 5:52 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Blackwork "paths"
>
>
> Hi Joan
>
> In short - yes!  Some are too difficult to do.
>
> I can  get about 90% of blackwork reversable - but it
> does take a while in "reading" the pattern
>
> The best thing I found was to "practice" using a graph
> paper and black pen and draw the pattern to learn
> paths.
>
> Megan M
> --- Joan Garner <joan_the_harpist1119@yahoo.com>
> wrote:
> > Someone mentioned this lately, and I think that
> > person
> > has the same problem I do.  I understand the concept
> > of Holbein stitch.  Intellectually I understand how
> > it
> > is *supposed* to work, but when I try to work
> > anything
> > more complicated than a simple square or circle it
> > somehow gets all weird & isn't reversible any more.
> > Are some blackwork patterns just too complicated for
> > Holbein stitch?
>
>
> =====
> Megan McConnell
> ICQ:  57164109
>
> "When I'm old, I don't want them to say of me, "She's  so charming."
> I want them to say, "Be careful, I think she's armed."    -G. Stoddart
>
> __________________________________________________
> Do You Yahoo!?
> Send FREE video emails in Yahoo! Mail!
> http://promo.yahoo.com/videomail/
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Tue, 8 Jan 2002 19:20:55 +0000
Status: RO

Greetings Joan.

Not all blackwork patterns are reversible. A *lot* are, but not all.

I teach an Ithra class in basic blackwork that teaches some simple
reversible patterns and comes with color graphs I made so you can see the
stitches easily. Would you like me to send you a copy? It might help.

What are you using for a ground fiber? If you're on linen, it could be
that it's too hard for you to see and your stitching is going off
accordingly. I can't see linen *at all* owing to a wierdness in my
vision, but am fine on 22 ct hardanger. Aida (12 count--any bigger and it
starts looking nasty) works fine also for practice.

Graphing, as others have suggested, can be very helpful in understanding
how a pattern works. It can also help to study a pattern and get a sense
of its stitch count base. There's a wonderful star, diamond and box
pattern which is based entirely on 2 stitches per direction, for
instance.

				Arlys

On Tue, 8 Jan 2002 16:48:05 -0800 (PST) Joan Garner
<joan_the_harpist1119@yahoo.com> writes:
> Someone mentioned this lately, and I think that person
> has the same problem I do.  I understand the concept
> of Holbein stitch.  Intellectually I understand how it
> is *supposed* to work, but when I try to work anything
> more complicated than a simple square or circle it
> somehow gets all weird & isn't reversible any more. 
> Are some blackwork patterns just too complicated for
> Holbein stitch?
> 
> Joan Hall
> "If my home is my castle, where are the servants?"
> "Hey, you!  Are you a servant?"
> 
> __________________________________________________
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Gothic Sculputer
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Date: Tue, 08 Jan 2002 20:06:36 -0800
Status: RO

Yes.  My guess is that it is fullness caused by a cone-shaped garment, and
not by a cylindrical one just pleated under the arms.  I think the 'pleats'
are the tops of fullness which gets wider at the hem, as a cone would do.

>Do you think this is the construction of the garment??
>
>Katie
>
>Melanie Schuessler wrote:
>> 
>> Greetings to all
>> 
>> Having returned from a long hiatus during which I missed you all
>> immensely, I of course immediately have a question.  There may be a
>> simple answer, and if so, I'm sure someone on this list will have it.
>> 
>> On the January page of the 2002 Medieval Woman calendar, please consider
>> the lady to the right (the one in the turban).  Examine, if you will,
>> the red laces at center front of her bodice.  One can see that the
>> bottom two seem to pass through the dark dots which might be interpreted
>> as lacing holes.  This makes sense to me as a single spiral lace holding
>> the dress together.  The top four, however, seem to lay horizontally
>> without passing through the dark dots and without the necessary
>> connecting diagonal of a spiral lace.
>> 
>> Similarly, the lady on the left has numerous horizontal bars (and no
>> diagonals) center front.  Because of the gathered nature of her
>> overgarment (and the lack of diagonals), these wouldn't seem to be
>> laces--unless they're laces on the undergarment instead (which still
>> doesn't explain the lack of diagonals!).  For a similar phenomenon, go
>> to
>> http://gallery.euroweb.hu/html/b/botticel/portrait/index.html
>> and click on "Portrait of a Young Woman" (the second one).
>> 
>> What is happening here?  Are these just decorative?  Here for
>> example--go to
>> http://gallery.euroweb.hu/html/v/veronese/z_other/
>> and click on "Portrait of a Venetian Woman"--they look pretty vestigial,
>> but that's much later.
>> 
>> I was just going to put up my new calendar, and look how much trouble I
>> got into!  Many thanks for any enlightenment that you can offer.
>> 
>> Melanie Schuessler
>> 
>> p.s. to Robin Netherton:  Check out February for a 16th century Flemish
>> Sybil in a sideless surcoat-esque garment.
>> _______________________________________________
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>_______________________________________________
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Date: Tue, 8 Jan 2002 20:40:31 -0800 (PST)
Status: RO

Joan,
One of the tricks I use for complicated blackwork
paterns, is to use shorter threads than I do with more
simple patterns.  I start the first thread, stitch the
design in one direction until I run out of thread,
then start the second thread, stitching in the missing
"links."  I doubt this isn't period, but if I do it
right, the pattern is still reversable.
Margaret (Out of hiding)

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Subject: Re: [h-cost] Wearing 16th century shirts
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Date: Tue, 08 Jan 2002 22:46:31 -0600
Status: RO

Ron Carnegie wrote:

> >
>         I can not say for sure regarding the 16th century, having never
> examined an extant shirt of the period, but that is how it is done in most
> cases on 18th and early 19th century shirts.

That's certainly where I got the idea.  ;>  A couple of the shirts of which I have
pictures seem to be slightly balanced towards front or back, but without seeing the
shirts myself, I have to say that I simply don't know and it could very easily be
wishful thinking.

-Magdalena


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Date: Wed, 09 Jan 2002 14:06:31 -0600
Status: RO

I am not sure which thumbnail in particular you wanted a closer look at
but if you remove the "/thmb6.htm" from the URL it will give you the
directory of his costume folder.  There listed as "costmX.jpg" (X being
the page number" are the larger versions of the thumbnails.

Katie


Rebecca Schmitt wrote:

> Can anyone tell me where I might be able to find a better/closer picture of
> the following? Heck, can anybody tell me more about this picture in the
> first place?
> 
> http://www.pconline.com/~tomdolan/costume/thmb6.htm
> 
> Thanks!
> **********************
> Rebecca Schmitt
> aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
> Bristol,
> BRF FOF
> 
> So many books, so little time
> 
> lotsofteapots@charter.net
> **********************
> 
> 
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> 
> 


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Date: Tue, 08 Jan 2002 22:38:28 -0700
Status: RO

I always graph it out first, as Alexandria has recommended, but then my
friends say that I'm that kind of person <g>
With particularly complicated patterns, I'll also sometimes work it out
on a piece of "big" Aida cloth (11 ct. or 14 ct. or something), using
differently-colored floss for the different passes back and forth.  I
use the colors in the order of the color spectrum:
red-orange-yellow-green-blue-indigo-violet or, as my brother the
engineer puts it "Roy G Biv." <g>
This lets me know that I need to do the red line first, then the orange,
etc.....and is relatively easy to remember.
--Sue, certifiably blackwork-obsessed ;-)

Alexandria Doyle wrote:
> 
> Joan Garner wrote:
> >
> > Someone mentioned this lately, and I think that person
> > has the same problem I do.  I understand the concept
> > of Holbein stitch.  Intellectually I understand how it
> > is *supposed* to work, but when I try to work anything
> > more complicated than a simple square or circle it
> > somehow gets all weird & isn't reversible any more.
> > Are some blackwork patterns just too complicated for
> > Holbein stitch?
> >
> 
> There are some patterns that aren't meant to be reversible.  They are
> often nearly so, but not quite.
> 
> The best thing I could suggest is tracing the pattern on graph paper.
> Use one color marker, say red, for the out going path, then use another,
> say blue, for the return. That might help get the feel for it better.  I
> know when I first started blackwork I was working with library books so
> I was copying by hand the patterns for later reference. I was using one
> color for the whole motif, unless it was real complicated and required
> more colors.  somewhere during those copying efforts it "click" for me.
> Alexandria
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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Blackwork "paths"
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Date: Tue, 8 Jan 2002 21:32:24 -0800
Status: RO

At 7:58 PM -0600 1/8/02, Alexandria Doyle wrote:
>Joan Garner wrote:
>  >  I understand the concept
>  > of Holbein stitch.  Intellectually I understand how it
>>  is *supposed* to work, but when I try to work anything
>>  more complicated than a simple square or circle it
>>  somehow gets all weird & isn't reversible any more.
>>  Are some blackwork patterns just too complicated for
>  > Holbein stitch?
>
>There are some patterns that aren't meant to be reversible.  They are
>often nearly so, but not quite.

Also, any pattern that has detached parts -- a star in the middle of 
a square that isn't connected to the frame anywhere, for instance -- 
cannot be completely reversible, unless you want to go to the immense 
amount of trouble of starting and ending the thread for each star.

BTW, I assume you are aware that by no means was "all" period 
blackwork reversible. This seems to be a more modern "neatness 
obsession" though of course it's often a fun challenge. Also, not all 
period work that looks like double-running actually is -- some of 
it's worked in backstitch. An experienced eye can tell the difference 
by the way it pulls on the fabric, but the difference is subtle.

>The best thing I could suggest is tracing the pattern on graph paper.
>Use one color marker, say red, for the out going path, then use another,
>say blue, for the return. That might help get the feel for it better.  I
>know when I first started blackwork I was working with library books so
>I was copying by hand the patterns for later reference. I was using one
>color for the whole motif, unless it was real complicated and required
>more colors.  somewhere during those copying efforts it "click" for me.

The most recent introductory blackwork class I taught, I had students 
actually stitch some examples this way, with two different colors of 
thread. It did seem to help.

A lot of people do seem to have trouble getting the idea of 
double-running stitch -- it depends on one's personal learning style. 
If illustrations and instructions don't do it for you, try to find 
someone who will sit down with you and show you. And who then will 
watch helpfully while you try it, saying, "Yup. Uh-huh. Yes, the 
needle goes in right there. Exactly! Mm-hmmm. Yup. See, you're doing 
it!" <g> Cheerleading is half the function of a good teacher!
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Wed, 09 Jan 2002 00:32:01 -0600
Status: RO

Cynthia J Ley wrote:

> Not all blackwork patterns are reversible. A *lot* are, but not all.

And some are reversible, but the pattern on each side is different. 
I've got some (modern) towel band patterns like that.

--Charlene

-- 
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meanings?  -- George Carlin
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Date: Wed, 09 Jan 2002 01:50:14 -0800
Status: RO


>Are some blackwork patterns just too complicated for
>Holbein stitch?

Some are not topologically possible, as in they can't be done with one
thread using the same path both ways (= they're not reversible), but none
are 'too complicated'.  It's just that some people, like me, are not up to
the really tricky ones. 

Kayta
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Date: Wed, 9 Jan 2002 06:34:33 -0500
Status: RO

OH, I love those 50% coupons, although I worry if the company is doing so
badly that they might go out of business.
This is the first time that they have let me run this course, and that was
basically because I set it up with the special ed people.  Their kids were
being cut out of the basic art course, and Fashion Design & Textiles can
count toward that.
But budget, no.   SO we'll see if any of them can actually afford anything
to make a jacket, or if I have to finance that.
But as they couldn't tell me what any of those "recommended fabrics" were,
not even polar fleece, I did convince them to let me go as an absolutely
necessary part of the course.
The fact that I did a mid-life career change, and financed college by being
a school bus driver, means that I can drive the kids without their having to
pay for a driver.
I don't care, I get to go on a school day!


> OH...for a job like that!!  Now if they would just pay for your fabrics
too,
> huh?  I'm so jazzed to be able to help in even this small way to further
the
> cause of continued home sewing.
>
> Well, good luck and don't forget to tell the kids that if they sign up for
> the mailing list there they get 50% off coupons every other month or so
and
> it makes a big difference in the cost of garment.  :)
>
> Jennifer


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] wheelchair historicals - Elizabethan
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Date: Wed, 09 Jan 2002 11:32:29 +0000 (GMT)
Status: RO

> even provide meaky support for one of those big standing
> ruff-crescent shaped affairs, perhaps?).

My typos are getting worse!

I meant to type *sneaky* support, not meaky (whatever that means)

Teddy
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Subject: Re: [h-cost] wheelchair historicals - Elizabethan
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Date: Wed, 09 Jan 2002 11:36:45 +0000 (GMT)
Status: RO


> >(when will they develop the technology to transmit mental-images?)
> 
> Oh, I hope we don't. Some of my firends have the oddest sense of
> humor. I *don't want* to know what's going on their heads! 

<thinks about this>

Good point!!!!!

Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Tea sandwiches (WAS: Only slightly OT: bangs)
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Date: Wed, 09 Jan 2002 11:39:18 +0000 (GMT)
Status: RO



> Tea sandwiches sound sort of - dry and leafy?

UGH!

Jean!!  That's a horrible thought to inflict on my poor addled brain!

Teddy
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
Subject: Re: [h-cost] Blackwork "paths"
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Date: Wed, 9 Jan 2002 04:02:41 -0800 (PST)
Status: RO


--- Cynthia J Ley <cley@juno.com> wrote:
> I teach an Ithra class in basic blackwork that
> teaches some simple
> reversible patterns and comes with color graphs I
> made so you can see the
> stitches easily. Would you like me to send you a
> copy? It might help.

Yes, please!  email or snailmail?

> What are you using for a ground fiber? If you're on
> linen, it could be
> that it's too hard for you to see and your stitching
> is going off
> accordingly. 

I've been working with 32-count linen and somehow my
eyes aren't quite as sharp at 55 as they were in my
20's!  The hardanger fabric sounds easier to work
with, but the linen incorporates itself into a garment
much better.  If I can just make myself a pair of
linen shirtcuffs before I'm too *%&%! old to see the
fabric...[sigh]...

Joan Hall
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Subject: [h-cost] 12th-century garb
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Date: Wed, 9 Jan 2002 16:47:12 EST
Status: RO

Hello to the list.

In the near future, I am diving headlong into some deep research on the 12th 
century, specifically as it pertains to garb in "Germany" and "Italy".  To 
that end, I would please like to ask any and all of you for references, 
manuscripts, primary sources, etc. that you would recommend.  

I thank you all with great gratitude.

Mistress Ingvild
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Subject: Re: [h-cost] Blackwork "paths"
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Date: Thu, 10 Jan 2002 01:12:11 -0800
Status: RO

>> What are you using for a ground fiber? If you're on
>> linen, it could be
>> that it's too hard for you to see and your stitching
>> is going off
>> accordingly. 
>
>I've been working with 32-count linen and somehow my
>eyes aren't quite as sharp at 55 as they were in my
>20's!  The hardanger fabric sounds easier to work
>with, but the linen incorporates itself into a garment
>much better.  If I can just make myself a pair of
>linen shirtcuffs before I'm too *%&%! old to see the
>fabric...[sigh]...

What about doing the blackwork using waste canvas, and counting 'threads'
on that?  I have a shirt in the works where I'm not sure these nearsighted
eyes can even see the threads in the fabric (I'd go the rest of the way
blind if I tried).  So I'm planning to use waste canvas in a reasonable
size, then pulling it out after the stitches are in.  It should be a good
combination of the fabric the wearer wants and the stitches the embroiderer
wants.

Kayta
   //// \\\
  ////-@@\\\
 ((((   7 )))
  (((  <> ))))
     )   ((((((
/----\   /---\))

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Subject: Re: [h-cost] Rebecca's link, was: no subject
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Date: Wed, 9 Jan 2002 16:32:16 -0600
Status: RO

I was trying to find some good places for my brother to see some
possibilities of Elizabethan-ish men's wear, so he can pick out something
that he wants for this year's Faire. This was one of the pages I found, and
it's close enough that I can probably get a fair idea of what he wants, I
just would like a bit closer look, particularly at #62.

Or if anyone has any good links of pictures/portraits of Elizabethan men
(preferrably more middle-class) that I can send him?

PS. Sorry about the "no subject" line - I'm just getting the hang of
Outlook.

**********************
Rebecca Schmitt
aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
Bristol,
BRF FOF

So many books, so little time

lotsofteapots@charter.net
**********************
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Tuesday, January 08, 2002 7:27 PM
Subject: [h-cost] Rebecca's link, was: no subject


>
> On Tue, 8 Jan 2002, Rebecca Schmitt wrote:
>
> > Can anyone tell me where I might be able to find a better/closer
> > picture of the following? Heck, can anybody tell me more about this
> > picture in the first place?
> >
> > http://www.pconline.com/~tomdolan/costume/thmb6.htm
>
> Was there a particular one of these pictures you were interested in? The
> link you gave shows many pages scanned from one of those Victorian
> coffee-table costume books. I don't see a label, but if I had to lay
> money, I'd say it's "Costumes of All Nations," by Albert Kretschmer and
> Carl Rohrbach, published in 1882 in England according to my notes from my
> lecture on Victorian costume scholarship. The authors are German, but I
> don't recall whether there was an earlier German edition, or whether the
> British publication was first.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: [h-cost] Re:  Blackwork "paths"
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Date: Wed, 9 Jan 2002 09:28:54 -0800
Status: RO

I don't know that this will work for everyone, but here's my method.

First: if all the parts of a blackwork pattern touch each other in 
some way, it can be made reversible ("can", not "must" or "will"); if 
any parts of the design are separated from other parts and don't 
touch, it _can't_ be made exactly reversible.  (It may be possible to 
stitch it such that the reverse is an equally pleasing pattern, but 
it will not be exactly the same pattern.)  A slight modification of 
this rule is that if you have a band pattern that involves more than 
one separate bands that don't touch (e.g., a broad central band with 
narrower "racing stripes"), then if you work each band as a separate 
project, they can all be made reversible.

Any potentially reversible design can be visualized as a "branching 
tree" structure -- that is, a single main path with numerous branches 
coming off of it (which may themselves have branches), but where each 
branch has an end rather than coming back into the pattern.  To 
visualize this, you may have to visualize "breaks" in the line at 
points were the line actually continues (e.g., a "lollipop" shape 
must be "broken" where one side of the loop meets the stem and 
becomes a single, unbranching line).

When you work the design, pick one path that continues along your 
entire design as your "main" path (if it's a band with straight 
edges, then one edge works nicely for this) and run a single line of 
your running stitch along this path.

Start to return, but every time you hit a branch off this main path, 
go off and work it until it is entirely done before you return to the 
main path.

This explanation works better if I can doodle while giving it, but I 
don't trust the stability of ascii art enough to try here.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Wed, 09 Jan 2002 16:17:27 -0600
Status: RO

Correction.....Some larger pics, of course the ones I want to take 
a peek at are only 9k...*grumbles*  

Okay guys and gals I am going to start my "library" any one have 
a suggestion for a couple of good "starter" books??

Katie

Katie wrote:
> 
> I am not sure which thumbnail in particular you wanted a closer look at
> but if you remove the "/thmb6.htm" from the URL it will give you the
> directory of his costume folder.  There listed as "costmX.jpg" (X being
> the page number" are the larger versions of the thumbnails.
> 
> Katie
> 
> Rebecca Schmitt wrote:
> 
> > Can anyone tell me where I might be able to find a better/closer picture of
> > the following? Heck, can anybody tell me more about this picture in the
> > first place?
> >
> > http://www.pconline.com/~tomdolan/costume/thmb6.htm
> >
> > Thanks!
> > **********************
> > Rebecca Schmitt
> > aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
> > Bristol,
> > BRF FOF
> >
> > So many books, so little time
> >
> > lotsofteapots@charter.net
> > **********************
> >
> >
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> > h-costume@mail.indra.com
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> >
> >
> 
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
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Subject: [h-cost] Braid cases and barbettes...do they "go together"?
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Date: Wed, 9 Jan 2002 16:04:36 -0800 (PST)
Status: RO

I'm doing 12th C. English and really want to
experiment with braid cases, but I'm not giving up my
barbette and veil!

Iohanna the Harper
(mka Joan Hall)
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Date: Wed, 9 Jan 2002 16:42:39 -0800 (PST)
Status: RO

 Does anyone have a reference of what the bottom-half
of this outfit might have looked like?

http://www.getty.edu/art/collections/objects/oz792.html

Sheila

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Date: Wed, 09 Jan 2002 19:42:45 -0500
Status: RO


Hey, folks,
I found a pair of clogs in an antique shop about 20 miles from Hanover, PA
last summer.  The woman running the shop had no idea about their history.
I haven't asked anyone about them because I hadn't gotten around to taking
pics yet... but I got a digital camera recently, so here are the pics:


http://www47.pair.com/lindo/Temp/clogs1.JPG

http://www47.pair.com/lindo/Temp/clogs2.JPG

http://www47.pair.com/lindo/Temp/clogsdetail.JPG

In the last shot, you can see how the leather is held onto the wood:
there's a channel in the wood just under the sole edge, and a piece of wire
is 'stapled' into the channel using smaller pieces of wire as staples.
They are definitely handmade.

I'd say from the size of these that they are men's -- or a very large
woman's. 

Given that these are from rural PA (mid-state), my own guess about them is
that they've got German roots.  Does anyone know whether/if such clogs were
worn in the 18th c. by German immigrants and their descendants?  I've seen
enough "wooden shoes" in antique shops brought back from Europe as tourist
items that I'm a bit cautious, but it seems plausible that these are a
genuine holdover.

I am going to ask around a bit more about them, now that I actually have
some pictures taken <grin>. But -- thoughts, folks?

-- Mara

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Subject: Re: [h-cost] wheelchair historicals - Elizabethan
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Date: Thu, 10 Jan 2002 06:27:43 -0600
Status: RO

(sighs in relief)  I was almost afraid to ask what "meaky" support might be!

Dianne
----- Original Message ----- 
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Wednesday, January 09, 2002 5:32 AM
Subject: Re: [h-cost] wheelchair historicals - Elizabethan


> > even provide meaky support for one of those big standing
> > ruff-crescent shaped affairs, perhaps?).
> 
> My typos are getting worse!
> 
> I meant to type *sneaky* support, not meaky (whatever that means)
> 
> Teddy
> _______________________________________________
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Date: Thu, 10 Jan 2002 07:56:34 -0500
Status: RO

>
> Or if anyone has any good links of pictures/portraits of Elizabethan men
> (preferrably more middle-class) that I can send him?

>
> Rebecca Schmitt
> aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
> Bristol,
> BRF FOF
>

Are you looking for period examples or would you be intrested in pictures of
recreations?
Here are some pics of my husband in his middle class Elizabethan clothes.
http://www.gideonfamily.org/images/album/dcp_0039a.jpg
http://www.gideonfamily.org/images/album/p0001257.jpg
http://www.gideonfamily.org/images/album/dcp_0079.jpg
http://www.gideonfamily.org/images/album/p0000887.jpg
Andrea

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From: Joan Garner <joan_the_harpist1119@yahoo.com>
Subject: Re: [h-cost] Blackwork "paths"
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Date: Thu, 10 Jan 2002 06:21:22 -0800 (PST)
Status: RO

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> What about doing the blackwork using waste canvas,
> and counting 'threads'
> on that?  

I don't know why I didn't think of that - I have waste
canvas in 3 sizes somewhere - [still haven't done my
traditional January 1st organization of needlework
supplies].  I guess maybe in some twisted corner of my
small brontosaurus brain I thought it was somehow
"cheating" and all the other embroiderers would laugh
at me!  :-)  Thanks for making sense!  I'm going to
cut out my cuffs tonight.  I'm going to try to find a
blackwork pattern that's as close as I can get to my
state flower, the California Poppy.

Iohanna the Harper
[m.k.a. Joan Hall]
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"

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Subject: Re: [h-cost] Blackwork "paths"
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Date: Thu, 10 Jan 2002 07:25:02 -0700
Status: RO

Waste canvas actually works pretty good (I've done it, and it worked for
me, at least <g>).  The only thing I can caution about, is watching the
tension of your embroidery.  When you remove the waste canvas, the
embroidery threads tend to sit a little loosely on the fabric, as they
no longer have the canvas threads between them and the ground fabric. 
Oh, and make sure you don't pierce any of the waste canvas threads with
your embroidery--it makes it a real pain in the @ss to get out
(experienced based ;-)
--Sue

Carolyn Kayta Barrows wrote:
> 

> What about doing the blackwork using waste canvas, and counting 'threads'
> on that?  I have a shirt in the works where I'm not sure these nearsighted
> eyes can even see the threads in the fabric (I'd go the rest of the way
> blind if I tried).  So I'm planning to use waste canvas in a reasonable
> size, then pulling it out after the stitches are in.  It should be a good
> combination of the fabric the wearer wants and the stitches the embroiderer
> wants.
> 
> Kayta
>
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From h-costume-admin@indra.com  Thu Jan 10 09:37:42 2002
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Date: Thu, 10 Jan 2002 09:04:07 -0600
Status: RO

>
>I've been working with 32-count linen and somehow my
>eyes aren't quite as sharp at 55 as they were in my
>20's!  The hardanger fabric sounds easier to work
>with, but the linen incorporates itself into a garment
>much better.  If I can just make myself a pair of
>linen shirtcuffs before I'm too *%&%! old to see the
>fabric...[sigh]...
>
>

May I suggest reading glasses, at the highest magification you can find will help greatly.  I found working blackwork under one of those lights with a lens let me work a lot fast than I could without it.  So I looked for and found reading glasses that help when I'm at work with great lighting during lunch to work without the eye strain.  And yes, if someone brings me something to read, I have to take the glasses off to read it. :)

Alexandria
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From h-costume-admin@indra.com  Thu Jan 10 10:06:38 2002
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From: chimericalgirl@attbi.com
To: h-costume@indra.com
Subject: Re: [h-cost] Braid cases and barbettes...do they "go together"?
Organization: The Corner of my Desk
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Date: Thu, 10 Jan 2002 15:38:31 GMT
Status: RO

On Wed, 9 Jan 2002 16:04:36 -0800 (PST), the following was written in
this electric book by Joan Garner <joan_the_harpist1119@yahoo.com>:

>
>I'm doing 12th C. English and really want to
>experiment with braid cases, but I'm not giving up my
>barbette and veil!

Well, I'm not sure that I have *any* good news for you. :(
(for coherency's sake, I mean mid-12th century, since that's what most
people mean by '12th century')

I haven't found any period references or depictions of braid cases.
I'm beginnning to suspect that they may have been a conflation of the
wrapped-braid style seen in the 12th century and the actual article
(decorative braid casings) worn in Italy a couple of centuries later.
I have been researching this era like mad, and the only (as in single,
and tiny) depiction that I have seen that *might* depict something
entirely covering a braid in the 12th century seems to be a clumsy,
smallscale representation of the ribbon-braiding technique (or actual
close wrappings -it's not clear enough to tell). They certainly aren't
covered by a coherent or even decorated covering, and the woman so
depicted is probably a servant.

I also have not seen any evidence for the barbette as a defined,
highlighted, fashion accessory this early. They seem to be clearly an
item of 13th century dress. There *may* be linen bands to which veils
are pinned, but they are either obscured or left out of the images
entorely. I choose to use linen bands for convenience, since I don't
like my veil flying away, though I am aware of their possible
incorrectness. If you like, use a much narrower band under the chin,
so it is not as obvious as a barbette - mine is about 1" wide. The
difference in width should be enough to prevent people misdating your
clothing by its accessories. 

If you want to use braid cases, go ahead, but I thought that I should
let you know my disappointing findings, should you be interested. I
was really hoping they would work for me too, since my hair is only
about half as long as it needs to be to do Big Fancy Court Braids, and
my only other solution is false hair (which is hard to match in a
carrot-red!). Since I'm fussy, I do the false hair anyway.

Maura
---chimericalgirl@attbi.com-Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
        }{ http://www.chimericalgirl.net }{
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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Tea sandwiches
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Date: Thu, 10 Jan 2002 10:03:23 -0600 (CST)
Status: RO


>
> Tea sandwiches sound sort of - dry and leafy?

Oddly enough, I had a similar thought, only I was thinking cold, squishy
and bitter--tea after it had been used.

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Braid cases and barbettes...do they "go together"?
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Date: Thu, 10 Jan 2002 18:47:58 +0000
Status: RO

Did someone say you had to?  You certainly want to keep your veil, and I
think the barbette should be OK - just remember, the braids come from
behind it, don't try to get them in front (or you'll look very odd
indeed).

Jean


In message <20020110000437.22889.qmail@web20304.mail.yahoo.com>, Joan
Garner <joan_the_harpist1119@yahoo.com> writes
>I'm doing 12th C. English and really want to
>experiment with braid cases, but I'm not giving up my
>barbette and veil!
>
>Iohanna the Harper
>(mka Joan Hall)
>"If my home is my castle, where are the servants?"
>"Hey, you!  Are you a servant?"
>
>__________________________________________________
>Do You Yahoo!?
>Send FREE video emails in Yahoo! Mail!
>http://promo.yahoo.com/videomail/
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Braid cases and barbettes...do they "go together"?
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Date: Thu, 10 Jan 2002 18:47:58 +0000
Status: RO

Did someone say you had to?  You certainly want to keep your veil, and I
think the barbette should be OK - just remember, the braids come from
behind it, don't try to get them in front (or you'll look very odd
indeed).

Jean


In message <20020110000437.22889.qmail@web20304.mail.yahoo.com>, Joan
Garner <joan_the_harpist1119@yahoo.com> writes
>I'm doing 12th C. English and really want to
>experiment with braid cases, but I'm not giving up my
>barbette and veil!
>
>Iohanna the Harper
>(mka Joan Hall)
>"If my home is my castle, where are the servants?"
>"Hey, you!  Are you a servant?"
>
>__________________________________________________
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Subject: Re: [h-cost] Tea sandwiches (WAS: Only slightly OT: bangs)
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Date: Thu, 10 Jan 2002 18:49:03 +0000
Status: RO


>
>
>> Tea sandwiches sound sort of - dry and leafy?
>
>UGH!
>
>Jean!!  That's a horrible thought to inflict on my poor addled brain!
>
>Teddy

Well does it mean anything to you?  I honestly don't know what a tea
sandwich is - as opposed to any other sort of sandwich, I mean.

JEan 

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From h-costume-admin@indra.com  Thu Jan 10 13:22:38 2002
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] 12th-century garb
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Date: Thu, 10 Jan 2002 18:52:49 +0000
Status: RO

I'm not sure how much it has specifically from Germany and Italy, but
this book has the most pictures of costume I've found for 12th century,
especially of women :

Romanesque Art - Andreas Petzold.  George Weidenfeld and Nicolson Ltd
1995  ISBN - 0297833642

Jean


In message <151.701f11b.296e1460@aol.com>, SNSpies@aol.com writes
>Hello to the list.
>
>In the near future, I am diving headlong into some deep research on the 12th 
>century, specifically as it pertains to garb in "Germany" and "Italy".  To 
>that end, I would please like to ask any and all of you for references, 
>manuscripts, primary sources, etc. that you would recommend.  
>
>I thank you all with great gratitude.
>
>Mistress Ingvild
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From h-costume-admin@indra.com  Thu Jan 10 13:23:39 2002
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From: Joan Garner <joan_the_harpist1119@yahoo.com>
Subject: Re: [h-cost] Tea sandwiches (WAS: Only slightly OT: bangs)
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Date: Thu, 10 Jan 2002 10:55:45 -0800 (PST)
Status: RO

Oh my gosh - sorry!  I assumed everyone was joking!!
Tea sandwiches [at least here in the U.S.] are little
fancy-shmancy finger sandwiches served with afternoon
tea.

Iohanna the Harper
(m.k.a. Joan Hall)
"If my home is my castle, where are the servants?"
"Hey, you!  Are you a servant?"  


--- Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
> 
> >
> >
> >> Tea sandwiches sound sort of - dry and leafy?
> >
> >UGH!
> >
> >Jean!!  That's a horrible thought to inflict on my
> poor addled brain!
> >
> >Teddy
> 
> Well does it mean anything to you?  I honestly don't
> know what a tea
> sandwich is - as opposed to any other sort of
> sandwich, I mean.
> 
> JEan 
> 
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> 
> -- 
> Jean Waddie
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] Clogs
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Date: Thu, 10 Jan 2002 13:49:23 -0600
Status: RO

Hey, folks,
I found a pair of clogs in an antique shop ........
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
These look very much like clogs some friends of ours brought back from Sweden in the mid 1980's, leather is attached in almost the exactly same way.  The primary difference is that the 80's clogs have a ribbed hard rubber sole attached to the bottom of the wood.  This sole makes them very skid resistant and I have been using a pair on muddy days at faire for years, they wear well and are pretty comfortable with a pair of heavy socks.

Looks like this style has been in use for a long time, at least in parts of northern Europe.  Hope this helps.

Catherine

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Date: Thu, 10 Jan 2002 13:54:14 -0600
Status: RO

I've tried wastecanvas w/ blackwork too and you really have to pay attention to the tension as Sue suggested or you can get very saggy lines once the waste canvas is removed.  Some of this disappears with washing but not all.  I also had a little bit of a problem with very fine silk thread snagging on the WC.  I think Hedgehog Handworks carrys WC in high thread counts.  

My eyesight is going too, part of the reason I switched to freestyle blackwork :).

Catherine

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From: LalahTT@aol.com
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Subject: Re: [h-cost] Tea sandwiches (WAS: Only slightly OT: bangs)
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Date: Thu, 10 Jan 2002 15:00:11 EST
Status: RO


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       OK, children listen to mamma Lalah.  Tea sandwiches are the same as 
regular sandwiches except they are made with the crusts cut off and then cut 
in little triangles or squares or rectangles.  Some really classy ones are 
cut with fancy cutters and can look like little flowers or circles or stars.  
They are usually dressed up with something on top -- depending on what is 
inside.  A tea sandwich with deviled ham or a slice of meat of some sort may 
have an olive stuck in the top with a toothpick with ruffles on it (or a 
plain toothpick if that is the best you can do).  Another may have a dab of 
cheese swirled on top.  You should have the idea by now.  The very best Tea 
sandwiches (to me) are the ones made with cream cheese as a base.  You can 
add chopped olives, nuts, pineapple, or all manner of good stuff.  There is 
no end of what you can put in a tea sandwich and lots of ways of cutting them 
in dainty finger size bites.  Sometimes you can stack white bread, wheat 
bread white bread, wheat bread and cut them narrow so that you have layers, 
but that requires something that is sticky enough to hold it together.  Brown 
bread with cream cheese is good too. 

       Teddy, for shame, you should know that tea sandwiches are to be served 
with tea at tea time, not made from tea leaves.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;OK, children listen to mamma Lalah. &nbsp;Tea sandwiches are the same as regular sandwiches except they are made with the crusts cut off and then cut in little triangles or squares or rectangles. &nbsp;Some really classy ones are cut with fancy cutters and can look like little flowers or circles or stars. &nbsp;They are usually dressed up with something on top -- depending on what is inside. &nbsp;A tea sandwich with deviled ham or a slice of meat of some sort may have an olive stuck in the top with a toothpick with ruffles on it (or a plain toothpick if that is the best you can do). &nbsp;Another may have a dab of cheese swirled on top. &nbsp;You should have the idea by now. &nbsp;The very best Tea sandwiches (to me) are the ones made with cream cheese as a base. &nbsp;You can add chopped olives, nuts, pineapple, or all manner of good stuff. &nbsp;There is no end of what you can put in a tea sand!
wich and lots of ways of cutting them in dainty finger size bites. &nbsp;Sometimes you can stack white bread, wheat bread white bread, wheat bread and cut them narrow so that you have layers, but that requires something that is sticky enough to hold it together. &nbsp;Brown bread with cream cheese is good too. 
<BR>
<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Teddy, for shame, you should know that tea sandwiches are to be served with tea at tea time, not made from tea leaves.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Subject: Re: [h-cost] Regency winter dresses
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Date: Thu, 10 Jan 2002 12:51:13 -0500
Status: RO

Karen asked about the knitted Regency dress. Well, I am not sure if Alison
Kondo is still on the list, but she has book containing photos of this neat
item. I have the pictures somewhere in my files (which are still packed),
but, if you can stand to wait, I may be able to put my hand on them sometime
this month!

Cheers,
Jennie Chancey
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Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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From h-costume-admin@indra.com  Thu Jan 10 14:55:07 2002
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Clogs
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Date: Thu, 10 Jan 2002 15:24:36 -0500 (EST)
Status: RO

On Thu, 10 Jan 2002, Catherine Kinsey wrote:

> Hey, folks,
> I found a pair of clogs in an antique shop ........
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> These look very much like clogs some friends of ours brought back from Sweden in the mid 1980's, leather is attached in almost the exactly same way.  The primary difference is that the 80's clogs have a ribbed hard rubber sole attached to the bottom of the wood.  This sole makes them very skid resistant and I have been using a pair on muddy days at faire for years, they wear well and are pretty comfortable with a pair of heavy socks.

Yes, I've got Swedish wooden-soled clogs, too.  But a major difference is
that these are hand-made, and very old <g>.
 
> Looks like this style has been in use for a long time, at least in parts of northern Europe.  Hope this helps.
> 
> Catherine

I should have been more specific in what I'm after:
-- any guesses as to the age of these items, when they would have been
worn, by whom... could they conceivably be early 19th c. men's overshoes?
I've since turned up two more pairs (on the web and at a museum) of
wooden-soled, leather-uppered "clogs", called men's overshoes, from the
early 19th century.  I'd love to know if similar items were worn in the
18th century, too, in the North American colonies... by men only, or by
women, too?  I am pretty sure that French colonists were wearing them, but
would love some hard evidence that English settlers wore them, as well.

-- Mara

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Tea sandwiches
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Date: Thu, 10 Jan 2002 12:49:03 -0800
Status: RO

>> Tea sandwiches sound sort of - dry and leafy?
>
>Oddly enough, I had a similar thought, only I was thinking cold, squishy
>and bitter--tea after it had been used.

No, no, that's 'tea bag' sandwiches!  ;) 

>Well does it mean anything to you?  I honestly don't know what a tea
>sandwich is - as opposed to any other sort of sandwich, I mean.

They're sandwiches to eat while drinking tea, with guests, in the front
parlour.  They're usually little triangular things of dubious nutritional
value, and with the crusts cut off.  Cucumber sandwiches fall into this
category.

Kayta
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Date: Thu, 10 Jan 2002 12:52:51 -0800
Status: RO

I may be able to put my hand on them sometime
>this month!

And post them, please?  This I gotta see.  It's right up there with the
knitted 'pluderhosen' in Rutt's hand knitting book.

Kayta
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Date: Thu, 10 Jan 2002 12:45:16 -0800
Status: RO

>>before I'm too *%&%! old to see the
>>fabric...[sigh]...

>May I suggest reading glasses, 

I figured out the waste canvas idea because reading glasses don't fit over
my bifocals.  But thanx for the hint about a magnifying lamp.  I do have
one of those.

Kayta
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Subject: [h-cost] Re: Braid cases and barbettes...do they "go together"?
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Date: Thu, 10 Jan 2002 15:20:49 -0600
Status: RO

>From: chimericalgirl@attbi.com
>Well, I'm not sure that I have *any* good news for you. :(
>(for coherency's sake, I mean mid-12th century, since that's what >most 
>people mean by '12th century')
>I haven't found any period references or depictions of braid cases.
>...

I may be misremembering, but wasn't there one in Dress Accessories?

Marc

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Subject: Re: [h-cost] Clogs
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Date: Thu, 10 Jan 2002 13:38:39 -0800 (PST)
Status: RO


> From: Kevin & Mara Riley <lindo@Radix.Net>
[...]
> I've since turned up two more pairs (on the web and at a museum) of
> wooden-soled, leather-uppered "clogs", called men's overshoes, from the
> early 19th century.  I'd love to know if similar items were worn in the
> 18th century, too, in the North American colonies... by men only, or by
> women, too?  I am pretty sure that French colonists were wearing them, but
> would love some hard evidence that English settlers wore them, as well.

English clogs tend to look a little different.  Picture a wooden sole
with a regular lace-up shoe upper nailed to the sole.  Here, I finally
found a website with photos.  

http://subscriber.scoot.co.uk/walkley_clogs/
http://subscriber.scoot.co.uk/walkley_clogs/page2.htm

Walkey's are one of the largest clog manufacturers left.  

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Date: Thu, 10 Jan 2002 15:28:40 -0600
Status: RO

>From: Kevin + Mara Riley <lindo@radix.net>
>I found a pair of clogs in an antique shop about 20 miles from >Hanover, PA 
>last summer.  The woman running the shop had no idea >about their history. 
>I haven't asked anyone about them because I >hadn't gotten around to taking 
>pics yet... but I got a digital camera recently, so here are the pics:...
>worn in the 18th c. by German immigrants and their descendants?  I've >seen 
>enough "wooden shoes" in antique shops brought back from Europe as tourist 
>items that I'm a bit cautious, but it seems plausible that these are a 
>genuine holdover.
>I am going to ask around a bit more about them, now that I actually >have 
>some pictures taken <grin>. But -- thoughts, folks?

Ick. (I really have a personal thing about wooden shoes :) )

That being said, I'm not sure holdover is the right word, since wooden soled 
shoes were worn even in this country until the early 20th century (and for 
clog dancers, even more recently), but I'd say that these were real live 
honest to goodness clogs.

Marc

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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10201081917380.24831-100000@shell.nightowl.net> <004601c1995d$7e0a5860$a962bc42@mad.chartermi.net> <3C3D8F82.ADB2EB18@gideonfamily.org>
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Subject: [h-cost] Men's Elizabethan
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Date: Thu, 10 Jan 2002 16:19:13 -0600
Status: RO

Andrea:

OOooooohhh! Nice! Did you use patterns, or did you draft yourself?

**********************
Rebecca Schmitt
aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
Bristol,
BRF FOF

So many books, so little time

lotsofteapots@charter.net
**********************


> > Or if anyone has any good links of pictures/portraits of Elizabethan men
> > (preferrably more middle-class) that I can send him?
>
> >
> > Rebecca Schmitt

>
> Are you looking for period examples or would you be intrested in pictures
of
> recreations?
> Here are some pics of my husband in his middle class Elizabethan clothes.
> http://www.gideonfamily.org/images/album/dcp_0039a.jpg
> http://www.gideonfamily.org/images/album/p0001257.jpg
> http://www.gideonfamily.org/images/album/dcp_0079.jpg
> http://www.gideonfamily.org/images/album/p0000887.jpg
> Andrea

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Subject: Re: [h-cost] Braid cases and barbettes...do they "go together"?
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Date: Thu, 10 Jan 2002 14:26:59 -0800 (PST)
Status: RO


--- Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
> Did someone say you had to> 

Just my own neurotic fear of being sneered at for TAF
(total authenticity failure)!!

> Garner <joan_the_harpist1119@yahoo.com> writes
> >I'm doing 12th C. English and really want to
> >experiment with braid cases, but I'm not giving up
> my
> >barbette and veil!


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Date: Thu, 10 Jan 2002 18:27:44 -0600 (CST)
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On Tue, 8 Jan 2002, Maggie Secara wrote:

> According to the main page, they are:
> 
> 1882 Lithographs by
> Albert Kretschmer
> Painter and Costumer to the Royal Court Theatre, Berlin

Seems like that's a secondary main page on this site. There's also a page
at <http://www.pconline.com/~tomdolan/costume/costume1.htm> that shows the
decorative title page of the book, with the typed-out title "Costumes of
All Nations: Earliest times to the Ninteenth Century."

My own record on the book lists this title, which I recorded from the copy
I saw: "Costumes of All Nations, from the earliest times to the Nineteenth
century: Exhibiting the Dresses and Habits of all classes, Regal,
Ecclesiastical, Noble, Military, Judicial, and Civil." There are two
authors: Albert Kretschmer and Carl Rohrbach. My notes indicate that
Kretschmer was a German theater costumer and painter, but the book in this
form was published in London in 1882.

I use several slides from this book in a lecture I give on the Victorian
influence on medieval costume scholarship. The images are pretty
romanticized; for instance, on plate 31, which shows French costume from
1000, you'll see things like a woman holding a falcon without a glove, and
a couple of Bayeux tapestry warriors with armor far more detailed than
what's actually shown in the tapestry (indicating the artist filled in the
blanks, either with his best guess or from some unknown source). When I
researched this in more detail, I was able to trace some of the images to
an earlier, widely popular 1829 French costume book by Camille Bonnard,
which Kretschmer evidently used as one of his sources. Bonnard took lots
of liberties in his interpretations, and Kretschmer copied Bonnard's
images (with his changes intact) and made his own changes in the process.

That means that you should not rely on the accuracy of anything -- colors,
details, silhouette -- in one of Kretschmer's pictures unless you can find
and compare it to the original source. But I'm glad to see this book
online; I took only a few slides from the copy I saw, and it's nice to
have the rest ready at hand.

--Robin

> > On Tue, 8 Jan 2002, Rebecca Schmitt wrote:
> >
> > > Can anyone tell me where I might be able to find a better/closer
> > > picture of the following? Heck, can anybody tell me more about this
> > > picture in the first place?
> > >
> > > http://www.pconline.com/~tomdolan/costume/thmb6.htm
> >
> > Was there a particular one of these pictures you were interested in? The
> > link you gave shows many pages scanned from one of those Victorian
> > coffee-table costume books. I don't see a label, but if I had to lay
> > money, I'd say it's "Costumes of All Nations," by Albert Kretschmer and
> > Carl Rohrbach, published in 1882 in England according to my notes from my
> > lecture on Victorian costume scholarship. The authors are German, but I
> > don't recall whether there was an earlier German edition, or whether the
> > British publication was first.
> >
> > --Robin

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From: chimericalgirl@attbi.com
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Braid cases and barbettes...do they "go together"?
Organization: The Corner of my Desk
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Date: Thu, 10 Jan 2002 23:56:36 GMT
Status: RO

On Thu, 10 Jan 2002 15:20:49 -0600, the following was written in this
electric book by "Marc Carlson" <marccarlson20@hotmail.com>:

>>From: chimericalgirl@attbi.com
>>Well, I'm not sure that I have *any* good news for you. :(
>>(for coherency's sake, I mean mid-12th century, since that's what >most 
>>people mean by '12th century')
>>I haven't found any period references or depictions of braid cases.
>>...
>
>I may be misremembering, but wasn't there one in Dress Accessories?
>
>Marc

There's a 14th century partial hairpiece (one of the braids is gone),
but that falls into the category of false hair, rather than braid
cases, and is two centuries later than the items under discussion are
supposed to have existed. You aren't misremebering exactly, but I can
see how it might seem that the one was the other - especially if you
are unlikely to have to wear such things yourself :)

I should probably note that false hair (including under that heading
anything that could be braided in, including flax line, horsehair,
wool, and silk, as well as human hair and ribbons) *is* the most
likely method for extension of the hair when and where needed during
the 12th century vogue for conspicuous long braids. However, it seems
that women not able to wear their hair in this manner may simply have
not tried to - obscured (under veils or mantles) and loose hair is
about as common as the two main types of braided hairdressing methods
in my research, so far. So, to the original poster, you don't have to
wear long braids if you don't want to. :)

An unscientific (not tallied or charted, that comes later - after I've
added in all I can find in text sources) survey of the various methods
I've seen in period artwork can be found here:
http://www.florilegium.org/files/PERSONAL/hair-msg.html about 3/4 of
the way down, in the list of messages called 'braid casings".  To find
my messages, just search for 'chimericalgirl@home.com' (my old email
address). 

Maura
---chimericalgirl@attbi.com-Goddess of Last Minute Miracles---
"We went out with both lips blazing, and a pen in either 
hand..." - the Flash Girls
        }{ http://www.chimericalgirl.net }{
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From: Cynthia Barnes <Cynthia_Barnes@Phoenix.com>
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Subject: RE: [h-cost] Re:  Blackwork "paths"
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Date: Thu, 10 Jan 2002 16:17:44 -0800
Status: RO


There is a lovely branch of mathematics that deals with this problem.  It's
graph theory.  Your problem is quite simply resolved by applying Euler's
theorem. 
You may not realize it, but you are actually applying the theory, in a
simplified, non-generalized version. 
This page tells the story of the "Bridges of Konigsberg" game that prompted
the invention of this field. It explains both the game and the solution in
clear terms.  There are NO equations.
http://www.jcu.edu/math/vignettes/bridges.htm
--cin 
Cynthia in Tokyo

> First: if all the parts of a blackwork pattern touch each other in 
> some way, it can be made reversible ("can", not "must" or "will"); if 
> any parts of the design are separated from other parts and don't 
> touch, it _can't_ be made exactly reversible. 
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From: Megan McConnell <madilayn@yahoo.com>
Subject: Re: [h-cost] Re:  Blackwork "paths"
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Date: Thu, 10 Jan 2002 16:47:09 -0800 (PST)
Status: RO

Actually, Heather, that is a beautifully clear
explaination - and a way I had never thought of doing
it!!! <tucks e-mail into sewing box for future
reference>

Megan M
--- Heather Rose Jones <hrjones@socrates.Berkeley.EDU>
wrote:
> I don't know that this will work for everyone, but
> here's my method.
> 
> First: if all the parts of a blackwork pattern touch
> each other in 
> some way, it can be made reversible ("can", not
> "must" or "will"); if 
> any parts of the design are separated from other
> parts and don't 
> touch, it _can't_ be made exactly reversible.  (It
> may be possible to 
> stitch it such that the reverse is an equally
> pleasing pattern, but 
> it will not be exactly the same pattern.)  A slight
> modification of 
> this rule is that if you have a band pattern that
> involves more than 
> one separate bands that don't touch (e.g., a broad
> central band with 
> narrower "racing stripes"), then if you work each
> band as a separate 
> project, they can all be made reversible.
> 
> Any potentially reversible design can be visualized
> as a "branching 
> tree" structure -- that is, a single main path with
> numerous branches 
> coming off of it (which may themselves have
> branches), but where each 
> branch has an end rather than coming back into the
> pattern.  To 
> visualize this, you may have to visualize "breaks"
> in the line at 
> points were the line actually continues (e.g., a
> "lollipop" shape 
> must be "broken" where one side of the loop meets
> the stem and 
> becomes a single, unbranching line).
> 
> When you work the design, pick one path that
> continues along your 
> entire design as your "main" path (if it's a band
> with straight 
> edges, then one edge works nicely for this) and run
> a single line of 
> your running stitch along this path.
> 
> Start to return, but every time you hit a branch off
> this main path, 
> go off and work it until it is entirely done before
> you return to the 
> main path.
> 
> This explanation works better if I can doodle while
> giving it, but I 
> don't trust the stability of ascii art enough to try
> here.
> 
> Heather
> -- 
> *****
> Heather Rose Jones
> hrjones@socrates.berkeley.edu
> *****
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


=====
Megan McConnell
ICQ:  57164109

"When I'm old, I don't want them to say of me, "She's  so charming." I want them to say, "Be careful, I think she's armed."    -G. Stoddart

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Date: Thu, 10 Jan 2002 21:24:16 EST
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In a message dated 1/10/02 1:10:27 PM Pacific Standard Time, kayta@frys.com 
writes:


> Cucumber sandwiches fall into this
> category.
> 

as in "Much Ado About Nothing" not the play, I mean you might as well eat 
air.  Don't forget the watercress!

Katrin

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<HTML><FONT FACE=arial,helvetica><FONT  COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>In a message dated 1/10/02 1:10:27 PM Pacific Standard Time, kayta@frys.com writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></B>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Cucumber sandwiches fall into this
<BR>category.
<BR></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>
<BR>as in "Much Ado About Nothing" not the play, I mean you might as well eat air. &nbsp;Don't forget the watercress!
<BR>
<BR>Katrin</B></FONT></HTML>

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Date: Thu, 10 Jan 2002 22:46:41 -0500
Status: RO

Okay -- I now have in my posession a copy of "Costumes for stage and 
screen: patterns for women's dress 1500-1800".  Have any of you read 
through this or used any of the scaled patters to know if the author 
has included seam allowances in her scaled patterns?  I can't seem to 
find a reference anywhere to this point, and I'm not sure by looking 
at the patterns if they have been included... Admitting defeat at the 
question, I'm honestly not sure.    I'd like to make up Queen Liz' 
Phoenix gown using the pattern for the bodice, but that point is 
fairly pertinent...    

And if anyone has done such a wide necked gown, can you tell me if a 
drawstring at the neckline would actually work to keep the sleeves 
*on* the shoulders? That is what is suggested, but never having tried 
it myself, I wonder.

Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
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Date: Thu, 10 Jan 2002 19:57:13 -0800
Status: RO

At 10:46 PM 01/10/2002 -0500, you wrote:
>Okay -- I now have in my posession a copy of "Costumes for stage and 
>screen: patterns for women's dress 1500-1800".  Have any of you read 
>through this or used any of the scaled patters to know if the author 
>has included seam allowances in her scaled patterns? 

No, there are no seam allowances.  This is standard with theatrical
patterns, as it allows the cutter to lay the pattern, usually cut out of
heavy paper, down on the fabric and trace around it for seamlines, giving
very precisly marked stitching lines.  The seam allowances are then added on
in the desired width (usually 1" to allow for alterations.)

As for pulling up the piping cord like a drawstring at the neckline, yes, it
helps, but it doesn't replace careful fitting, only augments. 

Margo


Margo Anderson's Historic Costume Patterns
margospatterns.com

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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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 at Jan 10, 2002 07:57:13 pm"
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Date: Thu, 10 Jan 2002 20:17:30 -0800 (PST)
Status: RO

Another question on her books -- what's the size/proportions of the
sloper she's using?  I couldn't find any reference to it in the one
I have.

.heather.meadows.


> At 10:46 PM 01/10/2002 -0500, you wrote:
> >Okay -- I now have in my posession a copy of "Costumes for stage and 
> >screen: patterns for women's dress 1500-1800".  Have any of you read 
> >through this or used any of the scaled patters to know if the author 
> >has included seam allowances in her scaled patterns? 
> 
> No, there are no seam allowances.  This is standard with theatrical
> patterns, as it allows the cutter to lay the pattern, usually cut out of
> heavy paper, down on the fabric and trace around it for seamlines, giving
> very precisly marked stitching lines.  The seam allowances are then added on
> in the desired width (usually 1" to allow for alterations.)
> 
> As for pulling up the piping cord like a drawstring at the neckline, yes, it
> helps, but it doesn't replace careful fitting, only augments. 
> 
> Margo
> 
> 
> Margo Anderson's Historic Costume Patterns
> margospatterns.com
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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Date: Fri, 11 Jan 2002 00:13:54 EST
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In a message dated 1/10/2002 11:18:58 PM Eastern Standard Time, 
alice@wonderland.com writes:


> Another question on her books -- what's the size/proportions of the
> sloper she's using?  I couldn't find any reference to it in the one
> I have.
> 

page 14 

"All the patterns in this book are for a figure of approximately:
Bust     86-91cm [34-36in]
waist    63-68cm [25-27in]
N-W-B  38-40cm [15-16in]"

Also on page 10, there is a list of measurements with the chart. These 
correspond to the list above and are probably correct for the patterns. 

I have made the 1660s bodice right from the book. I had to adjust the boning 
pattern a little but this was common sense and obvious. I also greatly 
simplified the sleeve. [I don't like her sleeve patterns.] It looks 
fantastic.  

--part1_a5.20f0ed33.296fce92_boundary
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 1/10/2002 11:18:58 PM Eastern Standard Time, alice@wonderland.com writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Another question on her books -- what's the size/proportions of the
<BR>sloper she's using? &nbsp;I couldn't find any reference to it in the one
<BR>I have.
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>page 14 
<BR>
<BR>"All the patterns in this book are for a figure of approximately:
<BR>Bust &nbsp;&nbsp;&nbsp;&nbsp;86-91cm [34-36in]
<BR>waist &nbsp;&nbsp;&nbsp;63-68cm [25-27in]
<BR>N-W-B &nbsp;38-40cm [15-16in]"
<BR>
<BR>Also on page 10, there is a list of measurements with the chart. These correspond to the list above and are probably correct for the patterns. 
<BR>
<BR>I have made the 1660s bodice right from the book. I had to adjust the boning pattern a little but this was common sense and obvious. I also greatly simplified the sleeve. [I don't like her sleeve patterns.] It looks fantastic. &nbsp;</FONT></HTML>

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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
In-Reply-To: <a5.20f0ed33.296fce92@aol.com> "from AlbertCat@aol.com at Jan 11,
 2002 00:13:54 am"
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Date: Thu, 10 Jan 2002 21:21:43 -0800 (PST)
Status: RO

thanks Albert!  I have the victorian one, and I swear I could never find 
that info.

.heather.



> In a message dated 1/10/2002 11:18:58 PM Eastern Standard Time, 
> alice@wonderland.com writes:
> 
> 
> > Another question on her books -- what's the size/proportions of the
> > sloper she's using?  I couldn't find any reference to it in the one
> > I have.
> > 
> 
> page 14 
> 
> "All the patterns in this book are for a figure of approximately:
> Bust     86-91cm [34-36in]
> waist    63-68cm [25-27in]
> N-W-B  38-40cm [15-16in]"
> 
> Also on page 10, there is a list of measurements with the chart. These 
> correspond to the list above and are probably correct for the patterns. 
> 
> I have made the 1660s bodice right from the book. I had to adjust the boning 
> pattern a little but this was common sense and obvious. I also greatly 
> simplified the sleeve. [I don't like her sleeve patterns.] It looks 
> fantastic.  

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Subject: Re: [h-cost] 12th-century garb
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Date: Fri, 11 Jan 2002 00:14:44 -0600
Status: RO

SNSpies@aol.com wrote:

> In the near future, I am diving headlong into some deep research on the 12th
> century, specifically as it pertains to garb in "Germany" and "Italy".  To
> that end, I would please like to ask any and all of you for references,
> manuscripts, primary sources, etc. that you would recommend.

I was having trouble finding documentation for my time period (late 12th
C France; well, Kingdom of Burgundy).  I figured manuscripts would be a
good source.  I spoke with some scribal arts folks and found out that
not much survives from that time period; too many wars over ran the
area.

I have found one good source, however.  I believe it's German.  Herrad
of Landsberg's "Hortus Deliciarum (Garden of Delights)".  The original
manuscript was destroyed, but several tracings were made and are
available in various editions.  The version I found compares most of the
existing copies in one volume along with commentary.

Herrad of Landsberg; Hortus Deliciarum (Garden of Delights); Commentary
and Notes by A. Straub and G. Keller; Edited and Translated by Aristide
D. Cartazas; Caratza Brothers, Publishers; New Rochelle, NY, 1977.

--Charlene

-- 
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meanings?  -- George Carlin
=====
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Date: Fri, 11 Jan 2002 07:03:32 -0500
Status: RO

Rebecca Schmitt wrote:

> Andrea:
>
> OOooooohhh! Nice! Did you use patterns, or did you draft yourself?
>
> **********************
> Rebecca Schmitt

The black suit in the last picture was the first one I made and used the Med.
Misc. Period Patterns, Men's Elizabethan, about 4 years ago.  I then adapted
that pattern to a more period cut and fit.  Finally, the green outfit at the
top was based strictly from Janet Arnold's Patterns of Fashion.

Andrea

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Subject: Re: [h-cost] wheelchair historicals
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Date: Fri, 11 Jan 2002 08:29:58 -0500
Status: RO

Sounds good to me.  Are you the Crissy that works at the JoAnne's By the
University Mall in Tampa?  If so, it would be fairly easy to get together.
Moira

> Moira.... this would be a good challenge for me. It's been quite a while
since
> I've had a good one. We could start plotting after Gulf Wars. ( Sorry I
have a
> period-esque wedding gown to do before then.)
>    This could be fun! Wanna try?
>   Crissy


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Subject: Re: Re:Re: [h-cost] Off to England
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Date: Fri, 11 Jan 2002 08:35:49 -0500
Status: RO

> In Australia we also have travel bags with a one-way valve for when no
> powered vacuum is available.
If you try www.spacebags.com , you should be able to find some like this.
I've seen them on an ad on BBCAmerica over and over again.
Moira

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Subject: Re: [h-cost] wheelchair historicals
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Date: Fri, 11 Jan 2002 08:38:53 -0500
Status: RO

The thing I have trouble with is that they don't sit right when I sit down.
(my tummy apparently sticks out beyond my chest when I sit in the
wheelchair, no matter how I try to sit.);-p  It also all moves north.
Moira
>
> >figure out the corset thing.  (Maybe even choose a decade that didn't do
> >corsets quite yet.);-D
>
> Do a thing which looks like a corset, but doesn't fit any tighter than a
> modern bustier, and you'll be fine in any corset period.  The things don't
> really have to be tight, just snug as a bra.
>
> Kayta


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Subject: Re: [h-cost] wheelchair historicals
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Date: Fri, 11 Jan 2002 08:48:59 -0500
Status: RO

The last I knew, they did, as long as you had an interest in the subject.  I
do know for a fact a number of caretakers were on the list.
Moira
>
> > have you tried posting this question to the SCA-disabled list??
> >
> > their addy is medievaldisableds@yahoogroups.com
> >
> > this list is not only for SCA but all disableds who are into reinactment
>
>
> Does this group allow non-disabled lurkers?  The topic is one I'm
interested
> in.
>
> Leah


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Subject: Re: [h-cost] wheelchair historicals - Elizabethan
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Date: Fri, 11 Jan 2002 09:06:36 -0500
Status: RO

:-D  I figured if it weren't a typo, it might have been slang for something.
It would, however, most definitely be sneaky support.;-D
Moira

> > even provide meaky support for one of those big standing
> > ruff-crescent shaped affairs, perhaps?).
>
> My typos are getting worse!
>
> I meant to type *sneaky* support, not meaky (whatever that means)
>
> Teddy


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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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Date: Fri, 11 Jan 2002 08:20:44 -0600
Status: RO

Kimberly Tribe wrote:
> 
> And if anyone has done such a wide necked gown, can you tell me if a
> drawstring at the neckline would actually work to keep the sleeves
> *on* the shoulders? That is what is suggested, but never having tried
> it myself, I wonder.

I have done several wide necked gowns, and a drawstring is not
necessary.  If you make the straps at the proper angle to the rest of
the bodice, and if you make them snug enough, they will stay on unless
you have really slopey shoulders.  The proper angle is something you
have to decide for yourself, but something less than 90 degrees (when
measured from the horizontal front neckline) is useful.  I don't know
what Hunnisett's pattern looks like, but take a look at Janet Arnold's
Patterns of Fashion (1560-1620), page 9, which has her conjectured
pattern of the Phoenix gown.  You'll see that the straps angle in
towards center front.  The patterns in Juan de Alcega's Pattern Book
(from 1589) look the same (he was Arnold's source, in fact).

If you still feel the shoulders slipping and you want to try a
drawstring, consider putting it only over the shoulders (and not across
the front or back) where any puckering will be hidden by the shoulder decor.

Best of luck!
Melanie Schuessler
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Date: Fri, 11 Jan 2002 09:28:52 -0500 (EST)
Status: RO


On Fri, 11 Jan 2002, Heather wrote:

> The thing I have trouble with is that they don't sit right when I sit down.
> (my tummy apparently sticks out beyond my chest when I sit in the
> wheelchair, no matter how I try to sit.);-p  It also all moves north.
> Moira

Sounds like you need to make your stays/boned bodice a bit short-waisted,
so that it doesn't get pushed up.  

-- Mara

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From: Angela Kovatch <a_kovatch@yahoo.com>
Subject: Re: [h-cost] wheelchair historicals
To: h-costume@indra.com
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Date: Fri, 11 Jan 2002 06:58:14 -0800 (PST)
Status: RO

You've probably thought of this, but I'm wondering
whether making the boned bodice very short
(high-waisted) would help with the
bending/being-a-different shape-while-sitting-down
problem.  If skirts start poofing out from the "waist"
and if you don't stand up, it might not be noticeable
that you've raised the waist.  (Of course, if you
happen to have a short torso to begin with, it might
look a little funny.)  But just thinking here, if you
were going to do some sort of farthingale over the
chair (which I think would be way cool if it works),
wouldn't you need the waist to be a little higher
anyway, so it doesn't look funny when the skirts go
over the arm rests?

Just trying to be helpful-
Angela

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From: "Gia Gavino" <giagavino@msn.com>
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Subject: Re: [h-cost] wheelchair historicals
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Date: Fri, 11 Jan 2002 07:08:03 -0800
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If you go cavalier, which is 'short-waisted' to begin with, you would be =
able to stand up too.  Cavalier bodices, like some Elizabethan, can be a =
separate garment (like a doublet or jerkin) from your skirt, and has thos=
e wonderful 'skirt-like' peplums (not my period, so don't know the right =
terminology) that could hide a multitude of costuming cheats.  

Or you could go with a more ornate Italian Ren (court garb?); this style =
is typically high waisted anyways, and besides, typically uncorseted too.

I think some of the folks I know that wear italian ren do wear corsets, b=
ut since I'm not particularily well-endowed, I don't.

Just a thought...
Gia/Giacinta 

----- Original Message -----
From: Angela Kovatch
Sent: Friday, January 11, 2002 7:02 AM
To: h-costume@indra.com
Subject: Re: [h-cost] wheelchair historicals

You've probably thought of this, but I'm wondering
whether making the boned bodice very short
(high-waisted) would help with the
bending/being-a-different shape-while-sitting-down
problem.  If skirts start poofing out from the "waist"
and if you don't stand up, it might not be noticeable
that you've raised the waist.  (Of course, if you
happen to have a short torso to begin with, it might
look a little funny.)  But just thinking here, if you
were going to do some sort of farthingale over the
chair (which I think would be way cool if it works),
wouldn't you need the waist to be a little higher
anyway, so it doesn't look funny when the skirts go
over the arm rests?

Just trying to be helpful-
Angela

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<HTML><BODY STYLE=3D"font:10pt verdana; border:none;"><DIV>If you go cava=
lier, which is 'short-waisted' to begin with, you would be able to stand =
up too.&nbsp; Cavalier bodices, like some Elizabethan, can be a separate =
garment (like a doublet or jerkin) from your skirt, and has those wonderf=
ul 'skirt-like' peplums (not my period, so don't know the right terminolo=
gy) that could hide a multitude of costuming cheats.&nbsp; </DIV> <DIV>&n=
bsp;</DIV> <DIV>Or you could go with a more ornate Italian Ren (court gar=
b?); this style is typically high waisted anyways, and besides, typically=
 uncorseted too.</DIV> <DIV>&nbsp;</DIV> <DIV>I&nbsp;think some of the fo=
lks I know that wear italian ren do wear corsets, but since I'm not parti=
cularily well-endowed, I don't.</DIV> <DIV>&nbsp;</DIV> <DIV>Just a thoug=
ht...</DIV> <DIV>Gia/Giacinta&nbsp;</DIV> <DIV>&nbsp;</DIV> <BLOCKQUOTE s=
tyle=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-L=
EFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D"FONT: 10pt Aria=
l">----- Original Message -----</DIV> <DIV style=3D"BACKGROUND: #e4e4e4; =
FONT: 10pt Arial; COLOR: black"><B>From:</B> Angela Kovatch</DIV> <DIV st=
yle=3D"FONT: 10pt Arial"><B>Sent:</B> Friday, January 11, 2002 7:02 AM</D=
IV> <DIV style=3D"FONT: 10pt Arial"><B>To:</B> h-costume@indra.com</DIV> =
<DIV style=3D"FONT: 10pt Arial"><B>Subject:</B> Re: [h-cost] wheelchair h=
istoricals</DIV> <DIV>&nbsp;</DIV>You've probably thought of this, but I'=
m wondering<BR>whether making the boned bodice very short<BR>(high-waiste=
d) would help with the<BR>bending/being-a-different shape-while-sitting-d=
own<BR>problem.&nbsp; If skirts start poofing out from the "waist"<BR>and=
 if you don't stand up, it might not be noticeable<BR>that you've raised =
the waist.&nbsp; (Of course, if you<BR>happen to have a short torso to be=
gin with, it might<BR>look a little funny.)&nbsp; But just thinking here,=
 if you<BR>were going to do some sort of farthingale over the<BR>chair (w=
hich I think would be way cool if it works),<BR>wouldn't you need the wai=
st to be a little higher<BR>anyway, so it doesn't look funny when the ski=
rts go<BR>over the arm rests?<BR><BR>Just trying to be helpful-<BR>Angela=
<BR><BR>__________________________________________________<BR>Do You Yaho=
o!?<BR>Send FREE video emails in Yahoo! Mail!<BR>http://promo.yahoo.com/v=
ideomail/<BR>_______________________________________________<BR>h-costume=
 mailing list<BR>h-costume@mail.indra.com<BR>http://mail.indra.com/mailma=
n/listinfo/h-costume<BR></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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In a message dated 1/11/2002 12:22:47 AM Eastern Standard Time, 
alice@wonderland.com writes:


> thanks Albert!  


My pleasure.


I have the victorian one, and I swear I could never find 

> that info.


In that volume, the measurement chart is on page 13.





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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 1/11/2002 12:22:47 AM Eastern Standard Time, alice@wonderland.com writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">thanks Albert! &nbsp;</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>My pleasure.
<BR>
<BR>
<BR>I have the victorian one, and I swear I could never find 
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">that info.</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>In that volume, the measurement chart is on page 13.
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>
<BR></FONT></HTML>

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In a message dated 1/11/2002 9:20:51 AM Eastern Standard Time, 
melanie@faucet.net writes:


> I have done several wide necked gowns, and a drawstring is not
> necessary.  If you make the straps at the proper angle to the rest of
> the bodice, and if you make them snug enough,

True.

Ideally the draw string really shouldn't be what holds the neckline up. It 
just ensures a snug edge close to the skin. In fact one shouldn't even be 
able to detect the drawing up. It should be just a slight smidgen with no 
gathering, just some ease distributed around the shoulders and back.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 1/11/2002 9:20:51 AM Eastern Standard Time, melanie@faucet.net writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I have done several wide necked gowns, and a drawstring is not
<BR>necessary. &nbsp;If you make the straps at the proper angle to the rest of
<BR>the bodice, and if you make them snug enough,</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>True.
<BR>
<BR>Ideally the draw string really shouldn't be what holds the neckline up. It just ensures a snug edge close to the skin. In fact one shouldn't even be able to detect the drawing up. It should be just a slight smidgen with no gathering, just some ease distributed around the shoulders and back.</FONT></HTML>

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To: h-costume@indra.com
Subject: Re: [h-cost] wheelchair historicals
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Date: Fri, 11 Jan 2002 09:35:23 -0600
Status: RO

I had a "happy" accident with my latest corset.  I had made one of the
effigy design, used reeds as stays and was quite comfy with the overall
fit.  What lead to the "accident" ... I prelace the corset, wiggle into
it and then work the laces tight, usually by myself.  This means a very
long lace, that I just wrap to the front and tie into a large bow while
wearing it.  Apparently one of the first times I wore it, I pulled this
lace too tight around the waist and through the course of the day it
broke the reeds at the front waist, where you bend.  I find now that I
have a range of movement that I didn't have before and it's wonderful. 
the lower panel usually behaves (sometimes it wants to flip up) and
gives that flatness in front when standing or sitting.  -I am also one
that the tummy protrudes when I sit.  No amount of exercise or weight
loss has fixed that yet-
I have no intentions at this time to replace the broken reeds, and am
planning a second corset, trying to figure out if I should pre-break the
reeds or let it happen the same as before.

Alexandria

Heather wrote:
> 
> The thing I have trouble with is that they don't sit right when I sit down.
> (my tummy apparently sticks out beyond my chest when I sit in the
> wheelchair, no matter how I try to sit.);-p  It also all moves north.
> Moira
> >
> > >figure out the corset thing.  (Maybe even choose a decade that didn't do
> > >corsets quite yet.);-D
> >
> > Do a thing which looks like a corset, but doesn't fit any tighter than a
> > modern bustier, and you'll be fine in any corset period.  The things don't
> > really have to be tight, just snug as a bra.
> >
> > Kayta
> 
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 15:48:07 +0000 (GMT)
Status: RO


> Well does it mean anything to you?  I honestly don't know what a tea
> sandwich is - as opposed to any other sort of sandwich, I mean.

I assumed it was the "genteel" sort of sandwiches you'd have with 
tea from loose-leaf tea in a teapot and china cups with matching 
saucers, cube-sugar in a bowl with silver tongs to pick it out etc,  
rather than the huge chunky doorsteps of bread and filling wot 
people like me has with big mugs of PGTips made using teabags 
and the same spoon for stirring the tea and fishing out the teabag 
as you used to get the granulated sugar from the bag

Teddy
(Uncouth?  Me?  Abso-bloody-lutely!)

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 15:49:46 +0000 (GMT)
Status: RO


> Oh my gosh - sorry!  I assumed everyone was joking!!
> Tea sandwiches [at least here in the U.S.] are little
> fancy-shmancy finger sandwiches served with afternoon
> tea.

You see, Jean, she meant *posh* ones......<ggg>

Teddy

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 15:58:48 +0000 (GMT)
Status: RO


> Teddy, for shame, you should know that tea sandwiches are
> to be served with tea at tea time, not made from tea leaves. 

Hey!  I may not have known all the details but I had the general idea 
- it's *Jean*  who's the uncultured slob in this case....<GGG>

Pthphphpht!

Teddy
(going into hiding)


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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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Date: Fri, 11 Jan 2002 10:23:23 -0600
Status: RO

Kimberly: Unless indicated, none of the patterns have seam allowances. I've
only used some of the patterns to dress dolls, not people and even then, I
only scaled them up or down to the height of the dolls and then altered them
to fit, of course, keeping the cut and seaming authentic. If I didn't agree,
I went to Janet Arnold's books to look for an authentic pattern. Once you
have a fit, then you can make your seam allowances the width comfortable for
you to work with.  Some people want to have more to work with in case of
fitting problems, others less. I will usually start with a half-inch wide
seam allowance and trim it down to a 1/4" wide or less, for dolls.  I find
sew-in interfacing makes better pattern pieces then tissue paper, or paper
towels, especially for dolls. I hand-sew and sew-in interfacing is something
easy to baste if you want to make sure the fit is perfect. It is more
reliable than tape and pins may scratch dolls' porcelain parts. (But you can
stick pins in with abandon on cloth parts!)

Making the foundation garments first is a must. A hard-bodied vinyl or
porcelain doll may not need a real corset or stays(adds bulk) but will need
any shifts, farthingales or bumrolls the outer costume requires.  Often
boring, but if I really want to work with the fashion fabrics and trims,
I'll make the shoes(necessary anyway) or headdress first to get that out of
my system.

With soft-bodied dolls(with porcelain limbs and shoulder or bust plates or
head and shoulder bust plate all in one), I've found that having the correct
stays or corset not only creates the correct foundation silhouette, the
dolls stuffing doesn't eventually fall victim to the force of gravity,
either(just like with people). And I stuff pretty firmly.

Cindy Abel
ILL Coordinator
Health Sciences Library
Creighton University
2500 California Plaza
Omaha NE 68178-0210
Phone: 402. 280-5144
Fax:     402.280-5134
----- Original Message -----
From: "Kimberly Tribe" <Kimberly@Antiquarum.zzn.com>
To: <h-costume@indra.com>
Sent: Thursday, January 10, 2002 9:46 PM
Subject: [h-cost] Jean Hunnisett Pattern Question


> Okay -- I now have in my posession a copy of "Costumes for stage and
> screen: patterns for women's dress 1500-1800".  Have any of you read
> through this or used any of the scaled patters to know if the author
> has included seam allowances in her scaled patterns?  I can't seem to
> find a reference anywhere to this point, and I'm not sure by looking
> at the patterns if they have been included... Admitting defeat at the
> question, I'm honestly not sure.    I'd like to make up Queen Liz'
> Phoenix gown using the pattern for the bodice, but that point is
> fairly pertinent...
>
> And if anyone has done such a wide necked gown, can you tell me if a
> drawstring at the neckline would actually work to keep the sleeves
> *on* the shoulders? That is what is suggested, but never having tried
> it myself, I wonder.
>
> Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
> ____________________________________________________________
> Get your own FREE Web and POP E-mail Service in 14 languages at
http://www.zzn.com.
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Date: Fri, 11 Jan 2002 08:32:02 -0800 (PST)
Status: RO

Greetings to the list.

I am working on some new garb for upcoming
faire/events and have a couple of questions regarding
fabric choices.

First, what is Faustian?  Does it still exist?  What
would be a modern day equivalent?

Second, I am working on a lower middle
class/campfollower gown for the German guild at my
faire and have had it suggested to me that I could use
either wool or brushed denim.  Now did brushed denim
exist in the renaissance?  If so, would it have
necessarily been used by a lower clas individual.  If
it didn't exist, what would be the purpose in
suggesting the fabric; what is it supposed to
simulate?

Thank you.

Ghislaine

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Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 16:19:58 -0000
Status: RO

>PGTips made using teabags
and the same spoon for stirring the tea and fishing out the teabag
as you used to get the granulated sugar from the bag

UGH

You''l be telling me next you don't warm the mug first & put milk in your
tea

Lady Power (aka Mel)

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From h-costume-admin@indra.com  Fri Jan 11 13:03:57 2002
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Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 13:35:02 EST
Status: RO


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       Oh Teddy, what would we do without you?  You really make my day with 
some of your wonderful comments.  

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Oh Teddy, what would we do without you? &nbsp;You really make my day with some of your wonderful comments. &nbsp;
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Subject: Re: [h-cost] Fabric questions
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Date: Fri, 11 Jan 2002 10:56:52 -0800
Status: RO

Fustian is linen in one direction and cotton(?) in the other.  You can
still find this in the drapery section, but it's usually too coarsely woven
to look good for Landsknechts.

Wool is a good choice, even for summer, as it allows body heat and moisture
to pass to the outside and evaporate.  If you're doing the skirt right,
with all that waist bulk, you'll generate a lot of body heat (you knew
that).  Look for thin wool, like maybe trousers-weight, because you'll
roast in coat-weight.  Here in California I can usually find
trousers-weight wool all year 'round in VietNamese cloth stores, but I have
to be careful that it's 100% wool (never use a blend).  Underline the
pleats if you want them to look bulky, and use a band of something at the
bottom for trim, to give the hem some substance.

Also, see if you can get real linen for your shirt/chemise (but it has to
be real flax/linen and really thin), as this will be cooler than cotton.

>I am working on some new garb for upcoming
>faire/events and have a couple of questions regarding
>fabric choices.
>
>First, what is Faustian?  Does it still exist?  What
>would be a modern day equivalent?
>
>Second, I am working on a lower middle
>class/campfollower gown for the German guild at my
>faire and have had it suggested to me that I could use
>either wool or brushed denim.  Now did brushed denim
>exist in the renaissance?  If so, would it have
>necessarily been used by a lower clas individual.  If
>it didn't exist, what would be the purpose in
>suggesting the fabric; what is it supposed to
>simulate?
>
>Thank you.
>
>Ghislaine
>
>__________________________________________________
>Do You Yahoo!?
>Send FREE video emails in Yahoo! Mail!
>http://promo.yahoo.com/videomail/
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 11:03:35 -0800
Status: RO

Does one have to put milk (etc.) in ones tea to be English?  And I was so
disappointed, when I went to Australia, to find coffee drinkers in the
majority.  (I'm an American tea-drinker, and iced tea is fine with me, but
I never put anything in my tea, hot or cold.)  

Obligatory costume note - is tea dying harmful to fabric?  I heard that the
acid in tea can damage the fibres over the years, and that one should use
decaf-coffee for dying instead.

>>PGTips made using teabags
>and the same spoon for stirring the tea and fishing out the teabag
>as you used to get the granulated sugar from the bag
>
>UGH
>
>You''l be telling me next you don't warm the mug first & put milk in your
>tea
>
>Lady Power (aka Mel)
>
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>http://mail.indra.com/mailman/listinfo/h-costume


Kayta
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From h-costume-admin@indra.com  Fri Jan 11 13:36:45 2002
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Date: Fri, 11 Jan 2002 11:14:44 -0800
Status: RO

'Cavalier' period is good for this, as it is already short-waisted, and
there's lots of room for really elaborate decoration and needlework.  You
can get do of the gold, lace, jewelry, and general opulence that the
Elizabethans did, and still sit gracefully.  And if you have anything like
hips, you won't need a roll-farthingale to build, to wear, and to figure
out where it's going in your chair.

I'd still go for slip-covers for at least the arms and back of the chair.
I'd do it in silver and black, the colours most chairs come in.  If you're
doing late period anyway, you can use braid, fringe, tassels, velvet,
brocade - and really do it up splendid.

What I really want is one of those Victorian wood and cane invalid-chairs
with wheels, whether or not they can be propelled by the sitter.  Every
once in a while they are just the thing for living history events, like
when I blow my knees out (again) morris dancing.

>You've probably thought of this, but I'm wondering
>whether making the boned bodice very short
>(high-waisted) would help with the
>bending/being-a-different shape-while-sitting-down
>problem.  If skirts start poofing out from the "waist"
>and if you don't stand up, it might not be noticeable
>that you've raised the waist.  (Of course, if you
>happen to have a short torso to begin with, it might
>look a little funny.)  But just thinking here, if you
>were going to do some sort of farthingale over the
>chair (which I think would be way cool if it works),
>wouldn't you need the waist to be a little higher
>anyway, so it doesn't look funny when the skirts go
>over the arm rests?
>
>Just trying to be helpful-
>Angela
>
>__________________________________________________
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: historicals on dolls (was Re: [h-cost] Jean Hunnisett Pattern
  Question)
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Date: Fri, 11 Jan 2002 10:45:02 -0800
Status: RO

I like to build dolls to fit the historical pattern book patterns at their
printed sizes, or at least to fit an easy enlargement of them.  I spend so
much time fussing with patterns for myself that I hate to have to do it for
dolls.

No pins - I got some little wooden clothespins for one of my dolls, but I
use them for holding crochet/knit pieces together before sewing.  These may
work for holding doll cloth parts together, if pins might harm something.  

Corsetting - I find that if I stuff a little loosely, the corset adds back
the bulk I didn't put in, so the doll gets her corset and I get to be a
snobby purist and know that she has one.

>Kimberly: Unless indicated, none of the patterns have seam allowances. I've
>only used some of the patterns to dress dolls, not people and even then, I
>only scaled them up or down to the height of the dolls and then altered them
>to fit, of course, keeping the cut and seaming authentic. If I didn't agree,
>I went to Janet Arnold's books to look for an authentic pattern. Once you
>have a fit, then you can make your seam allowances the width comfortable for
>you to work with.  Some people want to have more to work with in case of
>fitting problems, others less. I will usually start with a half-inch wide
>seam allowance and trim it down to a 1/4" wide or less, for dolls.  I find
>sew-in interfacing makes better pattern pieces then tissue paper, or paper
>towels, especially for dolls. I hand-sew and sew-in interfacing is something
>easy to baste if you want to make sure the fit is perfect. It is more
>reliable than tape and pins may scratch dolls' porcelain parts. (But you can
>stick pins in with abandon on cloth parts!)
>
>Making the foundation garments first is a must. A hard-bodied vinyl or
>porcelain doll may not need a real corset or stays(adds bulk) but will need
>any shifts, farthingales or bumrolls the outer costume requires.  Often
>boring, but if I really want to work with the fashion fabrics and trims,
>I'll make the shoes(necessary anyway) or headdress first to get that out of
>my system.
>
>With soft-bodied dolls(with porcelain limbs and shoulder or bust plates or
>head and shoulder bust plate all in one), I've found that having the correct
>stays or corset not only creates the correct foundation silhouette, the
>dolls stuffing doesn't eventually fall victim to the force of gravity,
>either(just like with people). And I stuff pretty firmly.
>
>Cindy Abel
>ILL Coordinator
>Health Sciences Library
>Creighton University
>2500 California Plaza
>Omaha NE 68178-0210
>Phone: 402. 280-5144
>Fax:     402.280-5134
>----- Original Message -----
>From: "Kimberly Tribe" <Kimberly@Antiquarum.zzn.com>
>To: <h-costume@indra.com>
>Sent: Thursday, January 10, 2002 9:46 PM
>Subject: [h-cost] Jean Hunnisett Pattern Question
>
>
>> Okay -- I now have in my posession a copy of "Costumes for stage and
>> screen: patterns for women's dress 1500-1800".  Have any of you read
>> through this or used any of the scaled patters to know if the author
>> has included seam allowances in her scaled patterns?  I can't seem to
>> find a reference anywhere to this point, and I'm not sure by looking
>> at the patterns if they have been included... Admitting defeat at the
>> question, I'm honestly not sure.    I'd like to make up Queen Liz'
>> Phoenix gown using the pattern for the bodice, but that point is
>> fairly pertinent...
>>
>> And if anyone has done such a wide necked gown, can you tell me if a
>> drawstring at the neckline would actually work to keep the sleeves
>> *on* the shoulders? That is what is suggested, but never having tried
>> it myself, I wonder.
>>
>> Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
>> ____________________________________________________________
>> Get your own FREE Web and POP E-mail Service in 14 languages at
>http://www.zzn.com.
>> _______________________________________________
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>>
>
>_______________________________________________
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Kayta
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Subject: [h-cost] Pattern Question & keeping shoulders in place
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Date: Fri, 11 Jan 2002 14:09:27 EST
Status: RO

When I do a gown that has widely set shoulders I pin the shoulders to either 
the chemise, the partlet or the shoulders of my bodeys (depending which one 
works best on that gown). So far I've not had a problem with them drooping. 
Corsage pins work well, they are long and slick and if they show they have a 
nice pearl on the end.
Lady G
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Date: Fri, 11 Jan 2002 14:51:01 -0500
Status: RO

Providence Day School
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If you have just more time on your hands than you know what to do with,
check out this site...

http://www.amn.org/#

Jessamyn

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Date: Fri, 11 Jan 2002 15:12:16 -0500
Status: RO

Thank you!  =)  I will add in the allowances and keep you all posted 
as I proceed (and as I hit road blocks! *lol*).  

Antiquarum Historical Reproductions -- Clothing, Jewellery, Home Decor
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Subject: Re: [h-cost] Tea sandwiches
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Date: Fri, 11 Jan 2002 20:29:57 -0000
Status: RO

No one does NOT have to put milk in it unless one is a builder ;) Neither
does one ice tea I believe they do in France however. Much to my shame my
son drinks iced tea, send him to France for 6 months & he returns with such
filthy habits ;)


Mel

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Subject: Re: [h-cost] 12th-century garb
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Date: Fri, 11 Jan 2002 11:04:40 -0800
Status: RO

I've snipped the SCA-Laurels list off the "to" line, because I'm not 
sure it's a good idea to cross-post to a restricted list.

At 4:47 PM -0500 1/9/02, SNSpies@aol.com wrote:
>Hello to the list.
>
>In the near future, I am diving headlong into some deep research on the 12th
>century, specifically as it pertains to garb in "Germany" and "Italy".  To
>that end, I would please like to ask any and all of you for references,
>manuscripts, primary sources, etc. that you would recommend.

Contributing from my specialty, here's a list of the surviving 
garments attributed to the 12th century from Germany, Austria, 
Switzerland, and Italy that I am currently aware of.  Geographic 
references are to the current location, not always the location of 
origin.  I've given one reference for each, either the most useful, 
or one from another book I'm referencing frequently.  Unfortunately, 
but understandably, the majority of these items are ecclesiastical 
(the primary exception being the HRE vestments, which don't exactly 
count as "ordinary").

Austria

Holy Roman Empire vestments (at the Vienna Schatzkammer)
- alb and leggings associated with William II (Fillitz 1964, figs. 52, 57)
- silk tunic (the one with the gold tube-bead embroidery on the 
cuffs) and embroidered cloak (the lion & camel one) associated with 
Roger II (many references, but I'll stick with Fillitz 1964, figs. 
53, 56, pl.5)

Germany

Bamburg Cathedral
- dalmatic associated with Otto II (Müller-Christensen 1960 -- but 
I've got question marks in the database, so it may be I've got the 
reference wrong)

Passau Cathedral
- a "tunicella", IIRC this is an ecclesiastical dalmatic-like garment 
(Bayerischen Nationalmuseum 1955 #49)

Switzerland

Delemont
- leggins in nalebinding associated with Saint Germain (Schmedding 1978)

?location?
- alb associated with St. Hugo (Schmedding 1978 #289)

Italy

Vatican Museum
- two dalmatics falsely associated with Charlemagne, actually most 
likely 12th c. (Roma 1938 pl. 257)

Basilica of Santa Maria Maggiore, Rome
- alb associated with St. Thomas Becket (Butler 1995)

Florence
- cope and nalebinding gloves associated with Bishop Bernardo degli 
Uberti (Müller-Christensen 1960 pl. 84, 106)

Bibliography

Bayerischen Nationalmuseum.  1955.  Sakrale Gewänder des 
Mittelalters.  Ausstellung im Bayerischen Nationalmuseum München.

Butler, John.  1995.  The Quest for Becket's Bones.  Yale University 
Press, New Haven.

Fillitz, Hermann.  1964.  Die Schatzkammer in Wien.  Schrollverlag, Wien.

Müller-Christensen, Sigrid.  1960.  Das Grab des Papstes Clemens II. 
im Dom zu Bamberg.  Verlag F. Bruckmann, München.

Roma .. Mostra del tessile nazionale ....  1938.  L'Antico Tessuto 
d'Arte Italiano.  La Libreria dello Stato, Rome.

Schmedding 1978 (this is the book on relics in Switzerland, but I 
don't have the full reference handy at the moment)

-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Fri, 11 Jan 2002 11:27:13 -0800
Status: RO

The woman shopkeeper who sold me my first saree said I should pin the
over-the-shoulder-hanging-down end (=palu) to my bra strap to keep it from
slipping off.  I think the Scottish have a special decorated brooch for
keeping their over-the-shoulder plaid things in place.

>When I do a gown that has widely set shoulders I pin the shoulders to either 
>the chemise, the partlet or the shoulders of my bodeys (depending which one 
>works best on that gown). So far I've not had a problem with them drooping. 
>Corsage pins work well, they are long and slick and if they show they have a 
>nice pearl on the end.

Kayta
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Date: Fri, 11 Jan 2002 22:11:37 -0500
Status: RO

Hi, All. Try  www.tudorgroup.co.uk  for some excellent folks with some good
info on the subject.  Mike T.

> Or if anyone has any good links of pictures/portraits of Elizabethan men
> (preferrably more middle-class) that I can send him?

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Date: Fri, 11 Jan 2002 22:17:07 -0500
Status: RO

The very same one.  I've got to work tomorrow so I won't be at the event, but
we'll definitely "run into" each other soon enough.
  I think it'll be fun!

Crissy

Heather wrote:

> Sounds good to me.  Are you the Crissy that works at the JoAnne's By the
> University Mall in Tampa?  If so, it would be fairly easy to get together.
> Moira
>
> > Moira.... this would be a good challenge for me. It's been quite a while
> since
> > I've had a good one. We could start plotting after Gulf Wars. ( Sorry I
> have a
> > period-esque wedding gown to do before then.)
> >    This could be fun! Wanna try?
> >   Crissy
>
> _______________________________________________
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Date: Fri, 11 Jan 2002 22:17:23 -0500
Status: RO

Hi, All. Mara, they look like English foundry clogs from the 19th cent. They
appear stylistically to be women's, though. Mike T.



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Date: Fri, 11 Jan 2002 19:46:18 -0800
Status: RO

I just got a German beer stein to use at Ren. Faire.  Steins look very
German, and un-English, so it doesn't matter to my Landsknecht
fair-character that this one's probably a 1930's tourist item.  At least
it's more period-like than most of the mugs sold at these events.

It's heavy grey stoneware with a raised design peeking thru cobalt blue
glaze.  There are two lions, rampant, one holding a long-handled scoop in
one paw, and the other holding a tiny barrel on a long handle (brewers'
tools?).  Both are resting their other paws on a half-barrel, out of which
are sprouting a head of wheat (barley?) and what look like hops.  It was
made in an at-least-4-piece mold.  It has a hinged metal (pewter?) lid and
sits about 6" tall.

Anyway, there is a ribbon above the lions, and another below, which say
"Hopfen u. Malz" (hops and malt?) and "Gott erhalt's" (God something).  My
German is rusty and my dictionary is somewhere in storage.  What does '
erhalt's ' mean?

Kayta
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Date: Fri, 11 Jan 2002 22:49:46 EST
Status: RO


In a message dated 11/1/02 9:39:39 PM, kayta@frys.com writes:

<< "Hopfen u. Malz" (hops and malt?) and "Gott erhalt's" (God something) >>

God Recieves. My mom collects this stuff and has a really old one like it, 
she has the translations on little slips of paper inside each stein or mug or 
teeny little butter churn. Hops and Malt is correct too.
Lady G
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Subject: Re: [h-cost] Bier Stein Deutsch, bitte?
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Date: Fri, 11 Jan 2002 22:50:23 EST
Status: RO

In a message dated 11/1/02 9:39:39 PM, kayta@frys.com writes:
<< tiny barrel on a long handle >>
It's a taster.
Lady G
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Date: Fri, 11 Jan 2002 20:07:42 -0800
Status: RO

><< "Hopfen u. Malz" (hops and malt?) and "Gott erhalt's" (God something) >>
>
>God Recieves. My mom collects this stuff and has a really old one like it, 
>she has the translations on little slips of paper inside each stein or mug or 
>teeny little butter churn. Hops and Malt is correct too.

><< tiny barrel on a long handle >>
>It's a taster.

Shows what I know.  I've been drinking iced tea out of mine since I got it
(washed first).  If it's really stoneware, there won't be any lead in the
glaze - does your mother know if they are?  And, if she has one like mine,
how old does she think they are?

Kayta
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Subject: Re: [h-cost] 12th-century garb
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Date: Fri, 11 Jan 2002 19:51:13 -0800
Status: RO

At 11:04 AM -0800 1/11/02, Heather Rose Jones wrote:
>?location?
>- alb associated with St. Hugo (Schmedding 1978 #289)

It's at the Carthusian abbey of La Valsainte in Switzerland, 
according to Schmedding.

>Schmedding 1978 (this is the book on relics in Switzerland, but I 
>don't have the full reference handy at the moment)

_Mittelalterliche Textilien in Kirchen und Kl{o:}stern der Schweiz_, 
by Brigitta Schmedding, Schriften der Abegg-Stiftung Bern, 1978; ISBN 
3-7272-9682-8
-- 
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O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] Tea dying, was sandwiches
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Date: Fri, 11 Jan 2002 20:54:47 -0500
Status: RO

I've never heard about damaging fiber, so I won't comment on that. I 
must admit, I was never worried about really long term effects.

Tea and coffee give  you different colors and effects, though. Coffee is 
darker. For a stage costume, if I'm just dipping down, or I want 
something to look a bit gently aged, I use tea. When I want something to 
look really old and dirty (Ex. the tramps in  Waiting for Godot) I use 
coffee. The color will travel to the last area to dry, so you can get 
some cool effects, to get muddy hems, dirty cuffs, etc. Very natural 
looking.

Anne

Carolyn Kayta Barrows wrote:

>
>Obligatory costume note - is tea dying harmful to fabric?  I heard that the
>acid in tea can damage the fibres over the years, and that one should use
>decaf-coffee for dying instead.
>



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Date: Fri, 11 Jan 2002 20:51:28 -0800
Status: RO

I recently decided to buy a new antique or antique-style bedspread
with hand embroidery and/or lace.  I did a great deal of net searching
for one.  The search concluded, and my spread being on its way from
the merchant, I thought I'd post some of the links I found.

Fran Grimble

Antique Linens
http://www.antique-linens.com/
Vintage household linens, paisley shawls

China Home 2000
New table and bed linens embroidered by hand and hand-guided machine

Dusty Calabash's General Store
http://dustycalabash.com
Vintage household linens and quilts

The House of Linens
http://www.thehouseoflinens.com/index.htm
New hand-embroidered and hand lace table and bed linens; woven
tapestries

Jacques Antiques and Collectables Linen and Lace
http://www.jacques-antiques.com.au/linen.htm
Vintage  household linens

La Belle Collectibles Vintage Linens & Lace
http://www.labellecollectibles.com

Lavish Linens
Vintage household linens and clothing

The Linen Merchant
http://www.thelinenmerchant.com/
New hand-embroidered and other household linens

The Old Lace and Linen Shop
http://www.antiquelinen.com/
Vintage and antique household linens, lingerie, shawls, and lace
accessories

Old Parsonage Antiques
http://www.oldparsonage.com/
Vintage household linens, some with handwork, and quilts; other
household items

Pieces of History Antique Linens
http://www.tias.com/stores/kayhless/
Vintage household linens and lace yardage

Rochester Kline Antique Linens
http://www.antiquelinens.org/
Vintage household linens

Romance Remembered by Cresa
http://www.rrbycresa.com/
Vintage  household linens--small selection

Vintage Linen Warehouse
http://vintagelinen.com/
Vintage household linens, and lace collars, etc. for garments.  Hand
lace and embroidery










---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
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Historic and vintage dance
http://www.lavoltapress.com/dance


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Subject: [h-cost] An introduction, and wheelchair costuming thoughts...
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Date: Fri, 11 Jan 2002 23:29:59 -0600
Status: RO

Hello all,

Anne Murphy, whom I know from another mailing list, graciously invited me 
to join in on this mailing list.  I would like to begin by giving a brief 
bit about me :-)

I am a fairly complete newbie to the world of costuming.  Heck, I am new to 
sewing.  My mother taught me how to use a sewing machine when I was 12 or 
so, and I didn't touch one until this Summer.  The few things I've done 
were not really historically accurate, nor really all that well put 
together, but!  I had fun, and it's better than showing up at an SCA event 
wearing nothing at all <grin>  I am sure I will learn a lot from y'all :-)

I work as a disability rights advocate, mostly.  I use a manual wheelchair, 
as I'm a paraplegic.  In a "prior life" I was a chef by trade.  I feel I 
could say much more, but then, I guess you'll all get to know me, or not :-)

On the topic of dealing with a chair and skirts...  Well, I might be a guy, 
but I do have a couple ideas about this :-)  When my wife was alive, we 
devised a way to mount half a hoola hoop to the front of her chair, with a 
"return U" so any material wouldn't just slide off and into the wheels.  I 
can draw a quick graphic if anyone would like to see.  I fear I have no 
pictures of it anywhere :-(

Someone suggested:
<<Could you make a frame to go over the chair that would hold the
skirts out over and away from the wheels (like a really big "wheel-
farthingale arrangement)? >>

This isn't really a good idea, as it stands.  Perhaps with some work.  The 
reason it's not such a good idea is because the way to reach the wheels 
seems to be very limited, and probably wouldn't afford one the 
reach/leverage needed to push a chair...  That is, if we're talking manual 
wheelchair.  It's worth exploring though :-)

Someone mentionned joining the SCA-Disabilities list.  I'm on that 
list.  If you have a disability or have a loved one who does, please come 
on in.  One of the thoughts we're currently kicking around is the formation 
of an SCA wide Household that would work on providing resources to 
autocrats and other offices so their event sites are accessible...  Looking 
for people interested in getting involved in a *working* household :-)

Someone else said:
<<My favourite suggestion for wheelchair folks is to decorate the chair 
itself.  This will tend to frame the sitter whatever he/she is wearing. >>

Each time I hear this suggestion, I have heckles go up in the back of my 
neck...  I shall give the benefit of the doubt to the person who said 
this.  Alas, too often this suggestion is made with the idea of wanting to 
*hide* the chair.  It's one thing to want to decorate a chair, but let's 
not do it for the wrong reasons.  Yes, I'm one of those "I'm a gimp and I'm 
proud" kinda guy :-)

On the topic of slip covers:
<<I'd do it in silver and black, the colours most chairs come in. >>

M'lady, I beg to differ...  Less and less folks using chairs go for these 
colours...  My chair is the shifting colour of oil on water in the 
sunshine.  Many chair are cherry red (my wife's was).  Electric blue.  Neon 
Yellow.  Lime green.  And many other colours.

Someone mentionned wheelchairs not being "period".  Here again I beg to 
differ.  Of course, chairs as we know them today weren't 
period.  Especially not power chairs (electric chair makes me think of a 
completely different type of chairs <grin>).  But there is documentation I 
believe for wheelchairs going back to the 1400's or so.  I myself do not 
have it, but can get it through someone else if you are interested.

On the topic of corsets riding up...  Well, I oft wear a back brace that 
many have compared to a corset :-)  The reason it doesnt' ride UP is 
because it's stopped at the armpit...  Perhaps that concept can be 
used?  Another thought would be to have a belt/hooks system.  Sit on the 
belt, get the hooks at the bottom of the corset to attach to the belt, and 
the thing won't ride up.

These are just a few quick thoughts...

Other concerns I know happen are such as:
-alternate method of fastening clothes that don't disrupt the period look, 
yet allow one with arthritis to fasten the garments.
-reinforcement of sides where garments may/will rub on chairs and wear 
out.  Shame to wear out a garment in a few outings...
-I'm drawing a blank, brain farting :-(


Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Fri, 11 Jan 2002 22:39:09 -0700
Status: RO

Ah, but you've got great long hair, a wonderful new Big Blak Dawg (tm),
and you _cook_.....<g>
--Sue (maire on the sca-cooks list....heh, heh, heh....we're
*everywhere*)

Gorgeous Muiredach wrote:
> 
> Hello all,
> 
> Anne Murphy, whom I know from another mailing list, graciously invited me
> to join in on this mailing list.  I would like to begin by giving a brief
> bit about me :-)
> 
> I am a fairly complete newbie to the world of costuming.
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Subject: Re: [h-cost] An introduction, and wheelchair costuming thoughts...
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Date: Sat, 12 Jan 2002 01:06:46 -0500
Status: RO

OK, I should have warned him there'd be familiar people... but I thought 
he'd be interested in this discussion. He'd asked me a question about 
historic costume a few months ago, because he (correctly) didn't trust 
something in a pattern. So I also thought he'd fit in.

Anne


Sue Clemenger wrote:

>Ah, but you've got great long hair, a wonderful new Big Blak Dawg (tm),
>and you _cook_.....<g>
>--Sue (maire on the sca-cooks list....heh, heh, heh....we're
>*everywhere*)
>
>Gorgeous Muiredach wrote:
>
>>Hello all,
>>
>>Anne Murphy, whom I know from another mailing list, graciously invited me
>>to join in on this mailing list.  I would like to begin by giving a brief
>>bit about me :-)
>>
>>I am a fairly complete newbie to the world of costuming.
>>
>


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Subject: Re: [h-cost] An introduction, and wheelchair costuming
  thoughts...
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Date: Fri, 11 Jan 2002 22:26:43 -0800
Status: RO

>Well, I might be a guy, 

Guys often have very helpful ideas about what women look good in.

><<My favourite suggestion for wheelchair folks is to decorate the chair 
>itself.  This will tend to frame the sitter whatever he/she is wearing.
>
>Each time I hear this suggestion, I have hackles go up in the back of my 
>neck...  I shall give the benefit of the doubt to the person who said 
>this.

I'm the one who said this, and I meant decorate.  What I had in mind is to
make a plain chair look like a very fancy chair, like with re-upholstered
arms and a drape down the back.  It's the difference between my mother's
chrome and plastic kitchen chairs and my grandmother's antique front-room
chairs.  A slipcover would solve the decorating problem in such a way that
nothing slid out of place and interfered with the wheels.  And you could
make pockets in the sides of the chair arm covers.

Yes, I'm one of those "I'm a gimp and I'm 
>proud" kinda guy :-)

I met a guy in Australia who said "If you can't take advantage of your
disability, you don't deserve to be crippled", in 1982, after he had
successfully faced down an anxious but stopped car which wanted to drive
thru the marked crosswalk he was about to use.

><<I'd do it in silver and black, the colours most chairs come in. >>
>
>M'lady, I beg to differ...  Less and less folks using chairs go for these 
>colours...  My chair is the shifting colour of oil on water in the 
>sunshine.  Many chair are cherry red (my wife's was).  Electric blue.  Neon 
>Yellow.  Lime green.  And many other colours.

That makes me old.  They always used to come in black and chrome only.  And
my housemate's chairs are both in those colours.

>Someone mentionned wheelchairs not being "period".  Here again I beg to 
>differ.  Of course, chairs as we know them today weren't 
>period.  Especially not power chairs (electric chair makes me think of a 
>completely different type of chairs <grin>).  But there is documentation I 
>believe for wheelchairs going back to the 1400's or so.  I myself do not 
>have it, but can get it through someone else if you are interested.

I agree that wheeled chairs for those who need them go way back (I saw a
picture of one from the mid-1700's just yesterday).  But my housemate's
newer chair is definitely not period (it has more features than my car
does).  I think I was trying to say that while motorized chairs aren't
period, chairs are one thing everyone will forgive for not being period,
and they might as well look as fancy as the rest of your outfit.

>-alternate method of fastening clothes that don't disrupt the period look, 
>yet allow one with arthritis to fasten the garments.

If the fasteners don't show, who's to know if they're period or not?
(Someone in a Victorian costume workshop asked the instructor what if
someone noticed his trousers fly zipped instead of buttoning, and the
instructor said "If they're that close, they're not interested in
authenticity".) 

Kayta
   //// \\\
  ////-@@\\\
 ((((   7 )))
  (((  <> ))))
     )   ((((((
/----\   /---\))

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Date: Sat, 12 Jan 2002 08:36:34 EST
Status: RO


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Dear Kayta and everyone:

The Saying Hopfen und Malz -Gott erhalts means:

       Hops and Malt - May God keep and preserve them.

It is an old saying used in Bavaria.  How old?  I am not sure.  But Hops and 
Malt are the ingredient for brewing beer.  In Bavaria in Weihenstephan to be 
exact is a University for Brewers.  Yes, a University.  Brewing is considered 
a science like medicine, law etc.  The Bavarians take brewing very seriously. 
 In Bavaria they have documented laws dating back into the 1500s about the 
brewing of beer.  Within the last year however documents were discovered in 
Thuringia dating even further back about the same subject.  I am originally 
from Bavaria.  I am not a beer drinker however, but the saying and the facts 
about the brewing laws were taught to us in elementary school.  Not to 
encourage beer drinking but as cultural history.
Beer is also referred to as "liquid bread" at times.
The type of Bierstein you are describing is a very traditional old style.  
Usually ones made for tourists were and are very colorful.  But most Germans 
do drink their beer out of a stein, mostly plainer than you describe, but 
similar.
As to the tools the animals are holding yes both are brewers tools.
If you really want more info I am sure you can find it somewhere on the 
Internet, but I figured the saying was what you really wanted to know about!
Elisabeth von Hahn
(SCA Elisabeth Johanna von der Flossenburg)
 



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Dear Kayta and everyone:
<BR>
<BR>The Saying Hopfen und Malz -Gott erhalts means:
<BR>
<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Hops and Malt - May God keep and preserve them.
<BR>
<BR>It is an old saying used in Bavaria. &nbsp;How old? &nbsp;I am not sure. &nbsp;But Hops and Malt are the ingredient for brewing beer. &nbsp;In Bavaria in Weihenstephan to be exact is a University for Brewers. &nbsp;Yes, a University. &nbsp;Brewing is considered a science like medicine, law etc. &nbsp;The Bavarians take brewing very seriously. &nbsp;In Bavaria they have documented laws dating back into the 1500s about the brewing of beer. &nbsp;Within the last year however documents were discovered in Thuringia dating even further back about the same subject. &nbsp;I am originally from Bavaria. &nbsp;I am not a beer drinker however, but the saying and the facts about the brewing laws were taught to us in elementary school. &nbsp;Not to encourage beer drinking but as cultural history.
<BR>Beer is also referred to as "liquid bread" at times.
<BR>The type of Bierstein you are describing is a very traditional old style. &nbsp;Usually ones made for tourists were and are very colorful. &nbsp;But most Germans do drink their beer out of a stein, mostly plainer than you describe, but similar.
<BR>As to the tools the animals are holding yes both are brewers tools.
<BR>If you really want more info I am sure you can find it somewhere on the Internet, but I figured the saying was what you really wanted to know about!
<BR>Elisabeth von Hahn
<BR>(SCA Elisabeth Johanna von der Flossenburg)
<BR> 
<BR>
<BR></FONT></HTML>

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Date: Sat, 12 Jan 2002 10:37:10 -0600
Status: RO

Sidonia Ros wrote:
> 
> Second, I am working on a lower middle
> class/campfollower gown for the German guild at my
> faire and have had it suggested to me that I could use
> either wool or brushed denim.  Now did brushed denim
> exist in the renaissance?  If so, would it have
> necessarily been used by a lower clas individual.  If
> it didn't exist, what would be the purpose in
> suggesting the fabric; what is it supposed to
> simulate?

While there was cotton in Europe before 1600, it doesn't seem to have
been made into fabric as commonly as it was used to make stuffing for
padded clothing or other objects.  Which isn't to say that it _wasn't_
made into fabric, just that it doesn't seem to have been as common as
wool (correct me if I'm wrong, anyone!).  Here are a couple of sites
that have a bit of info on this:

http://www.dnaco.net/~aleed/corsets/periodfab.html
http://users.aol.com/maist/cotton1.htm

Twill (denim is twill) was of course a weave that had been used for
centuries, and it could be that the person who suggested brushed denim
wanted to give you a less expensive option that would have the weight
and surface (though not the drape) of a heavy wool fabric.  Denim,
unless you get a really really soft one, will be much crisper and
stiffer than a dress-weight wool.  As has been pointed out, you can get
finer and cooler wools, but you'll pay much more for them than you will
for brushed denim.

Happy Shopping!
Melanie
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From: LadyGryphon@aol.com
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Subject: Re: [h-cost] Bier Stein Deutsch, bitte?
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Date: Sat, 12 Jan 2002 11:54:14 EST
Status: RO

Most of Momma's steins are from the 1800's, the oldest piece is from 1790, 
the newest is from about 1910. That's one of the things that scares me about 
the mold thing-she's an antique dealer, her house is full of antiques that 
cannot be replaced in todays market at any price. All of the stuff in there 
would have to be destroyed, as a good deal of it is wood. All of the 
furniture I grew up with that I'd planned on passing down to MY kids. The 
rocking chair my great great great grandfather made for my equally great 
grandmother when she was pregnant for the first time, how could that be 
replaced? by a new rocker from Macy's? I think not. I've got to stop crying 
about this, there's nothing that can be done.
Sorry,
Lady G
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Subject: [h-cost] Yarn/Wool shop in Chicago?
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Date: Sat, 12 Jan 2002 11:56:40 -0500
Status: RO

This question is for the weavers, spinners, etc on the list...

I've grown tired of the yarn stores in the Detroit area, and happen to 
begoing to Chicago next weekend. I'm hoping that someone can recommend a
shop or two that are good.  (I'm really hoping for something along the
lines of Vogue for fabric, but for yarn and wool)

Any advice?
Parsla

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Date: Sat, 12 Jan 2002 11:24:38 -0600
Status: RO

Parsla,

I have no clue myself, but know someone who might, though I doubt she's on 
this list.  I'll forward your mail to her and she might be able to help you.

I'm in Chicago.  :-)  If you have some time, you might want to come by an 
SCA 12th night event on the Saturday.



Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Subject: Re:Re: [h-cost] 12th Night in Chicago- Was: Yarn/Wool shop in Chicago?
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Date: Sat, 12 Jan 2002 18:06:20 GMT
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It appears that there will be several of us from the list at 12th Night. This might be a great opportunity to get together for a chat or lunch or something. How will we recognize each other? The classic big, red 'H'? 

Karen




---------- Gorgeous Muiredach <muiredach@bmee.net> writes:

From: Gorgeous Muiredach <muiredach@bmee.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Yarn/Wool shop in Chicago?
Date: Sat, 12 Jan 2002 11:24:38 -0600

Parsla,

I have no clue myself, but know someone who might, though I doubt she's on 
this list.  I'll forward your mail to her and she might be able to help you.

I'm in Chicago.  :-)  If you have some time, you might want to come by an 
SCA 12th night event on the Saturday.



Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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From h-costume-admin@indra.com  Sat Jan 12 12:46:20 2002
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Date: Sat, 12 Jan 2002 10:11:47 +0000
Status: RO

Could someone kindly post the SCA disabilities list address again?

I accidently deleted it.
Thanks!

			Arlys

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Subject: Re:Re: [h-cost] 12th Night in Chicago- Was: Yarn/Wool shop in
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Date: Sat, 12 Jan 2002 12:27:40 -0600
Status: RO

At 12:06 PM 1/12/2002, you wrote:

>It appears that there will be several of us from the list at 12th Night. 
>This might be a great opportunity to get together for a chat or lunch or 
>something. How will we recognize each other? The classic big, red 'H'?

Dunno about what the classic big red H is :-)

I think I'll be fairly easy to spot...  Probably the only guy in a manual 
wheelchair wearing a "kilt" with long hair <grin>  The kilt only is not an 
identifier at an SCA event, though it is if I do disability rights 
events.  The chair alone is not an identifier when I do disability rights 
events...  Put all together, you can't miss me :-)

Here's another help, picture of me:
http://www.internetbonsaiclub.org/temp/wixpix.html
Note that the page is meant for pictures o my Big Blak Dawg (tm), but 
there's one of me there.  Wixie shan't be with me at 12th night, as our 
training together isn't far enough along yet :-(

I invite anyone to come to me and chat :-)


Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Subject: Re: [h-cost] An introduction, and wheelchair costuming thoughts...
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Date: Sat, 12 Jan 2002 10:09:07 +0000
Status: RO

> >-alternate method of fastening clothes that don't disrupt the 
> period look, yet allow one with arthritis to fasten the garments.

Can you manage velcro tabs? You could embellish the tops of them to look
like a period fastener, but they would be much easier to manage.

If people can't deal with the fact you have to adjust your clothes for a
disability, that's their tough luck!

I've had rheumatoid arthritis for 19 years, and while I am not in your
situation, and my garb is about three centuries earlier, I too have made
adjustments. My skirts are a little longer in back then in front, falling
to the tops of my feet in the front so they aren't a tripping hazard. All
of my clothes are pull-over--cottes and sideless surcoats. I can toss my
veil over my head and hold it in place with my Laurel circlet--no, I'm a
music Laurel :)

I haven't figured out shoes yet. I have really good modern walking shoes
with velcro closures.

I can appreciate your drive for authenticity--I seek it too in the arts I
pursue--but independence is a huge, HUGE thing and being able to handle
as much on your own as possible is something to be treasured.

Good luck! :-)

			Arlys
 
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Date: Sat, 12 Jan 2002 12:43:25 -0600
Status: RO

At 04:11 AM 1/12/2002, you wrote:
>Could someone kindly post the SCA disabilities list address again?

The one I take part in is a Yahoo Group, called SCA Disabilities.  You 
would go to Yahoo, and follow instructions:
http://groups.yahoo.com/group/SCA-Disabilities/

Hope to see you there soon

Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Sat, 12 Jan 2002 19:13:27 GMT
Status: RO

The Big Red 'H', started as a way for list members to recognize each other at events we might attend. Generally it involves writing an 'H' on your name tag if there is one or wearing a piece of cloth or paper with a red 'H' on it pinned to your costume. Since you are going to be one of the more easily recognizable people there, are you volunteering to be a rendezvous point? (She says grinning evily)


Karen








---------- Gorgeous Muiredach <muiredach@bmee.net> writes:

From: Gorgeous Muiredach <muiredach@bmee.net>
To: h-costume@indra.com
Subject: Re:Re: [h-cost] 12th Night in Chicago- Was: Yarn/Wool shop in
  Chicago?
Date: Sat, 12 Jan 2002 12:27:40 -0600

At 12:06 PM 1/12/2002, you wrote:

>It appears that there will be several of us from the list at 12th Night. 
>This might be a great opportunity to get together for a chat or lunch or 
>something. How will we recognize each other? The classic big, red 'H'?

Dunno about what the classic big red H is :-)

I think I'll be fairly easy to spot...  Probably the only guy in a manual 
wheelchair wearing a "kilt" with long hair <grin>  The kilt only is not an 
identifier at an SCA event, though it is if I do disability rights 
events.  The chair alone is not an identifier when I do disability rights 
events...  Put all together, you can't miss me :-)

Here's another help, picture of me:
http://www.internetbonsaiclub.org/temp/wixpix.html
Note that the page is meant for pictures o my Big Blak Dawg (tm), but 
there's one of me there.  Wixie shan't be with me at 12th night, as our 
training together isn't far enough along yet :-(

I invite anyone to come to me and chat :-)


Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Sat, 12 Jan 2002 13:43:19 -0600
Status: RO

At 01:13 PM 1/12/2002, you wrote:
>The Big Red 'H', started as a way for list members to recognize each other 
>at events we might attend. Generally it involves writing an 'H' on your 
>name tag if there is one or wearing a piece of cloth or paper with a red 
>'H' on it pinned to your costume. Since you are going to be one of the 
>more easily recognizable people there, are you volunteering to be a 
>rendezvous point? (She says grinning evily)

Ahhh, makes sense...  I don't particularly feel like wearing an H.  Reminds 
me too much of the preparation of the same name <grin>

If you don't mind a moving rendez-vous point, I don't mind :-)

See you there then!


Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Sat, 12 Jan 2002 21:04:00 +0100 (MET)
Status: RO


Hi Kayta and Elisabeth,

> Dear Kayta and everyone:
> 
> The Saying Hopfen und Malz -Gott erhalts means:
> 
>        Hops and Malt - May God keep and preserve them.

Yes, thanks for saying it! "erhalten" can mean both "to receive"
and "to preserve", but here the intended meaning is "preserve".

> It is an old saying used in Bavaria.  How old?  I am not sure.  But Hops and 
> Malt are the ingredient for brewing beer.

Actually, there is a the "deutsches Reinheitsgebot", "German 
purity law" which regulates that beer can only be made of four
ingredients, hops, barley, malt, and water. It was in effect
until a few years ago, meaning that anything made differently
(for example containing preservatives) could not be sold on the
German market as "beer". The European Union finally forced the
German legislators to cancel this law, because it supposedly
interfered with equal trading within the European Union.

> Beer is also referred to as "liquid bread" at times.

It's also made of grains, and it has quite a lot of calories
(from the alcohol).

> The type of Bierstein you are describing is a very traditional old style.  

Are you sure? To me, it sounds awfully tacky. From potters
I know around here, I thought I knew that blue glazes on
pottery only became known and popular from the end of the 19th
century. Well, at least for common people.

> Usually ones made for tourists were and are very colorful.  But most Germans 
> do drink their beer out of a stein, mostly plainer than you describe, but 
> similar.

I have lived in Germany all my life and often am together with
friends who drink beer. Almost never have I seen anyone drink
beer from such a stoneware pot. Beer is always served in glasses,
everywhere. I have only seen it served in stoneware pots
in historical breweries, for example in Kulmbach. Which is
Bavaria. It could be a Bavarian tradition (that I don't know),
but even in the beer gardens in Munich, capital of Bavaria,
beer is usually served in glasses. 

Besides -- if it was German, it would be "Bierstein", one word,
but I have never heard it. Such a thing -- a stoneware pot for
drinking beer, maybe with a lid -- is called "Humpen", which my
dictionary translates as "tankard". Most Germans, definitely,
do not drink their beer from Humpen, most of the time.

> That's one of the things that scares me about 
> the mold thing-she's an antique dealer, her house is full of antiques that 
> cannot be replaced in todays market at any price. All of the stuff in there 
> would have to be destroyed, as a good deal of it is wood.

... sorry, why would antiques of necessity have to be destroyed?
Just because they are wooden?

Couldn't keep quiet,
Barbara Maren
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Date: Sat, 12 Jan 2002 15:33:02 -0500
Status: RO

At 1/12/2002 01:43 PM, you wrote:
>At 04:11 AM 1/12/2002, you wrote:
>>Could someone kindly post the SCA disabilities list address again?
>
>The one I take part in is a Yahoo Group, called SCA Disabilities.
>http://groups.yahoo.com/group/SCA-Disabilities/

or
medievaldisableds@yahoogroups.com

Katheryne

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Subject: [h-cost] Re: [h-cost]Bierstein/mold
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Date: Sat, 12 Jan 2002 16:39:43 EST
Status: RO

In a message dated 12/1/02 2:07:20 PM, barbara@math.TU-Berlin.DE writes:
<< ... sorry, why would antiques of necessity have to be destroyed? Just 
because they are wooden? >>
Anything that has toxic mold on it would have to be destroyed as the spores 
are inside of it. Wood is the easiest for it to attack due to the grain 
however cloth, books, papers, rugs (there goes the Persian), drapes, fabrics 
of any and all types, ceramics, photographs, bisques, porcelain, plastics, 
basically anything that it can get into or onto would have to be destroyed as 
there's no way to kill it and it can kill you. It also destroys things on 
it's own so it's not even a case of try to keep it down and go on. The 
materials (wood, paper plastic, fabric) that are in the house would 
eventually desentegrate. Metals seem to be the only thing safe from it. They 
bring a Haz Mat team in and dismantle and remove anything that tests positive 
for the mold. That may be your whole house or only a part of it. If only a 
part, it can be fixed if not... There was a family in the next town over that 
the team came in, dismantled the house, removed 6 feet of dirt from where the 
house once stood and THEN sprayed chemicals in the hole. They took the house 
bits out in the desert and burned it and sprayed the ashes. We're not talking 
something that a little Lysol or bleach will take care of, if only it were 
so. I'm still in shock over this whole thing so forgive me if I over answered 
a bit.
Lady G
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Subject: [h-cost] On-line sources for reproduction parasols
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Date: Sat, 12 Jan 2002 15:19:48 -0800
Status: RO

Barrington Brolly
http://www.barringtonbrolly.com/
Modern and reproduction parasols and umbrellas.  Does custom work

Buckaroo Bobbins General Store
http://www.agoldmine.com/toc.html
Two styles of lace parasols (as well as "Old West" theme clothing,
patterns and sundries)

Decorator's Box
http://www.decoratorsbox.com/batlacpar.html
Battenberg lace parasols

Sara's Parasols
http://www.sarasparasols.com/
Synthetic parasols displayed, but  they will fulfil customer requests
for different fabrics and trims

Underbelly
http://www.underbelly.net/parasolpage.html
Seems to be exclusively custom work





--
---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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Date: Sun, 13 Jan 2002 10:44:27 -0800
Status: RO



Melanie Schuessler wrote:

> Kimberly Tribe wrote:
> 
>> And if anyone has done such a wide necked gown, can you tell me if a
>> drawstring at the neckline would actually work to keep the sleeves
>> *on* the shoulders? That is what is suggested, but never having tried
>> it myself, I wonder.
> 
> 
> I have done several wide necked gowns, and a drawstring is not
> necessary.  If you make the straps at the proper angle to the rest of
> the bodice, and if you make them snug enough, they will stay on unless
> you have really slopey shoulders.  The proper angle is something you
> have to decide for yourself, but something less than 90 degrees (when
> measured from the horizontal front neckline) is useful.  I don't know
> what Hunnisett's pattern looks like, but take a look at Janet Arnold's
> Patterns of Fashion (1560-1620), page 9, which has her conjectured
> pattern of the Phoenix gown.  You'll see that the straps angle in
> towards center front.  The patterns in Juan de Alcega's Pattern Book
> (from 1589) look the same (he was Arnold's source, in fact).

Ack! I needed to know this a year ago!
I have always wondered about that strap angle actually, because it has 
always seemed to me that
the opposite is true - the strap angle should be greater than 90 
degrees. I thought an angle
less than 90 would give you a wrinkle by the armpit when it bent back to 
90 degrees. I guess I
was wrong. My Tudor gown has a wrinkle in that spot anyway. I need to 
seriously rework the
whole armsceye/shoulder area on that gown. Oh well...
(Oh and was it here people were talking about yardage - I made my Tudor 
gown out of 4.5m
of fabric (not including linings etc) Not quite sure how I managed that, 
especially since it has a 50cm
train. However it is an open-fronted skirt, wchich is gored to fit 
everywhere except the back pleats.
And the sleeves are a bit scantier than I would have liked.)
Claire

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From: "Maggie Secara" <maggiros@adelphia.net>
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Subject: [h-cost] Linen blend at Joann's
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Date: Sat, 12 Jan 2002 16:14:49 -0800
Status: RO

I just got back from Joann's.  Decent Linen/cotton blend black, white, and good
colors for $4.99 a yard.  The store nearest me had quite a bit in stock.

Unfortunately, I couldn't indulge--today.  Hopefully there will still be some
when I can get back! :)

Just passing the word.

MaggiRos


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From: Kevin + Mara Riley <lindo@radix.net>
Subject: Re: [h-cost] Clogs
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Date: Sat, 12 Jan 2002 19:30:18 -0500
Status: RO

At 01:38 PM 01/10/2002 -0800, you wrote:
>English clogs tend to look a little different.  Picture a wooden sole
>with a regular lace-up shoe upper nailed to the sole.  Here, I finally
>found a website with photos.  
>
>http://subscriber.scoot.co.uk/walkley_clogs/
>http://subscriber.scoot.co.uk/walkley_clogs/page2.htm
>
>Walkey's are one of the largest clog manufacturers left.  
>
>Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4

Cool, thanks!
I see they've got slip-ons at the bottom of their catalog page.

Anyone know how long they've had that form (the lace-up type)?  Is that a
Victorian form, or does it date earlier?

-- Mara

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Date: Sat, 12 Jan 2002 16:40:13 -0800
Status: RO

What's going on here is, I continually try to investigate every
interesting link I see (on the web or in a print ad) related in some
way to historic clothing.  I browse the site. I stick the link at the
end of my bookmarks file--not in one of the categories I so carefully
set up--and forget about it. Weeks or months later, I have dozens of
uncategorized links and I don't remember what the sites are like.
When it gets too unmanageable, I have to go through all the links and
browse the sites again so I can file them properly.

That's what I'm doing now.  I figured other people might as well
benefit.  These are all sites I've browsed since--I don't really want
to contemplate how long it's been since I cleaned up my links. A
while.  I haven't bought anything from most of these sites,  but they
do, even at second glace, look worth filing for future reference.

Fran

BridalFabric.com
http://www.bridalfabric.com
Bridal fabrics, synthetic and natural, at discount prices.  Also
tiaras

Decorator Fabrics
http://www.decofab.com/decofab2.htm
Discount drapery and upholstery fabrics

Designer Discount Fabrics
http://www.desigfab.com
Does not really have their inventory on-line; you need to ask for
swatches. Lovely picture of their "silk room" but no scans of
individual silks

Fabric Collections
http://www.fabriccollections.com
This site doesn't seem to be all the way up yet.  They are offering a
swatch service

The Fabric Directory
http://www.interiormall.com/cat/FabricsOnline.html
Drapery and upholstery fabrics

Fishman's Fabrics
http://www.fishmansfabrics.com/
Classy apparel and decorating fabrics.  They have pictures of their
store, but if you want to see pictures of individual fabrics click on
"Color Cards"

HouseFabric.com
http://www.housefabric.com/
Discount drapery and upholstery fabrics

Trim Fabric
http://www.TrimFabric.com/
Discount fabric store (including additional discounts for bolts).
Includes a reasonable selection of solid-colored natural fibers

VelvetFabric.com
http://store.yahoo.com/velvet-fabric/
Not just velvets, but brocades, damasks, satins, and linens.  They
don't seem to have all the inventory up yet

White Fox Trading Company
http://www.whitefoxtrading.com
Printed fabrics of the 18th and early 19th century, plus some notions
and patterns

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] Re: Clogs
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Date: Sat, 12 Jan 2002 19:37:24 -0500
Status: RO

At 03:28 PM 01/10/2002 -0600, you wrote:
>Ick. (I really have a personal thing about wooden shoes :) )

LOL!  Sorry to hear that.  I've got wooden-soled clogs and I think I like
them for the noise they make ;)  That, plus they really keep my feet dry if
it's raining at the Wool and Sheep festival.

>That being said, I'm not sure holdover is the right word, since wooden soled 
>shoes were worn even in this country until the early 20th century (and for 
>clog dancers, even more recently), but I'd say that these were real live 
>honest to goodness clogs.
>
>Marc

Any wild-a** guesses as to date and likely origin?

-- Mara

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Subject: Re: [h-cost] Jean Hunnisett Pattern Question
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Date: Sat, 12 Jan 2002 19:10:16 -0600
Status: RO

Claire Clarke wrote:
> 
> Ack! I needed to know this a year ago!

Um..sorry...

> I have always wondered about that strap angle actually, because it has
> always seemed to me that
> the opposite is true - the strap angle should be greater than 90
> degrees. I thought an angle
> less than 90 would give you a wrinkle by the armpit when it bent back to
> 90 degrees.

Well, part of it is that, at least on Elizabethan, the horizontal front
of the neckline is not quite horizontal, but instead is an arch.  So
you're not getting 90 degrees anyway.

Perhaps this is obvious, but just in case:  it may also transpire, in
fitting, that because of the slope of the shoulder and the angle of the
strap, the strap might have to curve to meet the back of the bodice at
the proper location.

Just flipping through my Holbein book, it looks like some of the Tudor
necklines were arched as well, and many of them look to have a
less-than-90-degree angle at the strap.  Of course, there's the whole
pin-on-placket issue, and I suppose you can make the top of it any shape
you like.  In addition, there's the possible-v-back issue (see Holbein's
sketch of the Unknown Lady from 1535, front and back), which would make
an acute angle necessary and help tremendously in keeping the straps up,
especially considering the weight of Tudor sleeves.

> I need to 
> seriously rework the
> whole armsceye/shoulder area on that gown.

If you're anywhere near the Milwaukee area, I would be happy to assist
in any way I can with the fitting.  I have Garb Workdays twice a month
in the costume shop where I work.

Good luck!
Melanie Schuessler
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Subject: [h-cost] Web sites with pashmina shawls
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Date: Sat, 12 Jan 2002 18:59:23 -0800
Status: RO

Pashmina is a synonym for cashmere; also applied to a cashmere/silk
blend.

Cottage Asia
http://www.cottageASIA.com/
Embroidered and solid pashmina shawls; custom embroidery available

Emerald Tara
http://emeraldtara.com/shawl.html
Pashmina shawls and scarves; solid, ombre, beaded, beaded fringe,
embroidered

Kellsons Pashmina
http://www.kellsons.com/kashmirjamawars.htm
Plain pashmina shawls; embroidered wools; jamawars.  Not all photos
are up yet

Pashmina
http://www.umamawear.com/pashima.html
Embroidered jamawar shawls in two colors; wool wraps

Pashmina Golden
http://www.pashminagolden.com/
Pure pashmina and blends with silk or wool; shawls are solid, ombre,
jamawar, embroidered; also saris

ShalinCraft
http://www.shalincraft-india.com/
Pashmina, silk pashmina, and wool shawls and stoles.  Jamawar,
paisley, embroidered, tie & dye, solid.  Also saris.  Excellent
service

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance



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Date: Sat, 12 Jan 2002 13:32:42 -0800
Status: RO

That's one of the things that scares me about 
>the mold thing-she's an antique dealer, her house is full of antiques that 
>cannot be replaced in todays market at any price. All of the stuff in there 
>would have to be destroyed, as a good deal of it is wood. 

Please explain?  How does the fact that my stein was made using a mold mean
anything would have to be destroyed?

Kayta
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Subject: Re: [h-cost] Re: Bierstein??
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Date: Sat, 12 Jan 2002 14:22:42 -0800
Status: RO

>> Usually ones made for tourists were and are very colorful.  But most
Germans 
>> do drink their beer out of a stein, mostly plainer than you describe, but 
>> similar.

I see badly made coloured ones, and they make even the good coloured ones
look touristy.  The good coloured ones are too expensive to risk using, and
are usually too big anyway.  Surviving 1500's-1600's examples I have seen
sometimes have hinged lids, scratched or raised designs, or that same grey
clay body.  I've also seen salt-glazed examples in a dull iron-oxide-yellow.

>I have only seen it served in stoneware pots
>in historical breweries, for example in Kulmbach.

I see these in thrift stores in California, plain but with the brewer's
logo on them in blue.

>Besides -- if it was German, it would be "Bierstein", one word,
>but I have never heard it. Such a thing -- a stoneware pot for
>drinking beer, maybe with a lid -- is called "Humpen", which my
>dictionary translates as "tankard". Most Germans, definitely,
>do not drink their beer from Humpen, most of the time.

The popular American image of a German includes one of these Humpen, so my
Ren. Faire character has one.  And if my German were better, I might have
said Bierstein - hey, I remembered to capitalize the nouns, and got 'i' and
'e' in the right places.

Kayta
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To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] An introduction, and wheelchair costuming
  thoughts...
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Date: Sat, 12 Jan 2002 19:40:10 -0800
Status: RO

>If people can't deal with the fact you have to adjust your clothes for a
>disability, that's their tough luck!

My guess is that your level of independence, at your level of disability,
isn't 'period' either, speaking of other people's tough luck.  My
chair-bound housemate would have died from 1500's medical science.  And if,
by some series of miracles, he had lived, he certainly wouldn't have had
his cool chair, his van, etc.  Makes me glad I live in this century and
only visit the other ones.   

As for shoes, I'd recommend plain black, or some other dark colour which
will sort of disappear under your skirt hem.  Try to find a period-looking
toe shape, if this is possible.  I'm a real stickler about authenticity,
but I don't spend much time in my authentic-looking shoes, preferring more
padding than they had underfoot.  So either I tough it out in my
authentic-looking ones, or I opt for comfort and padding (modern gel
insoles - YES!).

I'd like to say a thing in defense of us authenticity sticklers.  It is our
passion to do things as accurately as we can, for our own sake, and to pass
on our knowledge.  The wise among us do this by teaching, by answering
questions, and by helping those who have asked for it.  The rude ones
confront people with their little inaccuracies, which is not a period thing
to do in the first place, and doing it doesn't make anything better anyway.
 But on this list we're here to help, to answer your questions, to point
out resources, and to learn things too.

Kayta
   //// \\\
  ////-@@\\\
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/----\   /---\))

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From: LadyGryphon@aol.com
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Subject: Re: [h-cost] Bier Stein Deutsch, bitte?
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Date: Sat, 12 Jan 2002 23:19:50 EST
Status: RO

In a message dated 12/1/02 9:35:04 PM, kayta@frys.com writes:
<< Please explain?  How does the fact that my stein was made using a mold mean
anything would have to be destroyed? >>
Sorry Katya, I've (ewww) got mold on the brain right now. My mother's house 
has toxic mold, we have people coming out next week to let us know how much 
of it must be destroyed. NOT your mug, her house.
Lady G
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Subject: [h-cost] Photos of two original "Titanic" costumes now up on my site!
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Date: Sat, 12 Jan 2002 23:10:58 -0500
Status: RO

The collectors who bought the original "jump" dress and Rose's pink coat
(worn during the sinking scenes) contacted me a couple of weeks ago, and we
have been chatting back and forth ever since. They graciously agreed to
share some photographs of the outfits with me and have allowed me to place
them on my site for others to drool over. I've also written up all of the
excruciating details of the "jump" dress's construction (including what it
is made out of it, how it is lined and fastened, etc.). I got all of this
info from e-mails and a two-hour phone conversation today. Mysteries
revealed at last! Go to http://www.sensibility.com/titanic/realphotos.htm to
enjoy!

The collectors who bought these costumes do have plans to get them
professionally photographed on display mannequins and publish those pictures
in a full-color booklet (HALLELUJAH!). Until then, I am able to share eight
photographs they took themselves.

Have fun!

Jennie Chancey

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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Subject: Re: [h-cost] An introduction, and wheelchair costuming thoughts...
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Date: Sat, 12 Jan 2002 21:39:00 +0000
Status: RO


Kayta writes:
> My guess is that your level of independence, at your level of 
> disability, isn't 'period' either, speaking of other people's tough
luck.  My
> chair-bound housemate would have died from 1500's medical science.  

In all likelihood, i would have also, within the first two years of
diagnosis. Been very, very lucky.

> And if, by some series of miracles, he had lived, he certainly wouldn't
have 
> had his cool chair, his van, etc.  Makes me glad I live in this century

> and only visit the other ones.   

Ditto! For me, it's good drugs, physical therapy, and lots of
understanding and physical and emotional support. :-)
> 
> As for shoes, I'd recommend plain black, or some other dark colour 
> which will sort of disappear under your skirt hem.  Try to find a 
> period-looking toe shape, if this is possible.  I'm a real stickler
about 
> authenticity, but I don't spend much time in my authentic-looking
shoes, 
> preferring more padding than they had underfoot.  So either I tough it
out in my
> authentic-looking ones, or I opt for comfort and padding (modern gel
> insoles - YES!).

Mine are black New Balance walking shoes. Before when I could wear the
Chinese-type slippers I always put two pairs of insoles in each shoe.
Lifesavers.


> I'd like to say a thing in defense of us authenticity sticklers.  It is
our
> passion to do things as accurately as we can, for our own sake, and 
> to pass on our knowledge.  The wise among us do this by teaching, by 
> answering questions, and by helping those who have asked for it.  The
rude 
> ones confront people with their little inaccuracies, which is not a 
> period thing to do in the first place, and doing it doesn't make
anything better 
> anyway.  But on this list we're here to help, to answer your questions,
to 
> point out resources, and to learn things too.

I so agree. Been on this list for almost two years now and have bumped
into many knowledgable and helpful people. I may not costume for myself
anymore, but I have learned a lot!


				Arlys
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Subject: Re: [h-cost] Re: Bierstein??
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Date: Sun, 13 Jan 2002 01:03:45 EST
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Dear Barbara:
I totally agree.  Germans do not usually refer to a Bierstein as such.  In 
Bavaria, where I grew up, yes people in their homes quite often used a Humpen 
to drink their Bier out off.  My father and mother had a set, His was large 
Hers was small, the same design.  My brother has several porcelain ones with 
pewter lids.  Yes, in restaurants they usually serve the Bier in glasses.  
Glasses are much cheaper than Humpen.  But in old "Dorfkneipen" (Village 
restaurants, for the lack of a better translation) and in breweries they 
generally use Humpen or Bierkruege (Another word for it, much more modern 
however) In the restaurants the Bierkruege are reserved for the regulars!
Hope this clarifies.
Elisabeth 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Dear Barbara:
<BR>I totally agree. &nbsp;Germans do not usually refer to a Bierstein as such. &nbsp;In Bavaria, where I grew up, yes people in their homes quite often used a Humpen to drink their Bier out off. &nbsp;My father and mother had a set, His was large Hers was small, the same design. &nbsp;My brother has several porcelain ones with pewter lids. &nbsp;Yes, in restaurants they usually serve the Bier in glasses. &nbsp;Glasses are much cheaper than Humpen. &nbsp;But in old "Dorfkneipen" (Village restaurants, for the lack of a better translation) and in breweries they generally use Humpen or Bierkruege (Another word for it, much more modern however) In the restaurants the Bierkruege are reserved for the regulars!
<BR>Hope this clarifies.
<BR>Elisabeth </FONT></HTML>

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Date: Sun, 13 Jan 2002 01:37:35 -0600
Status: RO

I had a pair when I was a kid, wore those things till my heels were
hanging out the back.  My mother finally threw them away, and I
had a hissy fit. *L*

Katie

Kevin + Mara Riley wrote:

> 
> LOL!  Sorry to hear that.  I've got wooden-soled clogs and I think I like
> them for the noise they make ;)  That, plus they really keep my feet dry if
> it's raining at the Wool and Sheep festival.
> 
> 


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Date: Sat, 12 Jan 2002 19:58:24 -0800
Status: RO

I see the misunderstanding - I'm American, not English, and I think my
spelling confused you.  My tankard isn't moldy, as in it has no mold
growing in it.  

My tankard was created using a 4+piece mold, into which slip (pourable clay
mud) was poured and allowed to dry.  I can see the little lines where the
pieces of the mold came together imperfectly.

>In a message dated 12/1/02 2:07:20 PM, barbara@math.TU-Berlin.DE writes:
><< ... sorry, why would antiques of necessity have to be destroyed? Just 
>because they are wooden? >>
>Anything that has toxic mold on it would have to be destroyed as the spores 
>are inside of it. Wood is the easiest for it to attack due to the grain 
>however cloth, books, papers, rugs (there goes the Persian), drapes, fabrics 
>of any and all types, ceramics, photographs, bisques, porcelain, plastics, 
>basically anything that it can get into or onto would have to be destroyed as 
>there's no way to kill it and it can kill you. It also destroys things on 
>it's own so it's not even a case of try to keep it down and go on. The 
>materials (wood, paper plastic, fabric) that are in the house would 
>eventually desentegrate. Metals seem to be the only thing safe from it. They 
>bring a Haz Mat team in and dismantle and remove anything that tests positive 
>for the mold. That may be your whole house or only a part of it. If only a 
>part, it can be fixed if not... There was a family in the next town over that 
>the team came in, dismantled the house, removed 6 feet of dirt from where the 
>house once stood and THEN sprayed chemicals in the hole. They took the house 
>bits out in the desert and burned it and sprayed the ashes. We're not talking 
>something that a little Lysol or bleach will take care of, if only it were 
>so. I'm still in shock over this whole thing so forgive me if I over answered 
>a bit.
>Lady G
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Kayta
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Subject: Re: [h-cost] Clogs
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Date: Sun, 13 Jan 2002 09:57:29 -0000
Status: RO

>Anyone know how long they've had that form (the lace-up type)?  Is that a
Victorian form, or does it date earlier?

There is a paphlet on English clogs by I think Swann I have a copy somewhere

Walkleys are pretty good but I recently found a page with a list of
traditional cloggers in the UK some of which make their own soles (rather
than machine them ) It is a work I think so I'll try & post it on Monday

They are more likely to do historical clog types.

I wear walkleysand they are pretty good

Personally I love clogs

Mel



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Date: Sun, 13 Jan 2002 10:14:06 -0000
Status: RO

Try

http://uk.geocities.com/cobblersawl/index.htm

Mel

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Date: Sun, 13 Jan 2002 10:17:49 -0000
Status: RO

http://www.morrisdancing.org/clogs.html

More clogmakers

Mel

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Date: Sat, 12 Jan 2002 22:07:04 +0000
Status: RO

Drinking tea without milk is, I believe, some strange colonial custom.  

JEan


Melanie Wilson <MelanieWilson@bigfoot.com> wrote
>>PGTips made using teabags
>and the same spoon for stirring the tea and fishing out the teabag
>as you used to get the granulated sugar from the bag
>
>UGH
>
>You''l be telling me next you don't warm the mug first & put milk in your
>tea
>
>Lady Power (aka Mel)
>
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Date: Sat, 12 Jan 2002 22:04:56 +0000
Status: RO

Drat!  If I hadn't revealed my ignorance, I could have made out like I
was more couth than Teddy.  But, ah, too late!

Jean


Teddy <teddy1@mdx.ac.uk> wrote
>
>> Well does it mean anything to you?  I honestly don't know what a tea
>> sandwich is - as opposed to any other sort of sandwich, I mean.
>
>I assumed it was the "genteel" sort of sandwiches you'd have with 
>tea from loose-leaf tea in a teapot and china cups with matching 
>saucers, cube-sugar in a bowl with silver tongs to pick it out etc,  
>rather than the huge chunky doorsteps of bread and filling wot 
>people like me has with big mugs of PGTips made using teabags 
>and the same spoon for stirring the tea and fishing out the teabag 
>as you used to get the granulated sugar from the bag
>
>Teddy
>(Uncouth?  Me?  Abso-bloody-lutely!)
>
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To: h-costume@indra.com
Subject: Re: [h-cost] Photos of two original "Titanic" costumes now up on my site!
References: <NBBBJPGEPBMHMOJGKPFFOEEKCEAA.CatDevereaux@AlleyCatScratch.com> <005601c19be8$4ed6c320$5e5efea9@jchancey>
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Date: Sun, 13 Jan 2002 16:32:52 +0100
Status: RO

Hi Jennie
Thanks for those pics. The sinking coat or dress ? Is that embroidery on 
the collar and cuffs made with chain stitches?
Just curious.

Bjarne 

Jennie Chancey wrote:

>The collectors who bought the original "jump" dress and Rose's pink coat
>(worn during the sinking scenes) contacted me a couple of weeks ago, and we
>have been chatting back and forth ever since. They graciously agreed to
>share some photographs of the outfits with me and have allowed me to place
>them on my site for others to drool over. I've also written up all of the
>excruciating details of the "jump" dress's construction (including what it
>is made out of it, how it is lined and fastened, etc.). I got all of this
>info from e-mails and a two-hour phone conversation today. Mysteries
>revealed at last! Go to http://www.sensibility.com/titanic/realphotos.htm to
>enjoy!
>
>The collectors who bought these costumes do have plans to get them
>professionally photographed on display mannequins and publish those pictures
>in a full-color booklet (HALLELUJAH!). Until then, I am able to share eight
>photographs they took themselves.
>
>Have fun!
>
>Jennie Chancey
>
>- - - - - - - - - - - - - - - - - - - - - - -
>Sense and Sensibility Clothing and Patterns
>http://www.sensibility.com
>winsome clothing with an old-fashioned appeal
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

-- 


Leif Drews
boulevard 5, 3 th
1635  København V

Bjarne Drews
boulevard 5,3.th
1635 København V

tlf. 35 37 13 70

My new domain name: http://www.my-drewscostumes.dk

Homepage: http://home0.inet.tele.dk/drewscph

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html



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To: h-costume@indra.com
From: Gorgeous Muiredach <muiredach@bmee.net>
Subject: Re: [h-cost] An introduction, and wheelchair costuming
  thoughts...
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Date: Sun, 13 Jan 2002 10:03:58 -0600
Status: RO

At 09:40 PM 1/12/2002, you wrote:
> >If people can't deal with the fact you have to adjust your clothes for a
> >disability, that's their tough luck!
>
>My guess is that your level of independence, at your level of disability,
>isn't 'period' either, speaking of other people's tough luck.

BING!  Right on the nail's head :-)  50 years ago, the average length of 
life after a spinal cord injury was about 5 years...  I'd be dead...

>  My chair-bound housemate

Dunno about your housemate, but "chair-bound" is really not a term I 
like.  I'm not tied to my chair.  If I was, I'd hope it would be because of 
a kinky thingy :-) The word promotes the image of "being stuck".  Where as, 
in fact, the chair is really a liberator.  *Without* the chair, I'd be 
stuck.  Just a little bit of workding that changes the general way someone 
views folks with disabilities... :-)  YMMV

>I'd like to say a thing in defense of us authenticity sticklers.

I have nothing against the authenticity sticklers.  It's the period nazis I 
have a problem with :-)  Big difference :-)

>The wise among us do this by teaching, by answering
>questions, and by helping those who have asked for it.

Best way to do it.  But...  I'm in trouble...  I "asked for it"!!!  <evil grin>

>But on this list we're here to help, to answer your questions, to point
>out resources, and to learn things too.

I'd have been surprised to find rudeness on this list.  That is, accross 
the board.  There's always one or two elements of every list yanno?  :-)


Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Subject: Re: [h-cost] Re: Clogs
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Date: Sun, 13 Jan 2002 10:06:10 -0600
Status: RO

At 06:37 PM 1/12/2002, you wrote:
>At 03:28 PM 01/10/2002 -0600, you wrote:
> >Ick. (I really have a personal thing about wooden shoes :) )
>
>LOL!  Sorry to hear that.  I've got wooden-soled clogs and I think I like
>them for the noise they make

I used to wear clogs in the kitchens.  A life saver when you have to stand 
in nearly the same spot for up to 15, 16 hours in a day.


Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Sun, 13 Jan 2002 11:06:52 -0600
Status: RO

I'm not too entirely sure of the appropriateness of these fabric, but I've 
been toying with the idea of buying from them for a while now.
http://www.pickhemp.com/

Their hemp/silk mixes are particularly attractive I thought.

Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Sun, 13 Jan 2002 12:12:50 -0500
Status: RO

Do you have any idea of what their prices are, or how they compare to what
Dharma carries?
Rowena ni Dhonnchaidh
----- Original Message -----
From: "Gorgeous Muiredach"
Sent: Sunday, January 13, 2002 12:06 PM
Subject: Re: [h-cost] Web sites that sell fabrics suitable for costuming


> I'm not too entirely sure of the appropriateness of these fabric, but I've
> been toying with the idea of buying from them for a while now.
> http://www.pickhemp.com/
>
> Their hemp/silk mixes are particularly attractive I thought.
>
> Gorgeous Muiredach
> Rokkehealden Shire   > Middle Kingdom
> aka   > Nicolas Steenhout


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Subject: [h-cost] Photos of two original "Titanic" costumes now up on my site!
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Date: Sun, 13 Jan 2002 11:23:00 -0600
Status: RO

Jennie,

is there a pattern available for the coat, or is it a basic "princess" as it
appears in the watercolor.

Thanks,

Genie

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Subject: Re: [h-cost] Web sites that sell fabrics suitable for costuming
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Date: Sun, 13 Jan 2002 11:28:14 -0600
Status: RO

At 11:12 AM 1/13/2002, you wrote:
>Do you have any idea of what their prices are, or how they compare to what
>Dharma carries?

Don't know Dharma,  but here's their price list for 2001.

                                         2001 PRICE LIST


Fabric Description & WeightPrice > 100 yds. Price < 100 yds.
100% hemp canvas - 11oz, 12oz$8.50$9.00
100% hemp canvas - 14oz$9.00$9.50
100% hemp basketweave -12.5oz$11.00$11.50
100% hemp herringbone -12.5 oz, 15 oz$11.00$11.50
100% hemp summer cloth -8oz$6.25$6.75
100% hemp denim twill -12.5oz$9.25$9.75
100% hemp yarn-dyed denim twill - 13 oz$9.75$10.25
100% hemp linen - 5.8oz$6.75$7.25
100% hemp muslin - 59” width - 5oz$6.75$7.25
60% hemp / 40% silk blend - 2.6oz, 3.7oz$7.25-7.75$7.75-8.25
65% hemp / 35% silk charmeuse - 5.2oz, 58”$9.25$9.75
85% hemp / 15% silk jacquard - 4.7oz, 58”$7.95$8.45
55% hemp / 45 cotton diamond patn - 9oz, 59” $5.75$6.25
55% hemp / 45% cotton denim - 10oz$5.25$5.75
55% hemp / 45% cotton corduroy - 10.5oz, 44”$4.95$5.45
55% hemp / 45% cotton muslin - 4.9, 5.7, 7.2oz$4.25$4.75
55% hemp / 45% tencel blend  3.5oz, 59”$6.25$6.75
55% hemp / 45% rayon  calico - 4oz , 58”$5.75$6.25
55% hemp / 45% rayon blend  5 oz, 58”$6.25$6.75
100% hemp webbing, 1”,1¼”,1½”, 2” (straps)$1.40-2.15$1.65-2.40
55% hemp / 45% cot. Fleece - 10.5oz, 27” loop$5.75$6.25
55% hemp / 45% cotton jersey - 8oz, 27” loop$3.65$4.15
55% hemp / 45% cotton terry towel, 11oz, 60” $7.95$8.45
55% hemp/45% cotton meshcloth  (20-24”loop)$3.00$3.50
55% hemp / 45% cotton ribbing (13”)$2.10$2.60
55% hemp / 45% cotton socks - S/M/L$2.50/pair
         All fabrics are in stock in San Francisco ready to ship.  A 10 
yard minimum quantity is required per fabric. Please inquire for discounts 
on large quantities over 300 yards.

         All the fabrics are quite wide: except for the hemp/cotton 
corduroy which is 44” wide, all others range from 56" to 60" as indicated 
on the sample swatches. All prices are FOB San Francisco (customer pays 
freight).  There is a $6.00 cutting and handling fee on each order.

         Thank you for your interest and please feel free to contact us if 
you have any questions.

> > I'm not too entirely sure of the appropriateness of these fabric, but I've
> > been toying with the idea of buying from them for a while now.
> > http://www.pickhemp.com/
> >
> > Their hemp/silk mixes are particularly attractive I thought.

Gorgeous Muiredach
Rokkehealden Shire
Middle Kingdom
aka
Nicolas Steenhout
"You must deal with me as I think of myself" J. Hockenberry

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Date: Sun, 13 Jan 2002 14:00:05 -0500
Status: RO

Fancy meeting you here - straying from the Cooks List?
margali
-- 
~~~~~
The Quote Starts Here:
> Gorgeous Muiredach
> Rokkehealden Shire
> Middle Kingdom
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Subject: [h-cost] Re:mold
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Date: Sun, 13 Jan 2002 15:49:22 -0500
Status: RO


Lady G:

I think everyone is confused because you started writing about mold as if we
all knew what you were talking about. Perhaps you wrote about the mold
problem in a private post? Why does your mother think she has toxic mold in
her house?

Gail Finke


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From: "Massaria dC" <massaria@hotmail.com>
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Subject: Re: [h-cost] Re: [h-cost]OT mold
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Date: Sun, 13 Jan 2002 22:02:22 +0000
Status: RO

delurking here:

Speaking of Toxic mold we saw a documentary last night about it!
Well it was a form of toxic mold, I have no idea if it is the same
one. This one was called "Ergots" (sp?) and is the thing that gets
into wheat, then bread and causes people to have convulsions and
skin crawls and stuff (it is the same thing that LSD is extracted from) It 
is very nasty stuff. There was a theory that it was responsible for the 
witch trails in Salem, as there was a town in
France in the 1920's which was infected with it and all the people
went nuts in a similar fashion to that recorded in Salem.

Sorry Lady G hope your antiques don't have to be destroyed :-(

Massaria

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Subject: Re: [h-cost] Re: [h-cost]OT mold
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Date: Sun, 13 Jan 2002 17:25:58 EST
Status: RO

Massaria,
Yes, it's ergot but that gets (mostly) on rye rather than wheat, both the 
grain and bread and it's not killed by heat/light. The mold in this case 
causes-hallucinations, respiratory failure, memory loss, skin eruptions, 
convulsions and other nasties including death. There's nothing currently on 
the market that will kill it or even eradicate it for any length of time. 
Thus the only thing TO do is either remove all contaminated items and destroy 
them or if the infestation is too far involved for it to be "fixable"-destroy 
the entire house and contents. That's what we fear the most. Destruction of 
all our tangible memories and other things that cannot be replaced at any 
cost. I mean how can money replace the chair that my umpteen great 
grandfather hand made (and rubbed a jillion coats of beeswax into) all those 
years ago, photographs of my great grandparents on their wedding day, the 
quilt my grandmother made for me while my mother was preggers with me and 
dozens of other like items. We're all in shock.
Thank you for you concern, it is greatly appreciated.
Lady G
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From: "Marc Carlson" <marccarlson20@hotmail.com>
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Subject: [h-cost] Re: Clogs
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Date: Sun, 13 Jan 2002 17:18:04 -0600
Status: RO


>>>Ick. (I really have a personal thing about wooden shoes :) )
>>LOL!  Sorry to hear that.  I've got wooden-soled clogs and I think I
>like them for the noise they make

I seam to have missed the original response, so if there was more to it than 
this, please let me know.

As for people liking them or not, it's a personal thing.  There's nothing 
wrong with them, or people liking them.  However, after spending some 
serious time around a number of communes in the 60s, there's just something 
about them that reminds me of the less 'fun' aspects of chosing to live a 
'primitive' lifestyle with insufficient research.  Personally they make my 
feet hurt (and their more form fitted descendents, the birkenstocks are even 
worse (for me).

OTOH, I know that other people -do- like them, and they helped keep 
bazillions of people's feet dry and safe before the Wellington.  I even 
brought home a set of Walkeley's clogs for my wife when I was in that part 
of Lancashire researching an article on a different clog museum a couple of 
years ago (A by appointment or invitation only place in Bacup that it seems 
that no one else has ever heard of).

I don't recall at this point where I heard the story, but there was a thing 
about someone who was growing up in the area, and growing up hearing the 
sounds of all the hundreds of factory girls clogs on the cobblestones as 
they headed up to work in the morning.

Marc

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From: "Jennie Chancey" <jchancey@ala.net>
To: <h-costume@indra.com>
References: <00d601c19c56$f3cb6c00$9c7ae541@hppav>
Subject: Re: [h-cost] Pattern for Rose's Coat (was Photos of two original "Titanic" costumes now up on my site!)
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Date: Sun, 13 Jan 2002 18:34:11 -0500
Status: RO

There is no pattern that I am aware of for the pink coat, but it is
princess-seamed, as shown in the Peterman illustration. Really a very simple
coat!

Cheers,
Jennie

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Subject: Re: [h-cost] Photos of two original "Titanic" costumes now up on my site!
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Date: Sun, 13 Jan 2002 19:09:54 -0500
Status: RO

Bjarne wrote: "Thanks for those pics. The sinking coat or dress ? Is that
embroidery on the collar and cuffs made with chain stitches? Just curious."

Unfortunately, the owner was not familiar enough with stitching types to
tell me how the embroidery was done. All she knew was that it was of very
narrow silk floss. I may have further opportunities in the future to study
the outfits, and, if that happens, I will let you know!

Cheers,
Jennie

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Subject: Re: [h-cost] Corsets/stays (was Re: wheelchair historicals)
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Date: Tue, 8 Jan 2002 18:12:53 -0800
Status: RO

From: "Kevin & Mara Riley" <lindo@Radix.Net>
> I got a copy of "Support and Seduction: A History of Corsets and Bras" by
> Beatrice Fontanel.  Here's my review: Don't bother.  It's got a lot of

Thanks for the review, Mara!

Speaking of which, has anyone read Valerie Steele's new book "The Corset:  A
Cultural History"?

- Kendra


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Date: Fri, 11 Jan 2002 22:37:44 EST
Status: RO

Will all and sundry please keep happy thoughts coming our way? My mother's 
just found out that her house has black mold in it and, while she knows her 
options, she's not quite decided what she's going to do about it. Selling the 
house and moving is pretty high on her list of options. This due to the past 
years expenses incurred (reattaching the roof, water damage to most of the 
ceilings, new septic pump amongst others) and her getting a bit tired of it 
being Mr. Blanding's Dream House. The happy thoughts are that it's just plain 
mold and can be gotten rid of rather than TOXIC mold that will cause the house
 to be "gotten rid of" or "incinerated under controlled conditions". That 
last thought's a scary one. It's a lovely house and holds many happy 
memories. Selfish me-I was also looking forward to having many years of future
 happy memories in it as it's my inheritance from my mother.
Wish us nothing but good luck and keep your fingers toes and eyes crossed for 
us.
Many thanks,
Lady G
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Subject: Re: [h-cost] An introduction, and wheelchair costuming thoughts...
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Date: Sun, 13 Jan 2002 04:55:36 -0500
Status: RO

Kayta wrote:
> 
> If the fasteners don't show, who's to know if they're period or not?
> (Someone in a Victorian costume workshop asked the instructor what if
> someone noticed his trousers fly zipped instead of buttoning, and the
> instructor said "If they're that close, they're not interested in
> authenticity".) 

Oh, I beg to differ!  If I'm that close, I'd hate to be disappointed by
finding inauthentic fastenings.  It'd just totally ruin the mood ;)

K.

-- 
Lady Katherine Rowberd (mka Kirrily "Skud" Robert)
katherine@infotrope.net  http://infotrope.net/sca/
Caldrithig, Skraeling Althing, Ealdormere
"The rose is red, the leaves are grene, God save Elizabeth our Queene"
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Subject: Re: [h-cost] Men's Elizabethan
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Date: Sun, 13 Jan 2002 13:12:53 -0800
Status: RO

on 1/10/02 2:19 PM, Rebecca Schmitt at lotsofteapots@charter.net wrote:

>> Here are some pics of my husband in his middle class Elizabethan clothes.
>> http://www.gideonfamily.org/images/album/dcp_0039a.jpg
>> http://www.gideonfamily.org/images/album/p0001257.jpg
>> http://www.gideonfamily.org/images/album/dcp_0079.jpg
>> http://www.gideonfamily.org/images/album/p0000887.jpg
>> Andrea

Yes, he looks a fine up-standing fellow... but what can you tell me about
the half-timbered cottage in the background of 1257, please!!!  Are the
walls and roof fabric, or ???  Is it a merchant booth or a really decadent
tent on a trailer frame, or ???

thanks,
Chimene/Patsy

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Subject: Re: [h-cost] 1510 Mens Florentine
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Date: Sun, 13 Jan 2002 13:12:53 -0800
Status: RO

on 1/9/02 4:42 PM, Sheila at turrel@yahoo.com wrote:

> Does anyone have a reference of what the bottom-half
> of this outfit might have looked like?
> 
> http://www.getty.edu/art/collections/objects/oz792.html
> 
> Sheila
Since it appears no one else has responded...

A quick look through Boucher and Davenport (even Yarwood & Norris--they go
fast, 8-) turns up only the two young men at the front left of figure 1310
(p.493 in my one-volume ed.)

They are the right period and nationality.  I'm assuming that the
overgarment they have open at the neck and turned back to form a collar is
the same as what your young man has buttoned closed at the top.  If so, you
get a pretty clear picture of what they're wearing underneath.  They also
seem to be wearing the same style of hat.

The closest I could get otherwise, in these sources, are the young men in
fig 410 in Boucher (p.214), but they're 35 years ealier and the cap is
definitely not the same.

Boucher 1310 certainly fits my preconception of a likely bottom half.

Try tapestry too.

Hope this helps,
Chimene/Patsy


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