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Subject: Re: [h-cost] Re: "sorry" vs. "excuse me";  behavior and
  cultures
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Date: Sun, 01 Dec 2002 00:54:14 -0500
Status: RO

Pardon for combining several days' posts... I'm first catching up on 
digests from about two weeks' combined vacation and holidays with limited 
mail-reading time.

On 27 Nov 2002 19:35:27 -0500, Gail Finke wrote:

>In the US, people try not to bump into you in the first place.

Unless you're riding mass transit in NYC during rush hour. Then the Men In 
Suits will barrel over you and not care a whit if it means they make an 
earlier train or make the transfer to their next train or bus. (I'm not a 
Man In A Suit, but I've occasionally been guilty of this as well, though I 
try not to be.)

>In England, especially London, I found that people just barrel down
>the road bumping into people and saying "sorry," very fast, every
>few seconds.

Most of the time here, "sorry" seems to be a word used mostly to convey 
insincere condolences, "excuse me" is occasionally used in conjunction with 
(non-verbal) body noises, and "pardon" is something you expect the governor 
to grant a lawbreaking crony.

>You're supposed to weave in and out of people's way, and to avoid bumping
>other people at all costs even if you have to step off the sidewalk and 
>onto the street.

I see the weaving and such as being more closely related to trying to get 
from Point A to Point B in the least possible time without running. The 
street is an extension of the sidewalk if the people on the sidewalk are 
going to slowly for you. The cars aren't moving that fast, anyway!

>On the other hand, I found people in England VERY scrupulous about going up
>and down public stairs on the correct sides. In the US you just walk up and
>down any old way you like -- of course, as long as you don't bump into
>anyone! I found sticking to the "up" side and the "down" side was much more
>efficient.

For a while, the escalators going down to the PATH platform at the World 
Trade Center had plaques posted that told you to stand on the right, and 
walk on the left. Not easily done when the person in front of you has 
enough packages sticking out to block the entire stair, or if you're wide 
enough to require most of the stair's width to either stand OR pass... And 
heavens forbid you should be in the way of one of these businessmen who 
absolutely MUST get onto the train that's just about to pull out of the 
station (and so are taking the stairs, WITH briefcase and laptop bag, at a 
flat run)...

On 29 Nov 2002 07:08:42 -0000, Jane Williams wrote:

>Exactly. She can see the box, she must know it's causing you
>inconvenience: why not put brain in gear?

Because her own need to get information is, on her personal utility curve, 
greater than your need to unload the case of product at its required 
destination.

>This is possible: but surely the sight of someone in a hurry is easy to
>recognise?

Not when they're coming from behind you.

>And to get out of the way of?

Not if the streets are crowded, if you have a lot of packages, if the 
hurrying person is carrying a lot of stuff, or if you have problems 
locomoting at breakneck speed. I've been on both sides of the coin, here, 
usually during rush hour in downtown NYC (Wall Street area)...

> > and groups of people getting off
> > the escalator and stopping while they try to decide where to go next
> > don't realize that there are people behind them being delivered
> > inexorably into them,

One of my pet peeves!

>They don't? Are they unbelievably stupid, or what? Is
>there something difficult about looking at what's
>going on around you and reacting to it?

Remember, the other people are coming from BEHIND them, and people don't 
usually have eyes in the backs of their heads. OTOH, I've always been 
taught to get CLEAR of the escalator drop-off area before stopping and 
trying to gain my bearings. Maybe some (very few) of these folk come from 
areas where the escalators are never crowded????


On 30 Nov 2002 20:22:29 -0500, Anne F. Murphy wrote:

>All I see are rude T-shirts about the way we allegedly
>speak, for sale in tourist areas...  I've never seen anyone local
>wearing one! *G*

I seem to have missed these... and I work not far from South Street Seaport.

>Seriously, last year was so odd... a lot of people stayed away, so  it's
>nice to see so many visitors have come this year. We're getting back to
>normal. As I said, we throw a great party!

Definitely last year was odd. (I spent four months working in what was, 
effectively, a war zone.)

>And I don't think I've ever been asked to take someone's picture

Probably because they're afraid you'd walk off with the camera 
(stereotypical view of New Yorkers)...

>Ob. Costume Content... dressed in black, as I am in these situations...
>*G* "Everyone knows"  we wear a lot of black, and that sterotype is
>true! Darks, some brights, and very few pastels.

Depending on your race and ethnic group, of course. I rarely see 
transplanted Indians in black, and most Afro-Americans I see tend to prefer 
to wear bright colors to blacks.

The one thing that bugs me about The Ubiquitous Black is that it's damned 
difficult to find a winter coat in any color *other than* black, or 
possibly olive or khaki, or *very* occasionally, English Red or Hunter 
Green. These colors are practically invisible at night under sodium vapor 
lighting, and most of the time I'm outdoors in winter... it's dark out. 
*sigh* Otherwise, well, black is flattering, goes with just about any 
color, and goes well with most variations of coloring and complexion :)

>I don't think I know anyone here who owns a pink pantsuit, as mentioned
>in other posts...

I actually have a linen jacket and a linen skirt in a sort of fuschia 
color. When the skirt fit properly (it is now both too large and in need of 
repair), I wore it quite regularly in summertime. I still haven't managed 
to wear the jacket, though... I don't recall having had pink *pants* since 
childhood on Long Island, though...

Brenda
webwarren@earthlink.net


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Date: Sun, 01 Dec 2002 00:59:40 -0500
Status: RO

At 21:49:12 11/26/2002 -0800, Chris Laning wrote:

>I actually seem to have a historical "double," which has been rather
>amusing at times, and I know at least one other person who does too.
>(He's a dead ringer for the Elizabethan portrait of Sir Henry Unton.)

How interesting! One of my friends, ten years ago, could have been a double 
for Rogier van der Weyden's "Portrait of a Lady" 
<http://www.kfki.hu/~arthp/art/w/weyden/rogier/16portra/05lady.jpg>.

>Mine came to light when someone who knows me happened to open a copy
>of Diana Scarisbrick's _Ancestral Jewels_ to the portrait of Duchess
>Elizabeth, wife of the ninth Duke of Bedford, who was one of Queen
>Victoria's bridesmaids (p.127, if anyone has the book). I'm not sure
>I can see that much of a resemblance myself

My friend said the same thing when we showed her the portrait at last 
year's winter holiday party...

>About 2/3 of the time, their first thought is, "Who is this, your
>great-grandmother or something?" (No, no relation as far as
>I know.) Apparently it's quite striking.

Also with my friend and all who knew her five to ten years ago and see that 
portrait, there's about a 2/3 recognition rate. I'm wondering if this is 
the norm for "historical doubles"...


Brenda
webwarren@earthlink.net


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Date: Sun, 01 Dec 2002 01:05:25 -0500
Status: RO

On 28 Nov 2002 09:53:45 -0800, Margo Anderson wrote:

>At 11:33 AM 11/28/2002 -0600, Genie wrote:
> >Personal idiosyncrasy as I'm a lefty; fork in left hand, knife in right,
> >never bother with switching hands that way.
>
>Me too!  Like many left handed children...

Hmm... Wonder what it is about us lefties. I seem to be involved in a 
number of groups in which we are a larger minority than in the general US 
population (don't know about the global population)...

I, too, am a "fork in left, knife in right" eater, and (generally speaking) 
only set down a cutlery implement to grab a glass or cup to drink from, to 
pass or receive a bowl/platter/pitcher/other food container, or (in the 
"boarding-house-reach" model) reach for a communal food container to serve 
myself (whatever). OTOH, any spreading of jams, butters, etc., and any 
other cutting I do (food-related or not) I do with the knife in my left hand.

>I was grown before I realized that which hand you eat with might be
>dictated by something other than dominance.

The first I encountered the concept of "fork in the right hand" was, IIRC, 
in the Cadette Girl Scout Handbook, under the Challenge of Social 
Responsibility. I don't remember if it was there or elsewhere that I 
learned the "rules" that you are supposed to speak with both the person on 
your left and the person on your right during the course of the meal, that 
you are generally seated *across* the table from your spouse, and that the 
arrangement is man-woman-man-woman-man-woman-etc. around the table...

>I'm still puzzled by the references to eating with the fork tines down,
>though.  I can see it with foods that you stab, like peices of meat, but
>what about loose litle bits like peas?  How do you do it?

Stab as many peas as you can on the tines, eat them, and go back at it 
again? Or perhaps we are talking about the position of the tines as the 
food enters your mouth?


Brenda
webwarren@earthlink.net


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Subject: Re:  [h-cost] Barbie costume pattern magazine
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Date: Sun, 01 Dec 2002 01:12:11 -0500
Status: RO

On 28 Nov 2002 17:54:32 +0000 (GMT), Nicole Kipar wrote:

>I just dug it out of my pattern-treasure-trove and it's unfortunately from 
>1996...

>...it is simply called 'Barbie' and is a Burda Special magazine, and is
>all in German. I don't know if they still make Burda specials for Barbie, 
>and I
>can't find out unless I nip into a magazine shop over Christmas in germany.

I don't recall seeing any such Burda Special in the US in the past ten 
years or so. FWIW, the monthly and (most of the) special Burda magazines 
are available worldwide in a number of languages (I've routinely seen 
German, French, Spanish, Italian, Russian, and English language editions on 
the magazine racks at Borders). Check GLP (German Language Publications) 
<http://www.glpnews.com/en/index.html> for more information.

BTW, can anyone tell me whatever happened to Neue Mode pattern magazine?


Brenda Faith Bell       webwarren@earthlink.net
Consultant, The Web Warren      http://www.webwarren.com/

arachne@webwarren.com


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Date: Sun, 01 Dec 2002 01:13:57 -0500
Status: RO

On 29 Nov 2002 15:26:24 -0500, Diane S. wrote:

>...the fanciest dinner I ever went to was an Industrial Arts Teacher's
>convention with my husband.  They had a sit-down luncheon.  There they sat,
>500 men and me, and they were all watching me to see when to start and how
>to eat it.  Talk about being in the hot seat!!  Whew!
>     But that was all a long time ago.

Things have not changed all that much in that respect. Almost invariably 
when Frank and I are at one of the more formal (read: set with more than 
one fork and more than one spoon) dinners at one of our computer user group 
conferences, the men at the table (and sometimes the under-50 women) all 
look to me to figure out which bread plate, coffee cup, or water goblet is 
theirs, and what utensil to use with what dish... and I'm nowhere nearly as 
well-versed on this as Diane is! Maybe it's because I'm more confident than 
they in what goes where and when?????


Brenda
webwarren@earthlink.net


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From: "Janet Davis" <castle@erie.net>
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Subject: RE: [h-cost] This year's calendars
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Date: Sun, 1 Dec 2002 01:57:03 -0500
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I've carried 2 calendars this year (besides the Medieval Year one).  One is
a desk calendar called "Forgotten English 2003" that has a different word,
no longer in common use, for each day.  I also have 1 copy left of
"Illuminations 2003: A Jewish Calendar", which started in September and goes
through August.  The pictures are interesting illuminations from a 15th
century Hebrew manuscript, but unfortunately there are only a couple that
show people wearing clothes.

Janet

Janet Davis
Castle Furnishings
http:/www.medievalbookstore.com

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Subject: Re: [h-cost] Re: NZ and LotR PreRaphaelites
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Date: Sun, 1 Dec 2002 20:52:38 +1300
Status: RO


----- Original Message -----
> > > Actually, just for the records, I don't _DO_ copies of things from
films,
> > > that's just not creative in my books.
> > As opposed to copying from history;)
> Nope, there's a big difference. Even my blue dress is not a 'copy', it is
> clearly inspired by, but not a copy.

Oh no, but it's all part of the continuum. And I was really meaning copying
direct from a pattern say and getting everything exactly the same.
Continuum see:) And at the extreme end of recreation is what was made for
the World of Wearable Arts recently held here in NZ. Where it's all about
doing new things with covering the body.
http://www.wearableart.co.nz/

We got to see the highlights last night. Fantastic entries this year. I
loved the supreme winner: Persephone's Descent. All articulated armour. The
most costumey bit of wearable art I've seen in the contest. Usually it's
quite abstract.

BTW, just got a chance to see the flaming orange corset, most gorgeous and
the colour.. I *love* it:)

> > Have you got the book Pre Raphaelite Women by Jan Marsh ( I think)?
> > Wonderful, and split into the archetypes of femininity as seen by
artists of
> > the time: Doves and Mothers, Pale ladies of Deatha.... Bohemian
Stunners....
> No, don't have it, butthanks ever so much, I'll keep an eye out for it.

It should still be available. I got mine back in 1994 I think, but I saw a
spft cover rece

> Nicole - about to fix the new ceiling lamp: a 'copy' of those Flemish 17th
> century brass ones. *G*

heheheh;)

Oooh, I wore my cossie today, should get some piccies developed tomorrow.
Got a photo taken with the actor who plays Gamling in TTT.

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] This year's calendars
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Date: Sun, 1 Dec 2002 11:38:10 +0000 (GMT)
Status: RO

 --- Janet Davis <castle@erie.net> wrote: > 
> I've carried 2 calendars this year (besides the Medieval Year one).  One is
> a desk calendar called "Forgotten English 2003" that has a different word,
> no longer in common use, for each day. 

If I am not mistaken that is the calendar (desk calendar) that Past Times
carries every year, bought one as a gift one year, quite nifty. Was about 6/7
pounds or so.

I can't make up my mind what calendar to buy this year, haven't found anything
costumey or extra nice. in the shops :-( I s'pose I have to get a LOTR calendar
maybe, or if I'm lucky I'll find one with nekkid artsy b/w photos of gorgeous
model men. *G* no costumes, but hey, some bodies just don't need any.

Nicole - getting closer to finishing that room every day so that she can
finally get back to sewing.

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Sun, 01 Dec 2002 14:14:15 +0100
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--------------060403060209060108070006
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Hi,

I bought my first Barbie just a few years ago (I am 26).
And I really hope that one day I will have a girl.
I like making those little costumes. Here you can see a 16th century 
dress I made.
http://home.kabelfoon.nl/~triade/CostumeG/16thBarbie.html
My next project wil be a Italian renaissance faerie.

Greetings,
        Deredere

Catherine Olanich Raymond wrote:

>On Thursday 28 November 2002 02:54 am, N Kipar wrote:
>  
>
>> --- Catherine Olanich Raymond <cathy@thyrsus.com> wrote: > On Tuesday 26
>>
>>November 2002 05:45 pm, seamstrix@juno.com wrote:
>>    
>>
>>>>My Barbie had costumes made by me, and went on jungle adventures.....I
>>>>was such an odd child.
>>>>        
>>>>
>>>My Barbie dolls had some costumes made by me, some of which were
>>>historical and others which were not.
>>>
>>>I see a pattern developing here....
>>>      
>>>
>>Ohhh yes! Say, who else had barbie dolls and made costumes for them? BTW, I
>>am praying that my godchild will be a girl, because I have that fantastic
>>Burda magazine chockerfull with historic costumes for Barbie dolls and Ken
>>men, you should see the medievalesque costumes! (how the middle ages SHOULD
>>have been and are in fairy tales). Phuleeeeze!! A girl, a girl, a girl!!!
>>    
>>
>
>Good luck.  :-)
>
>
>  
>
>>Nicole - who made a posh outfit for her Barbie for the occasion of Lady
>>Di's and Prince Charles' wedding in 1981 *blech* :-)
>>    
>>
>
>I was long past the Barbie doll age by the time of that wedding.  Sigh.  
>
>Cathy Raymond <cathy@thyrsus.com>
>
>"You shall know the truth and the truth shall make you odd."
> --Flannery O'Connor
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
>  
>


--------------060403060209060108070006
Content-Type: text/html; charset=us-ascii
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
  <title></title>
</head>
<body>
Hi,<br>
<br>
I bought my first Barbie just a few years ago (I am 26).<br>
And I really hope that one day I will have a girl.<br>
I like making those little costumes. Here you can see a 16th century dress
I made.<br>
<a class="moz-txt-link-freetext" href="http://home.kabelfoon.nl/~triade/CostumeG/16thBarbie.html">http://home.kabelfoon.nl/~triade/CostumeG/16thBarbie.html</a><br>
My next project wil be a Italian renaissance faerie.<br>
<br>
Greetings,<br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Deredere<br>
<br>
Catherine Olanich Raymond wrote:<br>
<blockquote type="cite" cite="mid200211281234.24597.cathy@thyrsus.com">
  <pre wrap="">On Thursday 28 November 2002 02:54 am, N Kipar wrote:
  </pre>
  <blockquote type="cite">
    <pre wrap=""> --- Catherine Olanich Raymond <a class="moz-txt-link-rfc2396E" href="mailto:cathy@thyrsus.com">&lt;cathy@thyrsus.com&gt;</a> wrote: &gt; On Tuesday 26

November 2002 05:45 pm, <a class="moz-txt-link-abbreviated" href="mailto:seamstrix@juno.com">seamstrix@juno.com</a> wrote:
    </pre>
    <blockquote type="cite">
      <blockquote type="cite">
        <pre wrap="">My Barbie had costumes made by me, and went on jungle adventures.....I
was such an odd child.
        </pre>
      </blockquote>
      <pre wrap="">My Barbie dolls had some costumes made by me, some of which were
historical and others which were not.

I see a pattern developing here....
      </pre>
    </blockquote>
    <pre wrap="">Ohhh yes! Say, who else had barbie dolls and made costumes for them? BTW, I
am praying that my godchild will be a girl, because I have that fantastic
Burda magazine chockerfull with historic costumes for Barbie dolls and Ken
men, you should see the medievalesque costumes! (how the middle ages SHOULD
have been and are in fairy tales). Phuleeeeze!! A girl, a girl, a girl!!!
    </pre>
  </blockquote>
  <pre wrap=""><!---->
Good luck.  :-)


  </pre>
  <blockquote type="cite">
    <pre wrap="">Nicole - who made a posh outfit for her Barbie for the occasion of Lady
Di's and Prince Charles' wedding in 1981 *blech* :-)
    </pre>
  </blockquote>
  <pre wrap=""><!---->
I was long past the Barbie doll age by the time of that wedding.  Sigh.  

Cathy Raymond <a class="moz-txt-link-rfc2396E" href="mailto:cathy@thyrsus.com">&lt;cathy@thyrsus.com&gt;</a>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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  </pre>
</blockquote>
<br>
</body>
</html>

--------------060403060209060108070006--


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Date: Sun, 01 Dec 2002 14:20:40 +0100
Status: RO

Oh CUUUUUTE!!!!!

Cass :)))

> I bought my first Barbie just a few years ago (I am 26).
> And I really hope that one day I will have a girl.
> I like making those little costumes. Here you can see a 16th century
> dress I made.
> http://home.kabelfoon.nl/~triade/CostumeG/16thBarbie.html
> My next project wil be a Italian renaissance faerie.
> 
> Greetings,
>       Deredere

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Subject: Black in Indian Culture/Re: [h-cost] Re: "sorry" vs. "excuse me";  behavior and cultures
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Date: Sun, 1 Dec 2002 14:47:36 +0000
Status: RO


> Depending on your race and ethnic group, of course. I rarely see 
> transplanted Indians in black,

Black has a very negative connotation in Indian Culture as in 
unauspicious and transplanted Indian's seldom wear it outside of a 
religious context.Finding a sari that is entirely black is rare and hard 
to locate,although you will sometimes find examples that are brightened 
up with floral motifs or embroidery.In fact a very dark and intense 
indigo is preferred for Dewaali night the only time that 'black' appears 
to be an acceptable colour,so dark that it reads as black.
'Modern' Indians raised outside of India don't seem to have any 
prejudices about wearing black in their day to day contemporary clothing.

Marcus.





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From h-costume-admin@indra.com  Sun Dec  1 09:01:41 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Deredere's Barbie dolls costumes
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Date: Sun, 1 Dec 2002 14:01:34 +0000 (GMT)
Status: RO

Wow!! I love it, oh I love it, I want a girl god-child, phuleeeeze!! Or I will
just have to make costrumes for action man, demmit. *G* Maybe I won't even tell
the little worm to be how my Barbies used to truss them up. hehehehehe...
Adventure-Barbies-R-Us.

It is SO cute, Deredere.

Nicole
 
--- Deredere & Owen Iskander <triade@kabelfoon.nl> wrote: > Hi,
> 
> I bought my first Barbie just a few years ago (I am 26).
> And I really hope that one day I will have a girl.
> I like making those little costumes. Here you can see a 16th century 
> dress I made.
> http://home.kabelfoon.nl/~triade/CostumeG/16thBarbie.html
> My next project wil be a Italian renaissance faerie.
> 
> Greetings,
>         Deredere
> 
> Catherine Olanich Raymond wrote:
> 
> >On Thursday 28 November 2002 02:54 am, N Kipar wrote:
> >  
> >
> >> --- Catherine Olanich Raymond <cathy@thyrsus.com> wrote: > On Tuesday 26
> >>
> >>November 2002 05:45 pm, seamstrix@juno.com wrote:
> >>    
> >>
> >>>>My Barbie had costumes made by me, and went on jungle adventures.....I
> >>>>was such an odd child.
> >>>>        
> >>>>
> >>>My Barbie dolls had some costumes made by me, some of which were
> >>>historical and others which were not.
> >>>
> >>>I see a pattern developing here....
> >>>      
> >>>
> >>Ohhh yes! Say, who else had barbie dolls and made costumes for them? BTW, I
> >>am praying that my godchild will be a girl, because I have that fantastic
> >>Burda magazine chockerfull with historic costumes for Barbie dolls and Ken
> >>men, you should see the medievalesque costumes! (how the middle ages SHOULD
> >>have been and are in fairy tales). Phuleeeeze!! A girl, a girl, a girl!!!
> >>    
> >>
> >
> >Good luck.  :-)
> >
> >
> >  
> >
> >>Nicole - who made a posh outfit for her Barbie for the occasion of Lady
> >>Di's and Prince Charles' wedding in 1981 *blech* :-)
> >>    
> >>
> >
> >I was long past the Barbie doll age by the time of that wedding.  Sigh.  
> >
> >Cathy Raymond <cathy@thyrsus.com>
> >
> >"You shall know the truth and the truth shall make you odd."
> > --Flannery O'Connor
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> >  
> >
> 
>  

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] Re: Regency corsets?
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Date: Sun, 01 Dec 2002 09:14:09 -0600
Status: RO

I am way behind in my list reading.. but this caught my eye.

I made a corded corset for the regency period not too long ago for a Museum director.
It did make a difference in the end appearance of her gown. It provided uplift for her 
breasts, and smoothed out the shape of her torso.

While there might not be a huge amount of information regarding corsetry of this time 
period, corsets were worn.  Some might have been as simple as a linen form with not much 
re-inforcement in them, but they were still considered stays.
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: RE: [h-cost] This year's calendars
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Date: Sun, 1 Dec 2002 10:03:41 -0600 (CST)
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On Sun, 1 Dec 2002, [iso-8859-1] N Kipar wrote:

> maybe, or if I'm lucky I'll find one with nekkid artsy b/w photos of gorgeous
> model men. *G* no costumes, but hey, some bodies just don't need any.

Consider the Pilobolus calendar, of the ballet troupe of that name. The
photos are breathtaking. (The performances are ... wow.)

Very little costume content here, except some very odd leotards and quite
a few dance g-strings.

--Robin


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Subject: Re: [h-cost] Color in art (was Tippets)
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Date: Sun, 1 Dec 2002 10:56:39 -0600 (CST)
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Finally catching up after a heavily booked holiday weekend ...

On Fri, 29 Nov 2002, Catherine Olanich Raymond wrote:

<regarding the lady in tippets on the April page of the Tres Riches
Heures>

> By the way, you said that lady's overgown is actually ultramarine, not
> black as I had perceived.  I've seen the print in several editions,
> (including a good quality print from the British Museum, which
> currently hangs on my office wall) and it's black in all of them, so
> far as I can tell.

Actually, no, I said she is in deep blue -- e.g. midnight or navy or
whatever the preferred term :-) -- with an ultramarine-blue underdress.
The deep blue does appear as black in several of the prints I have on
hand, but it's navy in others, whereas there are other examples in the
manuscript of people in black gowns that don't shift to navy in the same
editions as the navy April lady, so I figure navy is the correct reading.
But that's a rare color, isn't it? I may have to check up on this.

> Now, it's also possible that the original is, in fact, ultramarine.  
> It also seems, to me, that it would be possible that even if the
> original was ultramarine that ultramarine might not have been the
> original color.  I tend to be skeptical about whether the current
> color of a fabric, or a piece of art, is highly indicative of the
> color that the dyer/artist originally intended after 400 or so
> years....

Not an issue to worry about in this case since we're not actually trying
to reconcile ultramarine vs. black, which would be a pretty monumental
shift, but a good issue to consider overall in viewing manuscripts.
Different media pose different color problems for different reasons.
Paintings tend to have more sun and air damage compared with manuscripts.
Both, however, tend to use certain pigments that degrade on their own.
Greens are notoriously fugitive, turning even to yellor or brown or dull
reds in some cases. Silver metal tarnishes to black. And so on.  I keep a
few books on hand for reference on this, including Daniel Thompson's
"Materials and Techniques of Medieval Painting," W.G. Constable's "The
Painter's Workshop," and A.P. Laurie's "The Painter's Methods and
Materials." These are all inexpensive Dover reprints of older books that
look outdated, but as far as I know, the data is good, and perhaps
reflects a time when this subject was of more interest.

For costume study, there's the added issue of paints as accurate
representations of dyes -- which they often are not. Ultramarine blue is
the usual example, as it's made into a paint from ground lapis lazuli.
This was a highly valued color in medieval paintings. (IIRC, it's in
Baxendall's "Painting and Experience in Fifteenth Century Italy" where you
can find some cites to painter's contracts that specify the amount of
lapis blue to be supplied by the patron and used in the painting, as part
of the terms.) Lapis cannot be made into a dye, and there is no equivalent
medieval dye for lapis color. Woad (chemically the same as indigo) was the
blue dye source at this time. Woad/indigo can provide some strong and
bright blues, particuarly on silk, but does not fall in the same color
range as lapis. The tone difference is one I first noticed as a teenager,
when I tried to buy blue shirts to match my blue jeans, but kept coming up
with cobalt blues that didn't work with the indigo blue of the jeans when
I actually put them next to each other. There are some period references
-- Drea has some citations -- to painting on fabric with lapis, but that
seems to be reserved for display materials (altarcloths and furnishings
and banners and such, and maybe stage costume), not used for "real"
clothing.

What this means is that all those ultramarine blues that show up on page
after page of the Tres Riches Heures and other mss, usually on the most
important figures (such as royalty and saints), do not reflect the blues
worn at the court -- they're a sign of the Duke's wealth in commissioning
these paintings in this book. So we need to adjust our eyes, and minds, to
compensate for the color change as we develop our mental picture of the
medieval court. 

For that matter, I believe the wealthy wore relatively little blue in
their fine garments, as blue was the cheapest available dye. By contrast,
black was expensive and highly valued. It appears frequently in
inventories from the 15th century. But it's used comparatively rarely in
manuscripts of the same period, because it provides a visual problem on
the page. Notice that when the Limbourgs do put someone in black, they
often partially hide him or her behind other people or things, or drape
other fabrics over the black garments, to reduce the impact of the dead
space in the painting. The woman riding sidesaddle in August is an example
of the artist's virtuosity in managing to provide highlights and shading
to depict drapery -- this is nearly impossible on a black surface, and in
this case the artist greyed the base color surface to allow for deeper
black shades as well as lighter grey highlights. (Hmm, I'm now wondering
if the navy I see in the April lady is actually a different, and less
successful, attempt to introduce depth in a black surface. I'll have to
look this up and see how she's described by the scholars who have worked
directly with the manuscript.)

Tapestries give us a much better color sense of available tones, since
they're made from dyed materials, not painted. But then you have the
issues of color fading and mutation, particularly with sun and air. And
the list goes on ... can you tell this is another lecture tape I'm running
here? I'll stop now.

--Robin

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Date: Sun, 01 Dec 2002 09:52:59 -0700
Status: RO

I actually haven't gone calendar-shopping this year, yet.  I'll get one
for home, and one or two for the office.  For office ones, I'm partial
to cartoons--Far Side, Dilbert, etc.
Re: beefcake calendars....Hey, Nicole, at least here in the US, those
*are* referred to as "birthday suits," so that's kinda-sorta costume
related <weg>.
--sue, who has a two-foot-high pile of papers and old bills on the table
she needs to clear before she can get back to sewing....ick....sometimes
I just purely *hate* house-cleaning!

N Kipar wrote:
> 
>  --- Janet Davis <castle@erie.net> wrote: >
> > I've carried 2 calendars this year (besides the Medieval Year one).  One is
> > a desk calendar called "Forgotten English 2003" that has a different word,
> > no longer in common use, for each day.
> 
> If I am not mistaken that is the calendar (desk calendar) that Past Times
> carries every year, bought one as a gift one year, quite nifty. Was about 6/7
> pounds or so.
> 
> I can't make up my mind what calendar to buy this year, haven't found anything
> costumey or extra nice. in the shops :-( I s'pose I have to get a LOTR calendar
> maybe, or if I'm lucky I'll find one with nekkid artsy b/w photos of gorgeous
> model men. *G* no costumes, but hey, some bodies just don't need any.
> 
> Nicole - getting closer to finishing that room every day so that she can
> finally get back to sewing.
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Date: Sun, 01 Dec 2002 09:57:34 -0700
Status: RO

Ahhh, Brenda....<g>
Some of us come from places where there are NO escalators, crowded or
not! I think there was an escalator in a department store here, once, a
while ago, but I don't know if it's still there.  It was considered
quite the novelty--I don't actually recall ever seeing one anywhere else
in the state!
--Sue in Montana

Brenda Bell wrote:
> 

> >They don't? Are they unbelievably stupid, or what? Is
> >there something difficult about looking at what's
> >going on around you and reacting to it?
> 
> Remember, the other people are coming from BEHIND them, and people don't
> usually have eyes in the backs of their heads. OTOH, I've always been
> taught to get CLEAR of the escalator drop-off area before stopping and
> trying to gain my bearings. Maybe some (very few) of these folk come from
> areas where the escalators are never crowded????
>
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Date: Sun, 1 Dec 2002 17:21:07 -0000
Status: RO

>Someone asked about Dorothy Hartley's books on this list a while back. I'm
pretty sure my notions about the mediaeval origins of modern table manners
came from her "Food in England", but that was published 40-50 years ago, so
theories may have changed since then...

I like her books but she tends to assume anything 'country' originates in
medieval time, whilst some is true eg agricultural tools are similar, it can
be a bit simplistic any way I'll look into Food in England I have a copy

Mel

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Date: Sun, 01 Dec 2002 09:59:46 -0800
Status: RO

At 08:23 PM 11/29/2002 -0800, Carolyn Kayta Barrows wrote:

  Do you know the Euro -> dollar exchange rate? 

This is a really handy currency converter:  http://www.xe.com/ucc/

Margo
"One Tough Costumer"


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Date: Sun, 1 Dec 2002 18:14:58 -0000
Status: RO

>Gender issues could, however, come into
play in some cases because of the bias toward "the heir" and to the
future heavy workers. While this bias isn't as strong as in some
cultures, it was probably sometimes an issue.

When you say whilst the bias isn't as strong as in some other cultures
what/where are you comparing other cultures to ? The US ? I was talking
about past cultures and archaeological evidence

>The breastfed babies with dental problems are the ones who use a
breast for a pacifier, not "on demand."

That wasn't clear to me from your original post which is why I asked for
clarification. I've not heard of this phenomena in the UK (doesn't mean it
dosen't happen however)

 >However, the amount of effort the baby
expended for "demand" was probably higher.

Not completly convinced, my experiance is that you can tell what crys are
what, by kids rarely cried because I demand fed & checked regularly
(constantly sounds too manic, but pretty constantly in a way I would if
checking instrumentation in a plane for instance without any concious check
as such)

I think a lot of breast feeding & child care problems come from the lack on
family with kids contact. You get the same in isolated animal mums too, my
horses do much better if there is a experiance mum with a newbie

>Some let the baby continuously hold the breast in the mouth
without any time away from the breast.

Ok that seems like hard work :) No that isn't on demand & no animals don't
do that !

> had other work right where the modern
snuglie would be.)

Snuglie ?

>Also, too few of our moms have good support systems for encouraging
breastfeeding.

Agreed

>I have a *very* high rate of
successfully breastfed babies (including those with working mothers)
who often breastfeed well past a year of age.

Is this unusual in the US (I presume you are US ?) It is here
> >They can't let the baby cry at night or they upset the neighbors. In
> medieval times this would have been considered a "normal" noise and
> not one to shush at all costs.
>
> I'd love to see the evidence for this. Have you read the studies on
> cot death & babies in cultures who arn't forced to sleep alone & cry ?
> This suggestion, that crying is normal noise,  is not consistant with
> primate behaviour IMHO, and I've not seen anything supporting such as
> view in medieval litrature, please have you any refs ?.

I meant refs suggesting babies were left to cry rather than on cot death.

>Also, the important literature about this has only been coming out
for the past 10-15 years at most. A lot of it started with the "Back
to the Back" campaign for prevention of cot death. I've been in
pediatrics for more than 20 years and a *lot* has changed in that
time.

I've been having babies over 16 years & yes I've noticed :) What you should
eat what you shouldn't.  put them on their front, no back, ok side !!Given
it changes with the wind I'm afraid I tend to feel pretty cynical that
anyone knows what they are on about.

>We *never* used to see breastfed "bottlemouth" in our
breastfeeding moms until more recently when there was a switch from
"demand" feed to "constant" feed in many of the moms.

Just from a sanity point of view constant does not seem to be a good idea :)

Mel


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Subject: Re: [h-cost] Fur and dagging
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Date: Sun, 1 Dec 2002 12:29:14 -0600 (CST)
Status: RO


On Fri, 29 Nov 2002, Heather Rose Jones wrote:

> I'd want to look at a survey of the earliest examples of dagging
> before coming to any certain conclusions, but my impression has been
> that _lined_ dags (whether appearing to be fabric-lined or fur-lined)  
> are relatively rare, and that the default is done in plain unlined
> cloth. ...

Everything Heather said in her post makes sense to me. I think someone
would have to do a systematic comparison of representations of dags in art
as well as in artifacts (with an eye to whether linings may have
disintegrated) before getting much of an idea as to what came first. I
personally would be interested in seeing the sequence of shapes of dags as
well.

> My initial hypothesis (to be tested by further research) 
> would be that dagging arose in the context of the fashion for heavily 
> fulled woolen fabrics, where you can cut a decorative (and even very 
> elaborate) edge without the need to finish the raw edges.

One interesting visual example of this, though fairly late after dags
first start appearing in the artwork, is the famous Arnolfini wedding
portrait. Giovanna's bag sleeve has an elaborate mass of dags hanging from
the lower edge. They're hard to work out when you look at a reproduction,
but in the original it's clear it's a very long strip of fabric (almost
certainly wool) cut into a pattern of rows of connected Maltese-style and
then the strip accordion-folded into a stack, with one side of the stack
of folds attached to the sleeve and the other hanging down. There's no
shortage of fur lining in the scene, as the main body of the dress is
fur-lined and the underdress has a fur edge showing at the bottom. But the
dags are unlined; they seem to be layered into two layers, but with
separate edges, which may mean two strips folded against each other as
part of the accordion-folding. There's a gold dotty finish to the edges,
which may mean edges are stitched around with gold thread. An alternative
reading (I forget where I read this) is that the green wool is actually a
multilayer sandwich of cloth, green layers on the outside and a gold layer
on the inside, and that the green edges are pinked to show the gold. I
don't know if I can quite see how that would work, particularly as the
gold seems to appear on the protruding points of the pinking, not in the
"pits" of the pinking.

But the overall point here is that there's no fur on the dags themselves.
On the other hand, I've seen plenty of examples -- the Tres Riches Heures
is full of them, as we were talking about earlier -- of dagged 
edges with fur lining. So by the early 1400s, at least, both are being
done at about the same class level.

> My logical arguments against the "irregular fur edge" hypothesis would
> be that furriers obviously had _no_ compunction against cutting and
> piecing furs to create "yardage"; and from a practical standpoint,
> smoothing off the edge of the fur lining would be far less work than
> cutting the outer fabric to match and finishing the much more
> elaborate edge.  I can see fur-lined dags arising in the context of an
> existing concept more easily than I can see them as the origin of the
> concept.

I can see arguments either way, particularly if the "yardage" comes from
the furrier to the clothier with the ragged-edges intact, and there's also
no compunction against labor-intensive decoration as a sign of wealth,
regardless of practicality. But as you say, that may have developed after
the idea of dagged edgings was already established, independent of the
shapes of pelts. 

One key clue other than shape of dags might be whether dags originated
with people of such wealth that they were already lining everything with
fur, and this was one more step in adding luxury, or if dags appear
initially on clothing of a class/wealth level that does not suggest
universal fur lining, but at least enough wealth to cover the cost of
decoration and the implication that "I'm rich enough to cut up this
fabric." If it appeared on the wealthy fur-wearers first, the unfurred
version could have been a lesser-monied copy.

Chickens, eggs, all that.

--Robin

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Robin Netherton <robin@shell.nightowl.net>
Subject: Re: [h-cost] Color in art (was Tippets)
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Date: Sun, 1 Dec 2002 14:19:55 -0500
Status: RO

On Sunday 01 December 2002 11:56 am, Robin Netherton wrote:
> Finally catching up after a heavily booked holiday weekend ...
>
> On Fri, 29 Nov 2002, Catherine Olanich Raymond wrote:
>
> <regarding the lady in tippets on the April page of the Tres Riches
> Heures>
>
> > By the way, you said that lady's overgown is actually ultramarine, not
> > black as I had perceived.  I've seen the print in several editions,
> > (including a good quality print from the British Museum, which
> > currently hangs on my office wall) and it's black in all of them, so
> > far as I can tell.

> The deep blue does appear as black in several of the prints I have on
> hand, but it's navy in others, whereas there are other examples in the
> manuscript of people in black gowns that don't shift to navy in the same
> editions as the navy April lady, so I figure navy is the correct reading.
>
> Actually, no, I said she is in deep blue -- e.g. midnight or navy or
> whatever the preferred term :-) -- with an ultramarine-blue underdress.

I may have screwed up my color terminology, but I understood you the first 
time; that is what I meant.  :-)  It did not occur to me that you were 
referring to the underdress a ultramarine.  Sorry for the confusion.


> But that's a rare color, isn't it? I may have to check up on this.

To the best of my knowledge, yes, it's rare.  I'm sure it wasn't 
unattainable--indigo and its cousins can achieve an amazing variety of blues 
from deep to light--but I can't recall any other evidence that navy was used 
for women's gowns that early...



> > Now, it's also possible that the original is, in fact, ultramarine.
> > It also seems, to me, that it would be possible that even if the
> > original was ultramarine that ultramarine might not have been the
> > original color.  I tend to be skeptical about whether the current
> > color of a fabric, or a piece of art, is highly indicative of the
> > color that the dyer/artist originally intended after 400 or so
> > years....
>
> Not an issue to worry about in this case since we're not actually trying
> to reconcile ultramarine vs. black, which would be a pretty monumental
> shift, but a good issue to consider overall in viewing manuscripts.
> Different media pose different color problems for different reasons.
> Paintings tend to have more sun and air damage compared with manuscripts.

Naturally. 

> Both, however, tend to use certain pigments that degrade on their own.
> Greens are notoriously fugitive, turning even to yellor or brown or dull
> reds in some cases. Silver metal tarnishes to black. And so on.  I keep a
> few books on hand for reference on this, including Daniel Thompson's
> "Materials and Techniques of Medieval Painting," W.G. Constable's "The
> Painter's Workshop," and A.P. Laurie's "The Painter's Methods and
> Materials." These are all inexpensive Dover reprints of older books that
> look outdated, but as far as I know, the data is good, and perhaps
> reflects a time when this subject was of more interest.

I'll bear that in mind and see if I can track them down, thanks.


> For costume study, there's the added issue of paints as accurate
> representations of dyes -- which they often are not. Ultramarine blue is
> the usual example, as it's made into a paint from ground lapis lazuli.
> This was a highly valued color in medieval paintings. (IIRC, it's in
> Baxendall's "Painting and Experience in Fifteenth Century Italy" where you
> can find some cites to painter's contracts that specify the amount of
> lapis blue to be supplied by the patron and used in the painting, as part
> of the terms.) Lapis cannot be made into a dye, and there is no equivalent
> medieval dye for lapis color. Woad (chemically the same as indigo) was the
> blue dye source at this time. Woad/indigo can provide some strong and
> bright blues, particuarly on silk, but does not fall in the same color
> range as lapis. The tone difference is one I first noticed as a teenager,
> when I tried to buy blue shirts to match my blue jeans, but kept coming up
> with cobalt blues that didn't work with the indigo blue of the jeans when
> I actually put them next to each other. There are some period references
> -- Drea has some citations -- to painting on fabric with lapis, but that
> seems to be reserved for display materials (altarcloths and furnishings
> and banners and such, and maybe stage costume), not used for "real"
> clothing.

Okay.  Thanks.


> What this means is that all those ultramarine blues that show up on page
> after page of the Tres Riches Heures and other mss, usually on the most
> important figures (such as royalty and saints), do not reflect the blues
> worn at the court -- they're a sign of the Duke's wealth in commissioning
> these paintings in this book. 

Pity.  It's a beautiful color.  Oh well, if we each had a dollar for every 
drean that's been shot down by reality.  :-)


>So we need to adjust our eyes, and minds, to
> compensate for the color change as we develop our mental picture of the
> medieval court.
>
> For that matter, I believe the wealthy wore relatively little blue in
> their fine garments, as blue was the cheapest available dye. 

Was that already the case in the 15th century?  It certainly was in the 
16th--to the point that it was associated with servants and charity cases.  
(One reason blue Elizabethan gowns drive me crazy....)


>By contrast,
> black was expensive and highly valued. It appears frequently in
> inventories from the 15th century. 

Good to know that the inventories confirm the art evidence.  Anne Hollander, 
an art historian, made the point in one of her books that the 15th century is 
about the first time black shows up as a fashion color, and not as mourning.


>But it's used comparatively rarely in
> manuscripts of the same period, because it provides a visual problem on
> the page. Notice that when the Limbourgs do put someone in black, they
> often partially hide him or her behind other people or things, or drape
> other fabrics over the black garments, to reduce the impact of the dead
> space in the painting. The woman riding sidesaddle in August is an example
> of the artist's virtuosity in managing to provide highlights and shading
> to depict drapery -- this is nearly impossible on a black surface, and in
> this case the artist greyed the base color surface to allow for deeper
> black shades as well as lighter grey highlights. 

It is a masterful job  

>(Hmm, I'm now wondering
> if the navy I see in the April lady is actually a different, and less
> successful, attempt to introduce depth in a black surface. I'll have to
> look this up and see how she's described by the scholars who have worked
> directly with the manuscript.)

> Tapestries give us a much better color sense of available tones, since
> they're made from dyed materials, not painted. But then you have the
> issues of color fading and mutation, particularly with sun and air.

Very much so.  Also the issue of the extent to which the weaving technique 
used to produce the tapistry created a "new" color in it's own right.


 And
> the list goes on ... can you tell this is another lecture tape I'm running
> here? I'll stop now.

Glad I was able to inspire you.  :-)  I've learned a lot from this exchange.  
Thank you.


-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Robin Netherton <robin@shell.nightowl.net>
Subject: Re: [h-cost] Fur and dagging
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Date: Sun, 1 Dec 2002 14:22:54 -0500
Status: RO

On Sunday 01 December 2002 01:29 pm, Robin Netherton wrote:
> On Fri, 29 Nov 2002, Heather Rose Jones wrote:
[text cut here]
>
> One interesting visual example of this, though fairly late after dags
> first start appearing in the artwork, is the famous Arnolfini wedding
> portrait. Giovanna's bag sleeve has an elaborate mass of dags hanging from
> the lower edge. They're hard to work out when you look at a reproduction,
> but in the original it's clear it's a very long strip of fabric (almost
> certainly wool) cut into a pattern of rows of connected Maltese-style and
> then the strip accordion-folded into a stack, with one side of the stack
> of folds attached to the sleeve and the other hanging down. There's no
> shortage of fur lining in the scene, as the main body of the dress is
> fur-lined and the underdress has a fur edge showing at the bottom. But the
> dags are unlined; they seem to be layered into two layers, but with
> separate edges, which may mean two strips folded against each other as
> part of the accordion-folding. There's a gold dotty finish to the edges,
> which may mean edges are stitched around with gold thread.

Indeed.  In the Arnolfini portrait, the fur is very obvious, as it is on some 
of the houppelandes shown on gentlemen in the Tres Riches Heures plates.  
Interestingly, the more obvious fur in the Tres Riches Heures are shown as 
brown.  Anyone have an idea what type of fur those might have been?  


-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Date: Sun, 01 Dec 2002 19:13:04 -0000
Status: RO

On 1 Dec 2002 at 11:38, N Kipar wrote:

>  --- Janet Davis <castle@erie.net> wrote: > 
> > I've carried 2 calendars this year (besides the Medieval Year one). 
> > One is a desk calendar called "Forgotten English 2003" that has a
> > different word, no longer in common use, for each day. 
> 
> If I am not mistaken that is the calendar (desk calendar) that Past
> Times carries every year, bought one as a gift one year, quite nifty.
> Was about 6/7 pounds or so.

Now up to 8 pounds, I think: and I'm still probably 
going for one this year. 

It tends to have the obscure saints' days, too.



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Subject: [h-cost] another  e-bay offering
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Date: Sun, 01 Dec 2002 11:08:08 -0800
Status: RO

Another interesting e-bay dress.  not my period, but I like it
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=1901761815

maryann, who has been spending way too much time on e-bay




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Subject: Re: [h-cost] Getting through crowds/politeness
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Date: Sun, 1 Dec 2002 19:17:10 +0000
Status: RO

Catelli <catelli@rcn.com> wrote
>I went to NYC last weekend, and was not run over or into by anyone.
>
>My difficult getting-through-crowds is usually moving audio/visual 
>equipment around at a Worldcon
>(Science Fiction).
>
>"Excuse me; pardon me; 'scuse me." repeat as necessary.
>
>But when the crowd just is Not moving out of my way (I have time 
>constraints), using the "backup beep"
>is the single most effective way of getting through.

Why do I think saying, in a very polite mechanical voice "Warning, this 
vehicle is reversing, warning, this vehicle is reversing" doesn't have 
the same effect?

Jean


>
>Sure beats "Coming through!"
>
>Ann in CT
>Got all my wools washed, now to get them dried. . . .
>
>
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Date: Sun, 01 Dec 2002 13:52:57 -0600
Status: RO

For that nifty calendar link... sent it on to my mother-in-law... yay.. gonna get a gift 
that I can use this year from her... :D
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Date: Sun, 01 Dec 2002 19:58:58 +0000
Status: RO

That's becasue Austin is considered quite different from the rest of Texas. 
Probably due to the influence of the University of Texas...

As for "snipe hunting": my Great Grandfather was from Indiana. He came to 
Texas and taught here for a time before going home to Indiana to farm (and 
taking his Central Texas bride home with him). Several of his students took 
him "Dillo huntin" once. Armadillos are local to Texas and not to the 
northern states, and they dig burrows which they enter head first. He was 
told to reach in, grab the tail, and pull it out. Armadillos also have a 
scent to their urine that's similar to a skunk's. Needless to say, his hunt 
wasn't what one would consider a success - but the joke was!

Mary/Katerine
(who may have been in Austin, Texas for 10 years, but still considers 
herself an Ohioan)


>Biggest Egos, Biggest Hair,
>Biggest Liars anywhere
>Let's sing another stupid Texas song...
>[...]
>Throw your hats up in the air
>We're obnoxious, we don't care!
>Let's sing another stupid Texas song.
>
>There's a band called the Austin Lounge Lizards who spend a lot of time
>lampooning certain aspects of texas culture.  So even the people who _live_
>there don't always care much for the attitudes we were talking about.  And
>social class definitely plays into it.  My grandmother used to cringe at
>the Ross Perot (new money) types.
>
>[...]
> > one of the other new recruits asked where he was from, and
> > he said Boston.  The other recruit replied, 'We-ll, what suburb of Texas 
>is
> > that?'  Exactly the kind of remark that sets ones teeth on edge.
>
>Of course, he may have been yanking your husband's chain, too.  Texan humor
>still has a very irish flavor.  Despite the fact that many Boston folks
>still consider themselves irish and most Texans (and other southerners)
>wouldn't.  Look up "snipe hunting" for an example of typical texan humor.
>
>Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
>Head Muso, White Rats Morris, Faultline 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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From: "Jane Williams" <jane@williams.nildram.co.uk>
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Date: Sun, 01 Dec 2002 20:14:30 -0000
Status: RO

On 1 Dec 2002 at 19:17, Jean Waddie wrote:

> >But when the crowd just is Not moving out of my way (I have time
> >constraints), using the "backup beep" is the single most effective
> >way of getting through.
> 
> Why do I think saying, in a very polite mechanical voice "Warning,
> this vehicle is reversing, warning, this vehicle is reversing" doesn't
> have the same effect?

If said by a very large lorry, it works :)

Sadly, saying things politely very rarely gets people's 
attention, unless you're obviously capable of 
applying large amounts of force.

You know, you can get cars fitted with proximity 
sensors these days. Usually as parking aids, but now 
as a means of stopping you from getting too close to 
the one ahead (apparently it compares distance, 
your speed, and the amount of water on the road, 
then takes the power off if needed).

Could we fit proximity sensors into clothes? "You are 
about to be run over: MOVE!" in the ear might work? 
Especially if combined with an electric shock?



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Date: Sun, 01 Dec 2002 13:43:30 -0700
Status: RO

Hi, Stevie.
I have a number of friends here who wanted me to tell you that "We hate
her." <g> Because of the Assembly Rooms and all....It sounds absolutely
wonderful, and hope you take (and post) lots of pictures for those of us
who are too far away in time and place to attend!
I think you'll find that the degree of chest-constriction varies widely
over the fashionable years <g>, and sometimes, even when things *may*
have been more restrictive than you can tolerate, you can still achieve
a similar look/style with some simple adaptations.
I have some 10-yd pcs in my wool stash, but they're causing me *great*
pain, because they want to be both fitted gowns AND flemish market
gowns.  Aaaarrrrggggghhhh!!!  If I tried to do both, I'd have to cross
my fingers *and* toes (difficult at best when they're short like mine
are <g>), sacrifice numerous twinkies to the Great Costume Gawd, AND
still skimp on one or both skirts a tidge.
--Sue

Stevie Gamble wrote:
> 
> Sue wrote:
> 
> > Where in Bath is the ball going to be? What are you planning for the
> > rest of your outfit?
> 
> Well, you are more familiar with Bath than I am, but I gather that it
> will be in the Assembly Rooms, and at the moment I am intending a late
> 18th century highwaisted gown in silver grey dupioni, with a shorter
> over dress in gold metallic silk gauze. That way I can get to use some
> of the braid/type decorations in gold and silver plated wire which I
> have been making for what seems like forever. It was intended for an
> Elizabethan, but until I get it together sufficiently to make the
> 'barrel corset' which people have kindly suggested that project is
> somewhat on the backburner. Though I have just bankrupted myself
> buying a Victorian? table cover in cut velvet
> 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2222&item=92312
> 5757&rd=1
> 
> and another velvet
> 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=2220&item=92101
> 2275&rd=1
> 
> because, dammit, they should look pretty good together. Maybe an
> earlier Renaissance period gown with a high waist?
> 
> Of course, I've been looking at some of the medieval gowns mentioned
> here, because it occurs to me that the degree of support offered by
> those gowns is just as good as modern corsetry, and probably less
> restrictive around the ribcage, what with wonderelastic and so forth.
> Alas, nothing in my wool stash is more than 5 metres or so, and whilst
> I got large amounts of some marvellous cotton velvets in Liberty's
> sale this summer, where I got the James Hare handloomed dupioni,  they
> are not right. And dupioni is really wrong for much before late 18th.
> My name is Stevie and I'm a fabricaholic...
> What's even worse is that I have a 16 year old daughter who actually
> expects me to use some of it making clothes for her! Often at three
> hours notice:-)
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Date: Sun, 01 Dec 2002 14:05:56 -0700
Status: RO

Perhaps it had more to do with me being in cities, mostly, and not
exactly near student areas (universities, nightclubs, whatever), with
the exception of going to Trinity in Dublin.
I live in an area where the kind of formality of dress I saw all over
London, for instance, would immediately brand you as a
non-native/city-dweller, or perhaps as an Important Lawyer.  One of
those instant-recognition things, I guess. <g>
--sue

Kate M Bunting wrote:
> 
> Sue wrote:
> > On my recent trip to the UK and Ireland, literally the only time I ever saw a tee >shirt was...on an American.
> 
> That's odd, because they are very commonly worn here.
> 
> Kate Bunting
> Library, University of Derby
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Subject: Re: [h-cost] Color in art (was Tippets)
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Date: Sun, 01 Dec 2002 16:18:54 -0700
Status: RO

In what other ways could the colors in illustrations such as we've been
talking about be non-reflective of actual clothing/textile practices
?(disregarding, for the moment, copies degraded by time or exposure, or
bad reprints <g>....my own copy of the Berry book of hours is one of the
stinky ones! ;-P)
I'm wondering, for instance, about the reds.  Now, we've been
experimenting with natural dyes lately (it seems to be the newest "in
thing" in my local SCA group), and have gotten some wonderful reds and
rusts and such with various period-appropriate dyes and mordants and
fibers, but not that eye-popping cherry-red.  Darn....memory just kicked
in.  I have seen one extant textile (a cut-and-voided velvet) with a red
that cherry-colored.  Later time period, though (16th c.).
Also, despite what seems like an infinite variety of yellows and greens,
I don't see many in pictures...were they painted less often because they
were more common (and hence, less desirable?)? or because it wasn't as
easy to achieve those colors in certain media?
It also occurs to me, as I'm typing this, that when dealing with later
time periods (Elizabethan, for instance), I've also seen a discrepancy
between what is depicted and what is worn.  The listings of the garments
in Elizabeth's wardrobe, for instance, have a really wide variety of
colors ("tawny" is the one that springs to mind, immediately), most of
which I've never seen in any of the portraits, especially the really
late stuff.
Just me, mumbling to my self (and the world) electronically.....
--sue
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Subject: [h-cost] Anyone know Coryn Welgle?
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Date: Sun, 01 Dec 2002 23:25:55 -0000
Status: RO

I have a couple of questions about some statements made in the 
historic costume notes of Period Pattern #46 authored by Coryn 
Welgle.  Have any of you ever run into this person?


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Subject: Re: [h-cost] Ending blackwork (WAS: me too Linda)
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Date: Sun, 01 Dec 2002 16:37:09 -0700
Status: RO

I've found that my methods of ending monochrome embroidery have depended
on the application, and on the fiber I was doing the embroidery with.
I did one shift, many years ago, with a geometric pattern embroidered on
the collar and cuffs.  The thread was metallic, and raveled fiercely at
the first bit of inattention from me.  I finished those ends by burying
them inside the cuff or collar itself (they were two layers of fabric,
plus a bit of interfacing). I learned this method for burying threads
when I used to hand-quilt stuff.
Most of the time, I'm working with a single strand of embroidery floss
on fabric that's a tidge to fine to do little hidden running stitches
on--my stitches only go over 2 or 3 threads as it is.  So I mostly use
the "whip" method, which Chris described below.  With only a single
strand, the whipped area is almost invisible...it's more easily "felt"
in fact, than seen, straight-on.
The only time it's been more obvious (and more of a pain) was on one
coif in which I was using 2 strands of floss.  Not only was the "ridge"
more visible, it was also a lot more devious in un-whipping itself. 
Very, very annoying.  I ended up doing a lot of repair work on the back
side of the coif, and then very, very carefully "sealing" the whipped
lines with this tiny, narrow application of frey check (which I "painted
on" using the pointed end of a straight pin).
--sue

Chris Laning wrote:
> 
> At 11:13 AM -0800 11/13/02, Cassandra wrote:
> >    How do you end the thread on blackwork doing the
> >reversable Holbien stitch?  On counted cross you can
> >run the thread back under the row but that's not
> >reversable, just tidy.  Ditto for other crewel
> >embroidery where the back doesn't show.  Blackwork
> >fiends please reply.
> 
> I'm probably not "fiendish" enough, since I haven't tried this
> myself, but here's what I've watched people do.
> 
> Some people do indeed just pick an area where there's a continuous
> line of stitching on the back, and whip over and over that line with
> their thread for a ways, then tuck it underneath and snip it off.
> This does mean that a few threads on the "wrong" side will look
> suspiciously double-thick, but often they're not too obvious unless
> someone is looking closely.
> 
> The method I've been told the "real" experts use is this: bring the
> thread through to the "wrong" side, then push aside the thread of the
> next stitch on that side, and take three or four little teensy
> running stitches with your working thread directly _underneath_ the
> already existing stitch. Then clip off the end and let the stitch you
> pushed aside fall back into place. Supposedly this is enough to hold
> it firm, and with practice I'm told it's next to undetectable.
> 
> (I do feel compelled to add, BTW, that according to the experts I
> hear talking, not nearly as much of the blackwork done in the 16th
> century actually _was_ reversible as we used to think. A lot of it
> could have a less neat and tidy back because it was lined with
> something else.)
> 
> Hope this helps --
> --
> _________________________________________________________
> O    Chris Laning
> |     <claning@igc.org>
> +    Davis, California
> _________________________________________________________
> _______________________________________________
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Date: Sun, 01 Dec 2002 16:48:14 -0700
Status: RO

Have you tried contacting the current printer/distributor?
--sue

Saragrace Thornton Knauf wrote:
> 
> I have a couple of questions about some statements made in the
> historic costume notes of Period Pattern #46 authored by Coryn
> Welgle.  Have any of you ever run into this person?
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Date: Sun, 1 Dec 2002 19:18:58 -0500
Status: RO


I know the woman who has done most of those patterns - unfortunately, I only
see her at Pennsic.  She lives in Virginia, but that's not much help.  If I
can find last year's Pennsic merchant guide, I can look up her contact
information, as she merchants every year, I think under the name "Medieval
Miscellania" (tentmakers).

Janet

Janet Davis
Castle Furnishings
http:/www.medievalbookstore.com

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From: kat@grendal.rain.com
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Subject: Re: [h-cost] OT, was: Breastfeedin was Re: teeth
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Date: Sun, 01 Dec 2002 16:56:56 -0800
Status: RO

I wrote: 
> >Gender issues could, however, come into
> play in some cases because of the bias toward "the heir" and to the
> future heavy workers. While this bias isn't as strong as in some
> cultures, it was probably sometimes an issue.
Melanie wrote:
> When you say whilst the bias isn't as strong as in some other cultures
> what/where are you comparing other cultures to ? The US ? I was
> talking about past cultures and archaeological evidence

I was talking about cultural biases in places like China and India 
who continue to have *very* strong anti-female child biases.

> >Some let the baby continuously hold the breast in the mouth
> without any time away from the breast.
> 
> Ok that seems like hard work :) No that isn't on demand & no animals
> don't do that !

But that's what some of the mom's, especially those with babies who 
have "breastfed bottlemouth" do. And they are usually exhausted but 
too pressured from some of the more militant La Leche Leaguers not to 
quit no matter what. (Fortunately, as I said, there are some which 
are far more reasonable about this issue.)

> Snuglie ?

Like a backpack, but slung in the front between the breasts.

> >I have a *very* high rate of
> successfully breastfed babies (including those with working mothers)
> who often breastfeed well past a year of age.
> 
> Is this unusual in the US (I presume you are US ?) It is here

Most US moms don't breastfed past 6 weeks of age whether or not they 
work. It is greatly improved from the past when it was really rare to 
breastfeed (like in the 1970s). But the major problem seems to be 
lack of family or organizational support (and that includes overly 
militant "support" which is worse than none at all sometimes.)

> > >They can't let the baby cry at night or they upset the neighbors.
> > >In
> > medieval times this would have been considered a "normal" noise and
> > not one to shush at all costs.
> >
> > I'd love to see the evidence for this. Have you read the studies on
> > cot death & babies in cultures who arn't forced to sleep alone & cry
> > ? This suggestion, that crying is normal noise,  is not consistant
> > with primate behaviour IMHO, and I've not seen anything supporting
> > such as view in medieval litrature, please have you any refs ?.
> 
> I meant refs suggesting babies were left to cry rather than on cot
> death.

There is a big difference between "left to cry" and a baby who is 
given appropriate attention without it going overboard. There is a 
growing number of "over attentive" moms.

If you want to understand more about babies and appropriate crying, I 
would suggest reading some of T. Berry Brazelton's work, especially 
_The Self Calmed Baby_. (I don't need to go look that one up. I've 
memorized it. I've seen his research and heard him speak a number of 
times. He's an expert on infant behavior and development.)

> >Also, the important literature about this has only been coming out
> for the past 10-15 years at most. A lot of it started with the "Back
> to the Back" campaign for prevention of cot death. I've been in
> pediatrics for more than 20 years and a *lot* has changed in that
> time.
> 
> I've been having babies over 16 years & yes I've noticed :) What you
> should eat what you shouldn't.  put them on their front, no back, ok
> side !!Given it changes with the wind I'm afraid I tend to feel pretty
> cynical that anyone knows what they are on about.

Up until recently, the "norm" was to have babies on their tummies. 
The rationale (which started something like 40 years ago and caught 
on after a big pediatric meeting held in the Netherlands) was that 
babies on their tummies could get their heads out of the vomit. 
Unfortunately, that was never tested until Warren Guntheroth of the 
University of Washington (Seattle. Wonderful man. He's a cardiologist 
I did my medical school rotations with) did the research with a co-
worker. (He's also the one who studied and wrote out all the EKG 
stuff for infants and children. Before him, no one knew *what* normal 
EKG readings were for them, since they are often *quite* different 
from adults when normal. What would be a major heart problem in an 
adult is just the result of small heart in kids.)

Anyway, they found that infants were *more* likely to drown in their 
own vomit on their abdomens or sides. (If on their backs they swallow 
it back down or turn their head to the side.) That let practitioners 
feel more comfortable with putting babies on their backs. You will 
still run into disbelieving nurses and out-of-step docs who still say 
"oh, we have to put them on their sides or they'll choke on their 
vomit."

What they have found in the many years of SIDS (cot death) research 
is that infants placed on their abdomens often do a lot of 
rebreathing of their own carbon dioxide. This causes a reflex which 
shuts down their breathing. (Similar to the diving reflex which 
protects against drowning.) It's not *completely* studied and they 
are still trying to figure out why there are still some children who 
die of SIDS even with the B-t-B campaign.

What you've been seeing which is so confusing is the slow 
understanding of how dangerous it is to have a baby on their abdomen 
or side (especially if there are things in the bed like soft 
mattresses, thick blankets/quilts, baby bumpers, pillows, stuffed 
animals, etc.) in the bed with them. (Babies do best on a firm 
mattress with a sleeper and perhaps one blanket wrapped around their 
torso without anything else in the bed with them.) 

Also, there is evidence of problems with co-sleeping. That's because 
of the parent's bodies (and no, they won't necessarily know that 
they've rolled over onto the infant before it's too late. Lots of 
evidence of that starting with the dead infant in the Solomon case 
from the Bible) and the other things in the parent's bed. There's 
also evidence that overheating from the parent's bodies is at least 
partially to blame. A crib or cot beside the bed (if not too small so 
that the infant puts its face against a side of the bed) seems to 
have the *least* SIDS. (That may be one of the reasons that SIDS is 
more common in the winter. People are so afraid of their infant 
getting cold that they overdress them. Poor little mites. I've seen 
more than my share of sweaty, red faced babies over the years.)

Kat Russell
<kat@grendal.rain.com>

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From: kat@grendal.rain.com
To: h-costume@indra.com
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Subject: Re: [h-cost] Fur and dagging
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Date: Sun, 01 Dec 2002 16:56:57 -0800
Status: RO

> One interesting visual example of this, though fairly late after dags
> first start appearing in the artwork, is the famous Arnolfini wedding
> portrait. Giovanna's bag sleeve has an elaborate mass of dags hanging
> from the lower edge. They're hard to work out when you look at a
> reproduction, but in the original it's clear it's a very long strip of
> fabric (almost certainly wool) cut into a pattern of rows of connected
> Maltese-style and then the strip accordion-folded into a stack, with
> one side of the stack of folds attached to the sleeve and the other
> hanging down. There's no shortage of fur lining in the scene, as the
> main body of the dress is fur-lined and the underdress has a fur edge
> showing at the bottom. But the dags are unlined; they seem to be
> layered into two layers, but with separate edges, which may mean two
> strips folded against each other as part of the accordion-folding.
> There's a gold dotty finish to the edges, which may mean edges are
> stitched around with gold thread. An alternative reading (I forget
> where I read this) is that the green wool is actually a multilayer
> sandwich of cloth, green layers on the outside and a gold layer on the
> inside, and that the green edges are pinked to show the gold. I don't
> know if I can quite see how that would work, particularly as the gold
> seems to appear on the protruding points of the pinking, not in the
> "pits" of the pinking.

They've found some drawings from the time period which show the kind 
of dagging found on the Arnofini painting. I believe it was in 
Margaret Scott's book on Gothic period clothing. (In the same series 
as the Jacqueline Herald It Renn book.)

Almost 20 years ago I decided to make this dress. I found some of the 
best reproductions I could find of the it and worked on all sorts of 
ways of getting that look. I can't even remember all the many ways I 
tried (other than the honey-comb smocking which I tried before I got 
a better reproduction.) I finally settled on little circles of satin 
which were carefully satin stitched around the edges and then 
fastened in the middle with each close enough to the next one that 
they acted like petals. Came out pretty, but I was absolutely 
chagrinned when I found that drawing from the 15th C showing how it 
was done. It would have saved me a lot of work (and something like a 
gross of little satin-stitched circles of two layers of satin.) 
(Still looked cool and I still wear the dress on occasion, even if it 
is with a totally different underdress. I don't have a 19" waist 
anymore so the underdress will *never* fit again.)

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Re: teeth
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Date: Sun, 1 Dec 2002 21:26:39 -0500
Status: RO

In my family, this is a genetic abnormality. In the last 4 generations  at
least one in four children  do not have enamel on their teeth, and this
occurs  across through out the extended family line.  Nutrition does not
seem to make the difference.  Kathleen
----- Original Message -----
From: <kat@grendal.rain.com>
To: <h-costume@indra.com>
Sent: Thursday, November 28, 2002 11:59 AM
Subject: Re: [h-cost] Re: teeth


>
> > Kat wrote; [snip]
> > > Roman teeth only showed a 7% rate of
> > >cavities although they had illness and inadequate diet problems as
> > >well (hypoplastic teeth)
> Kate responded:
> > What are hypoplastic teeth?
> > This all goes along with what Robin said about teeth being
> > *relatively* good until the diet changed so that cavities become much
> > more frequent.
>
> These are teeth that do not develop properly due to inadequate diet
> or illness from prenatal through childhood until time of eruption.
> Disruption in the diet or illness anywhere during that time can lead
> to inadequate enamel being laid down, thus leading to hypoplasia.
>
> And yes, it goes along with what Robin was saying. But then she'd
> done a fair amount of study about dental health rather than just
> looking at single cases. (Population studies much more accurately
> reflect what goes on in a group of people than single sensational
> cases. Frankly, you can find those same kinds of sensational cases
> even today when dental health has many more advantages.)
>
> > >Then you add to that things like constant bottles with juice or milk
> > >or constant breastfeeding (which a medieval mom wouldn't have done
> > >like we do now), and you have even *more* cavities.
> >
> > I know nothing about babies, but are you saying that breastfeeding
> > causes tooth decay? And wouldn't it have been *more* common in
> > mediaeval times than today?
>
> The medieval mom had a different pattern of breastfeeding than the
> modern mom. The medieval mom would not have used it as a pacifier
> which is essentially why the "breast fed bottlemouth" of today has
> it. The medieval mom has a breastfeeding pattern more similar to the
> current breastfeeding mom's whose kids are merely fed, then set down,
> and who rarely get "breastfed bottlemouth."
>
> I had been taught throughout medical school and my pediatric
> residency that you couldn't get "bottlemouth" from breastfeeding.
> However, in the past 20 years there has been an increase in it due to
> a change in *how* moms are breastfeeding. They *think* it is more
> natural, but yet it doesn't take into consideration the different
> attitude that mothers of the past had. Now it tends to be "don't let
> the baby cry at any cost, even if it means stopping your current
> activity." A medieval mom couldn't do that. She had to get things
> done no matter what. And chances are that they didn't notice the
> "noise" that is currently one of the big problems with many moms.
> They can't let the baby cry at night or they upset the neighbors. In
> medieval times this would have been considered a "normal" noise and
> not one to shush at all costs.
>
> Kat Russell
> <kat@grendal.rain.com>
>
> _______________________________________________
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Corrie Weigle" <coryn@mediaevalmisc.com>, <h-costume@indra.com>
Subject: RE: [h-cost] Anyone know Coryn Welgle?
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Date: Sun, 1 Dec 2002 18:45:34 -0800
Status: RO

Mistress Kathea von Linse is her SCA name.  Mundane name is Corrie Weigle.
She used to be "Medieval Miscellania" before some kind of bust up. If she is
still at the address I have for her,  I'll forward this to her.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Saragrace Thornton Knauf
Sent: Sunday, December 01, 2002 3:26 PM
To: h-costume@indra.com
Subject: [h-cost] Anyone know Coryn Welgle?


I have a couple of questions about some statements made in the
historic costume notes of Period Pattern #46 authored by Coryn
Welgle.  Have any of you ever run into this person?


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From h-costume-admin@indra.com  Sun Dec  1 21:43:36 2002
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 cultures
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Date: Sun, 01 Dec 2002 19:43:18 -0700
Status: RO

I don't *think* so, although a lot of the other historical recreation
groups in the US are more locality-tied.  I joined, at least in part,
because it's just the only one around here.  If I lived elsewhere, and
had other options, I'd probably be busily pursuing them, too!
The SCA's biggest advantage (from the perspective of someone from the
inside) has got to be its flexibility....it makes us a lot more
inclusive and accessible than some other groups that have more stringent
requirements for participation.  And since the scope of our "period" is
so broadly based, it helps to serve as a great umbrella organization for
people of all different interests, whether that be narrowly defined, or
broadly defined.  Like me, for instance.  I'm pretty much interested in
clothing/textiles/needlework from almost any time period.
Of course, I sometimes think that that flexibility and broadness is also
our greatest weakness/challenge.
And there are groups in Europe and elsewhere in the world.  It's not
solely a US thing, even if it did start here.
--Sue

N Kipar wrote:
> 
> Say, is this why it seems that people tend mostly to join the huge society, the
> SCA, and not found smaller local ones that specialise in certain periods
> (before the 18th century) because you have no locality to tie it to? Just a
> thought, I'm ever curious.
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Subject: Re: [h-cost] Color in art (was Tippets)
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Date: Sun, 1 Dec 2002 18:33:29 -0800
Status: RO

At 4:18 PM -0700 12/1/02, Sue Clemenger wrote:
>In what other ways could the colors in illustrations such as we've been
>talking about be non-reflective of actual clothing/textile practices
>?(disregarding, for the moment, copies degraded by time or exposure, or
>bad reprints <g>....my own copy of the Berry book of hours is one of the
>stinky ones! ;-P)

Gilded highlights in manuscripts is another good example.  Keeping in 
mind the previous thread (or was that on a different mailing list?) 
about gold applied to fabric, gold designs on clothing in manuscript 
art are far more common than plausible in real life, and the use of 
metallic gold to show clothing highlights is clearly purely an 
artistic convention.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Mon, 2 Dec 2002 14:13:15 +1100 (EST)
Status: RO

Greetings all,


Phew! <wiping brow> it's finally done. My permanent
garb galleries are online, and on a free web server
with no bandwith limitations too I might add! Those of
you sick and tired of "this member has exceeded
bandwidth limits" will be happy to hear that - I know
I was! :)

So, all my stuff is up - from the first tremulous
pattern drafting experience to my latest court gown,
but some of you will have already seen most of these
gowns. I will add to the galleries as I finish an
item. Questions and feedback welcome. :)

Venetian garb:
<http://realmofvenus.web1000.com/mygarb/mygarbgallery2.htm>

Garb of Other Lands:
<http://realmofvenus.web1000.com/mygarb/otherlands.htm>

Each can be accessed from the other, and both are
linked to on my index page, as usual.

<http://au.geocities.com/bella_lucia_da_verona/index.htm>


I need coffee! :)


Bella



http://www.yahoo.promo.com.au/hint/ - Yahoo! Hint Dropper
- Avoid getting hideous gifts this Christmas with Yahoo! Hint Dropper!
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From h-costume-admin@indra.com  Sun Dec  1 22:49:39 2002
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Subject: [h-cost] Brief stays question
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Date: Sun, 1 Dec 2002 21:38:26 -0600
Status: RO

I have a really quick question that I just need reassurance on :)  I am
finishing a set of 18th Century stays and was wondering if I might also
be able to use this same set for Elizabethan?  While I don't mind making
stays/corsets, I would rather just not have too many sets - and to get
started on my Elizabethan gown! :)

Thanks!

Sarah

Sleep well. . .to eat little, work hard, and have many concerns on our
mind and then refuse to let our body sleep is to try to get a great deal
of work out of a poor, emaciated horse without letting him graze. - de
Sales


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Color in art (was Tippets)
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Date: Sun, 1 Dec 2002 21:49:14 -0600 (CST)
Status: RO


On Sun, 1 Dec 2002, Heather Rose Jones wrote:

> At 4:18 PM -0700 12/1/02, Sue Clemenger wrote:
> >In what other ways could the colors in illustrations such as we've been
> >talking about be non-reflective of actual clothing/textile practices
> >?(disregarding, for the moment, copies degraded by time or exposure, or
> >bad reprints <g>....my own copy of the Berry book of hours is one of the
> >stinky ones! ;-P)
> 
> Gilded highlights in manuscripts is another good example.  Keeping in 
> mind the previous thread (or was that on a different mailing list?) 
> about gold applied to fabric, gold designs on clothing in manuscript 
> art are far more common than plausible in real life, and the use of 
> metallic gold to show clothing highlights is clearly purely an 
> artistic convention.

Oh yes. I have heard costumers discuss at length how to reproduce the
"gold embroidery" on some costume, when the gold was simply the
illuminator's default color for highlights or decoration. Artists'
contracts sometimes specified quantity and position of gold use as well as
lapis use, which also suggests a reason for the abundance of gold.

You can see examples of the gold clothing highlights Heather is referring
to in the Tres Riches Heures, but only in the pages done by Jean Columbe.
The TRH was done in two widely separated time segments. The Limbourg
brothers began it in the 14-teens. All three of them died by 1416,
mid-book. Jean Columbe picked up the work between 1485-89. This makes
costume analysis a little dicey, as you have to be able to distinguish the
artists' styles to date the images. For that matter, some of the pages are
a combination of both the Limbourgs and Columbe. Fortunately the chief
secular scenes (the calendar) are mostly Limbourg; you can see Columbe's
touch (and his preference for gold wash highlighting) in November, as well
as the bottom portion of the September page.

Even when the gold is used as a pattern design, that doesn't mean it's
reliable. For that matter, patterns in general are not always reliable --
meaning the style of the pattern, the scale of the pattern, or the
presence/location of the pattern. This varies from one school to another,
and one artist to another. Some artists were pretty good about reproducing
textile patterns on images of clothing or textile furnishings, but others
used the same repertoire of patterns regardless of whether they were
showing diapered backgrounds, floor tiling, fabric, or whatnot.  Also,
patterns may not be to the same scale as they would be in real clothing --
enlarged or shrunk to fill the visual space on the page nicely, not to
imitate the proportion of the fabric on the person's body.

As a rule, painters (e.g. 15th c. and later) tended to be better about
pattern than manuscript artists, for reasons relating to the nature of
their commiwsions and subject matter. I have a friend who has done quite a
few papers analyzing the textile patterns in Van Eyck's paintings, where
the same group of rugs and fabrics keep showing up, artfully displayed as
backgrounds and furnishings in various scenes. These were apparently
painted from textiles he had in his possession.

Choice of colors as well as patterns can be symbolic, of course, but
specific meanings of colors or patterns can vary from one period or artist
to another. Stripes might designate a prostitute, but not always, for
instance. Other embellishments might be there to announce "foreigner" or
"saint." The Virgin is usually in a blue mantle over a loose dress (often
in rose); I found it jarring when I came upon a Quentin Massys painting in
Brussels that reversed this combination!  There's research on the color
symbolism in specific paintings, schools, and styles buried throughout the
art history literature, but lacking the time and access to dig them up
each time I hit a curious image, I usually find the best thing is to bone
up on iconography, identify the individuals in each image, and compare the
painting at hand with other images by the same artist or in the same
school, to see if I can identify consistent trends.

--Robin

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Date: Sun, 01 Dec 2002 20:48:19 -0700
Status: RO

on 12/1/02 12:52 AM, michaela at thebruce@ihug.co.nz wrote:

> 
> Oh no, but it's all part of the continuum. And I was really meaning copying
> direct from a pattern say and getting everything exactly the same.
> Continuum see:) And at the extreme end of recreation is what was made for
> the World of Wearable Arts recently held here in NZ. Where it's all about
> doing new things with covering the body.
> http://www.wearableart.co.nz/
> 
>Incredible stuff!  But I don't understand how the winner got the Bernina award
when it doesn't look like there could have been an inch of thread in that
armor.

Sylvia Rognstad
-- 
Divinity Designs and Emeralds
http://www.d-e-designs.com

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Date: Mon, 2 Dec 2002 19:38:07 +1300
Status: RO

> > Continuum see:) And at the extreme end of recreation is what was made
for
> > the World of Wearable Arts recently held here in NZ. Where it's all
about
> > doing new things with covering the body.
> > http://www.wearableart.co.nz/

> Incredible stuff!  But I don't understand how the winner got the Bernina
award
> when it doesn't look like there could have been an inch of thread in that
> armor.

That's because it was the first time entrant award, not for use of a Bernina
sewing machine;)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Date: Mon, 2 Dec 2002 07:48:52 -0000
Status: RO

Taken off list

Mel

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From h-costume-admin@indra.com  Mon Dec  2 03:16:04 2002
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Subject: Re: [h-cost] Brief stays question
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Date: Mon, 2 Dec 2002 08:13:02 +0000 (GMT)
Status: RO

 --- Sarah Krans <GSSarahAOII@catholicexchange.com> wrote: > I have a really
quick question that I just need reassurance on :)  I am
> finishing a set of 18th Century stays and was wondering if I might also
> be able to use this same set for Elizabethan?  While I don't mind making
> stays/corsets, I would rather just not have too many sets - and to get
> started on my Elizabethan gown! :)

Sarah, while I am by no means an expert in either 16th nor 18th century
costumes (ask me about anything in between *G*) I know enough about stays for
all three hundred years to say that no, unfortunately 18th century stays and
16th century ones are totally different and will give a different body shape. I
have loads of photos of extant stays (16th to 18th centuries) at home, if you
like I can upload a couple tonight to show the differences. Don't do this,
honestly, don't use 18th century ones as foundation for a 16th century dress.

Nicole - who finally finished all the painting and stencilling and decorating
jobs on walls etc. in her room. Whoohoo. Back to sewing soon!

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 2 Dec 2002 08:17:09 +0000 (GMT)
Status: RO

 --- Bella <bella_lucia_da_verona@yahoo.com.au> wrote: >
> So, all my stuff is up - from the first tremulous
> pattern drafting experience to my latest court gown,
> but some of you will have already seen most of these
> gowns. I will add to the galleries as I finish an
> item. Questions and feedback welcome. :)
> 
> Venetian garb:
> <http://realmofvenus.web1000.com/mygarb/mygarbgallery2.htm>

Lovely, lovely, lovely Bella!

> Each can be accessed from the other, and both are
> linked to on my index page, as usual.

hehehe, and guess what, when I clicked on that link it said... 'temporarily
unavailable, member exceeded bandwidth' *G*

I really like your garb galleries, very interesting, and beautiful gowns.

Nicole- with more gold paint on her fingers than on the walls, so it feels.

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 02 Dec 2002 00:32:32 -0800
Status: RO

Last year I was able to get participant discount tickets for people, on 
more than one occasion, without their having to pay for them first.  This 
year the same person, who let me do this last year, told me not only did 
she never do this last year, but she won't do it this year.  So people will 
have to make other arrangements for their Dickens' Fair tickets than thru me.

I apologize for any inconvenience this may mean.

Kayta

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Subject: [h-cost] Eowyn Costume uploaded:)
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Date: Mon, 2 Dec 2002 21:38:41 +1300
Status: RO

I have got the film back and I've scanned piccies of the costume I made.
http://recital.tripod.com/costume/eowyn.htm

http://homepages.ihug.co.nz/~thebruce/eowynprb.jpg
http://homepages.ihug.co.nz/~thebruce/eowynground.jpg if tripod limits vies
you can see these in the meantime:)

Not bad for a few days work.
Monday found out about the picnic.
Tuesday bought the fabric and cut the body of the dress.
Wednesday cut the lining and sewed the body up, faced the neck.
Thurday morning recut sleeves made the fabric peices for the belt and that
night bought fabric for the sleeves
Friday cut sleeves found the silk to line the sleeves assembled the belt.
Saturday made bias tape and hemmed the skirts, made the rings for the belt
(formed wire around a cylinder and cut them) sewed the beads and bits to the
neckline and belt.

I love this dress so much. And am thinking of removing the bits that make it
"Eowyn's" dress fromt he movie (the beading and the sleeve lining) and then
bordering the sleeves, belt, neckline and inner sleeves in black velvet.
This would make it match a design I drew last year of an Angel costume. I'd
then perhaps pin back the sleeves as well....

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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Subject: Re: [h-cost] Eowyn Costume uploaded:)
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Date: Mon, 2 Dec 2002 08:58:08 +0000 (GMT)
Status: RO

 --- michaela <thebruce@ihug.co.nz> wrote: > I have got the film back and I've
scanned piccies of the costume I made.
> http://recital.tripod.com/costume/eowyn.htm

Great! What a lovely dress Michaela, you look gorgeous in it.
> 
> I love this dress so much. And am thinking of removing the bits that make it
> "Eowyn's" dress fromt he movie (the beading and the sleeve lining) and then
> bordering the sleeves, belt, neckline and inner sleeves in black velvet.
> This would make it match a design I drew last year of an Angel costume. I'd
> then perhaps pin back the sleeves as well....

and why not! I will make a white one, but more Preraphaelite like the movie
dress. then again I have helmet, chainmail, sword and shield all in 'real'
(yep, re-enactm,ent stuff, not costume stuff, iron and steel is what I say
every woman needs *LOL*) and all the way _I_ imagine Eowyn, not the movie idea.
It looks all different but is all recognisable for someone who has read the
book, not necessarily though for people who haven't but watched the film.

I really love your dress, and so quick it was too! Congrats. :-)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 2 Dec 2002 22:13:58 +1300
Status: RO

> I have got the film back and I've
> scanned piccies of the costume I made.
> > http://recital.tripod.com/costume/eowyn.htm
> Great! What a lovely dress Michaela, you look gorgeous in it.

Thanks:) And it really wasn't hot even though it was a hot day and I got
very very mildly sunburnt. I mean not enough to change colour but enough to
have tingly skin.

> and why not! I will make a white one, but more Preraphaelite like the
movie
> dress.

Sorry, you lost me there for a sec, mine is exactly as the movie costume was
made... or are you leading into the differences you'll be making by first
mentioning what you will be doing the same?

then again I have helmet, chainmail, sword and shield all in 'real'
> (yep, re-enactm,ent stuff, not costume stuff, iron and steel is what I say
> every woman needs *LOL*) and all the way _I_ imagine Eowyn, not the movie
idea.
> It looks all different but is all recognisable for someone who has read
the
> book, not necessarily though for people who haven't but watched the film.

Hehe, I've seen a few drawings by other artists of Eowyn in her battle
costume, and while I think they are gorgeous and really pretty, wasn't it
supposed to be a surprise when she took her helmet off, as in you all
thought I was a man, but ahah! I am a woman;)?

I'd like to make soemhting like the Persephone's Descent of the World of
Wearable Art Awards:) I used to be a *big* fan of fantasy novels (then moved
into the satirical fantasy Discworld;) ) and drew women in funky armour
everywhere. Would love to be able to make some of them... ah well. I shall
have to stick to heat set plastics as even removing (high qualty) grommets
is taking its toll on my wrists. Don't wanna hasten deformities by bashing a
lot of metal;)

> I really love your dress, and so quick it was too! Congrats. :-)

Thanks again:) It's one of my favs of all the things I've made;)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Subject: Re: [h-cost] Breaking bread, teeth & ear picking
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Date: Mon, 02 Dec 2002 09:45:44 +0000
Status: RO

Dorothy Hartley quotes (from a longer poem on dining out in the Middle Ages):
Byt not thy brede and lay it down
That is no curtesye to use in Town
But breke as muche as thou wylle ete
The remelant to the pore thou shalle lete

Unfortunately she doesn't give a specific source.


Kate Bunting
Library, University of Derby

>>> MelanieWilson@dragonflight.co.uk 12/01/02 05:21pm >>>
>Someone asked about Dorothy Hartley's books on this list a while back. I'm
pretty sure my notions about the mediaeval origins of modern table manners
came from her "Food in England", but that was published 40-50 years ago, so
theories may have changed since then...

I like her books but she tends to assume anything 'country' originates in
medieval time, whilst some is true eg agricultural tools are similar, it can
be a bit simplistic any way I'll look into Food in England I have a copy

Mel




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Subject: Re: [h-cost] Eowyn Costume uploaded:)
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Date: Mon, 2 Dec 2002 10:22:24 +0000 (GMT)
Status: RO

 --- michaela <thebruce@ihug.co.nz> wrote: 

> Sorry, you lost me there for a sec, mine is exactly as the movie costume was
> made... or are you leading into the differences you'll be making by first
> mentioning what you will be doing the same?

Whoops! Sorry, non-native-speaker stroke again. ;-) I said 'like' but in fact I
meant 'than' (which of course changes the meaning of the sentence into the
opposite *laughs*) more Prerpahaelite _than_ the movie one, because I love
those that have the tight sleeve underneath and I also want a broad band of
something on the hem. 

> Hehe, I've seen a few drawings by other artists of Eowyn in her battle
> costume, and while I think they are gorgeous and really pretty, wasn't it
> supposed to be a surprise when she took her helmet off, as in you all
> thought I was a man, but ahah! I am a woman;)?

absolutely, Dernhelm didn't look at all like a woman, though I like some
artists' drawings of the moment she takes the helmet off and out comes the
blond hair.

> I'd like to make soemhting like the Persephone's Descent of the World of
> Wearable Art Awards:) I used to be a *big* fan of fantasy novels (then moved
> into the satirical fantasy Discworld;) ) and drew women in funky armour
> everywhere. Would love to be able to make some of them... ah well. I shall
> have to stick to heat set plastics as even removing (high qualty) grommets
> is taking its toll on my wrists. Don't wanna hasten deformities by bashing a
> lot of metal;)

Nah, but the solution is what I do: get your blackmsith to make you the armour.
Every girl needs a trusty blacksmith *winks*

> > I really love your dress, and so quick it was too! Congrats. :-)
> 
> Thanks again:) It's one of my favs of all the things I've made;)

:-))) And you look sure lovely in it! (could kill you for your hair, hehe)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 2 Dec 2002 10:34:11 -0000
Status: RO

>Unfortunately she doesn't give a specific source.


No she never does :(  I expect somebody who was into language & how it was
written might know the time, it looks later to me eg 15th or onwards, but
I'm no expert on that !!

Mel

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] Dress and "The Invention of Tradition"
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Date: Mon, 2 Dec 2002 10:42:31 -0000
Status: RO

Hi all,

I have been re-reading Hugh Trevor-Roper's paper on the invention of
the Highland tradition of Scotland, included in:

"The Invention of Tradition"
edited by Eric Hobsbawm and Terence Ranger, (Cambridge University
Press
1983).

and I heartily recommend it to anyone who hasn't previously come
across it. It's a beautiful hatchet job:-)

best wishes
Stevie

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Date: Mon, 2 Dec 2002 11:26:25 -0000
Status: RO

>Found it: the Babees Book. In particular, the Book of Courtesy: dated
"about" 1460, possibly including bits as early as 1420.

Is it the same ? It looked similar but as I haven't the book in front of me
it is hard to remember,(IMR my copy is a dual text) but as I said in my
other post where I gave ref to a load of info the Babees book it dosen't
necessarily mean our breaking bread originated there, just that in both time
there was a tradition of breaking bread, continuance would be more
convincing, nice idea though it is :)

Mel
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Subject: Re: [h-cost] Eowyn Costume uploaded:)
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Date: Tue, 3 Dec 2002 00:26:00 +1300
Status: RO

And I know more of you guys have seen my page tonight.. I keep track on who
visits my site... ;)

Ooh. have you seen photos of women in the late 19thC opera? Specifically
Faust and the Valkyries of Wagner's operas? While many dn't look like
they've stepped out of a PRB painting they have that great 19thC meets well
19thC vision of the middle ages or renaissance;) I have a few scanned.. I'll
see if I can pop some on a site somewhere...

http://www.amazon.co.uk/exec/obidos/ASIN/0753802104/202-5321659-0143852
The book of Pre-Raphaelite Women is still available:) Interesting.. the
image makes it look like the book is in portrait format.. I'm sure mine is
more square

> Whoops! Sorry, non-native-speaker stroke again. ;-) I said 'like' but in
fact I
> meant 'than' (which of course changes the meaning of the sentence into the
> opposite *laughs*) more Prerpahaelite _than_ the movie one, because I love
> those that have the tight sleeve underneath and I also want a broad band
of
> something on the hem.

Ahah! Like with the corset too:) Cool:) Just thought I'd ask, as it's so so
very easy to misconstrue what someone wrote :) I had fun when I saw the
lillies.. i went.. woohoo! Perfect PRB symbo;) Howevr the pose was very much
like in a Toulmouch painting:)

> > Hehe, I've seen a few drawings by other artists of Eowyn in her battle
> > costume, and while I think they are gorgeous and really pretty, wasn't
it
> > supposed to be a surprise when she took her helmet off, as in you all
> > thought I was a man, but ahah! I am a woman;)?
> absolutely, Dernhelm didn't look at all like a woman, though I like some
> artists' drawings of the moment she takes the helmet off and out comes the
> blond hair.

yeah same, and with her hand resting on the sword:)

> Nah, but the solution is what I do: get your blackmsith to make you the
armour.
> Every girl needs a trusty blacksmith *winks*

hehe, well I suppose I could bat my lashes at some of the SCA guys...;)

Oh yeah and I forgot to mention..
I won a double pass to see The Two Towers with my costume:) No I didn't come
first, but aparently it was a real tie and the family that won won because..
well they were a family and yeah;)

They won a pass to Hobbiton, would have been nice but what can you do;)

However Bruce Hopkins (Gamling) who was doing the judging with a girl from
Amnesty made a really nice speech about how much my costume looked like the
real thing and that that everyone will see it it with the publicity coming
up soon:) Anf then I got a photo with him and his autograph.

Although.. lol! I have worked with him before:) For This Is It. Apparently
they are doing something for the America's Cup this week too.

And then a guy from Knights Draconis had been in This Is It too, and his
comment to me about my cossie?

Should have had boning in it.

Dork.


> > > I really love your dress, and so quick it was too! Congrats. :-)
> > Thanks again:) It's one of my favs of all the things I've made;)
> :-))) And you look sure lovely in it! (could kill you for your hair, hehe)

heheh, funny thing is my hair used to be this long, then it broke off due to
stress and being a really broke performing arts student (read lived on
instant noodles) and it's started to gor back like never before because of
the meds I'm on! It's the sulphur in it so while I wouldn't recommend anyone
try the stuff I'm on, I would suggest a suppliment that contains sulphur.
Nice other side effect is that it's working like an antibiotic, but without
the nasty side effects:) I mean though I'm on immunosuppressants I've only
been sick once this year and once last year:)
Oh and I now have long long nails. So long I have to file them back
constantly or I wind up poking myself in the eye when putting my contact
lenses in;)

I love having long hair:) It's also very useful for stage work:) Especially
as I have no fringe (or bangs for our American friends). So it works for any
era. And yes it does tuck up under a wig quite nicely. Especially as I
learnt a very good trick from the make up team on Xena/JoAT:
Make four french plaits, two outer that go round the hair line, and in
opposite direction, two inner also alternating. Then you wrap the ends in
the spaces between the rows. They flatten down very well and the rows are
excellent for anchoring the pins through. For hair like mine that will not
flatten in pin curls it's ideal:).

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Date: Mon, 2 Dec 2002 11:11:35 GMT
Status: RO

Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote :

> Dorothy Hartley quotes (from a longer poem on dining out in the Middle Ages):
> Byt not thy brede and lay it down
> That is no curtesye to use in Town
> But breke as muche as thou wylle ete
> The remelant to the pore thou shalle lete
> 
> Unfortunately she doesn't give a specific source.

Found it: the Babees Book. In particular, the Book of Courtesy: dated "about" 1460, possibly including bits as early as 1420. 


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Date: Mon, 2 Dec 2002 12:33:10 GMT
Status: RO

Melanie Wilson <MelanieWilson@dragonflight.co.uk> wrote :

> >Found it: the Babees Book. In particular, the Book of Courtesy: dated
> "about" 1460, possibly including bits as early as 1420.
> 
> Is it the same ? It looked similar but as I haven't the book in front of me
> it is hard to remember,(IMR my copy is a dual text) 

I don't have a copy here in work: I was going by an on-line PDF translation.  It looked similar enough to convince me that at the very least they were both working from the same source.



> but as I said in my
> other post where I gave ref to a load of info the Babees book it dosen't
> necessarily mean our breaking bread originated there, just that in both time
> there was a tradition of breaking bread, continuance would be more
> convincing, nice idea though it is :)

Oh yes, very true. And my knowledge of cooking/eating habits more or less stops after the mid-1650s. (It does restart in the 1990s, it's OK!)






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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Eowyn Costume uploaded:)
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Date: Mon, 2 Dec 2002 22:47:10 +1100 (EST)
Status: RO

Pretty, pretty, pretty! :)


Bella 

http://www.yahoo.promo.com.au/hint/ - Yahoo! Hint Dropper
- Avoid getting hideous gifts this Christmas with Yahoo! Hint Dropper!
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Website Update
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Date: Mon, 2 Dec 2002 22:52:11 +1100 (EST)
Status: RO

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote:
<http://realmofvenus.web1000.com/mygarb/mygarbgallery2.htm>
> 
> Lovely, lovely, lovely Bella!

Ta Nicole. :)

 
> > Each can be accessed from the other, and both are
> > linked to on my index page, as usual.
> 
> hehehe, and guess what, when I clicked on that link
> it said... 'temporarily
> unavailable, member exceeded bandwidth' *G*

Yep. I posted the notice on a few lists I'm on. :)

The whole site's going to the new, no-bandwidth-limit
server over the next few months. :)


Bella

 


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Eowyn Costume uploaded:)
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Date: Mon, 2 Dec 2002 14:07:54 +0000 (GMT)
Status: RO

 --- michaela <thebruce@ihug.co.nz> wrote: > 
> Ooh. have you seen photos of women in the late 19thC opera? Specifically
> Faust and the Valkyries of Wagner's operas? While many dn't look like
> they've stepped out of a PRB painting they have that great 19thC meets well
> 19thC vision of the middle ages or renaissance;) I have a few scanned.. I'll
> see if I can pop some on a site somewhere...

Yes please!!!!!

> http://www.amazon.co.uk/exec/obidos/ASIN/0753802104/202-5321659-0143852
> The book of Pre-Raphaelite Women is still available:) Interesting.. the
> image makes it look like the book is in portrait format.. I'm sure mine is
> more squareav

I put it onto my saved-books-for-when-I-have-a-few-quid-after-christmas list.

> > artists' drawings of the moment she takes the helmet off and out comes the
> > blond hair.
> 
> yeah same, and with her hand resting on the sword:)

I just hate the fact I have to buy a blonde human hair wig. I look like an
idiot in blonde!

> Oh yeah and I forgot to mention..
> I won a double pass to see The Two Towers with my costume:) No I didn't come
> first, but aparently it was a real tie and the family that won won because..
> well they were a family and yeah;)

Congrats!!! We have tickets for the opening night, that's why we'll go to
Germany on the 19th and not before... :-)))

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 2 Dec 2002 09:11:49 -0500
Status: RO




>I still don't get this concept of changing the hand your fork is in
>though.

Maybe this will help it make a little more sense...  My great-grandmother
explained to me that this custom dates from the pre-Civil War era (American
Civil War, that is).  According to her, the point of changing the hand your
fork is in, only cutting one piece of meat (or whatever) at a time,
changing hands, then eating it, was for ladies to demonstrate that they
were NOT hungry.  In an era when "ladies" ate a full meal before sitting
down to dinner with company just so that they would not be SEEN eating much
(and therefore enhancing their reputation as frail waifs) it was a way of
being able to take up time at the dinner table without either appearing
rude (by ignoring the food) or appearing to NEED to eat.  This fashion was
taken up by the Northern ladies who did not want to appear "crude" or
"hungry" either, and gradually the male dandies also began eating this way.
I don't know if this is actually true or not, but it does make sense, given
the cultural attitudes of the time.  My great-grandmother died in 1992 a
few months before her 100th birthday (longevity runs in my family) and had
been a anti-bellum southern belle her entire life, so I never questioned
the explanation.  



Just a thought,

Elizabeth

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Subject: [h-cost] French contemporaries of Henry VIII
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Date: Mon, 2 Dec 2002 06:20:40 -0800 (PST)
Status: RO

Being alot rusty on my historical timelines, who was
contemporary with Henry VIII in the rest of the world.
 I know we have Francis I in France but what about the
Hapsburgs and the rest of the eastern European and
Scandinavian countries?  I'm specifically looking for
portraiture, not politics.  I think there's a Holbien
portrait of Christina I of Denmark but I'm not sure
and I'm at a complete loss for the 
Iberian penninsula.  Links?  Help?
                       Cassandra

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Subject: [h-cost] looking for pattern for 18th sack dress
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Date: Mon, 02 Dec 2002 15:25:56 +0100
Status: RO

Hi,

A friend of mine want's to make a 18th cenury sack dress.
http://www.costumes.org/history/kohler/426.jpg
But she is looking for a not to difficult pattern.
It doesn't have to be perfectly period.

Greetings,
         Deredere



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In a message dated 12/2/2002 9:27:31 AM Eastern Standard Time, 
triade@kabelfoon.nl writes:


> But she is looking for a not to difficult pattern.
> 

I have the Janice Ryan pattern.  It looks fairly straightforward, but I've 
not actually used it.  Does anyone on the list have experience with it?
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/2/2002 9:27:31 AM Eastern Standard Time, triade@kabelfoon.nl writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">But she is looking for a not to difficult pattern.<BR>
</BLOCKQUOTE><BR>
<BR>
I have the Janice Ryan pattern.&nbsp; It looks fairly straightforward, but I've not actually used it.&nbsp; Does anyone on the list have experience with it?<BR>
Ann Wass</FONT></HTML>

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Subject: RE: [h-cost] looking for pattern for 18th sack dress
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I haven't used Janice Ryan's sackback dress, but I have used her others
(jacket and stays).  I really like them.  She even gives some really
good direction as to adjusting the patterns to fit properly.

 

Sarah

 

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of AnnBWass@aol.com
Sent: Monday, December 02, 2002 9:26 AM
To: h-costume@indra.com
Subject: Re: [h-cost] looking for pattern for 18th sack dress

 

In a message dated 12/2/2002 9:27:31 AM Eastern Standard Time,
triade@kabelfoon.nl writes:





But she is looking for a not to difficult pattern.



I have the Janice Ryan pattern.  It looks fairly straightforward, but
I've not actually used it.  Does anyone on the list have experience with
it?
Ann Wass


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<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma
FAMILY=3DSANSSERIF><span style=3D'font-size:10.0pt;font-family:Tahoma'>I =
haven&#8217;t
used Janice Ryan&#8217;s sackback dress, but I have used her others =
(jacket and
stays).&nbsp; I really like them.&nbsp; She even gives some really good
direction as to adjusting the patterns to fit =
properly.</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>Sarah</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> =
h-costume-admin@indra.com
[mailto:h-costume-admin@indra.com] <b><span =
style=3D'font-weight:bold'>On Behalf
Of </span></b>AnnBWass@aol.com<br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Monday, December =
02, 2002
9:26 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> =
h-costume@indra.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: [h-cost] =
looking for
pattern for 18th sack dress</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>In a message dated =
12/2/2002 9:27:31
AM Eastern Standard Time, triade@kabelfoon.nl writes:<br>
<br>
<br>
<br>
</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>But she is looking for a =
not to
difficult pattern.</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'><br>
<br>
I have the Janice Ryan pattern.&nbsp; It looks fairly straightforward, =
but I've
not actually used it.&nbsp; Does anyone on the list have experience with =
it?<br>
Ann Wass</span></font></p>

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In a message dated 11/29/2002 12:51:34 PM Eastern Standard Time, 
athurman@cybergal.com writes:


> I'm still doing research, but I will keep the Mantua Maker pattern in mind. 
> 
> 

One of the great things about this pattern is that it provides good 
adjustment for different cup sizes--the gussets are sized accordingly.  I 
think this is a good pattern to use as a base, even if you decide to 
cord/bone it differently.

Ann Wass


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 11/29/2002 12:51:34 PM Eastern Standard Time, athurman@cybergal.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I'm still doing research, but I will keep the Mantua Maker pattern in mind.</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> <BR>
<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
One of the great things about this pattern is that it provides good adjustment for different cup sizes--the gussets are sized accordingly.&nbsp; I think this is a good pattern to use as a base, even if you decide to cord/bone it differently.<BR>
<BR>
Ann Wass<BR>
<BR>
</FONT></HTML>
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Subject: Re: [h-cost] 1822? men & boys
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Date: Mon, 02 Dec 2002 16:13:39 +0000
Status: RO

I think quite young boys wore long trousers in the early 19th century, often buttoned to a short jacket. The custom of making the transition from short to long trousers starts later than this. 


Kate Bunting
Library, University of Derby

>>> pinner@mccc.edu 11/30/02 04:30pm >>>
What would a 12 year old boy wear in New York in 1822?  Middle class,
son of a professor?  14 year old?  At what age did they go to long
pants? I know adult males were wearing long pants at this time.  And
coats? capes?  For men, boys?  I'm guessing shawls and capes for women
-- what kind of coat would a women wear? Young girl?Thanks for any
suggestions.
Kate

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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] Brief stays question
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Date: Mon, 2 Dec 2002 12:03:15 -0500 (EST)
Status: RO

This is a sort of yes & no question...18th c. stays create a much rounder
front than Elizabethan stays, which just flatten you out. Also, the front
point on elizabethan corsets tends to be a bit longer than the JP Ryan
stays.

If your stays have a curved front neckline or horizontal boning sewn
across the top front, you probably won't be able to pass it off as
Elizabethan.  But if you don't, and you're small busted, the difference
in silhouette /might/ be small enough that it wouldn't be noticeable.

I've known women that wear their 16th c. (boned tab) stays for 18th c.
gowns, and say that they look right.

Good luck,

Drea

On Sun, 1 Dec 2002, Sarah Krans wrote:

> I have a really quick question that I just need reassurance on :)  I am
> finishing a set of 18th Century stays and was wondering if I might also
> be able to use this same set for Elizabethan?  While I don't mind making
> stays/corsets, I would rather just not have too many sets - and to get
> started on my Elizabethan gown! :)
>
> Thanks!
>
> Sarah
>
> Sleep well. . .to eat little, work hard, and have many concerns on our
> mind and then refuse to let our body sleep is to try to get a great deal
> of work out of a poor, emaciated horse without letting him graze. - de
> Sales
>
>
> _______________________________________________
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From: Tania Gruning <tania_gr17@yahoo.com>
Subject: Re: [h-cost] French contemporaries of Henry VIII
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Date: Mon, 2 Dec 2002 08:49:46 -0800 (PST)
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Hi Cassandra.

I believe that Christian the Second was king from 1513 til 1523 where he was dethroned for the bloodbath in Stockholm. After that was Frederik the first from 1523 to 1533 and then Christian the third 1533 to 1559. Christina the first of Sweden was Queen for only a short while after her father Gustav II Vasa was killed during the 30 year war.

Pictures can be found at 

http://home19.inet.tele.dk/soren-kretzschmer/rennaessancen.html

The text is in danish.

Tania

Being alot rusty on my historical timelines, who was
contemporary with Henry VIII in the rest of the world.
 I know we have Francis I in France but what about the
Hapsburgs and the rest of the eastern European and
Scandinavian countries?  I'm specifically looking for
portraiture, not politics.  I think there's a Holbien
portrait of Christina I of Denmark but I'm not sure
and I'm at a complete loss for the 
Iberian penninsula.  Links?  Help?
                       Cassandra




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<P><FONT size=3>Hi Cassandra.</FONT></P>
<P><FONT size=3>I believe that Christian the Second was king from 1513 til 1523 where he was dethroned for the bloodbath in Stockholm. After that was Frederik the first from 1523 to 1533 and then Christian the third 1533 to 1559. Christina the first of Sweden was Queen for only a short while after her father Gustav II Vasa was killed during the 30 year war.</FONT></P>
<P><FONT size=3>Pictures can be found at </FONT></P>
<P><A href="http://home19.inet.tele.dk/soren-kretzschmer/rennaessancen.html">http://home19.inet.tele.dk/soren-kretzschmer/rennaessancen.html</A></P>
<P>The text is in danish.</P>
<P>Tania</P>
<P><FONT size=3>Being alot rusty on my historical timelines, who was<BR>contemporary with Henry VIII in the rest of the world.<BR> I know we have Francis I in France but what about the<BR>Hapsburgs and the rest of the eastern European and<BR>Scandinavian countries?&nbsp; I'm specifically looking for<BR>portraiture, not politics.&nbsp; I think there's a Holbien<BR>portrait of Christina I of Denmark but I'm not sure<BR>and I'm at a complete loss for the <BR>Iberian penninsula.&nbsp; Links?&nbsp; Help?<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cassandra<BR></P></FONT><p><br><hr size=1>Do you Yahoo!?<br>
<a href="http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Yahoo! Mail Plus</a> - Powerful. Affordable. <a href="http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Sign up now</a>
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From h-costume-admin@indra.com  Mon Dec  2 12:35:33 2002
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Subject: RE: [h-cost] Brief stays question
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Date: Mon, 2 Dec 2002 11:32:02 -0600
Status: RO

It's actually the JP Ryan stays that I'm working on.  It's good to know
that, at least for the time being, the 18thC stays could work.  I am
relatively flat chested (38B) and have a rather long and solid rib cage.
Let's just say that I have 1" between the bottom of my ribs and my
natural waist - and 1" between my natural waist and my hip bones (it
makes fitting 1860's stuff interesting with others helping out!).  What
I have been using under my 18thC gown is an 1870s corset that doesn't
have the waist pulled in too much (and it actually passes!).

I do eventually plan on making a set of 16thC but right now am rather
impatient to start the dress - and low on resources to make the 16thC.

Thanks.

Sarah

Sleep well. . .to eat little, work hard, and have many concerns on our
mind and then refuse to let our body sleep is to try to get a great deal
of work out of a poor, emaciated horse without letting him graze. - de
Sales

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Drea Leed
Sent: Monday, December 02, 2002 11:03 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Brief stays question

This is a sort of yes & no question...18th c. stays create a much
rounder
front than Elizabethan stays, which just flatten you out. Also, the
front
point on elizabethan corsets tends to be a bit longer than the JP Ryan
stays.

If your stays have a curved front neckline or horizontal boning sewn
across the top front, you probably won't be able to pass it off as
Elizabethan.  But if you don't, and you're small busted, the difference
in silhouette /might/ be small enough that it wouldn't be noticeable.

I've known women that wear their 16th c. (boned tab) stays for 18th c.
gowns, and say that they look right.

Good luck,

Drea




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Date: Mon, 02 Dec 2002 10:33:58 -0800
Status: RO

--=====================_6093531==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed


At 12:50 PM 11/29/2002 -0500, you wrote:

>I've read everyone's replies and am coming to the conclusion that I will 
>need the corset. While the idea of being a mervielleuse with no support at 
>all is appealing from the comfort/daring perspective, I'm a C-D cup and 
>going without will NOT be flattering!

I've used the Mode petticoat pattern and if you can make the time to really 
work on fitting it, it's fabulous for those 1795 to 1807 "layers of muslin" 
dresses. There is a surprising amount of support. I'm a size 12 with a C 
bust and I has able to achieve the double hand span bust position. As I 
said previously, if you can get the fit worked up correctly, I find that it 
also does a good job changing my posture through the shoulders.

For later dresses, Hunnisett has a stays layout that I've found to be 
scaleable. With the later dresses (1810 to 1820) , you need the stays with 
the busk to flatten the CF waist to hip line. You can also change the hang 
of the front of the dress by moving the top of the CF skirt farther up the 
bodice to give it some more hang space but I still think the full stays are 
needed.

If you do go with the stays, you'll still need a chemise underneath or risk 
the Elizabethan skirt without petticoats "tea cozy" look.


>I'm still doing research, but I will keep the Mantua Maker pattern in mind.
>Thanks everyone!
>Allison

Clear as mud? >; )  Good luck with the project


Gwyn Carnegie
University of California at Davis



--=====================_6093531==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<br>
At 12:50 PM 11/29/2002 -0500, you wrote:<br><br>
<blockquote type=cite class=cite cite><font size=2>I've read everyone's
replies and am coming to the conclusion that I will need the corset.
While the idea of being a mervielleuse with no support at all is
appealing from the comfort/daring perspective, I'm a C-D cup and going
without will NOT be flattering!</font></blockquote><br>
I've used the Mode petticoat pattern and if you can make the time to
really work on fitting it, it's fabulous for those 1795 to 1807
&quot;layers of muslin&quot; dresses. There is a surprising amount of
support. I'm a size 12 with a C bust and I has able to achieve the double
hand span bust position. As I said previously, if you can get the fit
worked up correctly, I find that it also does a good job changing my
posture through the shoulders. <br><br>
For later dresses, Hunnisett has a stays layout that I've found to be
scaleable. With the later dresses (1810 to 1820) , you need the stays
with the busk to flatten the CF waist to hip line. You can also change
the hang of the front of the dress by moving the top of the CF skirt
farther up the bodice to give it some more hang space but I still think
the full stays are needed.<br><br>
If you do go with the stays, you'll still need a chemise underneath or
risk the Elizabethan skirt without petticoats &quot;tea cozy&quot; look.
<br><br>
<br>
<blockquote type=cite class=cite cite><font size=2>I'm still doing
research, but I will keep the Mantua Maker pattern in mind.</font> <br>
<font size=2>Thanks everyone!</font> <br>
<font size=2>Allison</font> </blockquote><br>
Clear as mud? &gt;; )&nbsp; Good luck with the project<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br><br>
<br>
</font></b></html>

--=====================_6093531==_.ALT--

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Date: Mon, 02 Dec 2002 13:33:56 -0500
Status: RO



Michaela:

How lovely! That is exactly the kind of dress that made me want to make
costumes in the first place. I did make a white Norman-style gown once, with
fairly narrow skirts and no long sleeves, and then  a very pale see-through
aqua one in the same style but with huge skirts and bell sleeves, and a long
belt like yours. (In case anyone is wondering it was not a risque things --
I wore it over a tightly fitted white chemise.) It wasn't very historical
but it was so wonderful to wear! It stopped fitting after baby number two, I
eventually gave it to one of my babysitters to wear for Halloween!!! Now you
are making me want to do another one.

Is the Pre-Raphaelite Women book mostly text? If it's the one I read (can't
remember the title) I highly recommend it. That one had a whole chapter on
the Bohemiams, which I didn't know was an actual movement. For those of you
who didn't know that either, they were would-be gypsies that lived wild
camp-out lives. Lots of famous people used to go do it for a day or a
weekend and pride themselves on their open-mindedness and daring.

Gail Finke

PS: I used to love watching Jack of all Trades! Not the best show, but lots
of fun and the costumes were great.


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Date: Mon, 2 Dec 2002 10:58:36 -0800
Status: RO

A couple of years ago I made myself a cyclas (early version of 
sideless surcoat, with armholes only about 12" deep) in dark blue 
linen, as something to wear over a lightweight undergown in hot 
weather.

However, when I wear it, it slips around on my shoulders and won't 
stay centered -- sometimes slipping to one side, sometimes too far 
back which raises the front neckline too much (I _hate_ being choked 
by my clothing).

I'm wondering how much of this is the fact that I made it out of 
linen, and how much of it might be an "engineering" problem. Did I 
make it too wide in the shoulders? It's wider at the top than my 
natural shoulder line, since the ones in paintings mostly seem to be 
cut that way. Is it too loose in the torso? Are there any 
modifications I can make to the cut that will help it to behave 
itself?

I'd like to make a wool or brocade one soon as part of a new outfit, 
so I'd welcome suggestions.

(Along with the other problem, I also have the impression that it 
makes me look fat, but I'm not sure whether that's true -- or if so, 
whether it can be helped. I'm your typical middle-aged pear shaped 
person <g>, a bit on the stout side.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Mon, 2 Dec 2002 10:05:06 -0800
Status: RO

At 9:45 AM +0000 12/2/02, Kate M Bunting wrote:
>Dorothy Hartley quotes (from a longer poem on dining out in the Middle Ages):
>Byt not thy brede and lay it down
>That is no curtesye to use in Town
>But breke as muche as thou wylle ete
>The remelant to the pore thou shalle lete
>
>Unfortunately she doesn't give a specific source.

The first place to look might be the collection of metrical 
"etiquette manuals" published collectively as "The Babee's Booke" by 
the Early English Texts Society.

Heather
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Date: Mon, 2 Dec 2002 10:10:06 -0800
Status: RO

At 10:42 AM +0000 12/2/02, Stevie Gamble wrote:
>Hi all,
>
>I have been re-reading Hugh Trevor-Roper's paper on the invention of
>the Highland tradition of Scotland, included in:
>
>"The Invention of Tradition"
>edited by Eric Hobsbawm and Terence Ranger, (Cambridge University
>Press
>1983).
>
>and I heartily recommend it to anyone who hasn't previously come
>across it. It's a beautiful hatchet job:-)

If I'm remembering the same book, I'll second this.  It's a wonderful 
study of the deliberate invention of "ancient traditions" for 
socio-political purposes.

Heather
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Date: Mon, 2 Dec 2002 12:36:33 -0800 (PST)
Status: RO

Where would one purchase the Janice Ryan sacque back
gown pattern?  I'm sure someone around here will take
pity on the 9yds of jacquard print I have that looks
somewhat like a Spitfields silk and buy me a sacque
gown pattern for Christmas, as long as I can point
them in the right direction of where to find said
pattern.
   I also miss Jack of All Trades, loved the gowns and
the hero.  Oh well, my enjoyment of a show has been
known to be the kiss of death.
                      Cassandra (who finds this list
dangerous to her ability to stick to just one period)

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In a message dated 12/2/2002 3:38:04 PM Eastern Standard Time, 
rosenau5@yahoo.com writes:


> Where would one purchase the Janice Ryan sacque back
> gown pattern?  

But to answer this question, Smoke and Fire carries them.
Ann

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/2/2002 3:38:04 PM Eastern Standard Time, rosenau5@yahoo.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Where would one purchase the Janice Ryan sacque back<BR>
gown pattern?&nbsp; </BLOCKQUOTE><BR>
<BR>
But to answer this question, Smoke and Fire carries them.<BR>
Ann</FONT></HTML>

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In a message dated 12/2/2002 3:38:04 PM Eastern Standard Time, 
rosenau5@yahoo.com writes:


> .
>    I also miss Jack of All Trades, loved the gowns and
> the hero.  Oh well, my enjoyment of a show has been
> known to be the kiss of death.
>                       

The gowns were amazing, all right, but TOTALLY wrong period.  The setting was 
supposed to be early 1800s.  Several of us discussed at the time that the 
designer could have made the clothes, appropriate to the period, with just as 
much sex and eye appeal, but in a different way.  Clearly no knowledge of 
costume history, or just didn't care.  I know it's theater, but still!  Kind 
of like the Adrian "Pride and Prejudice" in the style of the 1830s.

But we don't need to get off on that tangent, do we?
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/2/2002 3:38:04 PM Eastern Standard Time, rosenau5@yahoo.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">.<BR>
&nbsp;&nbsp; I also miss Jack of All Trades, loved the gowns and<BR>
the hero.&nbsp; Oh well, my enjoyment of a show has been<BR>
known to be the kiss of death.<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </BLOCKQUOTE><BR>
<BR>
The gowns were amazing, all right, but TOTALLY wrong period.&nbsp; The setting was supposed to be early 1800s.&nbsp; Several of us discussed at the time that the designer could have made the clothes, appropriate to the period, with just as much sex and eye appeal, but in a different way.&nbsp; Clearly no knowledge of costume history, or just didn't care.&nbsp; I know it's theater, but still!&nbsp; Kind of like the Adrian "Pride and Prejudice" in the style of the 1830s.<BR>
<BR>
But we don't need to get off on that tangent, do we?<BR>
Ann Wass</FONT></HTML>

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You can purchase Janice's patterns at her website http://www.jpryan.com/ .
She also teaches a class at my Costume Classroom on how to make the gowns.

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


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Date: Mon, 02 Dec 2002 17:03:07 -0500
Status: RO

Hi All,

Just letting you know that we are having a huge fabric sale at the Costumers Corner in Boise, ID.  40% off ALL FABRIC.  If you are interested check out www.thecostumeshopboise.com.  Any questions, please feel free to email me.  Sale goes Dec.3rd thru Dec.16th.

Cheers!
Pasha
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From: "Megan M." <mmchugh@starpower.net>
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Subject: RE: Mrs. Weasley (was Re: [h-cost] Gilderoy Lockhart
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Date: Mon, 2 Dec 2002 17:36:42 -0500
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Anyone have a picture of the second Mrs. Weasley sweater?  Sounds
interesting to me, but when I saw the movie, I was between 12 hour shifts of
work, got 3 hours sleep and back to work, so I missed a few details.  I
guess I'm gonna just have to see it again soon to see what I missed in my
sleep-deprived befuddled state.
-Megan


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We have had several students take Janice's stays and the gown classes.
Janice is a really good teacher and explains directions well.  We have
opened both of these classes to year round classes... starting in January,
you can start the class at anytime and the student has two months to
complete the class.

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


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<DIV>We have had several students take Janice's stays and the gown=20
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well.&nbsp; We have opened both of these classes to year round =
classes...=20
starting in January, you can start the class at anytime and the student =
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<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
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<BR><A=20
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Date: Tue, 3 Dec 2002 12:26:40 +1300
Status: RO

> > Lovely, lovely, lovely Bella!
> Ta Nicole. :)

Yeah really lovely:) And it's also really nice to see them all in one
place:)

And thank you for your comments about my dress:) Just thought I'd save list
space and reply here;)

> > hehehe, and guess what, when I clicked on that link
> > it said... 'temporarily
> > unavailable, member exceeded bandwidth' *G*
> Yep. I posted the notice on a few lists I'm on. :)

heheh, I know that feeling;) Fortunately with being in a different time zone
to most people on this list I was able to have a quickie peeky poo before
others were able to view it;)

> The whole site's going to the new, no-bandwidth-limit
> server over the next few months. :)

How on earth do they do it! I also noticed no ads or pop ups on the page....
one is seriously concidering if not a move at least a mirror over there....

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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From: "Mary Temple" <noxcat@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] French contemporaries of Henry VIII
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Date: Tue, 03 Dec 2002 00:15:02 +0000
Status: RO

The Emperor Charles was a contemporary of Henry VIII, and was the nephew of 
Katherine of Aragon, Henry's first wife. He was a Hapsburg - his father was 
Phillip of Burgundy. His mother was Juana la Loca of Spain.

Hope this helps...

Mary/Katerine

>Being alot rusty on my historical timelines, who was
>contemporary with Henry VIII in the rest of the world.
>  I know we have Francis I in France but what about the
>Hapsburgs and the rest of the eastern European and
>Scandinavian countries?  I'm specifically looking for
>portraiture, not politics.  I think there's a Holbien
>portrait of Christina I of Denmark but I'm not sure
>and I'm at a complete loss for the
>Iberian penninsula.  Links?  Help?
>                        Cassandra
>
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Date: Mon, 2 Dec 2002 20:11:20 -0500
Status: RO


Actually, her business is still Medieval Miscellanea - Period Pavilions.
According to the Pennsic 30 merchant guide, she can be found at:
6530 Spring Valley Dr.
Alexandria, VA   22312
703-642-1740
office@medievalmisc.com

Janet

Janet Davis
Castle Furnishings
http:/www.medievalbookstore.com

>Mistress Kathea von Linse is her SCA name.  Mundane name is Corrie Weigle.
She used to be "Medieval Miscellania" before some kind of bust up.


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Date: Mon, 02 Dec 2002 19:34:35 -0600
Status: RO

IIRC, Medieval Miscellanea split the tent side of things and is now
concentrating on patterns.

--Charlene


Janet Davis wrote:
> 
> Actually, her business is still Medieval Miscellanea - Period Pavilions.
> According to the Pennsic 30 merchant guide, she can be found at:
> 6530 Spring Valley Dr.
> Alexandria, VA   22312
> 703-642-1740
> office@medievalmisc.com
> 
> Janet
> 
> Janet Davis
> Castle Furnishings
> http:/www.medievalbookstore.com
> 
> >Mistress Kathea von Linse is her SCA name.  Mundane name is Corrie Weigle.
> She used to be "Medieval Miscellania" before some kind of bust up.
> 
> _______________________________________________
> h-costume mailing list
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-- 
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Hand-printed sign nearby:   Window frightened.
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, "sweetsheep@earthlink.net" <sweetsheep@earthlink.net>
Subject: Re: [h-cost] Ethnic Eating
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Date: Mon, 2 Dec 2002 21:13:41 -0500
Status: RO

On Monday 02 December 2002 09:11 am, sweetsheep@earthlink.net wrote:
[text cut here]

> Maybe this will help it make a little more sense...  My great-grandmother
> explained to me that this custom dates from the pre-Civil War era (American
> Civil War, that is).  According to her, the point of changing the hand your
> fork is in, only cutting one piece of meat (or whatever) at a time,
> changing hands, then eating it, was for ladies to demonstrate that they
> were NOT hungry.  In an era when "ladies" ate a full meal before sitting
> down to dinner with company just so that they would not be SEEN eating much
> (and therefore enhancing their reputation as frail waifs) it was a way of
> being able to take up time at the dinner table without either appearing
> rude (by ignoring the food) or appearing to NEED to eat.  This fashion was
> taken up by the Northern ladies who did not want to appear "crude" or
> "hungry" either, and gradually the male dandies also began eating this way.

Still can't imagine why redblooded working class *non* dandies would take the 
custom up, though.  

And as most of us are aware, Americans are perfectly capable of eating lots of 
food, fork switching or not.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, AnnBWass@aol.com
Subject: Re: [h-cost] Janice Ryan sacque gown pattern
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Date: Mon, 2 Dec 2002 21:26:21 -0500
Status: RO

On Monday 02 December 2002 03:51 pm, AnnBWass@aol.com wrote:
> In a message dated 12/2/2002 3:38:04 PM Eastern Standard Time,
>
> rosenau5@yahoo.com writes:
> > Where would one purchase the Janice Ryan sacque back
> > gown pattern?
>
> But to answer this question, Smoke and Fire carries them.

I'd bet Amazon Drygoods and AlterYears has them, too.


-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Subject: Re: [h-cost] French contemporaries of Henry VIII
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Date: Mon, 02 Dec 2002 17:15:01 -0800
Status: RO

Here's a couple of sites that offer portraits, some of rulers.
You might check out the various _Timeline_ sites on the web to find 
Russian, Slavic, Lithuanian references to monarchs but portraiture of 
those folks is hard to come by due to the instability of the 
political/economical climate in those areas - never a really supportive 
condition for the arts.

http://ripley.wo.sbc.edu/faculty/witcombe/ARTH16thcentury.html

http://www.geocities.com/masterhaggen/kings/16th.htm

Good luck,

Theresa Eacker

Cascio Michael wrote:

> Being alot rusty on my historical timelines, who was
> contemporary with Henry VIII in the rest of the world.
>  I know we have Francis I in France but what about the
> Hapsburgs and the rest of the eastern European and
> Scandinavian countries?  I'm specifically looking for
> portraiture, not politics.  I think there's a Holbien
> portrait of Christina I of Denmark but I'm not sure
> and I'm at a complete loss for the 
> Iberian penninsula.  Links?  Help?
>                        Cassandra
> 
> __________________________________________________
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Date: Mon, 02 Dec 2002 21:40:40 -0500
Status: RO


Yes, I know the gowns were the wrong period, but I guess I thought that was
part of the show's charm. Very tongue-in-cheek.

Gail Finke


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Date: Mon, 02 Dec 2002 19:05:55 -0800
Status: RO

To Cascio-

Some of these might be interesting:

Christian II of Denmark
http://gallery.euroweb.hu/html/g/gossaert/2/christia.html

Juana la Loca, Philip I
http://www.macuquina.com/histories/joanna_juana.htm

Gustavas I of Sweden
http://worldroots.clicktron.com/brigitte/gifs7/gustavsweden1523.jpg

Isabella of Portugal
http://www.mezzo-mondo.com/arts/mm/titian/TIZ013.html

Sigismund II of Poland (a little after Henry) 
http://www.uni-mannheim.de/mateo/desbillons/eico/seite137.html

Ivan the Terrible
http://www.lib.utexas.edu/photodraw/portraits/ivan4.jpg

Theresa Eacker


> 
> Cascio Michael wrote:
> 
>> Being alot rusty on my historical timelines, who was
>> contemporary with Henry VIII in the rest of the world.
>>  I know we have Francis I in France but what about the
>> Hapsburgs and the rest of the eastern European and
>> Scandinavian countries?  I'm specifically looking for
>> portraiture, not politics.  I think there's a Holbien
>> portrait of Christina I of Denmark but I'm not sure
>> and I'm at a complete loss for the Iberian penninsula.  Links?  Help?
>>                        Cassandra
>>
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Date: Mon, 02 Dec 2002 19:26:22 -0700
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And she's a really nice lady, and very helpful!
--Sue (who took her stays class and her carraco jacket class, and who
will, gawd willing and the creek don't flood, actually get them made one
of these days!)
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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] Ethnic Eating
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Date: Mon, 02 Dec 2002 22:43:08 -0500
Status: RO

Here's the scoop, as it were, on why Americans switch the fork from 
one had to another:

I did a search on Ask Jeeves. Asking "Why do Americans switch hands 
when eating with a fork and knife?" Among other sites, they gave me 
Cuisinenet.com on a page called "A History of Eating Utensils in the 
West: A Brief Timeline". In it under the heading for 1630 was this 
paragraph:

"Governor Winthrop of the Massachusetts Bay Colony possesses what is 
said to be the first and only fork in colonial America. The fad for 
using a fork has not yet reached the Americas, but Americans continue 
to import their knives from Europe. The blunted knives imported from 
Europe are not so easy to eat with as pointed ones were, and many 
people begin to use a spoon to steady food while cutting it. They 
then switch the spoon to the right hand to scoop up the bite of food 
-- the beginnings of what is known today as the zig-zag method."

And just to avoid any more confusion an explanation of the zig-zag method:

The Zig Zag Method
By American custom, which was brought about partly by the late 
introduction of the fork into the culture, all three utensils are 
intended for use primarily with the right hand, which is the more 
capable hand for most people. This leads to some complicated 
maneuvering when foods, such as meat, require the use of knife and 
fork to obtain a bite of manageable size. When this is the case, the 
fork is held in the left hand, turned so that the tines point 
downward, the better to hold the meat in place while the right hand 
operates the knife. After a bite-sized piece has been cut, the diner 
sets the knife down on the plate and transfers the fork to the right 
hand, so that it can be used to carry the newly cut morsel to the 
mouth. Emily Post calls this the "zig-zag" style.

And to be sure they are not making this up, here's the bibliography:

Reading List:
1. From Hand to Mouth, Or, How We Invented Knives, Forks, Spoons and 
Chopsticks, and the Manners to Go with Them by James Cross Giblin. 
New York: Crowell, 1987.

2. The Evolution of Useful Things by Henry Petroski. New York: 
Vintage Books, 1994.

3. The History of Manners by Norbert Elias. New York: Pantheon Books, 1978.

4. Spoon by Habbakuk O. Westman. London: Wiley & Putnam, 1845.

Linda K-S
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Have you tried contacting the current printer/distributor?
--sue

Yes, no response at all from them.

I'll try the number one of you provided and see where that takes me.

Sg

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Date: Mon, 2 Dec 2002 21:49:13 -0700
Status: RO

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I have committed to teaching a class at Estrella on the German Goller
and have been puzzling over this pattern in Kohler.  I have drafted it,
fiddled with it and still am unsure if I have understood it.  I finally
drafted my own pattern which looks like the garment, but this thing is
bugging the crap out of me because I can't see how it goes together.  
 
My questions are:
 
1.      Is there a relationship between the pattern on the left and
right, or are these two different patterns for a goller?
2.      Which side is the front and which is the back?
3.      Where does the oblong piece referred to in the text get
inserted?
4.      Why does he say the part round the neck is not sewn on
separately, but then says the standup collar is formed by inserting an
oblong piece between the ends that extended upward in front?
 
 
I am thinking a fresh pair of eyes needs to look at it, so I won't taint
you by telling you how I put it together.
 
 
http://www.saragrace.net/images/Costume/KohlerGoller.pdf
 
A few pictures of gollers:  This one may not look exactly like any of
the pictures below.
 
http://frazzledfrau.tripod.com/1520baselholbein.htm
 
http://www.kfki.hu/~arthp/html/p/pourbus/pieter/index.html
 
Portrait of Jacquemyne Buuck

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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>I
have committed to teaching a class at Estrella on the German <span
class=3DSpellE>Goller</span> and have been puzzling over this pattern in =
Kohler. <span
style=3D'mso-spacerun:yes'>&nbsp;</span>I have drafted it, fiddled with =
it and
still am unsure if I have understood it.<span =
style=3D'mso-spacerun:yes'>&nbsp;
</span>I finally drafted my own pattern which looks like the garment, =
but this
thing is bugging the crap out of me because I can&#8217;t see how it =
goes
together.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>My
questions are:<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
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tab-stops:list .5in'><![if !supportLists]><font size=3D3 =
face=3DArial><span
style=3D'font-size:12.0pt;mso-fareast-font-family:Arial;mso-bidi-font-fam=
ily:
Arial'><span style=3D'mso-list:Ignore'>1.<font size=3D1 face=3D"Times =
New Roman"><span
style=3D'font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
</span></font></span></span></font><![endif]>Is
there a relationship between the pattern on the left and right, or are =
these
two different patterns for a <span =
class=3DSpellE>goller</span>?<o:p></o:p></p>

<p class=3DMsoPlainText =
style=3D'margin-left:.5in;text-indent:-.25in;mso-list:l0 level1 lfo1;
tab-stops:list .5in'><![if !supportLists]><font size=3D3 =
face=3DArial><span
style=3D'font-size:12.0pt;mso-fareast-font-family:Arial;mso-bidi-font-fam=
ily:
Arial'><span style=3D'mso-list:Ignore'>2.<font size=3D1 face=3D"Times =
New Roman"><span
style=3D'font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
</span></font></span></span></font><![endif]>Which
side is the front and which is the back?<o:p></o:p></p>

<p class=3DMsoPlainText =
style=3D'margin-left:.5in;text-indent:-.25in;mso-list:l0 level1 lfo1;
tab-stops:list .5in'><![if !supportLists]><font size=3D3 =
face=3DArial><span
style=3D'font-size:12.0pt;mso-fareast-font-family:Arial;mso-bidi-font-fam=
ily:
Arial'><span style=3D'mso-list:Ignore'>3.<font size=3D1 face=3D"Times =
New Roman"><span
style=3D'font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
</span></font></span></span></font><![endif]>Where
does the oblong piece referred to in the text get =
inserted?<o:p></o:p></p>

<p class=3DMsoPlainText =
style=3D'margin-left:.5in;text-indent:-.25in;mso-list:l0 level1 lfo1;
tab-stops:list .5in'><![if !supportLists]><font size=3D3 =
face=3DArial><span
style=3D'font-size:12.0pt;mso-fareast-font-family:Arial;mso-bidi-font-fam=
ily:
Arial'><span style=3D'mso-list:Ignore'>4.<font size=3D1 face=3D"Times =
New Roman"><span
style=3D'font:7.0pt "Times New Roman"'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
</span></font></span></span></font><![endif]>Why
does he say the part round the neck is not sewn on separately, but then =
says
the standup collar is formed by inserting an oblong piece between the =
ends that
extended upward in front?<o:p></o:p></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>I
am thinking a fresh pair of eyes needs to look at it, so I won&#8217;t =
taint
you by telling you how I put it together.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.saragrace.net/images/Costume/KohlerGoller.pdf">http://=
www.saragrace.net/images/Costume/KohlerGoller.pdf</a><o:p></o:p></span></=
font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>A
few pictures of <span class=3DSpellE>gollers</span>:<span
style=3D'mso-spacerun:yes'>&nbsp; </span>This one may not look exactly =
like any
of the pictures below.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><a
href=3D"http://frazzledfrau.tripod.com/1520baselholbein.htm">http://frazz=
ledfrau.tripod.com/1520baselholbein.htm</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><a
href=3D"http://www.kfki.hu/~arthp/html/p/pourbus/pieter/index.html">http:=
//www.kfki.hu/~arthp/html/p/pourbus/pieter/index.html</a><o:p></o:p></spa=
n></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><b><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
font-weight:bold'>Portrait of <span class=3DSpellE>Jacquemyne</span> =
<span
class=3DSpellE>Buuck</span></span></font></b><font color=3Dblack><span
style=3D'color:black'><o:p></o:p></span></font></p>

</div>

</body>

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From: "michaela" <thebruce@ihug.co.nz>
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Subject: JoAT Re: [h-cost] Janice Ryan sacque gown pattern
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Date: Tue, 3 Dec 2002 18:11:51 +1300
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<<The gowns were amazing, all right, but TOTALLY wrong period.  The =
setting was supposed to be early 1800s.  Several of us discussed at the =
time that the designer could have made the clothes, appropriate to the =
period, with just as much sex and eye appeal, but in a different way.  =
Clearly no knowledge of costume history, or just didn't care.  I know =
it's theater, but still!  Kind of like the Adrian "Pride and Prejudice" =
in the style of the 1830s.>>

But that's exactly the point of theatre/tv it shouldn't be a slave to =
historical correctness as that is not it's purpose. And the audience it =
reaches in the majority knows *nothing* about costume. It needs to be =
able to further story and character and set the mood.

It was also set in the back waters of a little outpost in the pacific =
(well sort of asian/pacific) so fashions were supposed to be out of =
date. I was in an episode (.. One Wedding and a funeral I think) where =
Josephine was a character and she was indeed dressed in early 1800s.

Now if they were going to be a bit more accurate with just how behind =
the fashions would have been (a few years perhaps, I know NZ used to be =
several years behind fashion even this last century!) then the impact of =
the fashionable woman and the islanders would not have made an impact.

And of course the Eiffel Tower featured in one show.. as well as =
American football;)=20

It was such a great show to work on:) So very fun. I got to be goosed by =
Bruce Campell several times during a sequence with him as the Daring =
Dragoon... heheheh. Had a camera about 5 inches from my butt for second =
unit;)

Our costumes were extremely well made except for the hems of the skirts =
(which only used fusible stuff, possibly for easy alterations for =
different heights?) and consisted of chemise, corset petticoat, =
underskirt and over gown. I didn't wear the chemise though as it was not =
fully natural fibres unlike the corset and rest of the kit and when you =
are working in Auckland summers for 15+ hours a day you do as much as =
you can to stay cool:) Some others had silk gowns and some gowns were =
made of fashionable reversable brocades.

http://homepages.ihug.co.nz/~thebruce/onstage.htm
First image I'm on the extreme right of this screen cap.
http://homepages.ihug.co.nz/~thebruce/backstage.htm
First four images, it's quite obvious who I am I guess;)

The corsets were straight from Nora Waugh's Corsets and Crinolines and =
fully boned.

My wig was a nightmare. It looked like a big cow pat, so I changed my =
hair colour and got a new one a few episodes from the end.. heheheeh. =
Actually that wig was lovely, very dark brunette and it suited me so =
well.
I have one photo of that.. I really should scan it.... I have a nice =
large flat hat on too...

michela

http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2716.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">&lt;&lt;The gowns were amazing, all right, but =
TOTALLY wrong=20
period.&nbsp; The setting was supposed to be early 1800s.&nbsp; Several =
of us=20
discussed at the time that the designer could have made the clothes, =
appropriate=20
to the period, with just as much sex and eye appeal, but in a different=20
way.&nbsp; Clearly no knowledge of costume history, or just didn't =
care.&nbsp; I=20
know it's theater, but still!&nbsp; Kind of like the Adrian "Pride and=20
Prejudice" in the style of the 1830s.&gt;&gt;</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">But that's exactly the point of theatre/tv it =
shouldn't be a=20
slave to historical correctness as that is not it's purpose. And the =
audience it=20
reaches in the majority knows *nothing* about costume. It needs to be =
able to=20
further story and character and set the mood.</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">It was also set in the back waters of a little =
outpost in the=20
pacific (well sort of asian/pacific) so fashions were supposed to be out =
of=20
date. I was in an episode (.. One Wedding and a funeral I think) where =
Josephine=20
was a character and she was indeed dressed in early =
1800s.</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">Now if they were going to be a bit more accurate =
with just=20
how behind the fashions would have been (a few years perhaps, I know NZ =
used to=20
be several years behind fashion even this last century!) then the impact =
of the=20
fashionable woman and the islanders would not have made an=20
impact.</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">And of course the Eiffel Tower featured in one =
show.. as well=20
as American football;) </FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">It was such a great show to work on:) So very fun. =
I got to=20
be goosed by Bruce Campell several times during a sequence with him as =
the=20
Daring Dragoon... heheheh. Had a camera about 5 inches from my butt for =
second=20
unit;)</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Our costumes were extremely well made =
except for=20
the hems of the skirts (which only used fusible stuff, possibly for easy =

alterations for different heights?) and consisted of chemise, corset =
petticoat,=20
underskirt and over gown. I didn't wear the chemise though as it was not =
fully=20
natural fibres unlike the corset and rest of the kit and when you are =
working in=20
Auckland summers for 15+ hours a day you do as much as you can to stay =
cool:)=20
Some others had silk gowns and some gowns were made of fashionable =
reversable=20
brocades.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://homepages.ihug.co.nz/~thebruce/onstage.htm">http://homepag=
es.ihug.co.nz/~thebruce/onstage.htm</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>First image I'm on the extreme right of =
this screen=20
cap.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://homepages.ihug.co.nz/~thebruce/backstage.htm">http://homep=
ages.ihug.co.nz/~thebruce/backstage.htm</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>First four images, it's quite obvious =
who I am I=20
guess;)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The corsets were straight from Nora =
Waugh's Corsets=20
and Crinolines and fully boned.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>My wig was a nightmare. It looked like =
a big cow=20
pat, so I changed my hair colour and got a new one a few episodes from =
the end..=20
heheheeh. Actually that wig was lovely, very dark brunette and it suited =
me so=20
well.</FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">I have one photo of that.. I really should scan =
it.... I have=20
a nice large flat hat on too...</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>michela</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://homepages.ihug.co.nz/~thebruce">http://homepages.ihug.co.n=
z/~thebruce</A><BR><A=20
href=3D"http://recital.tripod.com/costume">http://recital.tripod.com/cost=
ume</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
References: <20021202140754.5694.qmail@web13305.mail.yahoo.com>
Subject: 19thC opera photosRe: [h-cost] Eowyn Costume uploaded:)
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Date: Tue, 3 Dec 2002 18:16:48 +1300
Status: RO

> > Ooh. have you seen photos of women in the late 19thC opera? Specifically
> > Faust and the Valkyries of Wagner's operas? While many dn't look like
> > they've stepped out of a PRB painting they have that great 19thC meets
well
> > 19thC vision of the middle ages or renaissance;) I have a few scanned..
I'll
> > see if I can pop some on a site somewhere...
> Yes please!!!!!

I've scanned the images I have most were photocopies unfortunately but they
still give a good impression:)

http://members.fortunecity.com/christine_daae_1881/opera.htm

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: 19thC opera photosRe: [h-cost] Eowyn Costume uploaded:)
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Date: Tue, 3 Dec 2002 08:35:03 +0000 (GMT)
Status: RO

 --- michaela <thebruce@ihug.co.nz> wrote: 
> I've scanned the images I have most were photocopies unfortunately but they
> still give a good impression:)
> 
> http://members.fortunecity.com/christine_daae_1881/opera.htm

They are lovely, but most of them don't work. :-( There's a tripod error page.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Thanks for the first-hand reports of the show.  But I thought some episodes 
were set in the Caribbean?  In which case the "many years out of date" 
doesn't wash.  But, I confess, I only watched it a couple of times--didn't 
find it nearly as entertaining as I had hoped from the promos. 
Ann Wass
 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Thanks for the first-hand reports of the show.&nbsp; But I thought some episodes were set in the Caribbean?&nbsp; In which case the "many years out of date" doesn't wash.&nbsp; But, I confess, I only watched it a couple of times--didn't find it nearly as entertaining as I had hoped from the promos. <BR>
Ann Wass<BR>
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Date: Thu, 21 Nov 2002 05:06:18 -0500
Status: RO

That bears an amazing resemblance to a portrait of the magdalen, 
flemish, can't remember the time period that is in the Wadsworth 
Athanaeum in Hartford CT. Hers is a read dress, but the most 
striking blue bejewelled surcoat with the same cut. I will have 
to find the info on it again, and see if I can find the catalog 
and scan in the pic or find it online.

My husband and I had a long discussion with the curator about 
getting in to photograph the painting as the catalog pic is in 
B&W ;-( because I wanted to use it to document an 'allegorical 
costume' for a fancy dress ball of allegorical/mythological 
people at Pennsic a few years ago.

I still say that that style surcoat is allegorical. I can 
honestly say I have never seen a surcoat like this on what is 
supposed to be an actual person before[I don't consider the 
Magdalen to be an actual person...]
margali

Bella wrote:


> Sure. Actually, a friend on another list scanned the
> image and enlarged the figure, then uploaded it to her
> site....
> 
> <http://www.pbase.com/image/7583361>
> 
> 
> Bella
> 
> 
> http://www.yahoo.promo.com.au/hint/ - Yahoo! Hint Dropper
> - Avoid getting hideous gifts this Christmas with Yahoo! Hint Dropper!
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> 
> 
> 



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Subject: Re: [h-cost] Ethnic posture? was body type periods
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Date: Mon, 25 Nov 2002 18:00:46 -0000
Status: RO

Americans seem to take more space & be louder because English people are not
used to their accents and they therefore stand out. I was on a human remains
course last summer and an american lady was also in attendance. During the
first few days in the small porta cabin classroom we all shared she seemed
to do nothing but yell , but after a few days it seemed less so (this was
remarked on by several of the English) I'm pretty convinced we simply learnt
to turn out her speech the way we automatically do with others speech which
falls in our 'normal' range. Generally most British will not notice american
accents on TV as their brains tune out or into them as 'normal' for the box
in the corner. This also happens with other accents say Glaswegian, if you
are not familiar with it on a regular basis.

Personal space issues are more difficult but I don't think are nationality
based alone, it will also reflect the cultural aspects with that country.
Not all Americans react the same, neither do all, Brits, French or
what-have-you. To me city people (regardless of nationality) have a tendancy
to rudeness, they don't speak, see you or let you go by politly (obviously
not all of them) However, this changes greatly if you dress in Victorian kit
(in London at least) Where people get out of you way, open dors and (heavans
above) converse with you. How much of this is pure costume & how much is the
way I become a different person in Victorian is hard to say as I've heard
other have problems in such kit of people being abusive , I've never had
that in any kit in any country (well once but he didn't live long ;))

In a large skirt I expect others to remove themselves from my path, as I
would have done had I worn it at the time, I don't see any reason to defer
to others in space, most people get the idea. This sounds pretty lofty I'd
agree but it is the way I react in my Victorian or other gentry kit, if I'm
in lower class kit I act like a lower class would & remove myself.

Mel

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Date: Thu, 21 Nov 2002 05:13:50 -0500
Status: RO

My german buddy is coming over in january, I might be persuaded 
to ask him to bring it over if you could get it to him, and I 
could ship it on from here...
margali

Cassandra Greer wrote:

> Well you could talk to me about it - the problem is getting this book from
> here to you (wherever you are - I assume the States? I live here in Munich.
> 
> Cass :)
> 
> 
>>Maybe I missed it, but how could I get my hands on a copy of this catalog?
>>
>>Mary/Katerine
>>(who is once again buying books for the pictures!)



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Subject: Re: body type periods, was Re: [h-cost] 1940s House
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Date: Mon, 25 Nov 2002 12:25:45 -0500
Status: RO

I'm a dead ringer for those 16th century Flemish genre paintings showing
women doing things with food as some kind of allegory about the sins of
the flesh.

I got told a while ago at an SCA event that I had "the right face" for
what I was wearing.  I doubt that's actually the case... but I do have
fair English sort of skin and wasn't wearing any make-up.

K.

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: body type periods, was Re: [h-cost] 1940s House
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Date: Mon, 25 Nov 2002 16:37:15 -0000
Status: RO

>I have to say though, I have never seen so amny ugly and awful teeth as
here in England, as sorry I am to say this, but it is true and quite
shocking.
Occasionally I can't really look into someone's face when speaking to them,
then again, at least the teeth here are very historically correct apparently


Do you mean crowded or going bad ? Much of the crowding problem is because
modern people eat mush for food & the jaw does not develop fully

Mel

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Subject: Re: [h-cost] Ethnic posture? was body type periods
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Date: Mon, 25 Nov 2002 17:15:58 -0500
Status: RO

Linda wrote:
> I wonder how much large clothing plays in this. I attended an event 
> this past weekend where a lady wearing a hoplande with a very long 
> train stopped in a hall to talk with a person standing against the 
> wall. Because of where she stopped, the train effectively blocked the 
> entire walk way in the hall. She, being in conversation was oblivious 
> of the number of folks who tried to not step on the train while 
> hurrying on their errands ladened with large trunks, bags or baskets 
> and the minor stir this caused between two who exchanged rude 
> behavior. Another whisked by in a purple Elizabethan with a rather 
> large hoop skirt. Her skirts touched people who were along the walls 
> of the halls. The person I was near exclaimed on how she would never 
> wear a dress like that as you can't avoid hitting people and things.

Someone once suggested (half-jokingly, I *hope*) that Elizabethan
costume shouldn't be allowed at large/crowded SCA events, for this very
reason.

Me, I handle my skirts by looking ahead a bit and planning which way to
go places, so I don't get tangled up in close-set furniture or anything.
When moving through crowded spaces I hold my skirts in my hand to keep
them out of the way.  But then, I'm not in a farthingale, just multiple
layers of fullish skirts.

I think I'd find it much more threatening to have large costumes
assaulting me at head height than at ankle height.  I'm not very
protective of my ankle-space, but if someone had a large spiky hat or
something, it might bother me.

This weekend just past, I visited a museum which had a display of a
typical Victorian parlour.  It seemed very crowded given the size of the
skirts for much of that period.  Anyone know how on earth they moved
around their over-furnished houses in crinolines?

K.

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Subject: [h-cost] fluoride
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Date: Tue, 26 Nov 2002 07:30:37 -0000
Status: RO

>Out of curiosity - are there places in Europe that add fluoride to their
drinking water? It's done all over the US as a way to improve dental
health...

Yes it is done in England in my area at least, I hate that, tastes foul, now
we tend to buy bottled water like the continentals so it is a pretty
pointless excersise !!

Mel

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From h-costume-admin@indra.com  Tue Dec  3 08:36:05 2002
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Subject: Re: [h-cost] ethnic posture / identification
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Date: Tue, 26 Nov 2002 11:32:48 -0500
Status: RO

Jean asked:
> I thought about it, and I realised that, living in a very varied 
> population like we do in the UK and US, the first thing I would describe 
> about someone was their hair colour and texture, because that splits 
> people up into reasonably small groups very quickly.  People from less 
> mixed populations, to my eyes are all squeezed into a very small part of 
> that range,(for example, Asian/subcontinental - fine silky black hair, 
> south-east Asian - thick straight black hair) so I find them difficult 
> to tell apart, until I know them well enough to recognise features that 
> in [genetically] European people I wouldn't pay so much attention to.
> 
> I was wondering whether people from communities which, to my eyes, seem 
> all to have the same type of hair, identify by finer differences in hair 
> colour and type, or is the first thing you distinguish a different 
> feature which has more variety?

I grew up in Australia, and went to a boarding school there.  At that
school there were a number of asian students (mostly Singaporean,
Malaysian, and from Hong Kong), and I had great difficulty telling them
apart because (to me) they all had similar facial features and hair.  I
learnt to distinguish them by the shoes they wore, the style of their
glasses, etc.

One term I roomed with a Singaporean girl, and we got talking one night
and she told me she had equal difficulty distinguishing between
anglo-australian girls.  Unfortunately she didn't give me any
information on how asian people distinguish themselves.  I don't *think*
they would use shoes and glasses like I did!

K.

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Date: Tue, 26 Nov 2002 17:22:43 -0000
Status: RO

>,(for example, Asian/subcontinental - fine silky black hair,
south-east Asian - thick straight black hair) so I find them difficult
to tell apart, until I know them well enough to recognise features that
in [genetically] European people I wouldn't pay so much attention to.

I can generally split Indian/Pakistani people into their regions by their
looks and their behaviour (at least I think that is how I do it I'm not that
sure really) But in my area there a many around so I'm more tuned into it.
>From speaking to friends from Asian communities I've heard them say we
(European genetically) look the same. Leicester (the city not county) white
people all look the same to me & I can't tell most 50-60 year olds from one
another, sounds weird but there is a certain stamp to them (Gross
generlisation obviouly some do differ !!!)

Mel

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Subject: [h-cost] English Royalty fashions of the 1700s...
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Date: Wed, 27 Nov 2002 07:27:54 -0600
Status: RO

I was wondering if you could direct me to any websites where I can find
information on English Royalty fashions of the 1700s mainly dealing with
men's wigs and women's accessories.

Thank you for your help.

curtis

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10211260823230.30727-100000@shell.nightowl.net>
Subject: Re: teeth Re: [h-cost] RE: behavior and cultures (was: Re: body typeperiods)
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Date: Tue, 26 Nov 2002 17:32:30 -0000
Status: RO

>Most tooth loss comes from plaque-related diseases (tooth decay and gum
disease). These were apparently not a great problem until refined sugar
became widely available

Peridontal disease and absesses were wide spread long before sugar was
around, there is some evidence of decay but as you say it tends to be less
than now. Another big problem is wear from grit etc this wears away the
enamal & leave the tooth more open to decay

>Of course, in the Middle Ages, a broken or lost tooth couldn't be fixed or
replaced, and when you did get a tooth disease, you would have it pulled,

Depends where but there were so instances of repairs

>But far fewer teeth were lost in the first place
than were, say, a century ago.

Hmm not sure on this one, I've seen skellys with no teeth at all one lady
dubbed Godiva lost hers so long before death even the jaw had remoudled &
there were no holes visible at all (where teeth would have been)

 >There were also a variety of teeth-cleaning methods in use historically,
depending on your class and culture. I was most amused at a scene in
Shakespeare in Love, when Gwyneth Paltrow is dressing, and her nurse hands
her some small instrument and demands she clean her teeth. I'm not sure
what the instrument was, but it looked like the equivalent of the
frayed-end stick used commonly by many more "primitive" cultures.

Tooth picks are common archaelogical finds, reminies from leechdoms &
medical manuals are pretty common too.

> If only people went for natural looking colours, like ivory and not
> screaming white, that would be so much better, and not those front
> rows of teeth that look like being chiselled out of one block.

Actually people are barking up the wrong tree with the tooth thing, with
bigger jaws their tooth alighnment would be very good. Their mouths probaly
stank from peridontal diese & had plenty of plaque built up :)

Mel


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From h-costume-admin@indra.com  Tue Dec  3 08:36:26 2002
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To: h-costume@indra.com
Subject: Re: [h-cost] Ethnic eating
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Date: Wed, 27 Nov 2002 10:07:33 -0500
Status: RO

Glenda wrote:
> 
> Historical Note: These entirely different ways of eating using a knife and
> fork has me coming to the conclusion that eating with both of these as a
> matter of course with all classes of people may have come on after the start
> of the US colonies, but before the start of the Australian colonies, as the
> US one seems so different, but the Aust. one is practically identical. Maybe
> it might have something to do with the early US population being made up of
> more mainland Europeans than the Australian mix. Anyone have any ideas?

In a book I have (goes to check...) "In Small Things Forgotten: An
Archaeology of Early American Life" by James Deetz, he suggests it's to
do with the fashions in pointy or round-ended knives and the
introduction of forks into the mainstream in England before they arrived
in America.

Basically, if you have a pointy knife you can use it to jab food and
lift it.  If you have a round knife you can't.  Oh, let me just quote...
this is too hard to paraphrase:

    The first mention of a fork in the Plymouth Colony area... is in
    1721... but significant numbers do not show up... until the second
    half of the century.  When forks appeared in quantities in England,
    knives changed in shape, and rounded blade ends replaced the pointed
    ones, since forks had assumed the function of the pointed blade.
    However, since most knives were made in England, and the fork
    appeared later in America, this relationship did not prevail in the
    New World.

    Using a round-ended knife and not having a fork, one would either
    have made considerable use of the fingers conveying solid foods to
    the mouth or made do with a spoon.  This raises an interesting, if
    conjectural, point.  Americans often comment that Europeans use
    their forks "upside down."  In fact ,by the simple rule of priority
    and majority, it is we Americans who are "upside down".  Since we
    did not learn to use forks until some time after the ends of knives
    were rounded, the change in the manner of food conveyance was not
    directly from knife tip to fork tine, as it ws in England.  The only
    intermediate utensil available was the spoon; one could cut food and
    transfer it to the spoon bowl.  If even one generation used knife
    and spoon in this manner, the fork, upon its belated appearance,
    would be used in a manner similar to the spoon.  Which is precisely
    the way we use it today.  Yet, in its function of anchoring food for
    cutting, the fork is held curve down; it is turned over while
    transferring the food from the plate to the mouth.  This distinctive
    way of using hte knife, fork, and spoon came into existence during
    hte late seventeenth and early eighteenth centuries, and thus is one
    more American idiosyncrasy arising from isolation during that
    period.

Interesting theory, no?

K.
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Subject: Re: [h-cost] Exhibit 16th-17th century clothing Munich Catalog	Update
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Date: Thu, 28 Nov 2002 15:29:53 -0500
Status: RO

Well, if Cassandra takes the money and buys the books, and gets 
them to Christian, and he puts them in his flight bag and hand 
delivers them to me in January...

margali

Deredere & Owen Iskander wrote:

> What aboud a fourth option?
> It won't work for everyone.......
> What aboud bringing it ?
> Around Newyear or so...
> :-) :-P :-P :-P
> 
> Greetings,
>        Deredere

> 



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Subject: Re: teeth Re: [h-cost] RE: behavior and cultures (was: Re: body typeperiods)
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Date: Wed, 27 Nov 2002 14:07:53 -0500
Status: RO

Robin wrote:
> But I'd be keen on knowing whether there's any, say, written evidence for
> the use of earscoops. You see those little spoon things in Viking caches,
> too -- I once heard someone surmise they were coke spoons. ;-) It's always
> been assumed they were for ear cleaning, but I don't know whether there's
> any reason to think that, or whether that's just someone's best guess
> that's been repeated for years.

At the Royal Ontario Museum the other day, I noticed they had some teeny
tiny little scoops in the Coptic Egypt display.  They said, however,
that the scoops were used for getting perfumed ointment out of jars.
This seems like a not-improbable use for such scoops.

I was also reading a book on needlework tools and accessories, and there
were many examples of stilettos -- spikes for poking holes in fabric for
eyelets, etc.  These were often found in collections of needlework
tools, and could be made of bone, metal, etc.  So that's a alternative 
possibility for the "toothpicks".

On another note, I believe earscoops are used in the present day by some
Asian cultures.  I used to share a house with a Malaysian guy who said
that he thought they were cool, and older relatives of his (father?
grandmother?) had or used them, and I think he might have mentioned that
you could pick them up in chinatown if you looked in the right place.

K.
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Date: Fri, 29 Nov 2002 15:39:03 -0500
Status: RO

Happy dance!!!

The book got here;-)

the oblaten, and lebkuchen did too, but that is a different list ;-)

It is fantastic! It is also in german so I can see I will be 
spending quality time with my dictionary instead of my 
husband...he will just have to be understanding! grin.

First on the list is pp 22, item 3 - it is a mid 16th century 
shirt. Blackwork, cutwork, pulled threadwork and interesting 
hem/seam treatment. All the individual pieces have little rolled 
hems and are then held to the next piece with a fancy openwork 
stitch...I can't wait to find out more about it as I would love 
to recreate this shirt!

margali


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Date: Thu, 28 Nov 2002 15:23:07 -0500
Status: RO

One of the sold ones is mine ;-)  Christian went and bought it 
for me and it is slllloooooowwwwwwly wandering it's way here from 
Laupheim ;-)  <happy dance> along with oblaten for making 
lebkuchen and marchpane. lebkuchen and spekulaas, and more 
goodies he won't tell me about. Fratz! My curiosity is killing me ;-)

margali

Cassandra Greer wrote:

> It was a great tour
> and since it was for a group of ladies from a textile institute in
> Switzerland, I think there were extra details given than aren't normally.
> Afterwards I talked to here about the catalog and stuff. I told her there
> were several people in the States and in England who are interested in
> getting it and she was apologetic about the credit card problem but there
> was nothing she could do about. She said 2000 were printed, 350 have been
> sold so far 6 weeks into the exhibit. She is talking with some of her
> contacts in the States about seeing if she can't get some of them to some
> museum shops in the States. There won't be an English translation since they
> don't have the resources for printing for such a relatively small audience.
> 
> She said she was going to send me something in English about the exhibit -
> hopefully it will come tomorrow by email and then I will pass it on.

> She also has my contact info to let me know by mail when other interesting
> things come up and then I will even be invited to premeres and stuff :)))
> 
> She gave me the website of the guy (Johannes Pietsch) who helped restore the
> pieces on display for this exhibit (and who would be teaching that class to
> make the men's lederkoller). I went to his site and he actually has the
> pattern for the one men's slit jacket pictured on my website.
> 
> http://www.kostuemforschung.de/1207.html
> 
> http://homepage.mac.com/cassandragreer/PhotoAlbum4.html (the one on the top
> right)
> 
> And as a nifty detail from one of the religious embroidered things they had
> that show tulips (the wild, stripped kind): she said that tulips came from
> Turkey and the ones they valued were the skinny pointy kind with a pure
> color and didn't make it to central Europe until the mid 16th century. The
> wild ones actually came about due to a virus that infected the bulbs and
> resulted in all sorts of wird mutations -which stayed around and resulted in
> the tulip craze in Holland. This info helps date pieces because if they
> appear then it had to be after the intro date. :)))
> 
> As I remember details I'll try to post them.
> 
> (BTW as a sidenote, I told her I had scanned some of the pictures and put
> them online -the ones with patterns in the book so people would have a
> chance to get a small taste of what is in the book, and she said yeah -
> someone already 'told on me' someone who apparently didn't think it was
> appropriate that I did this. 'Oh that was you - you must be cassandra
> greer'.  So she had even been to the site. At any rate she was happy I did
> it and said I could keep it up since she is happy for all the advertisement
> for this that she can get - especially since the sole purpose for me putting
> it up was to get people interested in the book -since the museum website
> doesn't even mention it. As for the person who 'told on me', it would have
> been nice if they had said something to me first instead of being a 'tattle
> tail'.)
> 
> 
> Cass :)
> 
> _______________________________________________
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> 
> 
> 



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Date: Fri, 29 Nov 2002 22:44:10 -0500
Status: RO

You on the SCA-cooks list?
margali

> 
> I can point you at huge great documents on that one, if you really want to know: my main hobby is medieval cooking, costume is just a sideline  [:)] 
> 



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Date: Tue, 03 Dec 2002 07:26:37 -0700
Status: RO

We're *everywhere*! <weg>
--maire/sue

M Traber wrote:
> 
> You on the SCA-cooks list?
> margali
> 
> >
> > I can point you at huge great documents on that one, if you really want to know: my main hobby is medieval cooking, costume is just a sideline  [:)]
> >
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Date: Tue, 3 Dec 2002 14:26:11 GMT
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M Traber <Marilyn.Traber@spamcop.net> wrote :

> You on the SCA-cooks list?
> margali

I have been, but couldn't keep up with the traffic. Too much of it was either SCA-specific, or USA-specific, and thus classed as "noise" from my POV. Wonderful group of knowledgable people, though.

The Godecookery list is what I'm on: much more subject-specific.




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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] Cyclas engineering
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Date: Tue, 3 Dec 2002 10:31:03 -0500 (EST)
Status: RO

Chris,

If you bring the back side up higher rather than having it scooped, this
will help keep it in place.Another suggestion is to have most of the
neckhole curve on the front piece, and very little on the back piece.
This has helped keep cloaks & T-Tunics from strangling me.

If you add edging or piping on the neck edge that has something of a nap
(wool, etc.) this may help it "stick" to whatever's being worn
underneath.

Happy cycling,

Drea

On Mon, 2 Dec 2002, Chris Laning wrote:

> A couple of years ago I made myself a cyclas (early version of
> sideless surcoat, with armholes only about 12" deep) in dark blue
> linen, as something to wear over a lightweight undergown in hot
> weather.
>
> However, when I wear it, it slips around on my shoulders and won't
> stay centered -- sometimes slipping to one side, sometimes too far
> back which raises the front neckline too much (I _hate_ being choked
> by my clothing).
>
> I'm wondering how much of this is the fact that I made it out of
> linen, and how much of it might be an "engineering" problem. Did I
> make it too wide in the shoulders? It's wider at the top than my
> natural shoulder line, since the ones in paintings mostly seem to be
> cut that way. Is it too loose in the torso? Are there any
> modifications I can make to the cut that will help it to behave
> itself?
>
> I'd like to make a wool or brocade one soon as part of a new outfit,
> so I'd welcome suggestions.
>
> (Along with the other problem, I also have the impression that it
> makes me look fat, but I'm not sure whether that's true -- or if so,
> whether it can be helped. I'm your typical middle-aged pear shaped
> person <g>, a bit on the stout side.)
> --
> _________________________________________________________
> O    Chris Laning
> |     <claning@igc.org>
> +    Davis, California
> _________________________________________________________
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Tue, 03 Dec 2002 07:28:07 -0800
Status: RO

Some of us, who don't watch television, have no idea what "joAT" means.
Explanation, please?

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From: "Linda J. Thompson" <LindaJThompson@comcast.net>
Subject: Re:[h-cost] fluoride
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Date: Tue, 03 Dec 2002 09:34:43 -0600
Status: RO

I know this is completely OT... but I have to respond to this ..
My husband is a highly respected dentist in the US.  And we are working to get flouride 
included in the drinking water in the community he serves.  Why?  Because we live in a 
major metropolitan area but each smaller community in and around are served by different 
water companies... and the commmunity he works in has the highest incidence of dental 
carries in their children than any of the other surrounding close communities.  Now we are 
talking about being able to walk across the street and drinking water that is flouridated 
or drinking water in your own home (50 feet away) that may not be.
   Flouride occurs naturally in many water sources around the world.  And the quantities 
that it takes to help prevent dental carries can in no way change the flavor of the water. 
  We are talking micro-milli whatevers in content.  It would be like a spec of dust 
affecting the flavor of a swimming pool of water.

And I know of many studies done of bottled waters from around the world.. lots of them 
have naturally occuring flouride in higher levels than is introduced.  100% pure water, 
means it has had nothing added to it... not that everything that occurs naturally in it 
has been removed.  If you want as close to completely nothing but H2O, then drink 
distilled water.  It is flat flavored and almost seems to be missing something.
  Please understand, I am not trying to incite anything, just trying to educate a bit on 
the topic.
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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From h-costume-admin@indra.com  Tue Dec  3 10:57:38 2002
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Subject: Re: Re:[h-cost] fluoride
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Date: Tue, 3 Dec 2002 15:56:45 -0000
Status: RO


----- Original Message -----
From: "Linda J. Thompson" <LindaJThompson@comcast.net>
To: <h-costume@net.indra.com>
Sent: Tuesday, December 03, 2002 3:34 PM
Subject: Re:[h-cost] fluoride


> ... and the commmunity he works in has the highest incidence of dental
> carries in their children than any of the other surrounding close
communities.

I live in England, where we have had fluoride in the water for some time.  A
few years after it had been introduced, my dentist told me that he had
revisited his old dental school, and the department that taught dentistry
for children's teeth now had the problem that there were hardly any cases to
be seen, since most children's teeth were now strong and healthy.

Linda Walton.

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Cyclas engineering
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Date: Tue, 3 Dec 2002 10:09:42 -0600 (CST)
Status: RO


On Tue, 3 Dec 2002, Drea Leed wrote:

<good advice about necklines, and then:>

> If you add edging or piping on the neck edge that has something of a
> nap (wool, etc.) this may help it "stick" to whatever's being worn
> underneath.

To which I add: Also consider the nap of the fabrics that are rubbing --
you may have a slight directional nap on either the cyclas lining or the
underdress that is forcing the other fabric to shift. Lining the cyclas
with a very smooth worsted or very smooth linen can help keep it from
crawling.

On one of my earliest outfits, when I was a starving college student, I
cut an underdress very economically by turning the fabric sideways. It was
a slightly fuzzy brushed cotton, rather flannel-like in texture. You
couldn't see that there was a directional nap, but I found it out the hard
way, when my fitted laced overdress twisted on my body. Within just an
hour or two, the bottom of the front lacing had spiraled around to my
side. It took me a while to realize that there was nothing wrong with the
overdress; it was just following the push of the underdress nap.

--Robin

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Subject: Re: [h-cost] Exhibit 16th-17th century clothing Munich Catalog
	Update
From: Cassandra Greer <cassandra@greer.de>
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Date: Tue, 03 Dec 2002 18:10:23 +0100
Status: RO

Hey if he will do this then I would do it too! Several people have already
done it through me but they are being shipped by boat....

Cass :)

PS seeeeee! Someone else knows how cool this book is too! :)))

> Well, if Cassandra takes the money and buys the books, and gets
> them to Christian, and he puts them in his flight bag and hand
> delivers them to me in January...
> 
> margali
> 
> Deredere & Owen Iskander wrote:
> 
>> What aboud a fourth option?
>> It won't work for everyone.......
>> What aboud bringing it ?
>> Around Newyear or so...
>> :-) :-P :-P :-P
>> 
>> Greetings,
>>        Deredere
> 
>> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: Gwyn Carnegie <gacarnegie@ucdavis.edu>
Subject: Re: [h-cost] Construction stumper (puzzle)
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Date: Tue, 03 Dec 2002 09:15:24 -0800
Status: RO

--=====================_4606421==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

It's been easily 6 years since I did any study in this area and 3 years 
since I've looked at a German pattern.  I'll answer what I can.

At 09:49 PM 12/2/2002 -0700, you wrote:
>My questions are:
>
>  1.      Is there a relationship between the pattern on the left and 
> right, or are these two different patterns for a goller?

Two different ones.  The pattern on the left is supposed to be a gollar 
with a standing collar. The right is for a gollar with a shawl (rolled) 
collar. Whether either of these will make the garments is subject to 
debate >; )

>2.      Which side is the front and which is the back?

The left side is the front on both figures.

>3.      Where does the oblong piece referred to in the text get inserted?

The figure on the left shows a fish eye dart being taken out which makes 
sense. The one gollar I've seen made from this particular pattern used a 
dart which was rounded. I think it's a translation error.

>4.      Why does he say the part round the neck is not sewn on separately, 
>but then says the standup collar is formed by inserting an oblong piece 
>between the ends that extended upward in front?

Same as above.

The provenance of those patterns is up for debate as far as I'm concerned. 
I remember something about Kohler being originally a 9 vol study that was 
condensed into 1 book. I'm sure someone with a better memory can fill in 
the blanks I'm missing.

Back to the 19th & 20th c. for me >; )


Gwyn Carnegie
University of California at Davis



--=====================_4606421==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
It's been easily 6 years since I did any study in this area and 3 years
since I've looked at a German pattern.&nbsp; I'll answer what I
can.<br><br>
At 09:49 PM 12/2/2002 -0700, you wrote:<br>
<blockquote type=cite class=cite cite><font face="arial">My questions
are:<br>
</font><br>
<font face="arial">&nbsp;1.</font><font face="Times New Roman, Times" size=1>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</font>Is there a relationship between the pattern on the left and right,
or are these two different patterns for a goller?</blockquote><br>
Two different ones.&nbsp; The pattern on the left is supposed to be a
gollar with a standing collar. The right is for a gollar with a shawl
(rolled) collar. Whether either of these will make the garments is
subject to debate &gt;; )<br><br>
<blockquote type=cite class=cite cite><font face="arial">2.</font><font face="Times New Roman, Times" size=1>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</font>Which side is the front and which is the back?</blockquote><br>
The left side is the front on both figures.<br><br>
<blockquote type=cite class=cite cite><font face="arial">3.</font><font face="Times New Roman, Times" size=1>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</font>Where does the oblong piece referred to in the text get
inserted?</blockquote><br>
The figure on the left shows a fish eye dart being taken out which makes
sense. The one gollar I've seen made from this particular pattern used a
dart which was rounded. I think it's a translation error.<br><br>
<blockquote type=cite class=cite cite><font face="arial">4.</font><font face="Times New Roman, Times" size=1>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</font>Why does he say the part round the neck is not sewn on separately,
but then says the standup collar is formed by inserting an oblong piece
between the ends that extended upward in front?</blockquote><br>
Same as above. <br><br>
The provenance of those patterns is up for debate as far as I'm
concerned. I remember something about Kohler being originally a 9 vol
study that was condensed into 1 book. I'm sure someone with a better
memory can fill in the blanks I'm missing.<br><br>
Back to the 19th &amp; 20th c. for me &gt;; )<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br><br>
<br>
</font></b></html>

--=====================_4606421==_.ALT--

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Date: Tue, 3 Dec 2002 18:13:41 -0000
Status: RO

>I live in England, where we have had fluoride in the water for some time.
A
few years after it had been introduced, my dentist told me that he had
revisited his old dental school, and the department that taught dentistry
for children's teeth now had the problem that there were hardly any cases to
be seen, since most children's teeth were now strong and healthy.

Do you know any children who drink water regularly ?

My kids friends moan like mad if we give them water, I think this is just as
likely to be from aspartane as opposed to sugar in squashes & local drinks.

My kids don't drink squash (unless home made) due to intolerances & the fact
I'm not keen on aspartane in regular doses. I try & have then drink natural
juices & water & milk

When I was young everyone tended to have filled teeth, my dentist (in
England) now sayes these fillings were fashionable 'preventative' filling &
generally no needed. My kids have very few fillings. Then again I've not had
on in years either, it seems they are far less inclined to fill that
previously, I don't drink tap water, but I don't know how much water in veg
& tooth cleaning with fluride affect the teeth

Mel

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Date: Tue, 03 Dec 2002 12:53:07 -0500
Status: RO



Michaela: 

Thanks for the link to your pix! It must be fun to have done that.

One last note -- I really loved the costumes they did for the little guy
that was, what? Napoleon's brother? Cousin? Or was it Napoleon? I forget, it
was just so funny to have a super-short Napoleon! And his costumes, like the
wedding outfit on your picture, were so well done!

Gail Finke


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Subject: [h-cost] Goller Construction (was: Construction Stumper)
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Date: Tue, 3 Dec 2002 14:50:19 -0500 (EST)
Status: RO


Kohler, though he does have some valuable photos & patterns, should be
taken with a grain of salt (especially where he doesn't list his
references.  :)

I don't have a copy myself--could you post pics to a website, or
somewhere? I have a microfilm copy of a 16th c. German tailor's book,
that I'll look through for examples of goller cuts.

Thanks,

Drea


 On Tue, 3 Dec 2002, Gwyn Carnegie wrote:

> It's been easily 6 years since I did any study in this area and 3 years
> since I've looked at a German pattern.  I'll answer what I can.
>
> At 09:49 PM 12/2/2002 -0700, you wrote:
> >My questions are:
> >
> >  1.      Is there a relationship between the pattern on the left and
> > right, or are these two different patterns for a goller?
>
> Two different ones.  The pattern on the left is supposed to be a gollar
> with a standing collar. The right is for a gollar with a shawl (rolled)
> collar. Whether either of these will make the garments is subject to
> debate >; )
>
> >2.      Which side is the front and which is the back?
>
> The left side is the front on both figures.
>
> >3.      Where does the oblong piece referred to in the text get inserted?
>
> The figure on the left shows a fish eye dart being taken out which makes
> sense. The one gollar I've seen made from this particular pattern used a
> dart which was rounded. I think it's a translation error.
>
> >4.      Why does he say the part round the neck is not sewn on separately,
> >but then says the standup collar is formed by inserting an oblong piece
> >between the ends that extended upward in front?
>
> Same as above.
>
> The provenance of those patterns is up for debate as far as I'm concerned.
> I remember something about Kohler being originally a 9 vol study that was
> condensed into 1 book. I'm sure someone with a better memory can fill in
> the blanks I'm missing.
>
> Back to the 19th & 20th c. for me >; )
>
>
> Gwyn Carnegie
> University of California at Davis
>
>
>

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Date: Tue, 03 Dec 2002 13:54:50 -0600
Status: RO




> 
> Message: 1
> From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>

> 
> Do you know any children who drink water regularly ?
> 
> My kids friends moan like mad if we give them water, I think this is just as
> likely to be from aspartane as opposed to sugar in squashes & local drinks.
> 
> My kids don't drink squash (unless home made) due to intolerances & the fact
> I'm not keen on aspartane in regular doses. I try & have then drink natural
> juices & water & milk
> 
> When I was young everyone tended to have filled teeth, my dentist (in
> England) now sayes these fillings were fashionable 'preventative' filling &
> generally no needed. My kids have very few fillings. Then again I've not had
> on in years either, it seems they are far less inclined to fill that
> previously, I don't drink tap water, but I don't know how much water in veg
> & tooth cleaning with fluride affect the teeth
> 
> Mel


Actually my children and grandchildren for that matter were/are given water to drink from 
infancy.  Adequate water is crucial to healthy development.
We simply did not give them any other option such as juice or milk when they would say 
they were thirsty. They received juice with breakfast, and milk with the other meals.

And what is squash? :D (here in the states it is considered a vegetable, you cook and eat 
it )
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: Opposite Direction Plaits? (WAS: Re: [h-cost] Eowyn Costume
  uploaded:) )
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Date: Mon, 02 Dec 2002 10:16:08 -0500
Status: RO

On 3 Dec 2002 00:26:00 +1300, "michaela" <thebruce@ihug.co.nz> wrote:

>I learnt a very good trick from the make up team on Xena/JoAT:
>Make four french plaits, two outer that go round the hair line, and in
>opposite direction, two inner also alternating.

Do you mean one starting from the crown/hairline going to the nape of the 
neck and the other starting from the nape of the neck going to the 
crown/hairline, or one underbraided and one overbraided, or something else?

>Then you wrap the ends in the spaces between the rows. They flatten down
>very well and the rows are excellent for anchoring the pins through.


Brenda
webwarren@earthlink.net


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Date: Tue, 3 Dec 2002 15:36:45 -0700
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Okay, I am with you up to this point.  
3.      Where does the oblong piece referred to in the text get
inserted?

The figure on the left shows a fish eye dart being taken out which makes
sense. The one gollar I've seen made from this particular pattern used a
dart which was rounded. I think it's a translation error.
Do I understand correctly that you think the dart should be more oval
shaped rather than sharp angles?


4.      Why does he say the part round the neck is not sewn on
separately, but then says the standup collar is formed by inserting an
oblong piece between the ends that extended upward in front?
Here I am confused.  I have successfully inserted a piece in the one on
the right to get a stand up collar, but the shape is not what I would
call oblong.   Do you think he intended this one to not have a stand up
collar (any collar at all) and just the shawl lapels?  I have also sewn
the one up on the left but the collar the way it is drafted sits very
oddly-shifts it too far back on the shoulders.  
And I am still confused where the oblong piece is intended to go if it
doesn't go in the one on the right.

The provenance of those patterns is up for debate as far as I'm
concerned. I remember something about Kohler being originally a 9 vol
study that was condensed into 1 book. I'm sure someone with a better
memory can fill in the blanks I'm missing.


 
Does anyone know anyone that has the original? 
I guess at least I can say I went through the exercise of trying to make
it 'the way they 'really did it', but in the end I will probably just
use my own pattern.




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style=3D'tab-interval:.5in'>

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0in 4.0pt'>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:navy'>Okay, I am with you up to this =
point. <span
style=3D'mso-spacerun:yes'>&nbsp;</span></span></font><o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
font-family:Arial'>3.</span></font><font size=3D1><span =
style=3D'font-size:7.5pt'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></font>Where does the oblong piece referred to in the text get =
inserted?<o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><br>
The figure on the left shows a fish eye dart being taken out which makes =
sense.
The one gollar I've seen made from this particular pattern used a dart =
which
was rounded. I think it's a translation error.<br>
<font color=3Dnavy><span style=3D'color:navy'>Do I understand correctly =
that you
think the dart should be more oval shaped rather than sharp =
angles?</span></font><br
style=3D'mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br =
style=3D'mso-special-character:line-break'>
<![endif]><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
font-family:Arial'>4.</span></font><font size=3D1><span =
style=3D'font-size:7.5pt'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></font>Why does he say the part round the neck is not sewn on
separately, but then says the standup collar is formed by inserting an =
oblong
piece between the ends that extended upward in front?<o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:navy'>Here I am confused.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>I have successfully inserted a =
piece in
the one on the right to get a stand up collar, but the shape is not what =
I
would call oblong. </span></font><span =
style=3D'mso-spacerun:yes'>&nbsp;</span><b
style=3D'mso-bidi-font-weight:normal'><i =
style=3D'mso-bidi-font-style:normal'><font
color=3Dnavy><span =
style=3D'color:navy;font-weight:bold;mso-bidi-font-weight:normal;
font-style:italic;mso-bidi-font-style:normal'><span
style=3D'mso-spacerun:yes'>&nbsp;</span></span></font></i></b><font =
color=3Dnavy><span
style=3D'color:navy'>Do you think he intended this one to not have a =
stand up
collar (any collar at all) and just the shawl lapels?<span
style=3D'mso-spacerun:yes'>&nbsp; </span>I have also sewn the one up on =
the left
but the collar the way it is drafted sits very oddly-shifts it too far =
back on
the shoulders.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span><o:p></o:p></span></font></p>

<p style=3D'margin-bottom:12.0pt'><font size=3D3 color=3Dnavy =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt;color:navy'>And I am still confused where the =
oblong
piece is intended to go if it doesn&#8217;t go in the one on the =
right.</span></font><br>
<br>
The provenance of those patterns is up for debate as far as I'm =
concerned. I
remember something about Kohler being originally a 9 vol study that was
condensed into 1 book. I'm sure someone with a better memory can fill in =
the
blanks I'm missing.<br style=3D'mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br =
style=3D'mso-special-character:line-break'>
<![endif]><font color=3Dnavy><span =
style=3D'color:navy'><o:p></o:p></span></font></p>

<p style=3D'margin-bottom:12.0pt'><b =
style=3D'mso-bidi-font-weight:normal'><i
style=3D'mso-bidi-font-style:normal'><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy;font-weight:bold;
mso-bidi-font-weight:normal;font-style:italic;mso-bidi-font-style:normal'=
><o:p>&nbsp;</o:p></span></font></i></b></p>

<p style=3D'margin-bottom:12.0pt'><font size=3D3 color=3Dnavy =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt;color:navy'>Does anyone know anyone that has =
the
original?</span></font><b><font size=3D2><span =
style=3D'font-size:10.0pt;
font-weight:bold'> <font color=3Dnavy><span =
style=3D'color:navy'><o:p></o:p></span></font></span></font></b></p>

<p style=3D'margin-bottom:12.0pt'><b><i =
style=3D'mso-bidi-font-style:normal'><font
size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;
color:navy;font-weight:bold;font-style:italic;mso-bidi-font-style:normal'=
>I
guess at least I can say I went through the exercise of trying to make =
it &#8216;the
way they &#8216;really did it&#8217;, but in the end I will probably =
just use
my own pattern.<o:p></o:p></span></font></i></b></p>

<p style=3D'margin-bottom:12.0pt'><b><font size=3D2 face=3D"Times New =
Roman"><span
style=3D'font-size:10.0pt;font-weight:bold'><br =
style=3D'mso-special-character:
line-break'>
<![if !supportLineBreakNewLine]><br =
style=3D'mso-special-character:line-break'>
<![endif]></span></font></b><o:p></o:p></p>

</div>

</div>

</body>

</html>

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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: [h-cost] Does anyone live near Warwick Castle??
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Date: Tue, 3 Dec 2002 15:42:53 -0700
Status: RO

Apparently there is a portrait of Anne of Cleves' sister Sybilla, the
Electress of Saxony in the 'Blue Boudoir' at Warwick Castle.  The
'information people' said they were not aware of any reproductions (I
have a drawing of it, but it isn't in color) of this portrait (it is by
Cranach, shows her standing in full "crany" dress with her son).


I would be beholden to anyone that can easily get there for a snapshot
(if they even let you do that).

Sg  :)

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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
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Subject: [h-cost] Swaddling
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Date: Tue, 3 Dec 2002 23:07:41 +0000
Status: RO

Re recent conversations about swaddling - did you pick up this news 
story?

http://news.bbc.co.uk/1/hi/health/2534113.stm

To summarise, researchers found that, when babies get to around 2 
months, parents often lay them to sleep on their fronts because they 
sleep better.  Laying babies on their back is recommended to prevent cot 
death. So they did a study with babies lying on their backs, swaddled or 
unswaddled, and monitoring breathing, REM etc.  They found that the 
swaddled babies woke less often and less fully.

I still can't picture a "specially designed cotton spandex swaddle", 
though!

Jean
-- 
Jean Waddie
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Subject: RE: [h-cost] Construction stumper (puzzle)-more questions
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Date: Tue, 03 Dec 2002 15:10:03 -0800
Status: RO

--=====================_25755031==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

At 03:36 PM 12/3/2002 -0700, you wrote:

>Okay, I am with you up to this point.
>
>3.      Where does the oblong piece referred to in the text get inserted?
>
>The figure on the left shows a fish eye dart being taken out which makes 
>sense. The one gollar I've seen made from this particular pattern used a 
>dart which was rounded. I think it's a translation error.
>Do I understand correctly that you think the dart should be more oval 
>shaped rather than sharp angles?

It's whatever shape works best, honestly.
Draping is your friend. If you have a dress form, use a mid weight woven to 
make a mock up. Pin the CF, CB and then slit for the dart and play with it 
after getting the dimension for your form right. I do remember that the 
gollar on the left was over large as shown.

>4.      Why does he say the part round the neck is not sewn on separately, 
>but then says the standup collar is formed by inserting an oblong piece 
>between the ends that extended upward in front?
>
>Here I am confused.  I have successfully inserted a piece in the one on 
>the right to get a stand up collar, but the shape is not what I would call 
>oblong.   Do you think he intended this one to not have a stand up collar 
>(any collar at all) and just the shawl lapels?

Maybe. If you remove the insert and close, do you get a rolled collar? Give 
it a try on a dress form.

>I have also sewn the one up on the left but the collar the way it is 
>drafted sits very oddly-shifts it too far back on the shoulders.

Try working the pattern in half on a dress form and you'll find that you 
trim a bit off the back but also be aware that to get the right shape, it 
does sit a ways off the nape of the neck (which bugs me to no end).

>And I am still confused where the oblong piece is intended to go if it 
>doesn t go in the one on the right.

I have no idea. If you take out an oblong dart length wise on the standing 
collar, you get a rolled collar effect. I do think it was a translation 
error.  Personally, I stay away from Kohler, especially when it comes to 
technical details. I think Drea said mentioned that too.

>The provenance of those patterns is up for debate as far as I'm concerned. 
>I remember something about Kohler being originally a 9 vol study that was 
>condensed into 1 book. I'm sure someone with a better memory can fill in 
>the blanks I'm missing.

I think Drea has a copy of the Innsbruck manuscript (there are 4 pattern 
manuals from the period). I'd look at the pattern layouts for garment with 
collars from that period and a little later.

>Does anyone know anyone that has the original?

I haven't seen it. I believe it's German as well.

>I guess at least I can say I went through the exercise of trying to make 
>it the way they really did it , but in the end I will probably just use my 
>own pattern.

LOL  at least you didn't try to use Kohler's women's bodice from the 
period. I remember it was a big ol' mess too >; )


Gwyn Carnegie
University of California at Davis

--=====================_25755031==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
At 03:36 PM 12/3/2002 -0700, you wrote:<br><br>
<blockquote type=cite class=cite cite><font face="Times New Roman, Times" color="#000080">Okay,
I am with you up to this point.&nbsp; <br>
</font><br>
<font face="arial">3.</font><font size=1>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</font>Where does the oblong piece referred to in the text get
inserted?<br>
<font face="Times New Roman, Times"><br>
The figure on the left shows a fish eye dart being taken out which makes
sense. The one gollar I've seen made from this particular pattern used a
dart which was rounded. I think it's a translation error.<br>
</font><font face="Times New Roman, Times" color="#000080">Do I
understand correctly that you think the dart should be more oval shaped
rather than sharp angles?</font></blockquote><br>
It's whatever shape works best, honestly. <br>
Draping is your friend. If you have a dress form, use a mid weight woven
to make a mock up. Pin the CF, CB and then slit for the dart and play
with it after getting the dimension for your form right. I do remember
that the gollar on the left was over large as shown.<br><br>
<blockquote type=cite class=cite cite><font face="arial">4.</font><font size=1>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</font>Why does he say the part round the neck is not sewn on separately,
but then says the standup collar is formed by inserting an oblong piece
between the ends that extended upward in front?<br><br>
<font face="Times New Roman, Times" color="#000080">Here I am
confused.&nbsp; I have successfully inserted a piece in the one on the
right to get a stand up collar, but the shape is not what I would call
oblong. </font> <font color="#000080"><b><i> </i></b>Do you think he
intended this one to not have a stand up collar (any collar at all) and
just the shawl lapels?&nbsp; </font></blockquote><br>
Maybe. If you remove the insert and close, do you get a rolled collar?
Give it a try on a dress form.<br><br>
<blockquote type=cite class=cite cite><font color="#000080">I have also
sewn the one up on the left but the collar the way it is drafted sits
very oddly-shifts it too far back on the shoulders.&nbsp;
</font></blockquote><br>
Try working the pattern in half on a dress form and you'll find that you
trim a bit off the back but also be aware that to get the right shape, it
does sit a ways off the nape of the neck (which bugs me to no
end).<br><br>
<blockquote type=cite class=cite cite><font face="Times New Roman, Times" color="#000080">And
I am still confused where the oblong piece is intended to go if it doesn
t go in the one on the right.</font></blockquote><br>
I have no idea. If you take out an oblong dart length wise on the
standing collar, you get a rolled collar effect. I do think it was a
translation error.&nbsp; Personally, I stay away from Kohler, especially
when it comes to technical details. I think Drea said mentioned that
too.<br><br>
<blockquote type=cite class=cite cite>The provenance of those patterns is
up for debate as far as I'm concerned. I remember something about Kohler
being originally a 9 vol study that was condensed into 1 book. I'm sure
someone with a better memory can fill in the blanks I'm
missing.</blockquote><br>
I think Drea has a copy of the Innsbruck manuscript (there are 4 pattern
manuals from the period). I'd look at the pattern layouts for garment
with collars from that period and a little later. <br><br>
<blockquote type=cite class=cite cite><font face="Times New Roman, Times" color="#000080">Does
anyone know anyone that has the original?</font><font size=2><b>
</b></font></blockquote><br>
I haven't seen it. I believe it's German as well.<br><br>
<blockquote type=cite class=cite cite><font face="arial" size=2 color="#000080"><b><i>I
guess at least I can say I went through the exercise of trying to make it
the way they really did it , but in the end I will probably just use my
own pattern.</i></b></font></blockquote><br>
LOL&nbsp; at least you didn't try to use Kohler's women's bodice from the
period. I remember it was a big ol' mess too &gt;; )<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></html>

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From: kat@grendal.rain.com
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> Re recent conversations about swaddling - did you pick up this news
> story?
> 
> http://news.bbc.co.uk/1/hi/health/2534113.stm
> 
> To summarise, researchers found that, when babies get to around 2
> months, parents often lay them to sleep on their fronts because they
> sleep better.  Laying babies on their back is recommended to prevent
> cot death. So they did a study with babies lying on their backs,
> swaddled or unswaddled, and monitoring breathing, REM etc.  They found
> that the swaddled babies woke less often and less fully.
> 
> I still can't picture a "specially designed cotton spandex swaddle",
> though!

Unfortunately, that means that they don't wake up when they *need* to 
wake up. It sounds like they need to do some population studies 
looking at long term effects of swaddling (ie regarding cot 
death/SIDS).

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Re: JoAT
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<<Thanks for the first-hand reports of the show.  But I thought some =
episodes were set in the Caribbean?  In which case the "many years out =
of date" doesn't wash.  But, I confess, I only watched it a couple of =
times--didn't find it nearly as entertaining as I had hoped from the =
promos.=20
Ann Wass>>

There were two 'types' of extras on this show: colonial which were of =
french/english descent, never did figure that one out.. white European =
anyway, and 'Natives' which were all the asian extras that coudl be =
found (Along with some translators as some did not have a good grasp of =
english).

East Indies, not West Indies:)=20

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume

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charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2716.2200" name=3DGENERATOR>
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">&lt;&lt;Thanks for the first-hand reports of the =
show.&nbsp;=20
But I thought some episodes were set in the Caribbean?&nbsp; In which =
case the=20
"many years out of date" doesn't wash.&nbsp; But, I confess, I only =
watched it a=20
couple of times--didn't find it nearly as entertaining as I had hoped =
from the=20
promos. <BR>Ann Wass&gt;&gt;</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">There were two 'types' of extras on this show: =
colonial which=20
were of french/english descent, never did figure that one out.. white =
European=20
anyway, and 'Natives' which were all the asian extras that coudl be =
found (Along=20
with some translators as some did not have a good grasp of=20
english).</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">East Indies, not West Indies:) </FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT size=3D2><FONT lang=3D0=20
FAMILY=3D"SANSSERIF"></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT size=3D2><FONT lang=3D0=20
FAMILY=3D"SANSSERIF">michaela</FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT size=3D2><FONT lang=3D0 =
FAMILY=3D"SANSSERIF"><A=20
href=3D"http://homepages.ihug.co.nz/~thebruce">http://homepages.ihug.co.n=
z/~thebruce</A><BR><A=20
href=3D"http://recital.tripod.com/costume">http://recital.tripod.com/cost=
ume</A></DIV></FONT></FONT></FONT></BODY></HTML>

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Subject: Re: [h-cost] Re: jack of all trades, again
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Date: Wed, 4 Dec 2002 14:00:31 +1300
Status: RO

Margo, JoAT is short for Jack of All Trades, the short lived series to fill
in after Hercules finished.

> Thanks for the link to your pix! It must be fun to have done that.

It was:) It was really fun, and Stuart Devinie as Croque had such a dry wit.

> One last note -- I really loved the costumes they did for the little guy
> that was, what? Napoleon's brother? Cousin? Or was it Napoleon? I forget,
it
> was just so funny to have a super-short Napoleon! And his costumes, like
the
> wedding outfit on your picture, were so well done!

Yeah it was Vern Troyer as Napoleon:) That costume was just a fantastic
confection;) He really did look like a lolly all wrapped up in pink and
tinsel;)

One of his body doubles (actually he was on set a few times for second unit
as for close up work you just can't find a good double) was a two year old
toddler:) He was so cute when we were doing a scene (the American Football
scene I mentioned earlier) as he was so young he didn't really understand
the need to follow directions;)

michaela
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http://recital.tripod.com/costume


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Date: Tue, 3 Dec 2002 17:44:34 -0800
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Hello all!

I have a male friend who lives just outside of Phoenix, who is looking for a
costumer to make him a men's Regency outfit.  Is there anyone on the list
who is located in Arizona (he'd be willing to travel as far as Tucson for
fittings etc.) who's good with male clothing of this period?

Please contact me off-list and I'll put you in touch!

Thanks,

Kendra

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Date: Tue, 3 Dec 2002 20:52:03 -0500
Status: RO

I'm an Internet Member of the Metropolitan Museum, and they send email on
different events.  The Cloisters portion of the Met (which I have never yet
actually made it to)  was included in the email on Christmas events:
http://www.metmuseum.org/now_at_the_met_cloisters.htm
 There is a new section up on the Unicorn Tapestries
http://www.metmuseum.org/explore/Unicorn/unicorn_inside.htm
This includes a section entitled What to Wear to a Unicorn Hunt, and
includes some closeups and commentaries of the clothes:
http://www.metmuseum.org/explore/Unicorn/unicorn_clothing.htm
Rowena

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Date: Tue, 03 Dec 2002 21:11:11 -0500
Status: RO


Hello all --

On a total tangent here -- I discovered something when looking at the
wonderful Swiss page Cass posted. When I looked at the picture of the
beautiful gowns, I noticed for the first time how much this style emphasizes
the curve at the small of the woman's back, which Robin Netherton has so
often reminded us is apparently very attractive to gentlemen. I guess I
haven't seen too many of these gowns in person or from the right angle --
let's face it, in films and on stage, the bust or the entire front view is
usually emphasized. But here you can see what a lovely curved shape these
gowns have in the back. Just a random thought --

Gail finke


> She gave me the website of the guy (Johannes Pietsch) who helped restore the
> pieces on display for this exhibit (and who would be teaching that class to
> make the men's lederkoller). I went to his site and he actually has the
> pattern for the one men's slit jacket pictured on my website.
> 
> http://www.kostuemforschung.de/1207.html
> 

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Kirrily Robert <skud@infotrope.net>
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Date: Tue, 3 Dec 2002 21:57:36 -0500
Status: RO

On Wednesday 27 November 2002 02:07 pm, Kirrily Robert wrote:
> Robin wrote:
>[text cut here]

> At the Royal Ontario Museum the other day, I noticed they had some teeny
> tiny little scoops in the Coptic Egypt display.  They said, however,
> that the scoops were used for getting perfumed ointment out of jars.
> This seems like a not-improbable use for such scoops.
>
> I was also reading a book on needlework tools and accessories, and there
> were many examples of stilettos -- spikes for poking holes in fabric for
> eyelets, etc.  These were often found in collections of needlework
> tools, and could be made of bone, metal, etc.  So that's a alternative
> possibility for the "toothpicks".
>
> On another note, I believe earscoops are used in the present day by some
> Asian cultures.  I used to share a house with a Malaysian guy who said
> that he thought they were cool, and older relatives of his (father?
> grandmother?) had or used them, and I think he might have mentioned that
> you could pick them up in chinatown if you looked in the right place.

I've seen people clean their ears with the ends of paper clips...it's not hard 
for me to imagine them using a small spoon designed (or even not designed) 
for the job.

-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Date: Tue, 03 Dec 2002 22:57:12 -0500
Status: RO

this book is to DIE FOR!!!
should we mention the scaled patterns in the back...my husband 
was looking at the lederkoller and thinking about the 2 sides of 
clothing weight leather in the barn...
and almost every page has a wonderful color picture of 
something;-) I almost feel like I have been there and seen the 
exhibit. The only thing I am seriously miffed about is we are 
going to Bavaria to visit Christian in the spring when ROb can 
get leave from his boat...and the exhibit will be closed ;-( <big 
pout>

So, you live anywhere near Gaertringen...? grin

margali

Cassandra Greer wrote:

> Hey if he will do this then I would do it too! Several people have already
> done it through me but they are being shipped by boat....
> 
> Cass :)
> 
> PS seeeeee! Someone else knows how cool this book is too! :)))
> 
> 
>>Well, if Cassandra takes the money and buys the books, and gets
>>them to Christian, and he puts them in his flight bag and hand
>>delivers them to me in January...
>>
>>margali



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Date: Tue, 03 Dec 2002 22:58:43 -0500
Status: RO

I can understand that;-) I find it overwhelming and I am one of 
the serious oldtimers from the list!
margali

jane@williams.nildram.co.uk wrote:

> M Traber <Marilyn.Traber@spamcop.net> wrote :
> 
> 
>>You on the SCA-cooks list?
>>margali
>>
> 
> I have been, but couldn't keep up with the traffic. Too much of it was either SCA-specific, or USA-specific, and thus classed as "noise" from my POV. Wonderful group of knowledgable people, though.
> 
> The Godecookery list is what I'm on: much more subject-specific.



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Date: Wed, 4 Dec 2002 00:15:08 -0500
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<<<<<I can understand that;-) I find it overwhelming and I am one of
the serious oldtimers from the list!
margali>>>>>

    Oh, I remember you from there.  I got off it too, partly because of the
volume, but more because every time anybody said anything the only responses
were "replied to privately" or "refer to the Florilegeum".  It was like no
conversation or information was allowed.
    The SCA Humor list was hilarious, wonderful-----and unfortunately a
major source of virusii.
    Weather is down to 10 below again tonight.  F.  A couple of days ago it
was just above freezing and rained for 2 days steady.  Got out the heavy
coats today, and remembered that capes actually were meant to go over a
coat, not be just worn by themselves.
    A good cape will catch the drizzle and can be easily taken off when
entering a cool building or vehicle.  The coat underneath is still dry and
warm.
    Then there's the hood effect.  Put the thing up FIRST, not after it's
full of water or snow, and dumps it down your neck.
    The draped ones look lovely in pictures, but scoop the wind around your
head like a wind tunnel.  Cold!

Diane S.----hunting up my velvet dresses and skirts today, and a taffeta
petticoat underneath is pretty windproof too.

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Date: Tue, 03 Dec 2002 23:11:52 -0700
Status: RO

Good lord, I don't know when you were on, but I've certainly never seen
a lack of info-sharing and conversation on that list.
Sometimes, I know folks refer to the Florilegium (very handy, that),
because some topics tend to occur, and re-occur, and re-re-occur, just
like they do here, and many times, the answers are already in a file
somewhere in the Florilegium.
To get this back from the dangerous shoals of talking too much about
sca-related stuff, and into the safer waters of costuming.....I note
that you're talking about cold weather.  It sounds almost like you're
combining costume and non-costume elements to stay warm.  Where are you,
by the way? We've had a couple of weeks of nothing but sub-freezing
temps and ice fogs.  Ugh.  Very dreary.  I've been starting on my winter
projects--I'm making a fitted gown for an upcoming competition, learning
tablet-weaving, and planning on getting around to making some garments
inspired by the ones in the Mannesse Codex (for next summer's tourney
season).  What's everyone else doing?
--sue

STRAIGHT wrote:
> 
> <<<<<I can understand that;-) I find it overwhelming and I am one of
> the serious oldtimers from the list!
> margali>>>>>
> 
>     Oh, I remember you from there.  I got off it too, partly because of the
> volume, but more because every time anybody said anything the only responses
> were "replied to privately" or "refer to the Florilegeum".  It was like no
> conversation or information was allowed.
>     The SCA Humor list was hilarious, wonderful-----and unfortunately a
> major source of virusii.
>     Weather is down to 10 below again tonight.  F.  A couple of days ago it
> was just above freezing and rained for 2 days steady.  Got out the heavy
> coats today, and remembered that capes actually were meant to go over a
> coat, not be just worn by themselves.
>     A good cape will catch the drizzle and can be easily taken off when
> entering a cool building or vehicle.  The coat underneath is still dry and
> warm.
>     Then there's the hood effect.  Put the thing up FIRST, not after it's
> full of water or snow, and dumps it down your neck.
>     The draped ones look lovely in pictures, but scoop the wind around your
> head like a wind tunnel.  Cold!
> 
> Diane S.----hunting up my velvet dresses and skirts today, and a taffeta
> petticoat underneath is pretty windproof too.
> 
> _______________________________________________
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Subject: [h-cost] FO:  1874-77 evening reception dress
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Date: Tue, 3 Dec 2002 22:17:05 -0800
Status: RO

I've finally finished my current project, which is based on the 1874-77
afternoon dress from _Patterns of Fashions_.  I used the skirt pattern from
that dress, and changed the bodice from an afternoon to a reception style.
I did have some train trauma, so I'll be reworking the skirt!

http://demode.tweedlebop.com/bustle.html

- Kendra

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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Tue, 03 Dec 2002 23:50:56 -0700
Status: RO

Oooooh!
I gotta admit, I don't know nuttin about the clothing of your time
period, but it sure looks good!
How fun! And where_ever_ did you find the striped satin? That stuff was
completely cool.....
--sue

Kendra Van Cleave wrote:
> 
> I've finally finished my current project, which is based on the 1874-77
> afternoon dress from _Patterns of Fashions_.  I used the skirt pattern from
> that dress, and changed the bodice from an afternoon to a reception style.
> I did have some train trauma, so I'll be reworking the skirt!
> 
> http://demode.tweedlebop.com/bustle.html
> 
> - Kendra
> 
> _______________________________________________
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Subject: Re: [h-cost] Exhibit 16th-17th century clothing Munich Catalog
	Update
From: Cassandra Greer <cassandra@greer.de>
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Date: Wed, 04 Dec 2002 08:19:41 +0100
Status: RO

When in spring? The exhibit might be extended to the middle of March

Cass :)

> this book is to DIE FOR!!!
> should we mention the scaled patterns in the back...my husband
> was looking at the lederkoller and thinking about the 2 sides of
> clothing weight leather in the barn...
> and almost every page has a wonderful color picture of
> something;-) I almost feel like I have been there and seen the
> exhibit. The only thing I am seriously miffed about is we are
> going to Bavaria to visit Christian in the spring when ROb can
> get leave from his boat...and the exhibit will be closed ;-( <big
> pout>
> 
> So, you live anywhere near Gaertringen...? grin
> 
> margali
> 
> Cassandra Greer wrote:
> 
>> Hey if he will do this then I would do it too! Several people have already
>> done it through me but they are being shipped by boat....
>> 
>> Cass :)
>> 
>> PS seeeeee! Someone else knows how cool this book is too! :)))
>> 
>> 
>>> Well, if Cassandra takes the money and buys the books, and gets
>>> them to Christian, and he puts them in his flight bag and hand
>>> delivers them to me in January...
>>> 
>>> margali
> 
> 
> 
> _______________________________________________
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> 

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Date: Wed, 4 Dec 2002 07:44:52 -0000
Status: RO

Well done. I shouldn't worry about you skirt getting trodden on whilst it is
a pain, it seems to be totally  unavoidable, unless you have your skirts too
high for authenticity which looks aweful. I used to be really devestated
every time it happened, but  now I've got very quick to recognise the tug on
a skirt stepped & swiftly back up to avoid damage :) and really good a
repairing the damage !

Mel

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Date: Wed, 4 Dec 2002 20:52:16 +1300
Status: RO

> I've finally finished my current project, which is based on the 1874-77
> afternoon dress from _Patterns of Fashions_.  I used the skirt pattern
from
> that dress, and changed the bodice from an afternoon to a reception style.
> I did have some train trauma, so I'll be reworking the skirt!
> http://demode.tweedlebop.com/bustle.html


Oooh, love how you cut the darts into the stripes, and I think the black
sleeves with the stripes cuffs works very well indeed in bringing the skirt
and bodice to match:) Especially as I've seen a number of bodices that have
contrasting sleeves that appear to be made from the skirt bodyfabric:)

:) I also know someone who is going to absolutely love this as she has a mad
passion for black and white stripes in the bustle era;) I know yours are
cream but still;)

I really have to find a group here that focuses on an era besides quasi
medieval;) I just have no whre to where costumes from my favrouite era: late
1870s-1880s

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume




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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Wed, 4 Dec 2002 08:14:48 +0000 (GMT)
Status: RO

 --- Kendra Van Cleave <kendrav@attbi.com> wrote: > I've finally finished my
current project, which is based on the 1874-77
> afternoon dress from _Patterns of Fashions_.  I used the skirt pattern from
> that dress, and changed the bodice from an afternoon to a reception style.
> I did have some train trauma, so I'll be reworking the skirt!
> 
> http://demode.tweedlebop.com/bustle.html

COOL! That looks really lovely Kendra. The striped bodice is indeed gorgeous.
:-)

Nicole 

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Email: nicole@kipar.org

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Subject: Re: [h-cost] Exhibit 16th-17th century clothing Munich Catalog Update
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Date: Wed, 4 Dec 2002 08:25:27 +0000 (GMT)
Status: RO

 --- M Traber <Marilyn.Traber@spamcop.net> wrote: > this book is to DIE FOR!!!
> should we mention the scaled patterns in the back...my husband 
> was looking at the lederkoller and thinking about the 2 sides of 
> clothing weight leather in the barn...
> and almost every page has a wonderful color picture of 
> something;-) 

HarHarHar may I smugly say that my friend in Aachen ordered one for me and
it'll be waitinmg for me when I visit them at Christmas. ;-)

Nicole - off in a couple of weeks to the annual Germany visit

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Subject: Re: [h-cost] Does anyone live near Warwick Castle??
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Date: Wed, 4 Dec 2002 08:35:42 +0000 (GMT)
Status: RO

 --- Saragrace Knauf <saragrace@earthlink.net> wrote: > Apparently there is a
portrait of Anne of Cleves' sister Sybilla, the
> Electress of Saxony in the 'Blue Boudoir' at Warwick Castle.  The
> 'information people' said they were not aware of any reproductions (I
> have a drawing of it, but it isn't in color) of this portrait (it is by
> Cranach, shows her standing in full "crany" dress with her son).

While I can't get there easily before March, I went there just 3 weeks ago or
so. If you show me a drawing I may at least remember the painting, I have a
vague recollection.

Nicole

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Subject: Re: [h-cost] Swaddling
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Date: Tue, 3 Dec 2002 17:05:15 +0000
Status: RO

I confess total ignorance when it comes to babies, but isn't a certain
amount of crying necessary for the healthy development of an infant's
lungs?

Arlys

On Tue, 03 Dec 2002 15:23:34 -0800 kat@grendal.rain.com writes:
> 
> > Re recent conversations about swaddling - did you pick up this 
> news
> > story?
> > 
> > http://news.bbc.co.uk/1/hi/health/2534113.stm
> > 
> > To summarise, researchers found that, when babies get to around 2
> > months, parents often lay them to sleep on their fronts because 
> they
> > sleep better.  Laying babies on their back is recommended to 
> prevent
> > cot death. So they did a study with babies lying on their backs,
> > swaddled or unswaddled, and monitoring breathing, REM etc.  They 
> found
> > that the swaddled babies woke less often and less fully.
> > 
> > I still can't picture a "specially designed cotton spandex 
> swaddle",
> > though!
> 
> Unfortunately, that means that they don't wake up when they *need* 
> to 
> wake up. It sounds like they need to do some population studies 
> looking at long term effects of swaddling (ie regarding cot 
> death/SIDS).
> 
> Kat Russell
> <kat@grendal.rain.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] Arizona costumer for hire?
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Date: Wed, 4 Dec 2002 08:22:20 -0700
Status: RO

Have him try Mathew Gnagy at Desert Torch Tailoring
http://www.deserttorch.com/-

I'd love to do it myself, but since I have a real job that limits my
time it is difficult for me to commit to a schedule.

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Kendra Van Cleave
>Sent: Tuesday, December 03, 2002 6:45 PM
>To: h-costume@indra.com
>Subject: [h-cost] Arizona costumer for hire?
>
>Hello all!
>
>I have a male friend who lives just outside of Phoenix, who is looking
for a
>costumer to make him a men's Regency outfit.  Is there anyone on the
list
>who is located in Arizona (he'd be willing to travel as far as Tucson
for
>fittings etc.) who's good with male clothing of this period?
>
>Please contact me off-list and I'll put you in touch!
>
>Thanks,
>
>Kendra
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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Date: Wed, 4 Dec 2002 09:28:13 -0600
Status: RO



I confess total ignorance when it comes to babies, but isn't a certain
amount of crying necessary for the healthy development of an infant's
lungs?

Arlys

HA HA HA HA HA HA!
You don't know much about babies is right.

(inside joke)

Kim

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Date: Wed, 4 Dec 2002 08:27:33 -0700
Status: RO

I missed the original post, but there is a wonderful book which gives
great close ups of what folks are wearing in the tapestries. The Unicorn
Tapestries by Adolfo Salvatore Cavallo-ISBN 0-87099-868-4.

I am working on a men's outfit for my husband (who swears he won't wear
it!!)  I shall prevail!

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Rowena
>Sent: Tuesday, December 03, 2002 6:52 PM
>To: h-costume@indra.com
>Subject: [h-cost] What to Wear to a Unicorn Hunt
>
>I'm an Internet Member of the Metropolitan Museum, and they send email
on
>different events.  The Cloisters portion of the Met (which I have never
yet
>actually made it to)  was included in the email on Christmas events:
>http://www.metmuseum.org/now_at_the_met_cloisters.htm
> There is a new section up on the Unicorn Tapestries
>http://www.metmuseum.org/explore/Unicorn/unicorn_inside.htm
>This includes a section entitled What to Wear to a Unicorn Hunt, and
>includes some closeups and commentaries of the clothes:
>http://www.metmuseum.org/explore/Unicorn/unicorn_clothing.htm
>Rowena
>
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume

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Date: Wed, 04 Dec 2002 14:10:56 +0000
Status: RO


Linda Thompson wrote:

>And what is squash? :D (here in the states it is considered a vegetable, >you cook and eat it )
-- 
I think we've been here before! To Britons, squash is a fruit concentrate which you drink diluted with water. The vegetable of that name isn't widely known here.





Kate Bunting
Library, University of Derby


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Subject: Re: [h-cost] Does anyone live near Warwick Castle??
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Date: Thu, 5 Dec 2002 01:05:48 +1300
Status: RO

> --- Saragrace Knauf <saragrace@earthlink.net> wrote: > Apparently there is
a
> portrait of Anne of Cleves' sister Sybilla, the
> > Electress of Saxony in the 'Blue Boudoir' at Warwick Castle.  The
> > 'information people' said they were not aware of any reproductions (I
> > have a drawing of it, but it isn't in color) of this portrait (it is by
> > Cranach, shows her standing in full "crany" dress with her son).
>
> While I can't get there easily before March, I went there just 3 weeks ago
or
> so. If you show me a drawing I may at least remember the painting, I have
a
> vague recollection.

http://www.dhm.de/ausstellungen/victalb/2mill1.htm
mentions this painting, doesn't say anything about the costume but I thought
it might be of some help in some small way:)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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Date: Wed, 04 Dec 2002 07:35:37 -0500
Status: RO

that is the problem...he is military and everything depends on 
his boat's deployment schedule. Me personally? I would chuck my 
job in a heartbeat and move to germany if I had a source of 
income, or rather france as I speak french [though i am learning 
to read and write in german as a side effect of helping christian 
with his english;-)] We are trying for march, as I miss good deep 
snow because connecticut is coastal and really doesn't get the 
type of snow I grew up with;-( and if that doesn't work out late 
april.
margali

Cassandra Greer wrote:

> When in spring? The exhibit might be extended to the middle of March
> 
> Cass :)



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Subject: [h-cost] Kyoto Costume Institute "Fashion" book arrived!!
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Date: Tue, 3 Dec 2002 11:33:16 -0600
Status: RO


 My copy of "Fashion" arrived yesterday. I got my copy through Barnes and
Noble website: the title there is "Evolution in Fashion" Cost  is $32.00 +
ship which is only $3.99 for standard ship; free if you order two or more
books.


Although not an essential purchase for those who own the 1980 "Evolution in
Fashion" or the 1989 "Revolution in Fashion", there are beautiful pics of
fashions from both those eras KCI has added to their collection since both
those exibitions.  Please restrain yourselves from literally drooling over
the matchless color pics throughout the 700+ pages of fashions, mostly
women's.

Lovers of the fashions of Worth, Poiret, Fortuny, and Vionnent should be
especially pleased. You will love or hate the late 20th fashion coverage,
depending on what you think of this era. There is, of course, an emphasis on
Japanese designers in the '80's through 2000 fashions shown, but there are
some really extreme "stuff" too!  I have posted a brief review on bn.com
which should appear by Friday.

I did omit mention in my review of the capsule "bibs" of designers and
houses, a terminology mini dictionary and the bibliography at the end of the
book.

An exhibition catalog is listed in the bibliography that apparently no
library owns and isn't listed as available on the KCI website.  It is
entitled "Charles Frederick Worth" -- an exibition of his work done by the
KCI in 2000.  If anyone knows more about this catalog, let me know.


Thanks,

Cindy Abel
brujne@creighton.edu

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Date: Wed, 04 Dec 2002 07:00:40 -0500
Status: RO

well, i am beading a forepart - nothing too fancy, a cream 
fabric with a very square geometric an dlittle clusters of dots 
that were just begging to be beaded. i am using topaz colored 
beads so i can wear it with my favorite topaz earrings under a 
black outer bodice and skirt. I hope it will be done in time ;-(

Also, again off topic, anybody have any info on how christian can 
make a call to me from germany? i think the us prefix is '1', but 
does he dial just the '1' or is there a code to get an out of the 
country line to use?
margali, warm in ct - i have a woodstove;-)

Sue Clemenger wrote:

I'm making a fitted gown for an upcoming competition, learning
> tablet-weaving, and planning on getting around to making some garments
> inspired by the ones in the Mannesse Codex (for next summer's tourney
> season).  What's everyone else doing?
> --sue



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From: Claire Clarke <Lady_Angharad@bigpond.com>
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Subject: [h-cost] Teeth
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Date: Wed, 04 Dec 2002 20:43:27 -0800
Status: RO

Serendipitously, given the recent discussion of teeth, I just came
across this:
"To cleanse and make them white (ie teeth). Take the root of mallows and
rub
thy teeth and thy gums therewith. And after that take a rough cloth and
rub thy
thy teeth therewith. If thou washest thy mouth with water or with wine
that
titemall, that is spurge, is seethed in, the teeth shall never fall.
Knotgrass kneaded
and laid to the teeth is a good medicine"
>From MS 136 of the Literary Society of London.

I think the efficacy of these suggestions would depend very much on the
properties of the herbs involved. Rubbing your teeth, especially with an
alkaline
substance (if mallow is that) would probably help against against
plaque, but
wouldn't do much for calcified buildups.

So a little more on track, what sort of fabric would one use for a tooth
cloth?
I'd be inclined to say linen because rough wool would seem a bit fuzzy
to
put in your mouth.

Claire

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Date: Wed, 04 Dec 2002 06:56:35 -0500
Status: RO

You might give it a try again, Gunthar cracked down on people. 
Now, you will get reffered to speciific web pages, stefan's 
floregelium or cariadocs miscellaney, and people will reply with 
information in list.  Still can be heavy volume. I get it at work 
so I have something to take my mind off the darker aspects of my job.
margali

STRAIGHT wrote:

> <<<<<I can understand that;-) I find it overwhelming and I am one of
> the serious oldtimers from the list!
> margali>>>>>
> 
>     Oh, I remember you from there.  I got off it too, partly because of the
> volume, but more because every time anybody said anything the only responses
> were "replied to privately" or "refer to the Florilegeum".  It was like no
> conversation or information was allowed.



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Date: Wed, 4 Dec 2002 09:16:10 GMT
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote :

> --- Saragrace Knauf saragrace@earthlink.net>
> wrote: > Apparently there is a
> portrait of Anne of Cleves' sister Sybilla, the
> > Electress of Saxony in the 'Blue Boudoir' at Warwick Castle.  

> While I can't get there easily before March, I went there just 3 weeks ago
> or so.

Me too: same weekend as the medieval market. I did visit the Blue Boudoir, but it not being my period, I didn't take much notice :( From what I remember of layout, the average visitor couldn't get near any pictures, a photo would need special arrangements to get beyond barriers

If I can find my visitors guide, I'll see if there's a picture of the Boudoir at least. But that's two "if"s.




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Date: Wed, 04 Dec 2002 20:10:56 -0800
Status: RO



Robin Netherton wrote:

> On Fri, 29 Nov 2002, Heather Rose Jones wrote:
>
> > I'd want to look at a survey of the earliest examples of dagging
> > before coming to any certain conclusions, but my impression has been
> > that _lined_ dags (whether appearing to be fabric-lined or fur-lined)
> > are relatively rare, and that the default is done in plain unlined
> > cloth. ...
>
> Everything Heather said in her post makes sense to me. I think someone
> would have to do a systematic comparison of representations of dags in art
> as well as in artifacts (with an eye to whether linings may have
> disintegrated) before getting much of an idea as to what came first. I
> personally would be interested in seeing the sequence of shapes of dags as
> well.
>

I don't know about chronological sequence, but I was looking at dags recently
for my new houppelande sleeves. Specifically I was looking for dags on lined
but not furlined sleeves. Alas, for my intended purpose I found essentially
two
kinds: furlined sleeves had very simple dags that were essentially parallel
slits
in the edge of the sleeve; complicated dags seemed to occur on only unlined
fabric. I think I managed to find one instance of a sleeve that didn't seem to
be
lined with fur and I don't think that had very complex dagging.
Admittedly, it wasn't a very exhaustive survey. I assumed at the time that the

motives behind this were simply the difficulty in dealing with small complex
shapes
and a lining, a difficulty I can now well attest to, having decided that
despite the
evidence I would go ahead and make oakleaf dags in my velvet lined with fine
silk sleeves. Sooooo much easier to just cut out the shapes and assume the
fulling of the fabric would keep them from fraying....

Claire

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Subject: [h-cost] Nicole,your wig guy....
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Date: Wed, 4 Dec 2002 12:04:05 +0000
Status: RO

Nicole,

Your wig guy is here in the UK isn't he?I tried to  track down  the 
archives on the H-List but couldn't find your post with the fellows 
details.Would you mind passing them on to me.

Thanks,

Marcus.

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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Wed, 4 Dec 2002 11:51:50 +0000
Status: RO

Thats really lovely Kendra and well done!
The striped satin silk is a coup! Like Sue,I want to know where you got 
it - have been looking for something similar for pajama trews myself for 
months.
Congratulations.

Marcus.


On Wednesday, December 4, 2002, at 06:17  am, Kendra Van Cleave wrote:

> I've finally finished my current project, which is based on the 1874-77
> afternoon dress from _Patterns of Fashions_.  I used the skirt pattern 
> from
> that dress, and changed the bodice from an afternoon to a reception 
> style.
> I did have some train trauma, so I'll be reworking the skirt!
>
> http://demode.tweedlebop.com/bustle.html
>
> - Kendra
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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Subject: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 15:56:51 -0000
Status: RO

Hi all,

There is a huge picture of Arwen in blue at:

http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
age14.shtml

from which you will note a bra strap. I think I speak for us all in
deploring this...

best wishes
Stevie

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Subject: [h-cost] Huge Costume pictures LOTR & TTT
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Date: Wed, 4 Dec 2002 16:09:42 -0000
Status: RO

Hi all,

I should mention that there are a *lot* of huge pictures at the 

http://www.warofthering.net/

site, not just Arwen, for people interested in the costume content. 

best wishes
Stevie


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From: "Talia" <khanson@kc.rr.com>
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Subject: RE: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 10:12:55 -0600
Status: RO

Well, considering that it's supposed to represent fantasy clothing, who can
say what the "correct underpinnings" should be?

Talia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Stevie Gamble
Sent: Wednesday, December 04, 2002 9:57 AM
To: h-costume@indra.com
Subject: [h-cost] Huge picture of Arwen without correct underpinnings


Hi all,

There is a huge picture of Arwen in blue at:

http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
age14.shtml

from which you will note a bra strap. I think I speak for us all in
deploring this...

best wishes
Stevie

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 15:59:28 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: > Hi all,
> 
> There is a huge picture of Arwen in blue at:
> 
> http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
> age14.shtml

What a lovely picture!

> from which you will note a bra strap. I think I speak for us all in
> deploring this...

That was a joke, wasn't it? 
I love that dress :-) Oh isn't fantasy wonderful.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 10:22:00 -0600 (CST)
Status: RO


On Wed, 4 Dec 2002, Stevie Gamble wrote:

> There is a huge picture of Arwen in blue at:
> 
> http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
> age14.shtml
> 
> from which you will note a bra strap. I think I speak for us all in
> deploring this...

The bra doesn't seem to be well-matched to the gown, either. Is it just
me, or is that dress lopsided on her bust?

Her face is exquisite. The poor fit of the dress actually detracts from it
in this photo.

--Robin

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From h-costume-admin@indra.com  Wed Dec  4 11:31:51 2002
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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 10:28:00 -0600
Status: RO

That is not a bra strap silly. :)

That is the underdress. You can see that there are three layers to this
dress. Two blue, one cream. The thing you are seeing is the top of the last
layer. :)

It is a loose dress, made to flow as she walks from what I can see. The
looser the better the flow if I remember from my drama days.

Sincerely,
Chiara
Ansteorra, Steppes

----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Wednesday, December 04, 2002 9:56 AM
Subject: [h-cost] Huge picture of Arwen without correct underpinnings


> Hi all,
>
> There is a huge picture of Arwen in blue at:
>
> http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
> age14.shtml
>
> from which you will note a bra strap. I think I speak for us all in
> deploring this...
>
> best wishes
> Stevie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: [h-cost] Cass's Swiss Costume?-Was:I don't know what to head this
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Date: Wed, 4 Dec 2002 08:36:29 -0700
Status: RO

I missed the original post.  Could someone repost Cass's link?  I
assumed it was Kass McGann, but I think not?

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Gail & Scott Finke
>Sent: Tuesday, December 03, 2002 7:11 PM
>To: h-costume@indra.com
>Subject: [h-cost] I dont' know what to head this
>
>
>Hello all --
>
>On a total tangent here -- I discovered something when looking at the
>wonderful Swiss page Cass posted. When I looked at the picture of the
>beautiful gowns, I noticed for the first time how much this style
emphasizes
>the curve at the small of the woman's back, which Robin Netherton has
so
>often reminded us is apparently very attractive to gentlemen. I guess I
>haven't seen too many of these gowns in person or from the right angle
--
>let's face it, in films and on stage, the bust or the entire front view
is
>usually emphasized. But here you can see what a lovely curved shape
these
>gowns have in the back. Just a random thought --
>
>Gail finke
>
>
>> She gave me the website of the guy (Johannes Pietsch) who helped
restore the
>> pieces on display for this exhibit (and who would be teaching that
class to
>> make the men's lederkoller). I went to his site and he actually has
the
>> pattern for the one men's slit jacket pictured on my website.
>>
>> http://www.kostuemforschung.de/1207.html
>>
>
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
References: <20021204155928.12144.qmail@web13304.mail.yahoo.com>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 16:29:47 -0000
Status: RO

Hi all,

Nicole wrote, re my deploring Arwen's visible brastrap

> That was a joke, wasn't it?

Yes:-)

> I love that dress :-) Oh isn't fantasy wonderful.

Yes, both dress and fantasy are wonderful; I have some reservations
about providing Arwen with Glorfindel's part, though. I've known
gerbils more menacing than Liv Tyler...

best wishes
Stevie


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From h-costume-admin@indra.com  Wed Dec  4 11:37:01 2002
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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 04 Dec 2002 11:28:28 -0500
Status: RO

I'd say the dress neckline was not quite properly fitted or backed. 
So the bra strap is peaking out and the dress looks lopsided. 
Sometimes this happens if the wearer was fitted standing straight and 
then posed slightly slumped. But I doubt this is the case here.

I do like the different textures on the outfit. They are rich but 
still delicate.

Linda K-S

At 10:22 AM -0600 12/4/02, Robin Netherton wrote:
>On Wed, 4 Dec 2002, Stevie Gamble wrote:
>
>>  There is a huge picture of Arwen in blue at:
>>
>>  http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
>>  age14.shtml
>>
>>  from which you will note a bra strap. I think I speak for us all in
>>  deploring this...
>
>The bra doesn't seem to be well-matched to the gown, either. Is it just
>me, or is that dress lopsided on her bust?
>
>Her face is exquisite. The poor fit of the dress actually detracts from it
>in this photo.
>
>--Robin
>
>_______________________________________________
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Subject: Re: [h-cost] What to Wear to a Unicorn Hunt
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Date: Wed, 4 Dec 2002 11:39:42 EST
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In a message dated 12/4/2002 10:28:33 AM Eastern Standard Time, 
saragrace@earthlink.net writes:


> I am working on a men's outfit for my husband (who swears he won't wear
> it!!)  I shall prevail!
> 
> 

I think the key is making sure he has a good event to which to wear it!  I 
slaved for hours over my husband's chintz morning gown and waistcoat, and 
couldn't understand why he wasn't all that enthusiastic.  My boss remarked, 
"Does the term effiminate come to mind?"  But I, along with the milliners at 
Colonial Williamsburg, have adopted the saying, "Real men wear chintz."  And 
now my husband has willingly worn the gown to several events.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/4/2002 10:28:33 AM Eastern Standard Time, saragrace@earthlink.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I am working on a men's outfit for my husband (who swears he won't wear<BR>
it!!)&nbsp; I shall prevail!<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
I think the key is making sure he has a good event to which to wear it!&nbsp; I slaved for hours over my husband's chintz morning gown and waistcoat, and couldn't understand why he wasn't all that enthusiastic.&nbsp; My boss remarked, "Does the term effiminate come to mind?"&nbsp; But I, along with the milliners at Colonial Williamsburg, have adopted the saying, "Real men wear chintz."&nbsp; And now my husband has willingly worn the gown to several events.<BR>
Ann Wass</FONT></HTML>

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Date: Wed, 4 Dec 2002 16:49:05 -0000
Status: RO

>So a little more on track, what sort of fabric would one use for a tooth
cloth?
I'd be inclined to say linen because rough wool would seem a bit fuzzy
to
put in your mouth.



Linen was refered to in the Babbees book

Mel
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From h-costume-admin@indra.com  Wed Dec  4 11:51:08 2002
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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 04 Dec 2002 09:50:51 -0700
Status: RO

My guess is, since the gown neckline is so wide (nearly off her
shoulders), that the "bra strap", which looks to be flesh-toned, is
probably part of the underpinnings or interior construction of the gown
bodice.
The dress is lovely, but the neckline doesn't seem to fit her quite
right--almost as if it's a little too big/wide, or perhaps the metallic
trim (yum, for fantasy purposes! <g>) is too stiff?
Nice to know, though, that even very lovely people in lovely outfits can
have moments of gaposis! Somehow reassuring.....
--Sue, who'd *love* to look that nice, in an ill-fitting gown or not!
;-)

Robin Netherton wrote:
> 
> On Wed, 4 Dec 2002, Stevie Gamble wrote:
> 
> > There is a huge picture of Arwen in blue at:
> >
> > http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
> > age14.shtml
> >
> > from which you will note a bra strap. I think I speak for us all in
> > deploring this...
> 
> The bra doesn't seem to be well-matched to the gown, either. Is it just
> me, or is that dress lopsided on her bust?
> 
> Her face is exquisite. The poor fit of the dress actually detracts from it
> in this photo.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Does anyone live near Warwick Castle??
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Date: Wed, 4 Dec 2002 09:50:09 -0700
Status: RO

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The portrait of interest is the one on the left.  Of course I have no
idea if this is what it really looks like, but..  The more I try to
pursue artwork from secondary sources the more frustrated I get.times,
responsible artists and title are often incorrect...grrrrr.
 
Thanks for trying to help!!
 
http://www.saragrace.net/images/MiscUploads/sybillavancleeve.gif
 
Sg
 
 

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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>The
portrait of interest is the one on the left. <span
style=3D'mso-spacerun:yes'>&nbsp;</span>Of course I have no idea if this =
is what
it really looks like, but&#8230;.<span style=3D'mso-spacerun:yes'>&nbsp;
</span>The more I try to pursue artwork from secondary sources the more =
frustrated
I get&#8230;times, responsible artists and title are often =
incorrect&#8230;..<span
class=3DSpellE>grrrrr</span>.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>Thanks
for trying to help!!<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.saragrace.net/images/MiscUploads/sybillavancleeve.gif"=
>http://www.saragrace.net/images/MiscUploads/sybillavancleeve.gif</a><o:p=
></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
mso-no-proof:yes'>Sg<o:p></o:p></span></font></p>

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From h-costume-admin@indra.com  Wed Dec  4 11:52:04 2002
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From: Drea Leed <drea@nospam>
To: h-costume <h-costume@indra.com>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 11:40:58 -0500 (EST)
Status: RO

In an interview with the costume designer, she said she'd designed the
elven clothes to hang from the shoulders to the ground to give the elves a
more not-of-this-world feel.  This looks like an example of that
aesthetic.  Too bad...I think the neckline would have looked better if it
had been more fitted and supportive.

But check out the trim and embroidery!  YUM!

Drea

On Wed, 4 Dec 2002, chiara wrote:

> That is not a bra strap silly. :)
>
> That is the underdress. You can see that there are three layers to this
> dress. Two blue, one cream. The thing you are seeing is the top of the last
> layer. :)
>
> It is a loose dress, made to flow as she walks from what I can see. The
> looser the better the flow if I remember from my drama days.
>
> Sincerely,
> Chiara
> Ansteorra, Steppes
>
> ----- Original Message -----
> From: "Stevie Gamble" <stevie.gamble@btinternet.com>
> To: <h-costume@indra.com>
> Sent: Wednesday, December 04, 2002 9:56 AM
> Subject: [h-cost] Huge picture of Arwen without correct underpinnings
>
>
> > Hi all,
> >
> > There is a huge picture of Arwen in blue at:
> >
> > http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
> > age14.shtml
> >
> > from which you will note a bra strap. I think I speak for us all in
> > deploring this...
> >
> > best wishes
> > Stevie
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> _______________________________________________
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10212041019050.7762-100000@shell.nightowl.net>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 17:10:19 -0000
Status: RO


Robin wrote:

> Is it just
> me, or is that dress lopsided on her bust?

Yes, I think it is. I wasn't able to see the film when it came out,
but I recently treated myself to the extended DVD which has some
costuming coverage, and the designer spoke of wanting to give some
drape around the neckline. I don't think it worked. It seems to come
from a sequence in which Arwen dramatically lets her cape slip from
her shoulders as she moves forward, which may have dragged the gown
out of shape.

best wishes
Stevie

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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 04 Dec 2002 11:49:32 -0500
Status: RO

Well, it definitely hangs off the shoulder. but that spot, between 
the shoulder and the breast is a tough one to have stay put if there 
is little or no support in the underlying dresses. It may not be as 
visible when the actress is moving in the movie. And unlike 
recreation garments, theatrical garments only need to look good from 
farther away.

Linda K-S

At 11:40 AM -0500 12/4/02, Drea Leed wrote:
>In an interview with the costume designer, she said she'd designed the
>elven clothes to hang from the shoulders to the ground to give the elves a
>more not-of-this-world feel.  This looks like an example of that
>aesthetic.  Too bad...I think the neckline would have looked better if it
>had been more fitted and supportive.
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Subject: Re: [h-cost] Exhibit 16th-17th century clothing Munich Catalog
	Update
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Date: Wed, 04 Dec 2002 18:12:09 +0100
Status: RO

> with his english;-)] We are trying for march, as I miss good deep
> snow because connecticut is coastal and really doesn't get the
> type of snow I grew up with;-( and if that doesn't work out late
> april.
Hmm well, you are most likely not going to find good deep snow here! unless
you go skiing and depending on the winter (it has only snowed once here -
beginning of Nov and none of it stayed) I'm not sure what' going on in the
mountains right now but none of my friends have gone skiing yet...

Anyway even if the exhibit is over you could probably make an appointment
with Birgitt to have her show you things :)

Tja...

Cass :)

> 
> Cassandra Greer wrote:
> 
>> When in spring? The exhibit might be extended to the middle of March
>> 
>> Cass :)
> 
> 
> 
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Subject: Re: [h-cost] Cass's Swiss Costume?-Was:I don't know what to head
	this
From: Cassandra Greer <cassandra@greer.de>
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Date: Wed, 04 Dec 2002 18:12:38 +0100
Status: RO

Uhm, Gail replied to my post (I'm a Cass...) but I'm not sure what gowns she
is refering to since my link is to several pictures - of doublets (which are
Dutch/German).

Cass :)

> I missed the original post.  Could someone repost Cass's link?  I
> assumed it was Kass McGann, but I think not?
> 
> Sg
> 
> 
>> -----Original Message-----
>> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>> Behalf Of Gail & Scott Finke
>> Sent: Tuesday, December 03, 2002 7:11 PM
>> To: h-costume@indra.com
>> Subject: [h-cost] I dont' know what to head this
>> 
>> 
>> Hello all --
>> 
>> On a total tangent here -- I discovered something when looking at the
>> wonderful Swiss page Cass posted. When I looked at the picture of the
>> beautiful gowns, I noticed for the first time how much this style
> emphasizes
>> the curve at the small of the woman's back, which Robin Netherton has
> so
>> often reminded us is apparently very attractive to gentlemen. I guess I
>> haven't seen too many of these gowns in person or from the right angle
> --
>> let's face it, in films and on stage, the bust or the entire front view
> is
>> usually emphasized. But here you can see what a lovely curved shape
> these
>> gowns have in the back. Just a random thought --
>> 
>> Gail finke
>> 
>> 
>>> She gave me the website of the guy (Johannes Pietsch) who helped
> restore the
>>> pieces on display for this exhibit (and who would be teaching that
> class to
>>> make the men's lederkoller). I went to his site and he actually has
> the
>>> pattern for the one men's slit jacket pictured on my website.
>>> 
>>> http://www.kostuemforschung.de/1207.html
>>> 
>> 
>> _______________________________________________
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In a message dated 12/3/2002 12:13:29 AM Eastern Standard Time, 
thebruce@ihug.co.nz writes:


> But that's exactly the point of theatre/tv it shouldn't be a slave to 
> historical correctness as that is not it's purpose.

To begin with, it's NOT the point of thetre/tv to be wrong. 

If the change in period has a purpose or somehow enhances the concept, then 
so be it. But if it's wrong just because someone doesn't like a high waisted 
gown, then pooey on it. Like "Bram Stoker's Dracula"....it's just bad 
costuming for no reason whatsoever. All those designs could have existed in 
their proper period and form and not only have been lovely but also correct. 
This is the exact comment made about the show we're talking about now [which 
I haven't seen, BTW]. Changing things for no reason is just bad costuming. 
Especially if they flash the date in 10' tall numbers on the screen or the 
characters refer to historical events.

I'm no nut for historical accuracy, as you all should know by now. But just 
plain ignoring the period is not my cup of tea either. Lavish displays of 
cluelessness are just embarrassing!

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 12/3/2002 12:13:29 AM Eastern Standard Time, thebruce@ihug.co.nz writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">But that's exactly the point of theatre/tv it shouldn't be a slave to historical correctness as that is not it's purpose.</BLOCKQUOTE><BR>
<BR>
To begin with, it's NOT the point of thetre/tv to be wrong. <BR>
<BR>
If the change in period has a purpose or somehow enhances the concept, then so be it. But if it's wrong just because someone doesn't like a high waisted gown, then pooey on it. Like "Bram Stoker's Dracula"....it's just bad costuming for no reason whatsoever. All those designs could have existed in their proper period and form and not only have been lovely but also correct. This is the exact comment made about the show we're talking about now [which I haven't seen, BTW]. Changing things for no reason is just bad costuming. Especially if they flash the date in 10' tall numbers on the screen or the characters refer to historical events.<BR>
<BR>
I'm no nut for historical accuracy, as you all should know by now. But just plain ignoring the period is not my cup of tea either. Lavish displays of cluelessness are just embarrassing!</FONT></HTML>

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Date: Wed, 4 Dec 2002 10:20:29 -0700
Status: RO

I'd like to see them all! Can you repost your link?

Sg


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Subject: [h-cost] How do they do those long feet:wasHuge Costume pictures LOTR & TTT
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Date: Wed, 4 Dec 2002 10:06:11 -0700
Status: RO

http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/imag
e9.shtml


How do you suppose they do those feet?  Do you think they just make up
the feet for special shots or does the actor have to wear them all the
time 'just in case' the feet get in the picture.  I would be falling all
over myself. 

 Waaaaa-I want to work on costumes for a living!!  In my other voice "No
I don't, making costumes for people is a thankless job.......You have to
make all sorts of mundane crap along with the fun stuff......"  I hate
Los Angeles and most actors...

Schizo Sg


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Date: Wed, 04 Dec 2002 18:25:29 +0100
Status: RO

Here it is again

http://homepage.mac.com/cassandragreer/PhotoAlbum4.html

So far I have arranged for 10 books to be sent

Cass :)

> I'd like to see them all! Can you repost your link?
> 
> Sg
> 
> 
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] How do they do those long feet:wasHuge Costume
	pictures LOTR & TTT
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Date: Wed, 04 Dec 2002 17:34:40 +0000
Status: RO

Saragrace wrote:

>
http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/image9.shtml


>How do you suppose they do those feet?  Do you think they just make up
>the feet for special shots or does the actor have to wear them all the
>time 'just in case' the feet get in the picture.  I would be falling all
>over myself. 

I've read that the actors had to have many pairs of prosthetic feet. In my opinion, the hobbits' feet aren't hairy enough; it's supposed to be thick like head hair.

 

Kate Bunting
Library, University of Derby


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Subject: Re: [h-cost] Ethnic Eating and cold weather
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Date: Wed, 4 Dec 2002 12:55:11 -0500
Status: RO

    I'm in rural, hilly, southwest NYS.  We're just a few miles outside the
lake effect.  If you look at a US climate map, you'll see a little purple
circle in this area----that's me.  It's colder than most of the rest of the
state, and the frost free season is about 2 weeks shorter on each end.
     I go in and out, somehow a long time ago I tried making velvet and
velour skirts to put on over the top to go outside, and liked it a lot.
    Um----my idea of "housedress" probably isn't most people's.  I don't fit
in the T shirt and jeans crowd, never did.  I like fancy dresses, always
have.  Learned to sew before I went to kindergarten, (mumble, mumble) years
ago.  Never stopped.
    Of course, then I learned to crochet lace, and knit, and tat, and weave,
and spin-------you get the idea.
     A lot of ---I'm trying to figure out how to put this exactly---country
style historical clothes, "costumes", are very practical for life in the
country.  That's what they were, and they still work.

Smiles,
Diane S. -----it's up to 20F today!
<<<<<<<<<<<<<<<<<<<<<<<
that you're talking about cold weather.  It sounds almost like you're
combining costume and non-costume elements to stay warm.  Where are you,
by the way? We've had a couple of weeks of nothing but sub-freezing
temps and ice fogs.  Ugh.  Very dreary.  I've been

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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Wed, 4 Dec 2002 09:42:06 -0800
Status: RO

Thanks for all the positive feedback on my dress!

I found the striped satin on ebay, amazingly enough -- the seller is
michelle@tennenjobs.com, who always has amazing fabric bits and pieces (most
of them pretty pricey, although mine was a Buy It Now for $40 -- 2 yards, 50
or 60" wide).  I think it is originally an upholstery fabric, but it worked
just fine for my purposes!

- Kendra

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Subject: Re: [h-cost] Exhibit 16th-17th century clothing Munich Catalog	Update
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Date: Wed, 04 Dec 2002 12:43:52 -0500
Status: RO

Well, we do intend to hit the museum no matter what.. I will be 
making notes about specific questions to take along;-)

Christian has a freind with a wellnessfarm that we may spend some 
time at and he says they tend to have snowcover;-)
margali

Cassandra Greer wrote:

>>with his english;-)] We are trying for march, as I miss good deep
>>snow because connecticut is coastal and really doesn't get the
>>type of snow I grew up with;-( and if that doesn't work out late
>>april.
>>
> Hmm well, you are most likely not going to find good deep snow here! unless
> you go skiing and depending on the winter (it has only snowed once here -
> beginning of Nov and none of it stayed) I'm not sure what' going on in the
> mountains right now but none of my friends have gone skiing yet...
> 
> Anyway even if the exhibit is over you could probably make an appointment
> with Birgitt to have her show you things :)
> 
> Tja...
> 
> Cass :)



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Date: Wed, 04 Dec 2002 09:58:10 -0700
Status: RO

You know, I think I've actually seen that one in one of my costume or
art books.  I'll try to find it....
--sue
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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Wed, 4 Dec 2002 09:42:57 -0800
Status: RO

Good point -- maybe I should just add a skirt lifter?  Hmmm!  I'll have to
inspect the skirt to see how bad the damage really is (I haven't had the
heart to look at it yet).

- Kendra
----- Original Message -----
From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: <h-costume@indra.com>
Sent: Tuesday, December 03, 2002 11:44 PM
Subject: Re: [h-cost] FO: 1874-77 evening reception dress


> Well done. I shouldn't worry about you skirt getting trodden on whilst it
is
> a pain, it seems to be totally  unavoidable, unless you have your skirts
too
> high for authenticity which looks aweful. I used to be really devestated
> every time it happened, but  now I've got very quick to recognise the tug
on
> a skirt stepped & swiftly back up to avoid damage :) and really good a
> repairing the damage !
>
> Mel

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Date: Wed, 4 Dec 2002 09:48:19 -0800
Status: RO

Actually, cutting the darts into the stripes was pure luck!  I did try to
match the seams pretty carefully, although the center front/side front seam
got messed up (the cream stripe there is narrower than it should have
been -- I mistakenly looked at the center front opening when I went to match
the edges!).

- Kendra
----- Original Message -----
From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
Sent: Tuesday, December 03, 2002 11:52 PM
Subject: Re: [h-cost] FO: 1874-77 evening reception dress


> Oooh, love how you cut the darts into the stripes, and I think the black
> sleeves with the stripes cuffs works very well indeed in bringing the
skirt
> and bodice to match:) Especially as I've seen a number of bodices that
have
> contrasting sleeves that appear to be made from the skirt bodyfabric:)

<snip>

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Date: Wed, 04 Dec 2002 09:35:52 -0800
Status: RO


> I confess total ignorance when it comes to babies, but isn't a certain
> amount of crying necessary for the healthy development of an infant's
> lungs?

Yes. That may be one of the reasons why babies sometimes cry for no 
apparent reason that anyone can figure out. (But then they also cry 
when they're over-tired, over-stimulated and over-full.)

Kat Russell
<kat@grendal.rain.com>

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Date: Wed, 4 Dec 2002 09:56:58 -0700
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I am making this for Estrella Wars.  My problem 'child'  is a little
more than most.  He thinks dressing up at all is very stupid, has never
been to an event to know otherwise, and only promised to go if it was
under cover of darkness!!
 
Thank you for the encouragement though!
 
Sg
 
 

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FAMILY=3DSANSSERIF><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>I am making this =
for
Estrella Wars.<span style=3D'mso-spacerun:yes'>&nbsp; </span>My problem =
<span
class=3DGramE>&#8216;child&#8217; <span =
style=3D'mso-spacerun:yes'>&nbsp;</span>is</span>
a little more than most.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span>He thinks
dressing up at all is very stupid, has never been to an event to know
otherwise, and only promised to go if it was under cover of =
darkness!!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Thank you for the encouragement =
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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Wed, 4 Dec 2002 11:56:12 -0600
Status: RO

Wow! It looks just great! I really need an instant transporter so I can
pop over and see everyone's efforts in person because I strongly suspect
they look even better in the....er....fabric than they do in pics. I love
how you used that stripe effect, that's brilliant.


Karen

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Date: Wed, 4 Dec 2002 17:56:24 -0000
Status: RO

>Good point -- maybe I should just add a skirt lifter?

I have several & I've made a repro (see www.chatelaines.co.uk) but I still
dosen't stop it completly unfortunatly

Mel

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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Does anyone live near Warwick Castle??
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Date: Wed, 4 Dec 2002 11:27:28 -0700
Status: RO

Yes, I had come across that too after looking for it on the
internet-that is the site that led me to contact Warwick.  I have
several costume books that mention it, but no good pictures-just that
outline I posted. 

The hunt for artwork is rather fun!

Sg



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Subject: RE: [h-cost] How do they do those long feet:wasHuge Costumepictures LOTR & TTT
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Date: Wed, 4 Dec 2002 11:34:24 -0700
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> In my opinion, the hobbits' feet aren't hairy enough; it's supposed to
be thick like head hair.


Yes, but it was probably too gross for your average movie goer!!

SG

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In a message dated 12/4/2002 12:18:52 PM Eastern Standard Time, 
AlbertCat@aol.com writes:


> . But if it's wrong just because someone doesn't like a high waisted gown, 
> then pooey on it. Like "Bram Stoker's Dracula"....it's just bad costuming 
> for no reason whatsoever

Thank you!  You said what was in my mind, but I could not figure out how to 
say it succinctly and eloquently.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/4/2002 12:18:52 PM Eastern Standard Time, AlbertCat@aol.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">. But if it's wrong just because someone doesn't like a high waisted gown, then pooey on it. Like "Bram Stoker's Dracula"....it's just bad costuming for no reason whatsoever</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Thank you!&nbsp; You said what was in my mind, but I could not figure out how to say it succinctly and eloquently.<BR>
Ann Wass</FONT></HTML>

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From h-costume-admin@indra.com  Wed Dec  4 13:49:51 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 18:48:15 +0000 (GMT)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > My guess is, since the gown
neckline is so wide (nearly off her
> shoulders), that the "bra strap", which looks to be flesh-toned, is
> probably part of the underpinnings or interior construction of the gown
> bodice.

Yep yep yep. My guess too. The gown looks 'mounted' on an under-something, the
front of the gown looks semi-stiff to me. It doesn't look like a 'bra'.

> The dress is lovely, but the neckline doesn't seem to fit her quite
> right--almost as if it's a little too big/wide, or perhaps the metallic
> trim (yum, for fantasy purposes! <g>) is too stiff?

I beg to differ, I actually liked the fact the neckline looked a bit 'odd',
then again this gown happens to be my alltime favourite of all the elven gowns.
(gosh do I HATE galadrial's white polyestery dress  :-)

> --Sue, who'd *love* to look that nice, in an ill-fitting gown or not!
> ;-)

YES!!! me too! While Miss Tyler comes over in interviews as not quite that
bright in the brains department, I don't care, she is SOOOOOOOOO lovely.

Nicole - le sigh, le very melodramatic longing sigh.

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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 19:03:20 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: >
> Yes, both dress and fantasy are wonderful; I have some reservations
> about providing Arwen with Glorfindel's part, though. I've known
> gerbils more menacing than Liv Tyler...

Yeah but that's not the point in a costume, is it?

I don't like what they did with the character of Arwen, I much prefer to see
goodlooking males on screen than females, and eventhough she is mightily lovely
and even I drool, I would have much preferred Glorfindel too, and even worse, I
heard nothing of Elrohir and Elladan! *screams* Oh how I love the elven
grey-eyed twins, but nevermind, it still isn't the point here *laughs* not even
that I much prefer the race of men to the race of elves, the latter are SO
boring. Bah! Too perfect. ;-)

Nicole

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Subject: Re: [h-cost] Nicole,your wig guy....
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Date: Wed, 4 Dec 2002 19:11:24 +0000 (GMT)
Status: RO

 --- marcus findlay-arthur <marcus.cuttingtable@virgin.net> wrote: > Nicole,
> 
> Your wig guy is here in the UK isn't he?I tried to  track down  the 
> archives on the H-List but couldn't find your post with the fellows 
> details.Would you mind passing them on to me.

No problem: Derek Easton, he has a little website now with the contact details
on it:

http://www.derekeastonwigs.co.uk/

Nicole


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Date: Wed, 4 Dec 2002 10:38:14 -0800
Status: RO

At 8:43 PM -0800 12/4/02, Claire Clarke wrote:
>Serendipitously, given the recent discussion of teeth, I just came
>across this:
>"To cleanse and make them white (ie teeth). Take the root of mallows and
>rub
>thy teeth and thy gums therewith. And after that take a rough cloth and
>rub thy
>thy teeth therewith. If thou washest thy mouth with water or with wine
>that
>titemall, that is spurge, is seethed in, the teeth shall never fall.
>Knotgrass kneaded
>and laid to the teeth is a good medicine"
>>From MS 136 of the Literary Society of London.
>
>I think the efficacy of these suggestions would depend very much on the
>properties of the herbs involved. Rubbing your teeth, especially with an
>alkaline
>substance (if mallow is that) would probably help against against
>plaque, but
>wouldn't do much for calcified buildups.
>
>So a little more on track, what sort of fabric would one use for a tooth
>cloth?
>I'd be inclined to say linen because rough wool would seem a bit fuzzy
>to
>put in your mouth.

When Giraldus Cambrensis describes 12th century Welsh tooth care, he 
evidently specifically mentions rubbing them with woolen cloths. 
("Evidently" because all I have access to at the moment is an English 
translation, so I can't double-check the specific wording of the 
original Latin.)  He also describes cleaning the teeth with hazel 
twigs.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Wed, 4 Dec 2002 16:41:54 EST
Status: RO


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In a message dated 12/4/2002 12:59:45 PM Eastern Standard Time, 
seamstrix@juno.com writes:


> Wow! It looks just great!

I wanna see!!!!! And I deleted the original post. Would someone be so 
kind.......

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 12/4/2002 12:59:45 PM Eastern Standard Time, seamstrix@juno.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Wow! It looks just great!</BLOCKQUOTE><BR>
<BR>
I wanna see!!!!! And I deleted the original post. Would someone be so kind.......</FONT></HTML>

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Subject: [h-cost] OT: British food question
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Date: Wed, 04 Dec 2002 16:43:27 -0500
Status: RO



Sorry to bother the list, but this is the only place I know to ask this
question. My daughter is reading a British book and ran across a term she
didn't know. Having read many British children's books myself, I am
surprised to find that I don't know the answer. So here goes: what is
"potted meat"? Is it like Spam, or something completely different?

Private replies fine, of course.

Gail Finke, 
Cincinnati, USA

PS: And do you really not eat squash, the vegetable? We have many different
kinds, from the ubiquitous zucchini squash to yellow squash (that's it's
name, not a description), orange butternut squash, green acorn squash, and
other more exotic kinds. And of course, pumpkins.

 

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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 4 Dec 2002 15:14:23 -0500
Status: RO

If you look toward the left side of the monitor, you can see what definitely
looks like a bra strap.

But it IS a gorgeous dress!

Dianne

studying that beading on the sleeves....
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, December 04, 2002 10:59 AM
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings


> --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: > Hi all,
> >
> > There is a huge picture of Arwen in blue at:
> >
> > http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/im
> > age14.shtml
>
> What a lovely picture!
>
> > from which you will note a bra strap. I think I speak for us all in
> > deploring this...
>
> That was a joke, wasn't it?
> I love that dress :-) Oh isn't fantasy wonderful.
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
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Subject: Re: [h-cost] Teeth
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Date: Wed, 4 Dec 2002 14:28:12 -0800
Status: RO

My grand-daughter and I experimented this last summer and found that
medium-grade linen works pretty well.  (Wool just might work better, though.
Didn't even think about it probably because of the "fuzzy" concept.)  We
were also using a high-alkaline powder dentifrice I make.  It has a slight
but dissolvable grit to it.

Bear in mind that if one uses any cleanser that will counter the acid found
in most foods (and acid is what eats tooth enamel) on a regular basis _and_
uses a scrubbing method (not just a liquid swished around), plaque won't
build up so easily.

Scrubbing with the end of a twig works surprisingly well, too.  For those
who've never tried it, you have to chew the end into a "paintbrush" form to
make this really work.  Just takes a few chomps and it's ready to use.
(Don't make it too soft or it won't work as well.)  And it's _disposable_
reducing the occurrence of toothbrush-as-bacterial-breeding-ground problems.

The advantage to the twig method is that it gets into crevices and between
teeth better than any cloth can.  (Memories of sassafras twigs from
childhood come to the surface.  No, I had a regular toothbrush.  I just like
sassafras.)

(Okay, so the obligatory costume content wasn't here.  At least I mentioned
fibers in a comparative sense.  :-)  (Yes, I'm being silly here...))

Going back to "lurk" mode,
Brenna


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Date: Wed, 04 Dec 2002 14:16:14 -0800
Status: RO

Heather writes:
> When Giraldus Cambrensis describes 12th century Welsh tooth care, he
> evidently specifically mentions rubbing them with woolen cloths.
> ("Evidently" because all I have access to at the moment is an English
> translation, so I can't double-check the specific wording of the
> original Latin.)  He also describes cleaning the teeth with hazel
> twigs.

Which brings us full circle back to Shakespeare in Love with Gwyneth 
Paltrow using a twig to clean her teeth. ;)

Kat Russell
<kat@grendal.rain.com>

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From: kat@grendal.rain.com
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Date: Wed, 04 Dec 2002 14:20:00 -0800
Status: RO

 
> Sorry to bother the list, but this is the only place I know to ask
> this question. My daughter is reading a British book and ran across a
> term she didn't know. Having read many British children's books
> myself, I am surprised to find that I don't know the answer. So here
> goes: what is "potted meat"? Is it like Spam, or something completely
> different?

Potted meats aren't just British.

We have potted meats too: deviled ham, deviled chicken, spam, and 
others I grab every once in a while to keep in the car for "emergency 
protein source."

> PS: And do you really not eat squash, the vegetable? We have many
> different kinds, from the ubiquitous zucchini squash to yellow squash
> (that's it's name, not a description), orange butternut squash, green
> acorn squash, and other more exotic kinds. And of course, pumpkins.

And we have the occasional British squash such as Ribena. (Yum. My 
favorite, although you have to hunt to find it, usually only in 
specialty stores and only the concentrate.)

Mostly we just call ours "juice".

Kat Russell
<kat@grendal.rain.com>

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From h-costume-admin@indra.com  Wed Dec  4 17:32:04 2002
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Date: Wed, 4 Dec 2002 23:27:11 +0000
Status: RO

Nicole thanks for the wig fellow's link.

Marcus.

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Date: Wed, 04 Dec 2002 22:40:38 -0000
Status: RO

On 4 Dec 2002 at 16:43, Gail & Scott Finke wrote:

> Sorry to bother the list, but this is the only place I know to ask
> this question. My daughter is reading a British book and ran across a
> term she didn't know. Having read many British children's books
> myself, I am surprised to find that I don't know the answer. So here
> goes: what is "potted meat"? Is it like Spam, or something completely
> different?

A term which hasn't been in common use for a while 
over here, either. I believe from context that it refers 
to something softer than Spam: more like a meat 
paste, to be spread in sandwiches. Checking books, 
Mrs Beeton tells me nothing, but other "traditional" 
recipes imply that it involves cooked meat, chopped 
very finely and mashed with butter and spices. The 
result is stored in a pot, with a layer of melted butter 
poured over the top to seal it.


> PS: And do you really not eat squash, the vegetable? We have many
> different kinds, from the ubiquitous zucchini squash to yellow squash
> (that's it's name, not a description), orange butternut squash, green
> acorn squash, and other more exotic kinds. And of course, pumpkins.

I think what you call zuchinni are what we call 
courgettes: and while I know they're related, I 
wouldn't add "squash" to the name any more than I 
would to that of a cucumber or a marrow. We have 
pumpkins. Butternut "squash", with that name, are in 
the "exotic" section of the supermarkets, along with 
other gourds.

If we say "squash", we'd think first of the drink. Not a 
vegetable.



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Date: Wed, 04 Dec 2002 22:40:37 -0000
Status: RO

On 4 Dec 2002 at 14:20, kat@grendal.rain.com 
wrote:

> And we have the occasional British squash such as Ribena. (Yum. My
> favorite, although you have to hunt to find it, usually only in
> specialty stores and only the concentrate.)
> 
> Mostly we just call ours "juice".

Sadly, most British squashes aren't juice. "Orange 
squash" is usually orange food colouring, orange 
flavouring, half a ton of sugar, and added Vitamin C 
to convince you it's healthy.

Still, it helps drown the taste of the fluoride in the tap 
water :)





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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Wed, 04 Dec 2002 18:30:28 -0500
Status: RO

chiara wrote:
> That is not a bra strap silly. :)
> 
> That is the underdress. You can see that there are three layers to this
> dress. Two blue, one cream. The thing you are seeing is the top of the last
> layer. :)

	Actually, it is a bra strap. We thought for a while it 
might have been tape - but it's not. And the dress is 
actually steel grey (they do a lot of color tweaking). She 
has three dresses that are this same 2 layered style, with 
variations on the sleeves; and another 2 that are very 
similar but only single layer. This is apparently her 
"Human" style of clothing as opposed to her Elvish styles.

	BTW, Stevie, you didn't see it in the movie because it's 
not a dress from FotR, it's briefly in the new one. There 
have been a few pics of it around including the one where 
she's dropping her cape.


	-Judy Mitchell
http://www.alleycatscratch.com/lotr

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To: h-costume@indra.com
Subject: Re: [h-cost] How do they do those long feet:wasHuge Costume	pictures
 LOTR & TTT
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Date: Wed, 04 Dec 2002 18:43:40 -0500
Status: RO

The hobbit feet are all prosthetic slipons that are glued to 
them - took about an hour and a half each day. Each pair was 
nly good for maybe 3 wears at most and then needed 
replacing. Ian Holm (Bilbo) hated his and insisted they were 
longer than the others - called them "boats". They wore them 
all the time "just in case", although often they weren't 
shot. Sean Astin apparently kept a record of how many times 
they had them put on and weren't seen (50 some odd) and 
ragged at the directors about it! They kept begging not to 
have to wear the feet.

	The current issue of Spin Off magazine has an article on 
the hobbit feet and which particular breed of wool that was 
used for the hair. I agree, they weren't hairy enough for 
Tolkien's description.

Kate M Bunting wrote:
> Saragrace wrote:
>
> http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/image9.shtml
> 
>>How do you suppose they do those feet?  Do you think they just make up
>>the feet for special shots or does the actor have to wear them all the
>>time 'just in case' the feet get in the picture.  I would be falling all
>>over myself. 
> 
> 
> I've read that the actors had to have many pairs of prosthetic feet. In my opinion, the hobbits' feet aren't hairy enough; it's supposed to be thick like head hair.


	-Judy Mitchell
	http://www.alleycatscratch.com/lotr

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Subject: Re: [h-cost] OT: British food question
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Date: Wed, 04 Dec 2002 18:54:00 -0500
Status: RO

I'm confused ..I thought a British 'marrow' was the same as American
'zuchinni'.
Kate

> I think what you call zuchinni are what we call
> courgettes: and while I know they're related, I
> wouldn't add "squash" to the name any more than I
> would to that of a cucumber or a marrow. We have
> pumpkins. Butternut "squash", with that name, are in
> the "exotic" section of the supermarkets, along with
> other gourds.
>
> If we say "squash", we'd think first of the drink. Not a
> vegetable.
>
> _______________________________________________
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Date: Thu, 5 Dec 2002 12:12:15 +1100
Status: RO

> > I think what you call zuchinni are what we call
> > courgettes: and while I know they're related, I
> > wouldn't add "squash" to the name any more than I
> > would to that of a cucumber or a marrow. We have
> > pumpkins. Butternut "squash", with that name, are in
> > the "exotic" section of the supermarkets, along with
> > other gourds.
> >
> > If we say "squash", we'd think first of the drink. Not a
> > vegetable.
>
> I'm confused ..I thought a British 'marrow' was the same as American
> 'zuchinni'.

It is. As is courgette. It's not uncommon to have one or two names for
the same thing. Usually they're regional names.

It's more confusing when you get the same word meaning different
things (like jelly or lemonade).

http://english2american.com/

Though I do remember going into a bakers in Balham and asking for a
1/2 dozen doughnuts. The girl had no idea what a dozen was. I wasn't
even going to start on the concept of a baker's dozen!

Paul
--
Good planning and organisation are just crutches for people who can't
handle stress and caffeine.
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate

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<<. But if it's wrong just because someone doesn't like a high waisted =
gown, then pooey on it. Like "Bram Stoker's Dracula"....it's just bad =
costuming for no reason whatsoever>>

<<Thank you!  You said what was in my mind, but I could not figure out =
how to say it succinctly and eloquently.
Ann Wass >>

No it's not eloquent, it's just negative. The costuming for BSD is =
amazing (whether you like it or not is a different matter), just not =
historical. If you'd had historically correct costumes from 1897 they'd =
look really out of place in the extremely theatrical totally unrealistic =
set and story. It's about a vampire for goodness sake. A vampire that =
can change shape and control the weather.. not exactly a biopic about a =
real person. In this instance historical correctness would clash =
horribly. Just like for Moulin Rouge. With all the high artifice of set, =
peaople bursting into songs from the end of the 20thC and zippy camera =
work fashions of 1900 would look totally wrong.=20

In those cases you'd need to change all other aspects to fit the =
costuming, and that's not how it should be.

In the case of dramas like Age of Innocence, Anna Karenina, Portrait of =
a Lady, Pride and Prejudice which were all fairly naturalistic yes, =
costuming needs to reflect that. Fantastical costumes for those films =
would have been totally wrong. Unless they decided to play with the =
original book say and turn it into high melodrama or transported then to =
another time and place for other purposes.


The costuming for JoaT wasn't done featuring later 18thC costumes rather =
than early 1800s because the designer "doesn't like a high waisted =
gown", as I mentioned Josephine *did* have an empire line dress.=20

And yes this series was also high camp. It wasn't supposed to be real or =
have people take it seriously.=20

There are far more things in designing for theatre/film than history. =
You need to be able to very easily and without much explanation get =
across ideas to the audience, most of which have absolutely no clue =
about costumes! And if you choose to 'teach' you'd need to take time out =
from the story to explain things and frankly you'd lose your audience.

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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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 6.00.2716.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">&lt;&lt;. But if it's wrong just because someone =
doesn't like=20
a high waisted gown, then pooey on it. Like "Bram Stoker's =
Dracula"....it's just=20
bad costuming for no reason whatsoever</FONT><FONT lang=3D0=20
style=3D"BACKGROUND-COLOR: #ffffff" face=3Darial color=3D#000000 =
size=3D3=20
FAMILY=3D"SANSSERIF"><FONT size=3D2>&gt;&gt;</FONT><BR></FONT><FONT =
lang=3D0=20
style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D2=20
FAMILY=3D"SANSSERIF"><BR>&lt;&lt;Thank you!&nbsp; You said what was in =
my mind,=20
but I could not figure out how to say it succinctly and =
eloquently.<BR>Ann=20
Wass</FONT> <FONT size=3D2>&gt;&gt;</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>No it's not eloquent, it's just =
negative. The=20
costuming for BSD is amazing (whether you like it or not is a different =
matter),=20
just not historical. If you'd had historically correct costumes from =
1897 they'd=20
look really out of place in the extremely theatrical totally unrealistic =
set and=20
story. It's about a vampire for goodness sake. A vampire that can change =
shape=20
and control the weather.. not exactly a biopic about a real =
person.&nbsp;In this=20
instance historical correctness would clash horribly. Just like for =
Moulin=20
Rouge. With all the high artifice of set, peaople bursting into songs =
from the=20
end of the 20thC and zippy camera work fashions of 1900 would look =
totally=20
wrong. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>In those cases you'd need to change all =
other=20
aspects to fit the costuming, and that's not how it should =
be.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>In the case of dramas like Age of =
Innocence, Anna=20
Karenina, Portrait of a Lady, Pride and Prejudice which were all fairly=20
naturalistic yes, costuming needs to reflect that. Fantastical costumes =
for=20
those films would have been totally wrong. Unless they decided to play =
with the=20
original book say and turn it into high melodrama or transported then to =
another=20
time and place for other purposes.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The costuming for JoaT wasn't done =
featuring later=20
18thC costumes rather than early 1800s because the designer "doesn't =
like a high=20
waisted gown", as I mentioned Josephine *did* have an empire line dress. =

</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>And yes this series was also high camp. =
It wasn't=20
supposed to be real or have people take it seriously. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT><FONT=20
face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>There are far more things in designing =
for=20
theatre/film than history. You need to be able to very easily and =
without much=20
explanation get across ideas to the audience, most of which have =
absolutely no=20
clue about costumes! And if you choose to 'teach' you'd need to take =
time out=20
from the story to explain things and frankly you'd lose your=20
audience.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>michaela</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://homepages.ihug.co.nz/~thebruce">http://homepages.ihug.co.n=
z/~thebruce</A><BR><A=20
href=3D"http://recital.tripod.com/costume">http://recital.tripod.com/cost=
ume</A></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Thu, 5 Dec 2002 14:30:23 +1300
Status: RO



> My guess is, since the gown neckline is so wide (nearly off her
> shoulders), that the "bra strap", which looks to be flesh-toned, is
> probably part of the underpinnings or interior construction of the gown
> bodice.

I'd agree. Most of the costumes we wore in Xena were able to be worn over
normal underwear but for those that weren't they had internal structures
usually made of flesh coloured lycra. They were usually sewn in. I mention
this as a lot of wardrobe personnel from those shows went to LotR as the
shows ended.

> The dress is lovely, but the neckline doesn't seem to fit her quite
> right--almost as if it's a little too big/wide, or perhaps the metallic
> trim (yum, for fantasy purposes! <g>) is too stiff?

I have a suspicion that it's her posture that is ruining the line. Others
have mentioned she dropped a cloak in this scene, and she looked stunned and
her shoulders look slightly hunched (the steep line of the angle of her
collar bones as well as the roundness of her shoulders).

It reminds me of an article on how to photograph dolls. One photo with the
doll slightly hunched wound up looking extremely lopsided, dress and doll. I
have a feeling that is what's going on in here, as well as the inner blue
layer shifting under the outer. Probably because the velvet pile caused the
fabric to creep.

And of course such a wide neckline on a loose dress is going to be difficult
to control unless you use body tape on the inside;)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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Date: Wed, 4 Dec 2002 18:32:03 -0800 (PST)
Status: RO


"Kendra Van Cleave" <kendrav@attbi.com>
> 
> Good point -- maybe I should just add a skirt lifter?  Hmmm!  I'll have to
> inspect the skirt to see how bad the damage really is (I haven't had the
> heart to look at it yet).

If you're going to wear it at Gaskell Ball, it _will_ get stepped on.
My 1895 Worth reproduction gown isn't bustled, but it does have a short
train.  Since it was my wedding dress, I couldn't bring myself to leave
the train off.  However, I _did_ make sure I could bustle the train up
to just below ankle height to avoid getting it stepped on.  Over the years,
I've seen too many people with flounced skirts on eliptical hoops and 
bustle skirts get shredded at that ball.  I actually got a pretty serious
sprain one time because someone's long skirt flounce had come detached and
was trailing behind her on the floor during a polka.  I ended up with her
skirt flounce wrapped around my ankle and took a hard spill.  

There's just no way to dance on a crowded floor with trailing skirts without
someone taking damage.  Add to that, there are a lot of dancers at Gaskels
who haven't learned floorcraft yet, and it can easily become a disaster.
One of my partners remarked during a polka there, "It's hard to look 
flirtatiously into your eyes when we're trying not to get killed!"

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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] OT: British food question
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Date: Wed, 4 Dec 2002 15:52:28 +0000
Status: RO

Jane wrote:
> Sadly, most British squashes aren't juice. "Orange 
> squash" is usually orange food colouring, orange 
> flavouring, half a ton of sugar, and added Vitamin C 
> to convince you it's healthy.

Ah! We call that Kool Aid here across the pond. 8)

Arlys



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Date: Wed, 04 Dec 2002 18:43:08 -0800
Status: RO


> > And we have the occasional British squash such as Ribena. (Yum. My
> > favorite, although you have to hunt to find it, usually only in
> > specialty stores and only the concentrate.)
> > 
> > Mostly we just call ours "juice".
> 
> Sadly, most British squashes aren't juice. "Orange 
> squash" is usually orange food colouring, orange 
> flavouring, half a ton of sugar, and added Vitamin C 
> to convince you it's healthy.

Well, those are called "juice drinks" too. (Things like Tang, for 
instance are still considered juice even though it is exactly what 
you are labeling "squash.")
 
> Still, it helps drown the taste of the fluoride in the tap 
> water :)

I think you are thinking of Chlorine. Fluoride in drinking water has 
no taste. But Chlorine definitely does. It is what makes most city 
water taste so gross and is put there to cut down on water 
contaminants of the viral/bacterial types. In fact, they generally 
decide how much to put in by looking at the "coloform" count of the 
pre-Chlorined water. If it has a lot of "coloforms" better known as 
bacteria, specifically E. coli which all non-chlorinated water has, 
then they put in more Chlorine. That's why sometimes the water tastes 
worse than other times. (Sometimes it's almost as bad as poolwater, 
which has Chlorine for the same reason but needs more since it is not 
running water.)

Kat Russell
<kat@grendal.rain.com>

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In a message dated 12/4/2002 8:24:15 PM Eastern Standard Time, 
thebruce@ihug.co.nz writes:


> The costuming for BSD is amazing (whether you like it or not is a different 
> matter), just not historical. If you'd had historically correct costumes 
> from 1897 they'd look really out of place in the extremely theatrical 
> totally unrealistic set and story. It's about a vampire for goodness sake. 
> A vampire that can change shape and control the weather.. not exactly a 
> biopic about a real person. 

This discussion has probably gone far enough, but, just for the record, I 
wasn't agreeing to the specific comment's on Bram Stoker's Dracula, as I 
haven't seen it.
And I know that people put Shakespeare in different periods, or no real 
period at all, quite often.  I've worked on shows like that, and also on ones 
that start with the basic idea and silhouette of the period but go off on 
flights of fancy.  

Given all of your arguments, how do you explain Adrian's "Pride and 
Prejudice?"  The story I have read is that he had just done a film set in the 
early 1800s and wanted to do something different.  So that was just caprice 
on his part, it seems.

>And yes this series was also high camp. It wasn't supposed to be real or 
have people take it seriously. 
Perhaps part of my problem is that I see high camp descending into plain 
silliness and I lose interest.

I know theater isn't about re-creating exact historical reality.  None of us 
can do that.

And now I promise I, for one, will drop this thread and get on with my 
sewing.
Ann Wass    






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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/4/2002 8:24:15 PM Eastern Standard Time, thebruce@ihug.co.nz writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The costuming for BSD is amazing (whether you like it or not is a different matter), just not historical. If you'd had historically correct costumes from 1897 they'd look really out of place in the extremely theatrical totally unrealistic set and story. It's about a vampire for goodness sake. A vampire that can change shape and control the weather.. not exactly a biopic about a real person. </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
This discussion has probably gone far enough, but, just for the record, I wasn't agreeing to the specific comment's on Bram Stoker's Dracula, as I haven't seen it.<BR>
And I know that people put Shakespeare in different periods, or no real period at all, quite often.&nbsp; I've worked on shows like that, and also on ones that start with the basic idea and silhouette of the period but go off on flights of fancy.&nbsp; <BR>
<BR>
Given all of your arguments, how do you explain Adrian's "Pride and Prejudice?"&nbsp; The story I have read is that he had just done a film set in the early 1800s and wanted to do something different.&nbsp; So that was just caprice on his part, it seems.<BR>
<BR>
&gt;And yes this series was also high camp. It wasn't supposed to be real or have people take it seriously. <BR>
Perhaps part of my problem is that I see high camp descending into plain silliness and I lose interest.<BR>
<BR>
I know theater isn't about re-creating exact historical reality.&nbsp; None of us can do that.<BR>
<BR>
And now I promise I, for one, will drop this thread and get on with my sewing.<BR>
Ann Wass&nbsp;&nbsp;&nbsp; </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
<BR>
<BR>
</FONT></HTML>
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In a message dated 12/4/2002 8:23:46 PM Eastern Standard Time, 
thebruce@ihug.co.nz writes:


> The costuming for BSD is amazing (whether you like it or not is a different 
> matter), just not historical. If you'd had historically correct costumes 
> from 1897 they'd look really out of place in the extremely theatrical 
> totally unrealistic set and story.

Nonsense. They are lovely gowns and...er.... things...but the designer gets a 
D-. You seem to not care that they flash a specific date on the screen then 
ignore it. You also seem to not realize that the title of the film is "BRAM 
STOKER'S Dracula", not "let's make it up Dracula". Costuming does not exist 
in a vacuum. It was the concept of the film to be true to the book [then they 
go and do the very 1st scene....that isn't anywhere in the book] The whole 
film is a disaster on every level. The Japanese designer has a wonderful 
sense of style but obviously doesn't begin to get western clothes of the 19th 
century. The men's things are all over the place and awful, even if the 
women's stuff is opulent. Opulence cannot disguise hubris....which is what 
that whole film is about. And boy did it goeth before a fall. A sad waste of 
silk and boning!

Working for the head cutter of the film at the time it came out, I head him 
say he was also disappointed in the results because of the complete disregard 
for period. The designer wanted sexy butt emphasis on the women so did 
bustles for that reason alone. What.... you can't get sexy hip/butt emphasis 
in those trumpet skirts of the 1890s? Of course you can. They cling and mold 
to the ass. Beautiful gowns. Bad designs....for that project.

So you see, I'm not just negative but have well thought out and informed 
opinions.

--part1_36.32f2e28e.2b202255_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 12/4/2002 8:23:46 PM Eastern Standard Time, thebruce@ihug.co.nz writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The costuming for BSD is amazing (whether you like it or not is a different matter), just not historical. If you'd had historically correct costumes from 1897 they'd look really out of place in the extremely theatrical totally unrealistic set and story.</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Nonsense. They are lovely gowns and...er.... things...but the designer gets a D-. You seem to not care that they flash a specific date on the screen then ignore it. You also seem to not realize that the title of the film is "BRAM STOKER'S Dracula", not "let's make it up Dracula". Costuming does not exist in a vacuum. It was the concept of the film to be true to the book [then they go and do the very 1st scene....that isn't anywhere in the book] The whole film is a disaster on every level. The Japanese designer has a wonderful sense of style but obviously doesn't begin to get western clothes of the 19th century. The men's things are all over the place and awful, even if the women's stuff is opulent. Opulence cannot disguise hubris....which is what that whole film is about. And boy did it goeth before a fall. A sad waste of silk and boning!<BR>
<BR>
Working for the head cutter of the film at the time it came out, I head him say he was also disappointed in the results because of the complete disregard for period. The designer wanted sexy butt emphasis on the women so did bustles for that reason alone. What.... you can't get sexy hip/butt emphasis in those trumpet skirts of the 1890s? Of course you can. They cling and mold to the ass. Beautiful gowns. Bad designs....for that project.<BR>
<BR>
So you see, I'm not just negative but have well thought out and informed opinions.</FONT></HTML>

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Date: Wed, 04 Dec 2002 21:36:01 -0700
Status: RO

Ohhhh! (lightbulb goes on) I'd *wondered* what the "marrow" was in the
jar of Branston pickle that I brought home (dang, but that stuff is
good! I wonder if there's a recipe somewhere....<g>0
--sue

Baralier wrote:
> 
> > I'm confused ..I thought a British 'marrow' was the same as American
> > 'zuchinni'.
> 
> It is. As is courgette. It's not uncommon to have one or two names for
> the same thing. Usually they're regional names.
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Date: Wed, 04 Dec 2002 21:42:53 -0700
Status: RO

Except that tang and koolaid are dry mixes, and the british "squash" is
a liquid concentrate.
My hosts in Bath kept some on their kitchen counter--I believe it was
actually orange.
--sue

kat@grendal.rain.com wrote:
> 
> > > And we have the occasional British squash such as Ribena. (Yum. My
> > > favorite, although you have to hunt to find it, usually only in
> > > specialty stores and only the concentrate.)
> > >
> > > Mostly we just call ours "juice".
> >
> > Sadly, most British squashes aren't juice. "Orange
> > squash" is usually orange food colouring, orange
> > flavouring, half a ton of sugar, and added Vitamin C
> > to convince you it's healthy.
> 
> Well, those are called "juice drinks" too. (Things like Tang, for
> instance are still considered juice even though it is exactly what
> you are labeling "squash.")
> 
> > Still, it helps drown the taste of the fluoride in the tap
> > water :)
> 
> I think you are thinking of Chlorine. Fluoride in drinking water has
> no taste. But Chlorine definitely does. It is what makes most city
> water taste so gross and is put there to cut down on water
> contaminants of the viral/bacterial types. In fact, they generally
> decide how much to put in by looking at the "coloform" count of the
> pre-Chlorined water. If it has a lot of "coloforms" better known as
> bacteria, specifically E. coli which all non-chlorinated water has,
> then they put in more Chlorine. That's why sometimes the water tastes
> worse than other times. (Sometimes it's almost as bad as poolwater,
> which has Chlorine for the same reason but needs more since it is not
> running water.)
> 
> Kat Russell
> <kat@grendal.rain.com>
> 
> _______________________________________________
> 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  Thu Dec  5 01:00:41 2002
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] Andy's Christmas Present
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Date: Thu, 5 Dec 2002 00:58:32 -0500
Status: RO

I wanted to past this along for those people who have teenagers in love with
the Japanese culture... one of those fads for this age group.

I decided that I am going to make my 3rd son, Andy, a new quilt for
Christmas.   Years ago for Christmas I made him a quilt... well it is in
threads.  I bought him an electric blanket, but he prefers to sleep with the
old ragged out quilt.  He did the same thing with a baby quilt that my mom
made him.

Andy loves the Japanese culture, so today Pat (4th son) and I bought some
beautiful Japanese printed cottons to make the quilt top at Hancock Fabrics.
He loves Japanese dragons and I found two prints with dragons and two others
with Japanese people.  He also loves bamboo, and I found a black background
print with gold bamboo.  The center of each block will be the dragons and
people prints, and I will outline the block with strips of bamboo print.
The long strips separating the blocks will be black.

Now I know you all think I am crazy for trying this project this late, but
it is a really easy quilt to make.  If needed Joe (hubby) can sew the
straight seams on machine.  For the backing of the quilt I will use a black
sheet.  Instead of batting, I use a thermal blanket.  Instead of hand or
machine stitching everything together, we use the tack-tie method.  We use
cotton crochet thread and run 6" baste stitches across the entire quilt.
Then you clip the baste threads and tie them in a knot.

Joe and I made three of the tie quilts for our oldest three sons one year
for Christmas.  We started the day after Thanksgiving.  The boys loved them.

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


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Date: Thu, 5 Dec 2002 07:42:47 -0000
Status: RO

Try this online Lation dictionary

http://www.nd.edu/~archives/latin.htm
Mel
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Date: Thu, 5 Dec 2002 07:42:03 -0000
Status: RO

Potted Meat is meat which is preveved quite often in jars or pots, you apply
pressue & a layer of butter, various types are still incredibily popular in
France but less so here, there are plenty of recipes on the web here is a
fairly good general one http://cheftochef.net/r/8/A08833.shtml

Marrows are just large courgettes if you leave a corgette to grow it becomes
a marrow. Traditionally courgettes were French food & rather sneared at ;)
Whereas a good stuffed marrow is very British !! (Much to the initially
horrow of my French son) Are both Zuccini to you ?

Squashes (as food) include butternut, pumpkin etc, and most experianced
cooks would understand the food & drink ref & interpret according to the
context, I personally use both. Sqashes are now the more artificial drinks
otherwise called cordials and, sqash I believe comes from squashing the
fruit via a sieve to make them :)

Luckily you can get the french Squashes which are very yummy & much nicer
(saddly I fill my car with these as well as wine every trip) online in the
states called teisseire
https://morpheus.safe-order.net/frenchfeast/order.htm

Mel



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Date: Thu, 05 Dec 2002 01:54:23 -0600
Status: RO

Anyone know of a good online picture of Eleanor of Aquitaine's effigy. 
I need it like yesterday and the only biography at the library has a
poor picture.  I worked my way through lots of Google hits with no
luck.  Lots of references to it, but no pictures.

Thanks,
--Charlene

-- 
Official sign near door:   Door Alarmed.
Hand-printed sign nearby:   Window frightened.
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From: "Jane Williams" <jane@williams.nildram.co.uk>
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Date: Thu, 05 Dec 2002 08:10:29 -0000
Status: RO

On 4 Dec 2002 at 18:54, Kate Pinner wrote:

Me:
> > I think what you call zuchinni are what we call
> > courgettes: 

> I'm confused ..I thought a British 'marrow' was the same as American
> 'zuchinni'. Kate

Well, a courgette is a baby marrow, so yes, sort of. 
Courgettes are up to say 10 inches long and about 
an inch thick. Marrows are say 18 inches long and  
maybe six inches thick.  Same plant, though 
different varieties get bred for the two purposes. And 
then there's the prize-winning Giant Marrows for 
village flower shows, about which many jokes are 
made. 

I've always been told that if an American recipe talks 
about "zucchini", you should use courgette. What 
size do you think a zucchini is? Maybe I've been 
getting it wrong.




 



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From: "Jane Williams" <jane@williams.nildram.co.uk>
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Date: Thu, 05 Dec 2002 08:10:29 -0000
Status: RO

On 4 Dec 2002 at 15:52, Cynthia J Ley wrote:

> Jane wrote:
> > Sadly, most British squashes aren't juice. "Orange 
> > squash" is usually orange food colouring, orange 
> > flavouring, half a ton of sugar, and added Vitamin C 
> > to convince you it's healthy.
> 
> Ah! We call that Kool Aid here across the pond. 8)

Well, that explains a mystery. I'd heard of that, and 
assumed it was a dressing for burns :)

If we call something "juice", it's juice. Mainly, 
anyway. Take fruit, and squeeze. Maybe add sugar, 
preservatives, colour, if it's going in a long-life 
carton, but the main content was once fruit.

"Juice drink" would be a watered down version of the 
above. ("contains at least 10% real orange!")

Then you get squashes with added juice.

And at the bottom of the ladder, just "squash". Don't 
go there.

BTW, the colourings used in the cheaper drinks stain 
cloth quite badly. But they're not fast enough to be 
used as dye, AFAIK. (There, costume content!)



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Date: Thu, 5 Dec 2002 08:10:33 +0000 (GMT)
Status: RO

 --- AlbertCat@aol.com wrote: > 
> Nonsense. They are lovely gowns and...er.... things...but the designer gets a
> 
> D-. 

Nonsense to your nonsense, because there are MANY points of view. Okay, so 
don't have a clue about clothing of the 19th c. and don't care either, and yes
I would probably hate it if they did something horrendeous to 17th c. clothing,
BUT to someone without knowledge nor any interest for 19th c. clothing, the
costumes were FANTASTIC! and guess what, I gave the costumes and A rating in my
personal costume-film ating list. Don't forget there are many points of view
and there is NO such things asd ONE right opinion, believe it or not. :-)

I understand what you say, and I do agree, and at the same time I disagree,
does that make sense? Anyway, I kinda agree with everyone's opinion in this
case, because everyone has a very valid point.

I personally took Dracula as totally fantasy, and that's why I adored the
costumes, absolutely adored them.

Nicole

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Email: nicole@kipar.org

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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Thu, 05 Dec 2002 08:10:28 -0000
Status: RO

On 4 Dec 2002 at 18:32, Lee Thompson-Herbert 
wrote:

> There's just no way to dance on a crowded floor with trailing skirts
> without someone taking damage.  

Not that this is my period in the slightest, but didn't 
people used to do just this? Somehow?



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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Thu, 5 Dec 2002 08:15:45 +0000 (GMT)
Status: RO

 --- Judy Mitchell <judymitch@oldwaylane.net> wrote: >

> 	Actually, it is a bra strap.

Sorry, I still don't believe that. Is there proof for this assumption?

We thought for a while it 
> might have been tape - but it's not. And the dress is 
> actually steel grey (they do a lot of color tweaking). She 

I bet it is lovely in steel grey too!

Soo.. to bring it back to historic costuming, what era does it remind me of?
(other than pre-raphaelite, obviously! *L*)

Hmm.....

Nicole

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Date: Thu, 5 Dec 2002 08:21:46 -0000
Status: RO

>Not that this is my period in the slightest, but didn't
people used to do just this? Somehow?

Firstly people were probably more aware, the longer you do it with a group
of people the less they tred on it, it is more likely to happen from a non
re-enacting male (yes generally males)

Secondly there are carytoons in Punch were after a ball the toilette is
completly ruined far beyond anything I've experianced, now I know it is
saterical, but this shows that dress damage was occuring at the time, there
are also written refs of the same.

Bear in mind to clean these garment they unpicked everything & resewed it
all together after cleaning, eaks !! I couldn't do that !!

Mel

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Date: Thu, 05 Dec 2002 02:15:19 -0600
Status: RO

Gail & Scott Finke wrote:
 
> Sorry to bother the list, but this is the only place I know to ask this
> question. My daughter is reading a British book and ran across a term she
> didn't know. Having read many British children's books myself, I am
> surprised to find that I don't know the answer. So here goes: what is
> "potted meat"? Is it like Spam, or something completely different?

I was going to mention that in the States there's one company that even
lists it as "potted meat" on the label.  I couldn't remember if it was
Hormel or who and decided to verify (turns out it's Armour
http://www.shipbrook.com/jeff/potted.html ).  I Googled potted meat and
this came up:  http://www.pottedmeatmuseum.com/ .  There really is a
museum for everything.  :)

--Charlene

-- 
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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Thu, 5 Dec 2002 08:18:20 +0000 (GMT)
Status: RO

 --- Dianne and Greg Stucki <goofy1@suscom.net> wrote: > If you look toward the
left side of the monitor, you can see what definitely
> looks like a bra strap.

May I repeat myself: what makes it _definitely_ a bra strap? Proof please,
proof!

Nicole - awkward coz she wants proof, always, for everything :-)

AND wants her figure and that dress *whimper*

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Thu, 5 Dec 2002 08:05:26 +0000 (GMT)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Ohhhh! (lightbulb goes on) I'd
*wondered* what the "marrow" was in the
> jar of Branston pickle that I brought home (dang, but that stuff is
> good! I wonder if there's a recipe somewhere....<g>0
> --sue

Ohhhhhh Branston pickle! While I'll never be a convert to Marmite
*poooey-pooey-pooey* I adore Branston pickle. I love the Branston pickle
Walker's crisps too, actually, funnily enough, the Marmite ones are quite
interesting, while Marmite itself is really like that: love it or hate it,
nothing in between!

You should be able to get Branston pickle online somewhere in the states?

Nicole

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Date: Thu, 05 Dec 2002 00:55:27 -0800
Status: RO

To Charlene-

scroll down:
http://freespace.virgin.net/doug.thompson/normandy/falaise.htm

an overhead view:
http://www.geocities.com/Wellesley/Garden/1044/eleanor.html

kind of a crummy close in color view:
http://www.bbc.co.uk/history/state/monarchs_leaders/henry11_ibeji04.shtml

Hope these help a little,

Theresa Eacker

Charlene Charette wrote:

> Anyone know of a good online picture of Eleanor of Aquitaine's effigy. 
> I need it like yesterday and the only biography at the library has a
> poor picture.  I worked my way through lots of Google hits with no
> luck.  Lots of references to it, but no pictures.
> 
> Thanks,
> --Charlene
> 
> 


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Date: Thu, 05 Dec 2002 09:16:34 +0000
Status: RO


Mel wrote:
>Secondly there are carytoons in Punch were after a ball the toilette is
>completly ruined far beyond anything I've experianced, now I know it is
>saterical, but this shows that dress damage was occuring at the time, there
>are also written refs of the same.

Yes - in Mrs. Gaskell's "Ruth" the milliner's assistants have to be on duty at the ball to repair any damage to skirts that may occur.


Kate Bunting
Library, University of Derby


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Subject: [h-cost] Queries about coifs, biggins and headrails
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Date: Thu, 05 Dec 2002 09:24:26 +0000
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I wonder if any Elizabethan costumers could help me please.

Is there a difference between a biggins and a coif and if so what is it?

Does anyone know of any pictures of headrails? or, (fingers crossed) extant 
head rails?

regards
Joy Shillaker

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Date: Thu, 05 Dec 2002 09:28:23 +0000
Status: RO

OK, when I said the vegetable squash wasn't widely known in the UK I meant that nothing is sold under that name in your average greengrocer's. I know the courgette is a member of the same family, and I know some enthusiastic gardeners/cooks grow the "Spaghetti squash" et al., but to the average Brit squash is a drink.
I would describe potted meat as a traditional British version of what we would nowadays call pate (sorry, my e-mail doesn't include accents).

Kate Bunting
Library, University of Derby


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Date: Thu, 5 Dec 2002 10:11:41 -0000
Status: RO

>OK, when I said the vegetable squash wasn't widely known in the UK I meant
that nothing is sold under that name in your average greengrocer's. I know
the courgette is a member of the same family, and I know some enthusiastic
gardeners/cooks grow the "Spaghetti squash" et al., but to the average Brit
squash is a drink.

I think you were right to say it is not a obvious first thought to the
average Brit. I know what they are but no that many people do I didn't mean
to suggest you were incorrect :)

>I would describe potted meat as a traditional British version of what we
would nowadays call pate (sorry, my e-mail doesn't include accents).

Potted meat tends to be chunkier more like terrine (sp?) in France Pate
should be smooth really

The two used to be very diffferent I expect it depends on the time frame of
the ref :)

Mel


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Date: Thu, 05 Dec 2002 10:12:25 +0000
Status: RO

Paul wrote:

>Though I do remember going into a bakers in Balham and asking for a
>1/2 dozen doughnuts. The girl had no idea what a dozen was. I wasn't
>even going to start on the concept of a baker's dozen!

She must have been exceptionally ignorant. Most British people would know what a dozen was; eggs are always sold by the dozen or half-dozen.

Kate Bunting
Library, University of Derby


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Date: Thu, 5 Dec 2002 05:48:32 -0500
Status: RO


>
> BTW, the colourings used in the cheaper drinks stain
> cloth quite badly. But they're not fast enough to be
> used as dye, AFAIK. (There, costume content!)


Over here, I have heard of quilters using Kool Aid to dye fabrics. Don't
know how well it would work, or how fast it would be, but I think I would
prefer to use more reliable methods.

Dianne

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Date: Thu, 5 Dec 2002 06:04:20 -0500
Status: RO


----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, December 05, 2002 3:18 AM
Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings


> --- Dianne and Greg Stucki <goofy1@suscom.net> wrote: > If you look toward
the
> left side of the monitor, you can see what definitely
> > looks like a bra strap.
>
> May I repeat myself: what makes it _definitely_ a bra strap? Proof please,
> proof!
>


I didn't say definitely "is". I said definitely "looks like".   It may be
part of an underdress or chemise type thingie ( how's that for technical)
but it "looks" like  a bra strap.

Dianne

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Date: Thu, 05 Dec 2002 11:11:11 +0000
Status: RO

I wasn't getting at you, Mel, just replying to whoever was surprised that we didn't eat vegetables of that family at all.

Kate Bunting
Library, University of Derby

>>> MelanieWilson@dragonflight.co.uk 12/05/02 10:11am >>>
>>OK, when I said the vegetable squash wasn't widely known in the UK I >>meant that nothing is sold under that name in your average greengrocer's. >>I know the courgette is a member of the same family, and I know some >>enthusiastic gardeners/cooks grow the "Spaghetti squash" et al., but to >>the average Brit squash is a drink.

>I think you were right to say it is not a obvious first thought to the
>average Brit. I know what they are but no that many people do I didn't >mean to suggest you were incorrect :)

>Potted meat tends to be chunkier more like terrine (sp?) in France Pate
>should be smooth really

>The two used to be very diffferent I expect it depends on the time frame of
>the ref :)

I was thinking of the potted meat I had as a child, which was smooth.


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Date: Thu, 5 Dec 2002 04:31:15 -0800 (PST)
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"Jane Williams" <jane@williams.nildram.co.uk> wrote:
> On 4 Dec 2002 at 18:32, Lee Thompson-Herbert 
> wrote:
> 
> > There's just no way to dance on a crowded floor with trailing skirts
> > without someone taking damage.  
> 
> Not that this is my period in the slightest, but didn't 
> people used to do just this? Somehow?

The dancing was a little different.  Most of what's done at the Gaskell
Ball is viennese (turning) waltzes, polkas, quicksteps and shottisches
(though strangely, they _don't_ do the turning version of that dance).
There are usually one or two country dances thrown in as well.

But the major difference is that the floor is _very_ crowded, and a large
percentage of the dancers there have _not_ spent a lot of time on dance
lessons.  I run a weekly ceili dance, and after a couple really spectacular
disasters on the floor at Gaskells, we spent some time teaching floorcraft,
even though we don't _usually_ teach waltzes or travelling polkas.  The 
quip I mentioned in my last post about "trying not to be killed" came from
another very experienced dancer.  He was spending entirely too much time
trying to avoid couples who were careening across the floor completely out
of control.  In that situation, one either learns to modify costumes for
the environment or spend a lot of time doing repairs.  

You can do most of the dances in hoops, but not trailing ones unless you
really want to spend a lot of time repairing your dress afterwards.  And
bustles really shouldn't trail the floor for _dancing_.  Dinnerwear is
different.  

For contrast, the Scandi dancers who do almost exclusively turning dances
of many varieties tend to make sure their skirts hit just about ankle level,
or perhaps the instep of the foot.  Floor length skirts are for receptions,
not dancing.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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, 6 Dec 2002 01:18:22 +1300
Status: RO

> Is the Pre-Raphaelite Women book mostly text? If it's the one I read
(can't
> remember the title) I highly recommend it.

Oops, sorry this one got through;) This book does have a lot of text but is
stuffed full of images, and some that I've not seen reproduced elsewhere.
Including one which shows a woman taking her hair down and in a state of
half dress.. her undergarment being total fantasy and made of what looks to
be a heavy lace.

sound familiar?

michaela


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Date: Thu, 05 Dec 2002 05:48:09 -0700
Status: RO

Yeah, I think so...Found a website that imports all kinds of British
food.  Not sure if it was through this list, or another (the
cross-topics are fun, but positively confusing sometimes!).
One of my friends had asked me to bring some back, so I'd been on the
alert.  Bought some in London (price--ouch!), and then found it again in
Bath (cheaper).  This particular jar that I'm slowly consuming managed
to open itself in my luggage on the way home (thank gawd I'd thought to
wrap them in plastic bags!).
I'd heard of "pickle," and had run across it in a couple of sandwiches
(we ate a lot of those! <g>), but didn't eat it as itself until it
showed up as part of my plowman's lunch in Shrewsbury.....*sigh*.....I
miss British cheese something fierce.
Hey, Nicole...I mailed a certain package to you a couple of days ago. 
They told me 4-6 weeks for shipping time, but when I used the same
method in September to mail back some of the books I'd accumulated
(mostly in London <g>), they actually got back before I did (less than
two weeks).  So who knows?
--sue

N Kipar wrote:
> 
>  --- Sue Clemenger <mooncat@in-tch.com> wrote: > Ohhhh! (lightbulb goes on) I'd
> *wondered* what the "marrow" was in the
> > jar of Branston pickle that I brought home (dang, but that stuff is
> > good! I wonder if there's a recipe somewhere....<g>0
> > --sue
> 
> Ohhhhhh Branston pickle! While I'll never be a convert to Marmite
> *poooey-pooey-pooey* I adore Branston pickle. I love the Branston pickle
> Walker's crisps too, actually, funnily enough, the Marmite ones are quite
> interesting, while Marmite itself is really like that: love it or hate it,
> nothing in between!
> 
> You should be able to get Branston pickle online somewhere in the states?
> 
> Nicole
>
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Date: Thu, 05 Dec 2002 05:50:13 -0700
Status: RO

Apparently, you can dye fabrics quite nicely with a mixture of koolaid. 
Not sure of proportions, etc.
I, for one, however, am not interested in wearing something dyed "Crazy
Berry Blue." <g>
--sue

Jane Williams wrote:
> 
> On 4 Dec 2002 at 15:52, Cynthia J Ley wrote:
> 
> > Jane wrote:
> > > Sadly, most British squashes aren't juice. "Orange
> > > squash" is usually orange food colouring, orange
> > > flavouring, half a ton of sugar, and added Vitamin C
> > > to convince you it's healthy.
> >
> > Ah! We call that Kool Aid here across the pond. 8)
> 
> Well, that explains a mystery. I'd heard of that, and
> assumed it was a dressing for burns :)
> 
> If we call something "juice", it's juice. Mainly,
> anyway. Take fruit, and squeeze. Maybe add sugar,
> preservatives, colour, if it's going in a long-life
> carton, but the main content was once fruit.
> 
> "Juice drink" would be a watered down version of the
> above. ("contains at least 10% real orange!")
> 
> Then you get squashes with added juice.
> 
> And at the bottom of the ladder, just "squash". Don't
> go there.
> 
> BTW, the colourings used in the cheaper drinks stain
> cloth quite badly. But they're not fast enough to be
> used as dye, AFAIK. (There, costume content!)
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Date: Thu, 05 Dec 2002 05:54:09 -0700
Status: RO

All the same critter, over here. Most recipes would prefer you to use
them when they're, say, cucumber-sized up to the size of your forearm,
but not much bigger.
Of course, as any gardener knows, they're sneaky, and grow *much* bigger
than that (usually hidden under the leaves in the back of the plant!). 
We got some completely enormous ones when I was a kid...could feed some
to the cows and chickens, and the rest got set up on fence posts and
used for target practice.  They also blow up pretty good (ISTR), if you
stick fire crackers in them.
--sue

Jane Williams wrote:
> 
> On 4 Dec 2002 at 18:54, Kate Pinner wrote:
> 
> Me:
> > > I think what you call zuchinni are what we call
> > > courgettes:
> 
> > I'm confused ..I thought a British 'marrow' was the same as American
> > 'zuchinni'. Kate
> 
> Well, a courgette is a baby marrow, so yes, sort of.
> Courgettes are up to say 10 inches long and about
> an inch thick. Marrows are say 18 inches long and
> maybe six inches thick.  Same plant, though
> different varieties get bred for the two purposes. And
> then there's the prize-winning Giant Marrows for
> village flower shows, about which many jokes are
> made.
> 
> I've always been told that if an American recipe talks
> about "zucchini", you should use courgette. What
> size do you think a zucchini is? Maybe I've been
> getting it wrong.
> 
> 
> 
> _______________________________________________
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From: Elizabeth Lear <eliz@indra.com>
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Subject: Re: [h-cost] OT: British food question
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Date: Thu, 5 Dec 2002 05:56:44 -0700
Status: RO


Please wrap up this discussion, as it's off-topic for this list.

Thanks,
				...eliz, list admin

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Date: Thu, 05 Dec 2002 14:37:02 +0100
Status: RO

Hi,
Has anyone noticed that the new Simplicity pattern 5724 looks a lot like 
the dress in a fashion plate from 1851... :-)
http://www.costumes.org/history/victorian/women/fashionplates/grahams1851b.jpg
http://www.simplicity.com/s2b.htm

Greetings,
        Deredere


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Date: Thu, 5 Dec 2002 13:39:10 -0000
Status: RO

>bakers in Balham 

My sister lives in Balham, she might well not have been English at all ;)

Mel
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 13:45:22 +0000 (GMT)
Status: RO

 --- Deredere & Owen Iskander <triade@kabelfoon.nl> wrote: > Hi,
> Has anyone noticed that the new Simplicity pattern 5724 looks a lot like 
> the dress in a fashion plate from 1851... :-)
>
http://www.costumes.org/history/victorian/women/fashionplates/grahams1851b.jpg
> http://www.simplicity.com/s2b.htm

http://www.simplicity.com/assets/5724/5724.jpg

Urgh... uhm... hmm... is it just me or are those big fat red roses a tad OTT?
*shudder*

No, seriously, I don't have a clue about this period and it struck me as an
awfully ugly dress, therefore I would like to know, IS this historically
correct? Is this right or more a costumey costume?

Cheers
Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] FO:  1874-77 evening reception dress
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Date: Thu, 5 Dec 2002 13:51:26 -0000
Status: RO

>The dancing was a little different.  Yeah mad insane fast & loopy

>bustles really shouldn't trail the floor for _dancing_.

Depends what you mean by trail, not long trains I'd agree but the 1872 dance
book I have and most of the pics I've seen for that era have floor length
and slightly trailing skirts certainly enough to be stepped on quite easily
:)

Mel
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In a message dated 12/5/2002 3:09:19 AM Eastern Standard Time, 
nicolas_fouquet@yahoo.com writes:


> I understand what you say, and I do agree, and at the same time I disagree,
> does that make sense?

Of course that makes sense! We're throwing OPINIONS back and forth, not facts 
or life threatening diagnoses.

I love the clothes in "Orlando"....a film many of my friends hate....clothes 
and all. No one is immune.

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 12/5/2002 3:09:19 AM Eastern Standard Time, nicolas_fouquet@yahoo.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I understand what you say, and I do agree, and at the same time I disagree,<BR>
does that make sense?</BLOCKQUOTE><BR>
<BR>
Of course that makes sense! We're throwing OPINIONS back and forth, not facts or life threatening diagnoses.<BR>
<BR>
I love the clothes in "Orlando"....a film many of my friends hate....clothes and all. No one is immune.</FONT></HTML>

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Subject: [h-cost] Tudor question
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Date: Thu, 5 Dec 2002 10:24:39 -0500
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        Were cartridge pleats used during the Tudor period or did they
come into vogue during the Elizabethan period?  I am about to do my Tudor
skirt and would really rather do cartridge pleats because they are easier
than fooling with knife pleats, but can't find a picture that doesn't
have the arms hiding the waist.  

Lalah
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Dear List:
I can't remember if I posted an announcement of this lecture to this list:
Dr. Colleen Gau, co-author of "Uplift: the Bra in America," was scheduled to 
do a lecture and book signing here at Riversdale, 4811 Riverdale Rd., 
Riverdale Park, Maryland, tonight, Dec. 5.  We denizens of the DC metro area 
being what we are, we have postponed the lecture, due to snow, to Friday 
night, Dec. 6, at 7:00 p.m.  Cost is $5.00.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Dear List:<BR>
I can't remember if I posted an announcement of this lecture to this list:<BR>
Dr. Colleen Gau, co-author of "Uplift: the Bra in America," was scheduled to do a lecture and book signing here at Riversdale, 4811 Riverdale Rd., Riverdale Park, Maryland, tonight, Dec. 5.&nbsp; We denizens of the DC metro area being what we are, we have postponed the lecture, due to snow, to Friday night, Dec. 6, at 7:00 p.m.&nbsp; Cost is $5.00.<BR>
Ann Wass</FONT></HTML>

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From: "Linda J. Thompson" <LindaJThompson@comcast.net>
Subject: Re: [h-cost] Tudor question
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Date: Thu, 05 Dec 2002 09:39:14 -0600
Status: RO

Way back when we had the discussion of the "tapes" hanging from the shoulders there was a 
"working sketch" that was done by an artist that showed the back of a tudor gown and I 
would say it was cartridge pleated.  I have the picture, but did not save the URL.
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Dracula, was Re: JoAT Re: [h-cost]
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Date: Thu, 5 Dec 2002 15:29:18 +0000 (GMT)
Status: RO

 --- AlbertCat@aol.com wrote: > I
> I love the clothes in "Orlando"....a film many of my friends hate....clothes 
> and all. No one is immune.

Ohhhh Orlando, gorgeous, wonderful! I adore the 1700 justaucorps and big wig
and all he/she is wearing. Sure it is OTT, but it is wonderful, and actually
not that horiffically wrong. The red 1700 outfit is my favourite from the film,
what is yours?

I must admit though that my favourite scene of 'em all is thingamy as the
singing angel. *BG*

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 05 Dec 2002 08:49:41 -0700
Status: RO

Good Lord! She looks like she's wearing a Christmas tree skirt!
I can kinda see the resemblance to the fashion plate, but I wonder about
the color scheme!
--Sue, pre-17th c. costume geek

N Kipar wrote:
> 
>  --- Deredere & Owen Iskander <triade@kabelfoon.nl> wrote: > Hi,
> > Has anyone noticed that the new Simplicity pattern 5724 looks a lot like
> > the dress in a fashion plate from 1851... :-)
> >
> http://www.costumes.org/history/victorian/women/fashionplates/grahams1851b.jpg
> > http://www.simplicity.com/s2b.htm
> 
> http://www.simplicity.com/assets/5724/5724.jpg
> 
> Urgh... uhm... hmm... is it just me or are those big fat red roses a tad OTT?
> *shudder*
> 
> No, seriously, I don't have a clue about this period and it struck me as an
> awfully ugly dress, therefore I would like to know, IS this historically
> correct? Is this right or more a costumey costume?
> 
> Cheers
> Nicole
> 
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
> 
> __________________________________________________
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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] Tudor question
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Date: Thu, 5 Dec 2002 10:51:55 -0500 (EST)
Status: RO

In Tudor times, the skirt was gathered to the bodice primarily in
the back.  There are references to the pleats (however they were made)
being "stuffed", which could give a very full, rounded and
"cartridge-pleated" look to simple box pleats or knife pleats. This
stuffing also helped the pleats to stand out. I'm not sure if the stuffing
involved pleating, sewing, and then pushing stuffing in and sewing the
pleat closed, or if it involved a layer of wool or cotton batting laid
against the skirt fabric before it was pleated. Anyone have any more info
on the mechanics of 16th c. stuffed pleats?

While we can't say with certainty that skirts weren't cartridge-pleated in
Tudor times, I prefer the more documentable box or knife pleating until
the later 1580s.  If you cartridge pleat a skirt and then push
the pleats flat, you get really lovely, evenly spaced knife-pleats.

Good luck with the gown,

Drea

 On Thu, 5 Dec 2002, Lalah T
Tillinghast wrote:

>         Were cartridge pleats used during the Tudor period or did they
> come into vogue during the Elizabethan period?  I am about to do my Tudor
> skirt and would really rather do cartridge pleats because they are easier
> than fooling with knife pleats, but can't find a picture that doesn't
> have the arms hiding the waist.
>
> Lalah
> Never give up, Never surrender
> _______________________________________________
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Date: Wed, 4 Dec 2002 22:34:49 -0800
Status: RO

On Wed, 04 Dec 2002 16:43:27 -0500 Gail & Scott Finke <gailscott@eos.net>
writes:
> 
> 
> Sorry to bother the list, but this is the only place I know to ask 
> this
> question. My daughter is reading a British book and ran across a 
> term she
> didn't know. Having read many British children's books myself, I am
> surprised to find that I don't know the answer. So here goes: what 
> is
> "potted meat"? Is it like Spam, or something completely different?

Closer to deviled ham.  :-)  You can buy it in most grocery stores, near
the tuna.  :-)

HTH--

LuAnn

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Subject: Re: [h-cost] Queries about coifs, biggins and headrails
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Date: Thu, 5 Dec 2002 08:06:49 +0000
Status: RO



On Thu, 05 Dec 2002 09:24:26 +0000 "Joy Shillaker"
<joyshillaker@hotmail.com> writes:
> I wonder if any Elizabethan costumers could help me please.
> 
> Is there a difference between a biggins and a coif and if so what is 
> it?

I was under the impression that a coif is a fitted cap and a biggins is a
bag-like cap, fitted in the front with a bag for the hair in the back.

Arlys, not a costumer


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Subject: Trains & skirt lifters (WAS Re: [h-cost] FO:  1874-77 evening reception dress)
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Date: Thu, 5 Dec 2002 08:14:53 -0800
Status: RO

Re: the comment that skirts shouldn't trail on the ground for dancing:

Yes, but there was a period in the mid- to late-1870's when trains were de
rigeur for ALL skirts.  There were tons of complaints that women wore
loooong trains when out walking, which ended up trailing in the mud.

I do agree that most modern day dancers don't have an idea about floorcraft,
but my guess is that balls could be just as crowded in the 19th century as
they are today at the Gaskell ball.

So how did women deal with trains when dancing?  Were skirt lifters used, or
did they hold their skirt up, or did people know to avoid them, or were the
dances written in such a way as to incorporate the trains?  Has anyone seen
any period images of women with skirt lifters (either metal ones, loops sewn
to the skirt, or someone just holding up their skirt while dancing)?

I'm just wondering how the ladies in "Too Early" got around the floor
without massive damage!
http://sunsite.icm.edu.pl/cjackson/tissot/p-tissot16.htm

- Kendra

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Subject: Re: [h-cost] Tudor question
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Date: Thu, 5 Dec 2002 10:18:22 -0600
Status: RO

So, about where would you start the pleating? And the rest is sewn together
flat? When do they start pleating all the way around the skirt?

**********************
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
**********************



> In Tudor times, the skirt was gathered to the bodice primarily in
> the back.

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Date: Thu, 05 Dec 2002 16:28:01 +0000
Status: RO

just a warning - my son had this same fascination, and now I am paying for a 
college junior year abroad in Japan.  (and happy to do it, just want you to know 
where it can lead).  He is also a fencer and is going to take traditional 
Japanese fencing classes when he is in Japan.  I assume that this is the same as 
a Samuri.  Does anyone have a reference for patterns for traditional Japanese 
fencing garb?  I thought I would make him a costume for his trip.
Would the Japanese have used linen or wool?  Or, were they pretty much limited 
to silk?  Does anyone know anything about historic Japanese dress.  Maybe this 
will lead me to some research on Questia.

thanks, maryann, who is now in Nutcracker hell for the next couple of weeks.
> I wanted to past this along for those people who have teenagers in love with
> the Japanese culture... one of those fads for this age group.
> 
> I decided that I am going to make my 3rd son, Andy, a new quilt for
> Christmas.   Years ago for Christmas I made him a quilt... well it is in
> threads.  I bought him an electric blanket, but he prefers to sleep with the
> old ragged out quilt.  He did the same thing with a baby quilt that my mom
> made him.
> 
> Andy loves the Japanese culture, so today Pat (4th son) and I bought some
> beautiful Japanese printed cottons to make the quilt top at Hancock Fabrics.
> He loves Japanese dragons and I found two prints with dragons and two others
> with Japanese people.  He also loves bamboo, and I found a black background
> print with gold bamboo.  The center of each block will be the dragons and
> people prints, and I will outline the block with strips of bamboo print.
> The long strips separating the blocks will be black.
> 
> Now I know you all think I am crazy for trying this project this late, but
> it is a really easy quilt to make.  If needed Joe (hubby) can sew the
> straight seams on machine.  For the backing of the quilt I will use a black
> sheet.  Instead of batting, I use a thermal blanket.  Instead of hand or
> machine stitching everything together, we use the tack-tie method.  We use
> cotton crochet thread and run 6" baste stitches across the entire quilt.
> Then you clip the baste threads and tie them in a knot.
> 
> Joe and I made three of the tie quilts for our oldest three sons one year
> for Christmas.  We started the day after Thanksgiving.  The boys loved them.
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
> 
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
> (http://www.plugit.com)]
> 
> _______________________________________________
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Date: Thu, 05 Dec 2002 12:53:38 -0500
Status: RO

According to my daughter, you can dye hair with KoolAid

Sue Clemenger wrote:

> Apparently, you can dye fabrics quite nicely with a mixture of koolaid.
> Not sure of proportions, etc.
> I, for one, however, am not interested in wearing something dyed "Crazy
> Berry Blue." <g>
> --sue
>
> Jane Williams wrote:
> >
> > On 4 Dec 2002 at 15:52, Cynthia J Ley wrote:
> >
> > > Jane wrote:
> > > > Sadly, most British squashes aren't juice. "Orange
> > > > squash" is usually orange food colouring, orange
> > > > flavouring, half a ton of sugar, and added Vitamin C
> > > > to convince you it's healthy.
> > >
> > > Ah! We call that Kool Aid here across the pond. 8)
> >
> > Well, that explains a mystery. I'd heard of that, and
> > assumed it was a dressing for burns :)
> >
> > If we call something "juice", it's juice. Mainly,
> > anyway. Take fruit, and squeeze. Maybe add sugar,
> > preservatives, colour, if it's going in a long-life
> > carton, but the main content was once fruit.
> >
> > "Juice drink" would be a watered down version of the
> > above. ("contains at least 10% real orange!")
> >
> > Then you get squashes with added juice.
> >
> > And at the bottom of the ladder, just "squash". Don't
> > go there.
> >
> > BTW, the colourings used in the cheaper drinks stain
> > cloth quite badly. But they're not fast enough to be
> > used as dye, AFAIK. (There, costume content!)
> _______________________________________________
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From: kat@grendal.rain.com
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Date: Thu, 05 Dec 2002 09:53:03 -0800
Status: RO


>         Were cartridge pleats used during the Tudor period or did they
> come into vogue during the Elizabethan period?  I am about to do my
> Tudor skirt and would really rather do cartridge pleats because they
> are easier than fooling with knife pleats, but can't find a picture
> that doesn't have the arms hiding the waist.  

Cartridge pleats were used, as were knife pleats. They seem to have 
been used together at times. I don't have a URL but in the Holbein 
drawing of a lady (where he's done a front *and* a back view),  there 
are obvious large cartridge pleats in the back. Some of the Breugel 
paintings also show this. There's another picture of a English court 
lady in a red dress with navy blue brocade undersleeves which shows 
the cartridge pleats at the side. However, it appears that she has 
some flat pleats to transition the front part to the back cartridge 
pleats (like 2 on each side). Unfortunately, the book which has the 
best picture of this is hiding/lost right now. 

Kat Russell
<kat@grendal.rain.com>

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Date: Thu, 05 Dec 2002 10:01:36 -0800
Status: RO

>So, about where would you start the pleating? And the rest is sewn
>together flat? When do they start pleating all the way around the 
>skirt?

> So, about where would you start the pleating? And the rest is sewn
> together flat? When do they start pleating all the way around the
> skirt?

The front is flat to just a little in front of the sides (at about 
the point of the hip), then there are about 2 knife pleats, then the 
rest is cartridge pleated.

I use a coating wool or a wool meant for padding jackets (which is 
bouncy but not as dense as coating wool) as an insert in the 
cartridge pleats to give them more body. Since we don't (yet, I keep 
hoping some will come) have either any extant garments or tailors 
manuals to say exactly how this was done, this is what I've found to 
give the same effect.

Jean Hunnisett in her "stage and screen" book on the Tudor period 
shows one method of doing it. She seems to use smaller cartridge 
pleats than I've found in paintings, however.

By the way, her pattern for the turned back sleeves hangs better than 
any other pattern I've seen for them in other books. I still had to 
do a lot of experimentation to get them just right, but they are 
still better than any of the others.

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Tudor question
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Date: Thu, 5 Dec 2002 13:38:40 -0500
Status: RO

        Well, it looks like I can get away with the cartridge pleats
after all.  I just don't feel like doing the math required for knife or
box pleats.  I hadn't planned to start the pleating until almost the side
of the garment anyway, so all the tips seem to work out to doing it the
way I wanted to.  Thanks bunches.  Don't know why I am being so fussy
about a gown made of pink polished cotton anyhow.  That alone makes it
totally wrong.  But it is pretty.

        Thanks for all the advice.

Lalah
Never give up, Never surrender
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Subject: Re: Trains & skirt lifters (WAS Re: [h-cost] FO:  1874-77 evening reception dress)
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Date: Thu, 5 Dec 2002 18:52:13 -0000
Status: RO

>So how did women deal with trains when dancing?  Were skirt lifters used,
or
did they hold their skirt up, or did people know to avoid them,

Avoiding them is a bit plus I think, also you learn to dance in manner that
swishes them out of the way most of the time. Kicking you partner until he
learns not to step on them helps too :)

> or were the
dances written in such a way as to incorporate the trains?

Not from any I've done :) Too many backwards steps they can be tricky...

>  Has anyone seen
any period images of women with skirt lifters (either metal ones, loops sewn
to the skirt, or someone just holding up their skirt while dancing)?

Loops on trains that go onto your wrist work & I'm sure I've seen refs to,
skirt lifters don't, I've tried dozens


Skirt lifters are often said to be rather middle class, I've found no
definate contempory refs to support that however. But let's face it if you
are Upper class & have servants to repair your gowns, who cares if it gets
ripped ? If you are really rich you might only wear a ballgown once anyway,
before casting it asside or remodelling it. Certainly I was brought up not
to wear the same ballgown twice, still have problems doing it & generally
make a new Vicky ballgown per ball (hence the lack of space in my house !)

Mel


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From h-costume-admin@indra.com  Thu Dec  5 14:14:48 2002
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Subject: Re: [h-cost] Thanks for the wig link
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Date: Thu, 5 Dec 2002 20:14:21 +0100
Status: RO

Hello Marcus!

Are you planning to have a wig made for you?
So am i, and i am going to use it in april, so perhaps i should contakt him
two, to be sure to get one in time!


 Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "marcus findlay-arthur" <marcus.cuttingtable@virgin.net>
To: <h-costume@indra.com>
Sent: Thursday, December 05, 2002 12:27 AM
Subject: [h-cost] Thanks for the wig link


> Nicole thanks for the wig fellow's link.
>
> Marcus.
>
> _______________________________________________
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Subject: [h-cost] Imperial Taffeta
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Date: Thu, 5 Dec 2002 20:20:12 +0100
Status: RO

Guess what?
I got 15 meters of sky blue Silk Taffeta from London today!!!

Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 20:19:27 +0000
Status: RO


>
> Urgh... uhm... hmm... is it just me or are those big fat red roses a 
> tad OTT?
> *shudder*

Quite period I'm afraid although the Victorian versions were a good bit 
more attractive.Some frocks did incorporate fresh flowers but most were 
either fabric or wax and rather realistic.

While I can't see the bertha area very well in the pic,I do feel she is 
missing the standard ribbon and lace version to create the mid 19thC 
Victorian look.
>
> No, seriously, I don't have a clue about this period and it struck me 
> as an
> awfully ugly dress, therefore I would like to know, IS this historically
> correct? Is this right or more a costumey costume?

Its pretty close actually but still a translation.viz. what 'we' the 
consumers would believe they wore.The skirt is a tad too stiff for 
1851 - probably got hoops under it when petticoats should fill it 
out.The puffed over-skirt is a take-off of a Worth design and the scale 
of the lace trim and the scalloped edge is wrong.The fit of the bodice 
seems more current than Victorian - it should fit without wrinkles and 
sit ontop of the voluminous skirts.


Marcus.

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Date: Thu, 5 Dec 2002 20:34:06 +0100
Status: RO

Hi, i got 5 minuttes to read a little h-costume emails, but i have given up
to read all those send last week- sigh
Oh yes, i love Orlando two, but i hate the large panier dress with those
ruched pleats or what ever you call this with all the roses. (Was it blue?)
It was hideous, and the tall wig looked like - i dont know what to say-

Bjarne

www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, December 05, 2002 4:29 PM
Subject: Re: [h-cost] Dracula, was Re: JoAT Re: [h-cost]


> --- AlbertCat@aol.com wrote: > I
> > I love the clothes in "Orlando"....a film many of my friends
hate....clothes
> > and all. No one is immune.
>
> Ohhhh Orlando, gorgeous, wonderful! I adore the 1700 justaucorps and big
wig
> and all he/she is wearing. Sure it is OTT, but it is wonderful, and
actually
> not that horiffically wrong. The red 1700 outfit is my favourite from the
film,
> what is yours?
>
> I must admit though that my favourite scene of 'em all is thingamy as the
> singing angel. *BG*
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Queries about coifs, biggins and headrails
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Date: Thu, 05 Dec 2002 11:32:02 -0800
Status: RO

At 09:24 AM 12/05/2002 +0000, Joy Shillaker wrote:
>I wonder if any Elizabethan costumers could help me please.
>
>Is there a difference between a biggins and a coif and if so what is it?
>
the way I classify them, is that the biggins is the baby bonnet shaped
item, usually with a strap or ties under the chin.  The coif is the one
that has a point on the forehead and sides that curve in at the cheeks.

However, I don't know that the distinction was there in the period.  In
fact, I think it's likely that "coif" meant any number of styles of closely
fitted headwear, rather the way we use "cap" today.  

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
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Date: Thu, 5 Dec 2002 14:40:06 -0500
Status: RO

Maryann,

When my son was in high school, he wanted to go to Japan and study.  After
he flunked Japanese language class, he changed his mind.  Now he is in a
computer tech college... still living at home.

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


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Subject: [h-cost] Madame Pompadour in London
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Date: Thu, 5 Dec 2002 20:51:42 +0100
Status: RO

Hi.
Someone i know went to a lecture in London on National Portrait Gallery.
Aileen Ribeiro was giving a lecture about the fashions in Madame de
Pompadours times.
Do you know what she said?
She said that paniers were not used in Pompadours times!!!


Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] Yep Bjarne/Thanks for the wig link
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Date: Thu, 5 Dec 2002 20:52:36 +0000
Status: RO

Hello Bjarne,

Long time no chat!

> Are you planning to have a wig made for you?

Absolutely!
Nicole looks so fab and it sounds so easy that I figure I may as well 
help the reenactment authenticity bit a long a bit.I need something to 
fill out my turbans!besides my big head that is!!! : >>>

> So am i, and i am going to use it in april, so perhaps i should contakt 
> him
> two, to be sure to get one in time!

I don't have a deadline and if this move to Ireland goes thru',I can 
still get to the UK easily.
You do 18thC don't you for your own stuff don't you?What sort of wig did 
you have in mind?

Marcus.
Who could just possibly go 18thC with a little temptation.

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In a message dated 12/5/2002 10:48:34 AM Eastern Standard Time, 
nicolas_fouquet@yahoo.com writes:


> The red 1700 outfit is my favourite from the film,
> what is yours?
> 

I must admit being partial to the very 1st Elizabethan outfit she...er...he 
falls asleep under the tree in. Those gold silk stocking!

I hated the 18th century stuff at first, But then I "got it"...what they were 
saying about the 18th century and its restrictions, both social and physical. 
"Baroque" as in "grotesque".

Y'know "Dangerous Liaisons" is not correctly costumed either...in reality. 
The story is supposed to be in the late 1780s or 90s, if I remember 
correctly. Why did James Acheson put it in mid century? [and the director let 
him do what he wanted] He wanted it to be non-political. The real story has 
French Revolution overtones. He thought the screen play was distilled down to 
be more about the characters and love play. So he designed what he called 
"Coffee Table book" gowns....gorgeous to look at. Still, they tell some 
things about the characters. That yellow & black carriage outfit is beautiful 
but somehow conveys a sense of hypocrisy. The color is somehow trying too 
much. [does that make sense?] The artificiality of Glenn Close's "hooting" 
gown clearly says it all.

I love good design!

--part1_189.1205c350.2b2109ff_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 12/5/2002 10:48:34 AM Eastern Standard Time, nicolas_fouquet@yahoo.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The red 1700 outfit is my favourite from the film,<BR>
what is yours?<BR>
</BLOCKQUOTE><BR>
<BR>
I must admit being partial to the very 1st Elizabethan outfit she...er...he falls asleep under the tree in. Those gold silk stocking!<BR>
<BR>
I hated the 18th century stuff at first, But then I "got it"...what they were saying about the 18th century and its restrictions, both social and physical. "Baroque" as in "grotesque".<BR>
<BR>
Y'know "Dangerous Liaisons" is not correctly costumed either...in reality. The story is supposed to be in the late 1780s or 90s, if I remember correctly. Why did James Acheson put it in mid century? [and the director let him do what he wanted] He wanted it to be non-political. The real story has French Revolution overtones. He thought the screen play was distilled down to be more about the characters and love play. So he designed what he called "Coffee Table book" gowns....gorgeous to look at. Still, they tell some things about the characters. That yellow &amp; black carriage outfit is beautiful but somehow conveys a sense of hypocrisy. The color is somehow trying too much. [does that make sense?] The artificiality of Glenn Close's "hooting" gown clearly says it all.<BR>
<BR>
I love good design!</FONT></HTML>

--part1_189.1205c350.2b2109ff_boundary--
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Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 15:04:02 EST
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In a message dated 12/5/2002 2:24:24 PM Eastern Standard Time, 
marcus.cuttingtable@virgin.net writes:


> Some frocks did incorporate fresh flowers but most were 
> either fabric or wax and rather realistic.
>  


I have an 1840s bonnet with silk and paper morning glories on it. They are 
hand made and look real. Like the kind you see on fences in cow pastures.




> While I can't see the bertha area very well in the pic,I do feel she is 
> missing the standard ribbon and lace version to create the mid 19thC 
> Victorian look.
> 

There's something wrong with the skirt. It just doesn't look right. Maybe the 
cut is wrong, The overskirt that looks like an awning [yuk!] may have been 
done but it looks wrong somehow.

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 12/5/2002 2:24:24 PM Eastern Standard Time, marcus.cuttingtable@virgin.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Some frocks did incorporate fresh flowers but most were <BR>
either fabric or wax and rather realistic.<BR>
 </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I have an 1840s bonnet with silk and paper morning glories on it. They are hand made and look real. Like the kind you see on fences in cow pastures.<BR>
<BR>
<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" 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">While I can't see the bertha area very well in the pic,I do feel she is <BR>
missing the standard ribbon and lace version to create the mid 19thC <BR>
Victorian look.<BR>
</BLOCKQUOTE><BR>
<BR>
There's something wrong with the skirt. It just doesn't look right. Maybe the cut is wrong, The overskirt that looks like an awning [yuk!] may have been done but it looks wrong somehow.</FONT></HTML>

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From: Deredere & Owen Iskander <triade@kabelfoon.nl>
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Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 05 Dec 2002 21:07:03 +0100
Status: RO


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>
> Quite period I'm afraid although the Victorian versions were a good 
> bit more attractive.Some frocks did incorporate fresh flowers but most 
> were either fabric or wax and rather realistic.
>
> While I can't see the bertha area very well in the pic,I do feel she 
> is missing the standard ribbon and lace version to create the mid 
> 19thC Victorian look

>
> Its pretty close actually but still a translation.viz. what 'we' the 
> consumers would believe they wore.The skirt is a tad too stiff for 
> 1851 - probably got hoops under it when petticoats should fill it 
> out.The puffed over-skirt is a take-off of a Worth design and the 
> scale of the lace trim and the scalloped edge is wrong.The fit of the 
> bodice seems more current than Victorian - it should fit without 
> wrinkles and sit ontop of the voluminous skirts. You mean that the 
> bodice is seperate?

I don't know much of this period but, I think I have to agree with you. 
The colours used in this dress are awful. Light purple or pink for the 
dress and roses,  and white for the lace, will look a lot better. I also 
think that the sleeves are a little to big and puffy. What kind of 
fabrick would they have used? Silk or also other fabricks?

Greetings,
        Deredere

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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
  <meta http-equiv="Content-Type" content="text/html;charset=ISO-8859-1">
  <title></title>
</head>
<body>
<blockquote type="cite"
 cite="midDA9D4DC5-088E-11D7-9A39-0003936A9570@virgin.net"><br>
Quite period I'm afraid although the Victorian versions were a good bit  more
attractive.Some frocks did incorporate fresh flowers but most were  either
fabric or wax and rather realistic. <br>
 <br>
While I can't see the bertha area very well in the pic,I do feel she is  missing
the standard ribbon and lace version to create the mid 19thC  Victorian look</blockquote>
<blockquote type="cite"
 cite="midDA9D4DC5-088E-11D7-9A39-0003936A9570@virgin.net"><br>
Its pretty close actually but still a translation.viz. what 'we' the  consumers
would believe they wore.The skirt is a tad too stiff for  1851 - probably
got hoops under it when petticoats should fill it  out.The puffed over-skirt
is a take-off of a Worth design and the scale  of the lace trim and the scalloped
edge is wrong.The fit of the bodice  seems more current than Victorian -
it should fit without wrinkles and  sit ontop of the voluminous skirts. <font
 color="#993399">You mean that the bodice is seperate?</font><br>
 </blockquote>
<font color="#993399">I don't know much of this period but, I think I have
to agree with you. The colours used in this dress are awful. Light purple
or pink for the dress and roses,&nbsp; and white for the lace, will look a lot
better. I also think that the sleeves are a little to big and puffy. What
kind of fabrick would they have used? Silk or also other fabricks?<br>
<br>
Greetings,<br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Deredere</font><br>
</body>
</html>

--------------080800030609040803020403--


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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: [h-cost] 1851 pattern
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Date: Thu, 05 Dec 2002 12:26:48 -0800
Status: RO

I believe the colors of that pattern were chosen for the occasion.  That 
pattern is being sold as a 15th birthday spanish gown.  I can't spell that 
word, but it's a big deal on a girls big birthday to have a ball etc. and 
that is the advertising on this pattern.  It may have been taken from the 
fashion plate, but I don't think it was intended for authenticity 
enthusiasts.


http://64.4.36.250/cgi-bin/linkrd?_lang=EN&lah=115aa2ad37213ab2cc1fa1d1d2edf3fc&lat=1039119406&hm___action=http%3a%2f%2fwww%2ecostumes%2eorg%2fhistory%2fvictorian%2fwomen%2ffashionplates%2fgrahams1851b%2ejpg



Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi

I wont hurt you, I just want to dress you up!!




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Subject: [h-cost] Acheson's bee dress was: My Favorite Orlando
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Date: Thu, 05 Dec 2002 12:19:56 -0800
Status: RO

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At 02:58 PM 12/5/2002 -0500, you wrote:
>In a message dated 12/5/2002 10:48:34 AM Eastern Standard Time, 
>nicolas_fouquet@yahoo.com writes:
>
>Y'know "Dangerous Liaisons" is not correctly costumed either...in reality. 
>The story is supposed to be in the late 1780s or 90s, if I remember 
>correctly. Why did James Acheson put it in mid century? [and the director 
>let him do what he wanted] He wanted it to be non-political. The real 
>story has French Revolution overtones. He thought the screen play was 
>distilled down to be more about the characters and love play. So he 
>designed what he called "Coffee Table book" gowns....gorgeous to look at. 
>Still, they tell some things about the characters. That yellow & black 
>carriage outfit is beautiful but somehow conveys a sense of hypocrisy. The 
>color is somehow trying too much. [does that make sense?] The 
>artificiality of Glenn Close's "hooting" gown clearly says it all.

Why did he use 19th c lace on the caps when he wanted to shop around longer 
for 18th c pieces to use? I've been told it had to do with a lack of 
available time. He had to have the whole design done in 6 weeks.

This one I know. The yellow and black visiting dress is intended to 
resemble a bee's coloring. She was going to be stirring the hornet's nest - 
busy as a bee >; )


Gwyn Carnegie
University of California at Davis

--=====================_1340703==_.ALT
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<html>
At 02:58 PM 12/5/2002 -0500, you wrote:<br>
<blockquote type=cite class=cite cite><font face="arial" size=2>In a
message dated 12/5/2002 10:48:34 AM Eastern Standard Time,
nicolas_fouquet@yahoo.com writes:<br><br>
Y'know &quot;Dangerous Liaisons&quot; is not correctly costumed
either...in reality. The story is supposed to be in the late 1780s or
90s, if I remember correctly. Why did James Acheson put it in mid
century? [and the director let him do what he wanted] He wanted it to be
non-political. The real story has French Revolution overtones. He thought
the screen play was distilled down to be more about the characters and
love play. So he designed what he called &quot;Coffee Table book&quot;
gowns....gorgeous to look at. Still, they tell some things about the
characters. That yellow &amp; black carriage outfit is beautiful but
somehow conveys a sense of hypocrisy. The color is somehow trying too
much. [does that make sense?] The artificiality of Glenn Close's
&quot;hooting&quot; gown clearly says it all.</font></blockquote><br>
Why did he use 19th c lace on the caps when he wanted to shop around
longer for 18th c pieces to use? I've been told it had to do with a lack
of available time. He had to have the whole design done in 6 weeks.
<br><br>
This one I know. The yellow and black visiting dress is intended to
resemble a bee's coloring. She was going to be stirring the hornet's nest
- busy as a bee &gt;; )<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></html>

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Date: Thu, 5 Dec 2002 13:43:42 -0800 (PST)
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mabse@attbi.com wrote:
> He is also a fencer and is going to take traditional 
> Japanese fencing classes when he is in Japan.  I assume that this is the same as 
> a Samuri.  Does anyone have a reference for patterns for traditional Japanese 
> fencing garb?  I thought I would make him a costume for his trip.
> Would the Japanese have used linen or wool?  Or, were they pretty much limited
> to silk?  Does anyone know anything about historic Japanese dress.  Maybe this
> will lead me to some research on Questia.

Look at this page to see what is typically worn for Kendo (japanese fencing):
http://store.yahoo.com/martialartsmart/kensamun.html

The keikogi and hakama are worn for kata (slow, posed exercises), the padded
armor for actual fencing with shinai.  Kata are done with wooden boken, often
quite heavy to build up the arm muscles.  

Historic costume is great, but actual fencing gear is a better idea if he
wants to take classes.  My husband used to be very active before he destroyed
his knee while practicing on astroturf in college.  He still does kata with
boken and sai (those weird three-pronged metal knives).  In fact, I bought
him a new set of sai for our anniversary last year.
 
Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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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From: kat@grendal.rain.com
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Date: Thu, 05 Dec 2002 13:18:35 -0800
Status: RO


>         Well, it looks like I can get away with the cartridge pleats
> after all.  I just don't feel like doing the math required for knife
> or box pleats.  I hadn't planned to start the pleating until almost
> the side of the garment anyway, so all the tips seem to work out to
> doing it the way I wanted to.  Thanks bunches.  Don't know why I am
> being so fussy about a gown made of pink polished cotton anyhow.  That
> alone makes it totally wrong.  But it is pretty.

But it is a learning experience too. Perhaps you are considering this 
a "usable" mockup? (I deliberately make my mockups out of plain black 
fabric so that all it takes, if the pattern works, is to put a little 
trim on it and I have a wearable dress.)

Kat Russell
<kat@grendal.rain.com>

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Date: Thu, 5 Dec 2002 13:51:03 -0800 (PST)
Status: RO

Kate Pinner <pinner@mccc.edu>
> 
> According to my daughter, you can dye hair with KoolAid

It's true.  We used to do that before all the new funky-colored
dyes became available.  Purples and reds took the best.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
References: <7C506C3B-0893-11D7-9A39-0003936A9570@virgin.net>
Subject: Re: [h-cost] Yep Bjarne/Thanks for the wig link
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Date: Thu, 5 Dec 2002 22:41:23 +0100
Status: RO

I want a grey wig with 2 rolls on each side, and a bag in the neck. It is to
match my fully embroidered court suit wich i have finished all the
embroidery for. It only needs to be sewn together.
Time? 1770ies
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "marcus findlay-arthur" <marcus.cuttingtable@virgin.net>
To: <h-costume@indra.com>
Sent: Thursday, December 05, 2002 9:52 PM
Subject: [h-cost] Yep Bjarne/Thanks for the wig link


> Hello Bjarne,
>
> Long time no chat!
>
> > Are you planning to have a wig made for you?
>
> Absolutely!
> Nicole looks so fab and it sounds so easy that I figure I may as well
> help the reenactment authenticity bit a long a bit.I need something to
> fill out my turbans!besides my big head that is!!! : >>>
>
> > So am i, and i am going to use it in april, so perhaps i should contakt
> > him
> > two, to be sure to get one in time!
>
> I don't have a deadline and if this move to Ireland goes thru',I can
> still get to the UK easily.
> You do 18thC don't you for your own stuff don't you?What sort of wig did
> you have in mind?
>
> Marcus.
> Who could just possibly go 18thC with a little temptation.
>
> _______________________________________________
> 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] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 14:05:47 -0800 (PST)
Status: RO


Deredere & Owen Iskander <triade@kabelfoon.nl> wrote:
>
> I don't know much of this period but, I think I have to agree with you. 
> The colours used in this dress are awful. Light purple or pink for the 
> dress and roses,  and white for the lace, will look a lot better. I also 
> think that the sleeves are a little to big and puffy. What kind of 
> fabrick would they have used? Silk or also other fabricks?

Unfortunately, the victorians _loved_ color combinations that we would
consider hideous.  I saw a very similar dress made up in violet and fuschia.
It was horrible, but very, very period.  Somewhere, I have a book that a
writer from the period bemoans english women's lack of taste in colors.
Since all the photos we have from the period are black and white, we sometimes
forget what colors were actually used.  I've seen plenty of dresses from 
that period that combine colors like brown and blue and purple all in the 
same dress.  I agree the roses are too bright, they'd probably be a more
realistic color.  However, the big pattern companies do their designs with
availability of trims in mind.  You _can_ find better roses, but you have
to hunt a bit.  

One other oddity of victorian ballgowns is that often the flowers in the hair
were artificial, but the flowers on the gown might be real.  The exact 
opposite of what we'd do.  They also liked doing things like combining lace
and fur trims in a manner that we'd find hideous.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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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From h-costume-admin@indra.com  Thu Dec  5 17:07:18 2002
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From: Lee Thompson-Herbert <lee@retro.com>
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To: h-costume@indra.com
Subject: Re: Trains & skirt lifters (WAS Re: [h-cost] FO:  1874-77 evening reception dress)
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Date: Thu, 5 Dec 2002 14:25:27 -0800 (PST)
Status: RO

"Kendra Van Cleave" <kendrav@attbi.com> wrote:
> Re: the comment that skirts shouldn't trail on the ground for dancing:
> 
> Yes, but there was a period in the mid- to late-1870's when trains were de
> rigeur for ALL skirts.  There were tons of complaints that women wore
> loooong trains when out walking, which ended up trailing in the mud.

Part of that was snobbery.  A fine lady was supposed to have a carriage. ;}

> I do agree that most modern day dancers don't have an idea about floorcraft,
> but my guess is that balls could be just as crowded in the 19th century as
> they are today at the Gaskell ball.

Possibly not, unless recent Gaskell balls have been much less crowded than
when I quit attending a couple years back.  People were more likely to sit
out and talk.

> So how did women deal with trains when dancing?  Were skirt lifters used, or
> did they hold their skirt up, or did people know to avoid them, or were the
> dances written in such a way as to incorporate the trains?  Has anyone seen
> any period images of women with skirt lifters (either metal ones, loops sewn
> to the skirt, or someone just holding up their skirt while dancing)?

The major hazard was not your _partner_, but everyone else on the floor
stepping on your skirts.  Especially with turning dances where one often
has one's back to the line of dance.  If one really does turn 180 degrees
with each set of steps (instead of the quarter turns many people employ),
your skirt train will whip around towards your ankles rather than the floor.
However, on a crowded floor, it's very difficult to do this.  I have memories
of actually leaping over other ladies' skirts while negotiating the floor.

> I'm just wondering how the ladies in "Too Early" got around the floor
> without massive damage!
> http://sunsite.icm.edu.pl/cjackson/tissot/p-tissot16.htm

They didn't.  I've also seen the comments about destroyed and ruined dresses.
However, if _you_ don't want to have to rebuild your skirt every time you
wear it (goodness gracious, you're wearing a ballgown more than once!  
scandalous!), you might consider a wrist loop.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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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From: Sheila W-S <turrel@yahoo.com>
Subject: Re: [h-cost] Tudor question
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Date: Thu, 5 Dec 2002 14:11:24 -0800 (PST)
Status: RO

>>Subject: Re: [h-cost] Tudor question
>>Well, it looks like I can get away with the
cartridge >>pleats after all.  I just don't feel like
doing the math >>required for knife or box pleats.  I
hadn't planned to >>start the pleating until almost
the  side of the garment >>anyway, so all the tips
seem to work out to doing it the >>way I wanted to. 
Thanks bunches.  Don't know why I am >>being so fussy
about a gown made of pink polished cotton >>anyhow. 
That alone makes it totally wrong.  But it is
>>pretty.

  I don't use cartridge pleats on Tudor gowns, after
reading Sarah L. Goodman's article on Farthingales and
Bumrolls....
http://www.elizabethanlady.com/farthingales.html
  I looked at her pictures and the the holbein tudor
lady (shown at the bottom) and don't believe that
these pleats were done by cartridge pleating.  I think
it was knife pleats that were lined/stuffed and
stacked on top of each other to give that layered
look.
  Also I don't use math to do my knife or box pleats. 
I simple pin the ends of my skirt to my bodice, pin
the center back and the middle of the skirt.  Then I
find the middle of the bodice at these points, and the
middle of the skirt at these points and pin them.  I
continue to half the skirt and bodice until its small
enough to pleat and then I start at one end and lay
down the folds of material and pin them.  Instant and
evenly spaced pleats without having to use a measuring
tape.

YMMV,
Sheila

Phoenix, AZ

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Hey, Guys:
Anybody have any idea how many of us there are on the h-cost mailing list?
Thanks for your best guestimates,
Julia

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Hey, Guys:
<BR>Anybody have any idea how many of us there are on the h-cost mailing list?
<BR>Thanks for your best guestimates,
<BR>Julia</FONT></HTML>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Yep Bjarne/Thanks for the wig link
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Date: Thu, 5 Dec 2002 22:28:07 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > I want a grey wig
with 2 rolls on each side, and a bag in the neck. It is to
> match my fully embroidered court suit wich i have finished all the
> embroidery for. It only needs to be sewn together.
> Time? 1770ies

Then I do suggest to contact derek, don't forget to mention that I sent you,
Nicole with the 1660s wig and the 1700 wig for the fontange and with ben's 1700
periwig where the first one got thrown out by Colin mistakenly and we had to
shell out 300 quid for a second one. ;-) He'll know then... :-)))

He's lovely, a pleasure to work with. expensive, but hey, quality doesn't come
cheap, and on top of it all he is SUCH a nice chap.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Thu, 05 Dec 2002 16:28:18 -0600
Status: RO

Theresa Eacker wrote:

> an overhead view:
> http://www.geocities.com/Wellesley/Garden/1044/eleanor.html

Of the three, this is closest to what I need.  I just wish it were
bigger.  :)

Thanks,
--Charlene

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Subject: [h-cost] Dancing in Gowns with Trains
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Date: Thu, 05 Dec 2002 17:51:44 -0500
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> From: "Kendra Van Cleave" <kendrav@attbi.com>
> Subject: Trains & skirt lifters (WAS Re: [h-cost] FO:  1874-77 evening reception dress)
>
> - Kendra
>
> From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
>
> >So how did women deal with trains when dancing?  Were skirt lifters used,
> or
> did they hold their skirt up, or did people know to avoid them,
>
> Avoiding them is a bit plus I think, also you learn to dance in manner that
> swishes them out of the way most of the time.
>
> > or were the
> dances written in such a way as to incorporate the trains?
>
> Not from any I've done :) Too many backwards steps they can be tricky...

I learned an 1860's waltz & an 1890's.

The '60's waltz (no train) starts with the gentleman's back to the center of
the floor & the lady's back towards the seat.  Line of direction is 'over
hands'.
After three beats, the lady has her back to the center of the room & line
of direction is 'over elbows'.
All steps are forward or in place; nobody steps backwards.


The 1890's waltz, when at least some ballgowns were trained, starts with
the gentleman's back to line of direction.
The dance starts with his taking a step backwards, two turning steps, and
the lady then takes a step back.  The turning should be neat enough that
her train gets out of her way.

I don't know when the transition took place, and I don't believe it would be
possible to have a partial transition, although I am only an intermediate
vintage dancer.


Very early in my costuming, I made a vaguely Regency gown with a two foot
train.  I learned to dance a dos a' dos (do-si-do) fairly easily, because the train
got out of my way enough.


> Mel

Ann in CT


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On Thu, 5 Dec 2002 JAzo478796@aol.com wrote:

> Anybody have any idea how many of us there are on the h-cost mailing list?

According to the online info page, there are 303 regular and 164 on
digest. There may be some duplicate subscriptions, of course.

That's low. I seem to remember a time when we topped 800.

--Robin



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Date: Fri, 6 Dec 2002 12:14:09 +1300
Status: RO

> Quite period I'm afraid although the Victorian versions were a good bit
> more attractive.Some frocks did incorporate fresh flowers but most were
> either fabric or wax and rather realistic.

Not quite the same decade but in Fashion and Reality (or Edwardian and
Victorian Fashion a photographic survey depending on whether you have the
original book or the Dover reprint) the author mentions that at time fake
flowers were used in the hair and real one on the dress. That was about the
1870s though.
I don't know her source, but it was interesting;) I know wax orange blossoms
can still be found on hair pieces froma bit later on...

michaela


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From: kris <ionization@shaw.ca>
Subject: Drinks as dye - Re: [h-cost] OT: British food question
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Date: Thu, 05 Dec 2002 15:13:29 -0800
Status: RO


>Over here, I have heard of quilters using Kool Aid to dye fabrics. Don't
>know how well it would work, or how fast it would be, but I think I would
>prefer to use more reliable methods.

Kool Aid works really well on wool. My friend made a grape and lemonade 
plaid shawl for a class project :] they still smell fruity, but the colors 
have lasted 4 or 5 washings.

kris 

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> According to the online info page, there are 303 regular and 164 on
> digest. There may be some duplicate subscriptions, of course.

I was just at the page last night looking for some archives (which are
impossible to find on the site btw. I even looked at info pages for other
lists to see if I could find the right directory to no avail).

michaela



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Subject: Re: [h-cost] OT: British food question
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Date: Thu, 5 Dec 2002 18:55:46 -0500
Status: RO

On Thursday 05 December 2002 03:10 am, Jane Williams wrote:
> On 4 Dec 2002 at 18:54, Kate Pinner wrote:
>
> Me:
[text cut here]

> Well, a courgette is a baby marrow, so yes, sort of.
> Courgettes are up to say 10 inches long and about
> an inch thick. Marrows are say 18 inches long and
> maybe six inches thick.  Same plant, though
> different varieties get bred for the two purposes. And
> then there's the prize-winning Giant Marrows for
> village flower shows, about which many jokes are
> made.
>
> I've always been told that if an American recipe talks
> about "zucchini", you should use courgette. What
> size do you think a zucchini is? Maybe I've been
> getting it wrong.

The zucchinis I see in supermarkets near me are in the range between what 
you've called courgettes and what you've called marrows.  (Personally, I 
don't eat them myself, so that's all the data I have.)

-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Date: Thu, 05 Dec 2002 15:51:24 -0800
Status: RO

To Charlene-

I just transferred the graphic to Appleworks, used the drawing feature 
and stretched to a much bigger size.  Do you have anything available 
like that?

Hope that helps,

Theresa Eacker

Charlene Charette wrote:

> Theresa Eacker wrote:
> 
> 
>>an overhead view:
>>http://www.geocities.com/Wellesley/Garden/1044/eleanor.html
>>
> 
> Of the three, this is closest to what I need.  I just wish it were
> bigger.  :)
> 
> Thanks,
> --Charlene
> 
> 


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Deredere & Owen Iskander <triade@kabelfoon.nl>
Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 19:20:08 -0500
Status: RO

On Thursday 05 December 2002 08:37 am, Deredere & Owen Iskander wrote:
> Hi,
> Has anyone noticed that the new Simplicity pattern 5724 looks a lot like
> the dress in a fashion plate from 1851... :-)
> http://www.costumes.org/history/victorian/women/fashionplates/grahams1851b.
>jpg http://www.simplicity.com/s2b.htm

My guess is that it was intentional.  Simplicity has been doing a growing line 
of patterns intended to be used to reproduce historic styles.  My impression 
is that the patterns are only generically period in flavor and not terribly 
accurate.

5724 appears to be better than most to me, except the shape of the bodice 
looks slightly wrong, somehow....



-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Subject: Re: [h-cost] Dracula, was Re: JoAT Re: [h-cost]
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Date: Thu, 5 Dec 2002 20:39:22 +0000
Status: RO


> Nonsense to your nonsense, because there are MANY points of view. Okay, 
> so
> don't have a clue about clothing of the 19th c. and don't care either,


Well the Designers were 'creative' but it was a movie and not an 
historical reenactment event based on fact.

>  and yes
> I would probably hate it if they did something horrendeous to 17th c. 
> clothing,

Very probable.I feel that way about badly constructed or inaccurate 
representations of my own favourite period.

> I personally took Dracula as totally fantasy, and that's why I adored 
> the
> costumes, absolutely adored them.

Am with you on this one.I thought it was wonderful and would be proud to 
claim the work if I'd ever done it.Loved it them and I realised recently 
when it was on the 'box' again that I still love it.Its up there with 
'Dangerous Liaisons' for sheer visual treats in my book.

Marcus.

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From: marcus findlay-arthur <mangal.kalima@virgin.net>
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Subject: [h-cost] 1851 model for Simplicity pattern - skirt,got it!
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Date: Fri, 6 Dec 2002 00:49:22 +0000
Status: RO

Its like those Scarlett O' Hara collector dolls that were around a few 
years ago - the green muslin number that flares out to the ankles in 
rows of frills as I remember.

In 1851 the crinoline wasn't actually available and women depended upon 
several layers of petticoats to achieve the bell shape.Thats the issue - 
the skirt doesn't 'bell' properly for the period.The fall of the 
petticoats,say some eight in all of various weights and fabrics would 
bloom out from the waist and at mid thigh measure would fall down to the 
floor in heavier folds,not flare smoothly.With the standard 18 yard 
measure in the hem line of a summer frock in taffetta or mouseline you 
get these fab,rich folds of fabric that whisper when moved by the wearer.

Thinking back to the examples that I saw in the various South African 
museums when I was Victorian-mad and the Worth examples at the Met,this 
is a later pattern intended for a crinoline.

The Simplicity pic spreads out almost conically like an 1861-1864 
silhouette.

Do I envy you!!!
A silk and paper 1840's bonnet!
You should see the skill some of the later ribbon work used for floral 
decoration - astounding.You want to smell them in some 
instances.Really,really beautiful and of course lost with all the frou 
frou going on.

The over skirt is also a later fashion feature and had something to do 
with the Pompadour craze which was later than '51 by a few years,five to 
seven years max,if I remember my fashion plates but I am open to 
correction on this point.For most of the 50's the skirt shape was 
bell,full and weighty around the feet.Sort of like a Lely or Van Dyke 
would be wrong without the folds.

Marcus.

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From h-costume-admin@indra.com  Thu Dec  5 19:09:06 2002
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Subject: Re: [h-cost] Fashion plate dress 1851 model - bodice,sleeve & betha
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Date: Fri, 6 Dec 2002 01:02:57 +0000
Status: RO


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Dereder,

Whether the bodice would be separate would depend upon where it was made 
and for what function.French fashion was more formal and thus separate 
bodices were common for Court or Socially prominent events.Not so in 
England or the USA to the same extent.

Generally the bodice is made up separately and attached to the skirt on 
the top of the pleats and gathers.It looks separate but isn't.(Morning 
or afternoon frocks usually have a round waist but evening gowns tend to 
have the regular front and back boned points to the waist of the bodice.

I'd also say that the sleeve is a tad large if being used for a historic 
pattern.It should fit a bit closer to the arm so that the bertha would 
fit over it smoothly and emphasize the bosom and shoulders of the wearer.

And this pattern really really screams for a bertha to be 1851.

Marcus.

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Dereder,


Whether the bodice would be separate would depend upon where it was
made and for what function.French fashion was more formal and thus
separate bodices were common for Court or Socially prominent
events.Not so in England or the USA to the same extent.


Generally the bodice is made up separately and attached to the skirt
on the top of the pleats and gathers.It looks separate but
isn't.(Morning or afternoon frocks usually have a round waist but
evening gowns tend to have the regular front and back boned points to
the waist of the bodice.


I'd also say that the sleeve is a tad large if being used for a
historic pattern.It should fit a bit closer to the arm so that the
bertha would fit over it smoothly and emphasize the bosom and
shoulders of the wearer.


And this pattern really really screams for a bertha to be 1851.


Marcus.


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From h-costume-admin@indra.com  Thu Dec  5 19:11:59 2002
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From: Elizabeth Lear <eliz@indra.com>
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Subject: Re: [h-cost] how many of us are there?
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Date: Thu, 5 Dec 2002 17:08:43 -0700
Status: RO

> I was just at the page last night looking for some archives (which are
> impossible to find on the site btw. I even looked at info pages for other
> lists to see if I could find the right directory to no avail).
> 
> michaela

Here's the text as it appears on
   http://mail.indra.com/mailman/listinfo/h-costume


To search by keyword, use Eric Praetzel's searchable archive at:
http://sca.uwaterloo.ca/~fashion/archives
Eric made some changes to the search method a few months ago that speed
the search but reduce your ability to search to just the name and subject
line ... not much use for many questions. I use the "old" search function,
which I believe is still available from his main search page, and I hope
it stays that way. Be as specific as you can in your search term (you can
pick only one), and you'll get faster searches if you do only one year's
worth of posts at a time.
The results are grouped by month, so when you click on one of the
search results, you'll get that whole month's worth of postings -- a big
download, but useful for reading whole threads.

-- Method 2:
For older archives (1993-1996), go to Franchesca Havas' site at
http://www.io.com/~ches/h-costume/ . You can ftp or download zipped files.
I'm not sure if Ches has later archives too. I hope *someone* is keeping
them.
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From h-costume-admin@indra.com  Thu Dec  5 19:29:27 2002
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Subject: Re: [h-cost] Yep Bjarne/Thanks for the wig link
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Date: Fri, 6 Dec 2002 01:23:22 +0000
Status: RO


On Thursday, December 5, 2002, at 09:41  pm, Bjarne og Leif Drews wrote:

> I want a grey wig with 2 rolls on each side, and a bag in the neck. It 
> is to
> match my fully embroidered court suit wich i have finished all the
> embroidery for. It only needs to be sewn together.
> Time? 1770ies

Very nice indeed.Keep me posted.Mine will be much simpler since I need 
it to roll and coil up under the turbans.Promise to have pics taken.

Marcus.

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Date: Thu, 5 Dec 2002 19:29:50 EST
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In a message dated 12/5/2002 3:27:57 PM Eastern Standard Time, 
distantdesigns@hotmail.com writes:

> That 
> pattern is being sold as a 15th birthday spanish gown.  I can't spell that 
> word, but it's a big deal on a girls big birthday to have a ball etc. and 
> that is the advertising on this pattern. 

Ah! A quinciera dress!  That makes sense.  Interesting, though.  In these 
parts, those dresses tend to be intense pastels (if there is such a 
thing--you know, saturated lavender, pink, etc.)
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/5/2002 3:27:57 PM Eastern Standard Time, distantdesigns@hotmail.com writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">That <BR>
pattern is being sold as a 15th birthday spanish gown.&nbsp; I can't spell that <BR>
word, but it's a big deal on a girls big birthday to have a ball etc. and <BR>
that is the advertising on this pattern. </BLOCKQUOTE><BR>
<BR>
Ah! A quinciera dress!&nbsp; That makes sense.&nbsp; Interesting, though.&nbsp; In these parts, those dresses tend to be intense pastels (if there is such a thing--you know, saturated lavender, pink, etc.)<BR>
Ann Wass</FONT></HTML>

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Subject: [h-cost] Another question about pleats then
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Date: Thu, 05 Dec 2002 18:27:30 -0600
Status: RO

What type of pleat did they use when they were making men's skirted jerkins?  Were those 
organ pleats then?  I do not see how a knife pleat could create those wonderful conical 
pleats we see in the portraiture and woodcuts?
I know a seamstress that refuses to make the skirts on the circle so she makes 
rolled/squashed organ pleats to make the hemline portion of the skirts full enough.  But 
they make enourmous bulk at the waist if using a heavy fabric.  (which would support the 
theory that stuffed and organ pleating was done in the women's gowns).

-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 19:26:51 EST
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In a message dated 12/5/2002 3:05:45 PM Eastern Standard Time, 
AlbertCat@aol.com writes:

> I have an 1840s bonnet with silk and paper morning glories on it. They are 
> hand made and look real. Like the kind you see on fences in cow pastures.
> 
> 

Pictures?
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/5/2002 3:05:45 PM Eastern Standard Time, AlbertCat@aol.com writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I have an 1840s bonnet with silk and paper morning glories on it. They are hand made and look real. Like the kind you see on fences in cow pastures.<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
Pictures?<BR>
Ann Wass</FONT></HTML>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Date: Thu, 5 Dec 2002 19:59:44 -0500
Status: RO

On Thursday 05 December 2002 11:28 am, mabse@attbi.com wrote:
> just a warning - my son had this same fascination, and now I am paying for
> a college junior year abroad in Japan.  (and happy to do it, just want you
> to know where it can lead).  He is also a fencer and is going to take
> traditional Japanese fencing classes when he is in Japan.  I assume that
> this is the same as a Samuri.  Does anyone have a reference for patterns
> for traditional Japanese fencing garb?  I thought I would make him a
> costume for his trip.

As I notice some of the other list members have mentioned, martial arts stores 
sell kendo uniforms that would be more appropriate for his purposes.

> Would the Japanese have used linen or wool?  Or, were they pretty much
> limited to silk? 

Modern kendo uniforms are made of cotton.  

To my knowledge, historic Japanese dress did not use linen at all (I have no 
idea if it grows in Japan or not, suspect the answer is "not.")  My 
recollection is that they didn't use cotton much either before about the 16th 
century.  Before then, the well off wore silk, the peasants wore hemp or 
ramie or other bast fibers.  I suspect that the only folk in Japan who wore 
wool traditionally were the Ainu (the Caucasian tribes in northern Japan).  

This is from my general costume reading.  I'm fairly but not 100% sure of the 
above.  There is a nice site on noble Japanese dress at 

http://www.reconstructinghistory.com/japanese/

-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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From: kat@grendal.rain.com
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Date: Thu, 05 Dec 2002 16:36:34 -0800
Status: RO


> What type of pleat did they use when they were making men's skirted
> jerkins?  Were those organ pleats then?  I do not see how a knife
> pleat could create those wonderful conical pleats we see in the
> portraiture and woodcuts? I know a seamstress that refuses to make the
> skirts on the circle so she makes rolled/squashed organ pleats to make
> the hemline portion of the skirts full enough.  But they make
> enourmous bulk at the waist if using a heavy fabric.  (which would
> support the theory that stuffed and organ pleating was done in the
> women's gowns).

In Alcega's Tailor's Book 1589 (such as f.30) they show them cut on 
the curve. That would take some of the bulk out of it and make the 
pleats more conical.

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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Date: Thu, 5 Dec 2002 19:48:47 EST
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In a message dated 12/5/2002 7:28:33 PM Eastern Standard Time, 
AnnBWass@aol.com writes:


> 
> >> I have an 1840s bonnet with silk and paper morning glories on it. They 
>> are hand made and look real. Like the kind you see on fences in cow 
>> pastures.
>> 
>> 
> 
> Pictures?
> 

I have 4 or 5 boxes in the attic with 1840s or so bonnets in them. They are 
all rotten and not repairable...to my mind anyway....but I save them for 
their wealth of decoration ideas.  For example: One bonnet gets it's shape 
from a wire frame and is covered with little strips of grey silk 
organdy....that tend to roll up into little tubes. These are woven over the 
frame and big gunch of loops of these tubes decorate one side.

I wonder if the MET would want them....or some educational institution [FIT? 
Parsons?] because they are really falling apart. But then you get to see the 
insides!

I want to archive these but really don't know what the hell to do. I'm no 
bonnet expert. I can take pictures now that I have a digital camera. [But let 
me do the chemises 1st, will ya????!] This may be a good project after the 
holidays.

Patience, please.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 12/5/2002 7:28:33 PM Eastern Standard Time, AnnBWass@aol.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">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I have an 1840s bonnet with silk and paper morning glories on it. They are hand made and look real. Like the kind you see on fences in cow pastures.
<BR>
<BR></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>Pictures?
<BR></BLOCKQUOTE>
<BR>
<BR>I have 4 or 5 boxes in the attic with 1840s or so bonnets in them. They are all rotten and not repairable...to my mind anyway....but I save them for their wealth of decoration ideas. &nbsp;For example: One bonnet gets it's shape from a wire frame and is covered with little strips of grey silk organdy....that tend to roll up into little tubes. These are woven over the frame and big gunch of loops of these tubes decorate one side.
<BR>
<BR>I wonder if the MET would want them....or some educational institution [FIT? Parsons?] because they are really falling apart. But then you get to see the insides!
<BR>
<BR>I want to archive these but really don't know what the hell to do. I'm no bonnet expert. I can take pictures now that I have a digital camera. [But let me do the chemises 1st, will ya????!] This may be a good project after the holidays.
<BR>
<BR>Patience, please.</FONT></HTML>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, AnnBWass@aol.com
Subject: Re: [h-cost] 1851 pattern
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Date: Thu, 5 Dec 2002 20:12:51 -0500
Status: RO

On Thursday 05 December 2002 07:29 pm, AnnBWass@aol.com wrote:
> In a message dated 12/5/2002 3:27:57 PM Eastern Standard Time,
>
> distantdesigns@hotmail.com writes:
> > That
> > pattern is being sold as a 15th birthday spanish gown.  I can't spell
> > that word, but it's a big deal on a girls big birthday to have a ball
> > etc. and that is the advertising on this pattern.
>
> Ah! A quinciera dress!  That makes sense.  Interesting, though.  In these
> parts, those dresses tend to be intense pastels (if there is such a
> thing--you know, saturated lavender, pink, etc.)

That would certainly explain the color scheme of the example....but I didn't 
think that quinciera dresses were floor length.

-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Subject: The Met!!!!Re: [h-cost] Fashion plate dress 1851 model for Simplicity pattern
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From: marcus findlay-arthur <marcus.cuttingtable@virgin.net>
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Date: Fri, 6 Dec 2002 01:59:34 +0000
Status: RO


--Apple-Mail-2-703232307
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The Met really looks after their stuff if they can salvage it and could=20=

use it for instructional purposes.I studied at FIT and didn't find them=20=

too careful back then.

Marcus.

On Friday, December 6, 2002, at 12:48  am, AlbertCat@aol.com wrote:

> In a message dated 12/5/2002 7:28:33 PM Eastern Standard Time,=20
> AnnBWass@aol.com writes:
>
>
>
> I have an 1840s bonnet with silk and paper morning glories on it. They=20=

> are hand made and look real. Like the kind you see on fences in cow=20
> pastures.
>
>
>
> Pictures?
>
>
>
> I have 4 or 5 boxes in the attic with 1840s or so bonnets in them. =
They=20
> are all rotten and not repairable...to my mind anyway....but I save=20
> them for their wealth of decoration ideas. =A0For example: One bonnet=20=

> gets it's shape from a wire frame and is covered with little strips of=20=

> grey silk organdy....that tend to roll up into little tubes. These are=20=

> woven over the frame and big gunch of loops of these tubes decorate =
one=20
> side.
>
> I wonder if the MET would want them....or some educational institution=20=

> [FIT? Parsons?] because they are really falling apart. But then you =
get=20
> to see the insides!
>
> I want to archive these but really don't know what the hell to do. I'm=20=

> no bonnet expert. I can take pictures now that I have a digital =
camera.=20
> [But let me do the chemises 1st, will ya????!] This may be a good=20
> project after the holidays.
>
> Patience, please.
>

--Apple-Mail-2-703232307
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The Met really looks after their stuff if they can salvage it and
could use it for instructional purposes.I studied at FIT and didn't
find them too careful back then.


Marcus.


On Friday, December 6, 2002, at 12:48  am, AlbertCat@aol.com wrote:


<excerpt><fontfamily><param>Arial</param>In a message dated 12/5/2002
7:28:33 PM Eastern Standard Time, AnnBWass@aol.com writes:




I have an 1840s bonnet with silk and paper morning glories on it. They
are hand made and look real. Like the kind you see on fences in cow
pastures.




<color><param>0000,0000,0000</param>Pictures?

</color>



I have 4 or 5 boxes in the attic with 1840s or so bonnets in them.
They are all rotten and not repairable...to my mind anyway....but I
save them for their wealth of decoration ideas. =A0For example: One
bonnet gets it's shape from a wire frame and is covered with little
strips of grey silk organdy....that tend to roll up into little tubes.
These are woven over the frame and big gunch of loops of these tubes
decorate one side.


I wonder if the MET would want them....or some educational institution
[FIT? Parsons?] because they are really falling apart. But then you
get to see the insides!


I want to archive these but really don't know what the hell to do. I'm
no bonnet expert. I can take pictures now that I have a digital
camera. [But let me do the chemises 1st, will ya????!] This may be a
good project after the holidays.


Patience, please.</fontfamily>


</excerpt>=

--Apple-Mail-2-703232307--

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Ethnic Eating and cold weather
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Date: Thu, 05 Dec 2002 14:22:28 -0800
Status: RO


>It sounds almost like you're
>combining costume and non-costume elements to stay warm.  Where are you,
>by the way? We've had a couple of weeks of nothing but sub-freezing
>temps and ice fogs.  Ugh.  Very dreary.  I've been starting on my winter
>projects--I'm making a fitted gown for an upcoming competition, learning
>tablet-weaving, and planning on getting around to making some garments
>inspired by the ones in the Mannesse Codex (for next summer's tourney
>season).  What's everyone else doing?

Sitting here in my t-shirt-sleeves, wondering if I want to put my shoes on 
before going outside, or not.  The thermostat says it's 72 degrees in here, 
so I don't know if the heater is on or not.  It hasn't rained (not enough 
to notice anyway) for several weeks now.

I love capes, cloaks, and coats, but the weather here is such that I roast 
in them  most of the year.  At Dickens' Fair last week (indoors), I sweated 
profusely in my lower-class day dress, single petticoat, chemise and 
corset, tucker, knee-high stockings, apron, and cap, all of cotton.  And 
we're supposed to add bonnets and wraps when we go from an area supposed to 
be indoors to one supposed to be outdoors.  The guys in frock coats and 
morning coats suffer the worst.  Last year we had to turn the building 
heaters on a couple of times, but this year nobody has even suggested 
it.  We're doing London in late December here in San Francisco.


Kayta

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Date: Thu, 05 Dec 2002 13:57:52 -0800
Status: RO


>I confess total ignorance when it comes to babies, but isn't a certain
>amount of crying necessary for the healthy development of an infant's
>lungs?

Nope.  In many cultures, babies cry very little.


Kayta

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Date: Thu, 05 Dec 2002 13:53:50 -0800
Status: RO


>Anyone have a picture of the second Mrs. Weasley sweater?  Sounds
>interesting to me, but when I saw the movie, I was between 12 hour shifts of
>work, got 3 hours sleep and back to work, so I missed a few details.  I
>guess I'm gonna just have to see it again soon to see what I missed in my
>sleep-deprived befuddled state.

No.  But at least it is all crochet.  And I'm sure I've seen the stitch 
pattern at some point, like in a 1970s crochet-patterns book.  I just saw 
it in a shawl recently, somewhere.


Kayta

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Subject: Re: [h-cost] OT: British food question
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Date: Thu, 05 Dec 2002 14:32:51 -0800
Status: RO


> > And we have the occasional British squash such as Ribena. (Yum. My
> > favorite, although you have to hunt to find it, usually only in
> > specialty stores and only the concentrate.)
> >
> > Mostly we just call ours "juice".
>
>Sadly, most British squashes aren't juice. "Orange
>squash" is usually orange food colouring, orange
>flavouring, half a ton of sugar, and added Vitamin C
>to convince you it's healthy.
>
>Still, it helps drown the taste of the fluoride in the tap
>water :)

Squash, to an American, is a vegetable like pumpkin or zucchini (there are 
10 or 20 different kinds available here in California).  Squash, to someone 
in the UK is the juice from a squashed fruit, plus water, sugar, 
etc.  Lemon squash (UK) = lemonade (US).


Kayta

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Date: Thu, 5 Dec 2002 20:37:42 EST
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In a message dated 12/5/2002 7:08:19 PM Eastern Standard Time, 
mangal.kalima@virgin.net writes:


> Well the Designers were 'creative' but it was a movie and not an 
> historical reenactment event based on fact.
> 

Ahhhhh...but is was billed as a sort of historical event...BRAM STOKER'S 
Dracula. Never forget that.

You are of course correct in thinking the clothes are beautiful. Alone they 
are. But as a design for a show they simply fail. Mina's [or is it Lucy?] 
wedding dress is a stunning costume. An intricate feast for the eyes. A 
beautiful Kabuki costume..... but what, other than being white, does it have 
to do with a wedding dress? And we have Dracula himself looking sometimes 
like an aging drag queen in a red Kimono with a beehive hair do [in 
Transsexual Traaaaaansivania!], next he's Leon Russell, Then he rises from 
the grave wearing a Klimpt painting. What is that? Where's the concept? It's 
just a jumble of a bunch of stuff the designer liked. It is bad design. Nice 
individual pieces, but bad design. Let her go do fashion. Leave the theatre 
to us.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 12/5/2002 7:08:19 PM Eastern Standard Time, mangal.kalima@virgin.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">Well the Designers were 'creative' but it was a movie and not an 
<BR>historical reenactment event based on fact.
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Ahhhhh...but is was billed as a sort of historical event...BRAM STOKER'S Dracula. Never forget that.
<BR>
<BR>You are of course correct in thinking the clothes are beautiful. Alone they are. But as a design for a show they simply fail. Mina's [or is it Lucy?] wedding dress is a stunning costume. An intricate feast for the eyes. A beautiful Kabuki costume..... but what, other than being white, does it have to do with a wedding dress? And we have Dracula himself looking sometimes like an aging drag queen in a red Kimono with a beehive hair do [in Transsexual Traaaaaansivania!], next he's Leon Russell, Then he rises from the grave wearing a Klimpt painting. What is that? Where's the concept? It's just a jumble of a bunch of stuff the designer liked. It is bad design. Nice individual pieces, but bad design. Let her go do fashion. Leave the theatre to us.</FONT></HTML>

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Date: Thu, 5 Dec 2002 21:19:05 -0600
Status: RO

Hi,
    playing catchup with digests again.  I'm from Missouri,  St. Louis area
to be more precise.  German background  on both sides of my family.

Genie

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Date: Thu, 05 Dec 2002 19:25:49 -0800
Status: RO

thanks all for the info.  He has a fencing outfit, including the face 
protector and jacket and everything.  I really was thinking more of a 
costume type traditional dress for dress up.

there are real parallels with Penny's son.  He also flunked Japanese last 
year and is a computer engineering major.  the flunking Japanese didn't 
seem to discourage him.  He comes home from UC Santa Cruz tomorrow and I 
can hardly wait.

maryann


At 07:59 PM 12/5/2002 -0500, Catherine Olanich Raymond wrote:
>On Thursday 05 December 2002 11:28 am, mabse@attbi.com wrote:
> > just a warning - my son had this same fascination, and now I am paying for
> > a college junior year abroad in Japan.  (and happy to do it, just want you
> > to know where it can lead).  He is also a fencer and is going to take
> > traditional Japanese fencing classes when he is in Japan.  I assume that
> > this is the same as a Samuri.  Does anyone have a reference for patterns
> > for traditional Japanese fencing garb?  I thought I would make him a
> > costume for his trip.
>
>As I notice some of the other list members have mentioned, martial arts 
>stores
>sell kendo uniforms that would be more appropriate for his purposes.
>
> > Would the Japanese have used linen or wool?  Or, were they pretty much
> > limited to silk?
>
>Modern kendo uniforms are made of cotton.
>
>To my knowledge, historic Japanese dress did not use linen at all (I have no
>idea if it grows in Japan or not, suspect the answer is "not.")  My
>recollection is that they didn't use cotton much either before about the 16th
>century.  Before then, the well off wore silk, the peasants wore hemp or
>ramie or other bast fibers.  I suspect that the only folk in Japan who wore
>wool traditionally were the Ainu (the Caucasian tribes in northern Japan).
>
>This is from my general costume reading.  I'm fairly but not 100% sure of the
>above.  There is a nice site on noble Japanese dress at
>
>http://www.reconstructinghistory.com/japanese/
>
>--
>Cathy Raymond <cathy@thyrsus.com>
>
>"You shall know the truth and the truth shall make you odd."
>  --Flannery O'Connor


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Subject: Re: [h-cost] 1851 model for Simplicity pattern - skirt,got it!
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Date: Thu, 5 Dec 2002 23:12:59 -0500
Status: RO

I think Marcus has hit the right line about the skirt shape being wrong.  I
would also question the bodice being attached to the skirt.  I have a tow
tiered silk skirt of this period that came with two bodices; one for evening
and the other is more for daytime.  One problem that I am having with these
new 'historical' patterns is in the long waisted bodice meant for the modern
body is usually out of proportion to the shorter waisted aesthetic of the
time.Hence, the pattern designed to fit now always looks strange when
compared with originals.  Kathleen
----- Original Message -----
From: "marcus findlay-arthur" <mangal.kalima@virgin.net>
To: <h-costume@indra.com>
Sent: Thursday, December 05, 2002 7:49 PM
Subject: [h-cost] 1851 model for Simplicity pattern - skirt,got it!


> Its like those Scarlett O' Hara collector dolls that were around a few
> years ago - the green muslin number that flares out to the ankles in
> rows of frills as I remember.
>
> In 1851 the crinoline wasn't actually available and women depended upon
> several layers of petticoats to achieve the bell shape.Thats the issue -
> the skirt doesn't 'bell' properly for the period.The fall of the
> petticoats,say some eight in all of various weights and fabrics would
> bloom out from the waist and at mid thigh measure would fall down to the
> floor in heavier folds,not flare smoothly.With the standard 18 yard
> measure in the hem line of a summer frock in taffetta or mouseline you
> get these fab,rich folds of fabric that whisper when moved by the wearer.
>
> Thinking back to the examples that I saw in the various South African
> museums when I was Victorian-mad and the Worth examples at the Met,this
> is a later pattern intended for a crinoline.
>
> The Simplicity pic spreads out almost conically like an 1861-1864
> silhouette.
>
> Do I envy you!!!
> A silk and paper 1840's bonnet!
> You should see the skill some of the later ribbon work used for floral
> decoration - astounding.You want to smell them in some
> instances.Really,really beautiful and of course lost with all the frou
> frou going on.
>
> The over skirt is also a later fashion feature and had something to do
> with the Pompadour craze which was later than '51 by a few years,five to
> seven years max,if I remember my fashion plates but I am open to
> correction on this point.For most of the 50's the skirt shape was
> bell,full and weighty around the feet.Sort of like a Lely or Van Dyke
> would be wrong without the folds.
>
> Marcus.
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Fri, 6 Dec 2002 00:04:23 -0500
Status: RO

<<<Perhaps you are considering this 
a "usable" mockup? >>>

        Actually, that is exactly what I am doing.  I don't want to cut
into the good stuff until I know if it will work.  And I had the pink
fabric for a decorating project that I changed my mind on.  Can't let
good fabric go to waste and, like I said before, I like pink.

Lalah
Never give up, Never surrender
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Date: Fri, 6 Dec 2002 00:21:14 -0500
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<<<I want to archive these but really don't know what the hell to do.>>>

        First - Get them out of the attic!!

        Second - try to find some acid free tissue to wrap them in and
store them in a nice cool closet to prevent any further deterioration.

Lalah
Never give up, Never surrender
----__JNP_000_684b.0241.087b
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<DIV>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; First - Get them out of the=
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Date: Thu, 05 Dec 2002 22:28:14 -0700
Status: RO

*sigh*....
Is it as beeyoootiful as it sounds? What are you going to make with it?
The American lady's outfit?
*sigh*.....;-)
--sue

Bjarne og Leif Drews wrote:
> 
> Guess what?
> I got 15 meters of sky blue Silk Taffeta from London today!!!
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
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Subject: Re: [h-cost] how many of us are there?
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Date: Fri, 6 Dec 2002 01:20:01 -0500
Status: RO

I am surprised on how the membership has dropped.  Years ago there were
about 800 members.  I guess with all various costume lists people went into
their our specialty.

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


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Subject: Re: [h-cost] Andy's Christmas Present
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Date: Fri, 6 Dec 2002 02:09:36 -0500
Status: RO

Maryann,

All my son's computer geek friends are into the Japanese culture and anime.

I have five sons and all dress differently. #1 son {26 y.o.} is a
businessman into preppy/professional wear, #2 son {21 y.o.} (artsy one) is
into Kramer/bowling shirts, #3 son {19 y.o.} into Japanese, #4 son {17 y.o.}
wears his Boy Scout camp shirts (he works at Boys Scout camp in the summer
and they give him a wardrobe) and the black t-shirts from his theater
productions, and #5 son {15 y.o.} wears funny t-shirts... his favorites are
Spam, can meat, t-shirts (his name is Sam and his brothers always called him
Spam.  He is a computer geek and likes being called Spam.)

And people think menswear is boring.  My husband wears at home, Grand Funk
Railroad and Denver Broncos t-shirts.  One day I am going to have a bonfire
with them!!!!

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


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] how many of us are there?
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Date: Fri, 6 Dec 2002 08:10:29 +0000 (GMT)
Status: RO

 --- Penny Ladnier <penny@costumegallery.com> wrote: > I am surprised on how
the membership has dropped.  Years ago there were
> about 800 members.  I guess with all various costume lists people went into
> their our specialty.

I personally think that it also has a lot to do that this list has been prone
to flaming. I certaionly know a _lot_ of people who were on here and then ran
away, hurt or fearing they might say something wrong/unintelligent and
therefore they _never_ dared to post, never to return.
This has changed though I believe, has become a lot friendlier lately, maybe we
could coax them back?

Sorry, but I had to say this coz it's part of the truth.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Dracula, was Re: JoAT Re: [h-cost]
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Date: Fri, 6 Dec 2002 08:15:07 +0000 (GMT)
Status: RO

 --- AlbertCat@aol.com wrote: > 

> You are of course correct in thinking the clothes are beautiful. Alone they 
> are. But as a design for a show they simply fail. Mina's [or is it Lucy?] 
> wedding dress is a stunning costume. An intricate feast for the eyes. A 
> beautiful Kabuki costume..... but what, other than being white, does it have 
> to do with a wedding dress? And we have Dracula himself looking sometimes 
> like an aging drag queen in a red Kimono with a beehive hair do [in 
> Transsexual Traaaaaansivania!], next he's Leon Russell, Then he rises from 
> the grave wearing a Klimpt painting. What is that? Where's the concept? It's 
> just a jumble of a bunch of stuff the designer liked. It is bad design. Nice 
> individual pieces, but bad design. Let her go do fashion. Leave the theatre 
> to us.
>
*stomps foot and insists* NO I disagree with you, strongly, strongly, strongly.
The costumes, each and every of the 'strange' ones are utterly fantastic! Apart
from that, what about Mr Stoker himself and the group he was associated with? I
don't think the 'weird' costumes are out of place at all, and I hope she will
NOT leave theatre to everyone else and do fashion because I thought the
costumes were utterly STUNNING!

Nicole - who thinks disagreeing is great fun, especially in this 'oh so
pussyfooting around times'

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] how many of us are there?
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Date: Fri, 6 Dec 2002 03:44:58 -0500
Status: RO

I was saddened to hear membership has dropped so much.  My newsletter has
more members than what we have now.  H-costume used to be the largest
costume list.

I think the flame wars has a lot to do with it.  A lot of people have told
me this over the years.  People have said that they are scared to post a
question or answer one for the fear of being flamed.  I have run across a
lot of old members on other lists.

Others have said that they wanted to answer a question, but other members
jump in and answer quickly before they can post.  Maybe it is time for
another Lurker's Day.  Maybe this should be a monthly event.  Then we would
get to know everyone!  How about the third Wednesday of every month as
Lurker's Day.  I will volunteer to keep up with it.

I don't blame them for the fear.  I was flamed once years ago on this list.
I was shaken for a little while, but I haven't been flamed again.  I kinda
like putting out the flames.  No one knows everything, and my policy is...
there are no dumb questions.  We all had to start somewhere.  My somewhere
to start was on h-costume in 1996 as a student.  I still think it is the
best costuming list.

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


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Date: Fri, 06 Dec 2002 10:48:34 +0100
Status: RO



Penny Ladnier wrote:

>  I still think it is the
>best costuming list.
>
I totally agree.
There is so much knowledge on this list.
And I get more and more interested in other periods than only the 15th 
and 16th century.

Greetings,
        Deredere



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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Fox tails, was Re: [h-cost] Tudor question
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Date: Fri, 6 Dec 2002 10:14:32 -0000
Status: RO

Hi all,

I see that Sarah L. Goodman's article on Farthingales and
 Bumrolls.... at

 http://www.elizabethanlady.com/farthingales.html

includes a reference to foxtails being worn in much earlier periods
under the gown to improve the figure, and I have come across a number
of other references to this. However, I'm still baffled as to how this
actually worked, in practise,and would welcome suggestions.

best wishes
Stevie

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Date: Sat, 7 Dec 2002 01:22:45 +1300
Status: RO

> I don't blame them for the fear.  I was flamed once years ago on this
list.
> I was shaken for a little while, but I haven't been flamed again.

heheh, well I've been in a situation that wasn't quite flaming, but I was
accused of flaming.. eh. I think it's part of the cons of text only
communication. Hense my recent asking of Nicole for what she meant;)

Funnily enough being bold enough to stand up for my beliefs (though
sometimes knowing when you've made your point and it's not doing any good to
labour the point can be difficult) has made me bolder IRL. At the LotR
picnic I had a guy say that my dress would have been better with boning.
Dork didn't know anything about costuming:
a) the original didn't. And I don't think there was any boned undergarment
(maybe somehting like what Liv wore, but it's clear from the way the costume
hangs on the form and wrinkles around the actress the dress isn't boned.
b) if we are looking at the bliaut as a possible "what this is trying to be"
style then no as well.

I told him no. He said "because you don't like it?" I said no, it's not
right for the style. And started talking about the history of the use of
whale bone and reeds;) Had it been a few years before I might well have
doubted myself. But being on a list where you can be flamed or have heated
discussions means you soon either become very determined or avoid
confrontation, perhpas by becoming insecure in your opinions.

 I kinda
> like putting out the flames.  No one knows everything, and my policy is...
> there are no dumb questions.  We all had to start somewhere.  My somewhere
> to start was on h-costume in 1996 as a student.  I still think it is the
> best costuming list.

Yep. Good range of views. And often even if you strongly disagree with
someone it helps you clarify why you believe something by having it
challenged. You may even change your mind.

And I also feel there is nothing the matter with being wrong. For example...
assuming whalebone actually was bone. It's an easy mistake if you are just
learning about the stuff. Ignore the people who belittle you for the mistake
but don't try and pretend the mistake didn't happen. If you see what I mean.
I don't mind admitting when I'm wrong, when it's somethine clear cut like
that and if it's not clear cut and something more subjective then I prefer
to be able to form my own opinions;)

michaela
using this as a test to see if nortons will scan my email. It's behaving
extremely oddly.

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Date: Fri, 06 Dec 2002 08:17:26 -0500
Status: RO

*de-lurking*

Actually, the nasty flaming is exactly why I dont post anymore.  I sometimes do not
get my point across clearly, and do not say all I meant to because I am always in
somewhat of a hurry due to an insane schedule.  Also, I only get to check mail in
the early morning before work, and after work.  Those who post all day will move
onto a topic and you all know how conversations change.  The last time I posted
something here I got deeply flamed.  I argue enough in my day to day life (I work
in an accounting office and get in to.... 'discussions' with agencys like the IRS
and state tax authorities) so when I come home, I do not want to continue arguing.
Especially about something that is supposed to be relaxing and enjoyable.  BTW,
other list members took my viewpoint a year later and showed me to be correct
indeed....

*back into lurk mode*

Jenne

>
> I personally think that it also has a lot to do that this list has been prone
> to flaming. I certaionly know a _lot_ of people who were on here and then ran
> away, hurt or fearing they might say something wrong/unintelligent and
> therefore they _never_ dared to post, never to return.
> This has changed though I believe, has become a lot friendlier lately, maybe we
> could coax them back?
>
> Sorry, but I had to say this coz it's part of the truth.
>
> Nicole
>

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Subject: Re: [h-cost] how many of us are there?
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Date: Fri, 6 Dec 2002 14:19:43 +0000 (GMT)
Status: RO

 --- Justine Magill <philnstine@worldnet.att.net> wrote: > *de-lurking*
> 
> Actually, the nasty flaming is exactly why I dont post anymore.  I sometimes
> do not
> get my point across clearly, and do not say all I meant to because I am
> always in
> somewhat of a hurry due to an insane schedule.  Also, I only get to check
> mail in
> the early morning before work, and after work.  

Oh Jenne, don't go back into lurking, please? I know it isalways us same ones
who are posting/talking and I know I for one sometimes really do talk too much
(hey, can I help it that I feel so strongly about many things? *laughs*) but
that's also because we _are_ always the same ones posting. It would be
WONDERFUL if more people posted, it really would. 

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <005e01c29c93$55ae0a30$4096fea9@CPQ21932199711> <3DF0356E.C2D83049@in-tch.com>
Subject: Re: [h-cost] Imperial Taffeta
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Date: Fri, 6 Dec 2002 16:00:37 +0100
Status: RO

Hi!
Yes that is right, the american lady from Denver.
It is a wonderfull colour and i wished i had time right now, then i would
have made myself a new embroidered suit!
Well it is good to have some things to do in the future also.
I just finished her stays today, mock up stays wich are to be send for her
to try, before i make any panier and dress mock up two.
What a work to make stays for large persons, it has 100 bones in it.
Boy am i glad they invented the sewing machine :-)
This time i want to try to make a new panier type.
I have ben glaring at Nicoles pictures from V&A of a panier shown with
stays, i think it would be very usefull for the dress i make.

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Friday, December 06, 2002 6:28 AM
Subject: Re: [h-cost] Imperial Taffeta


> *sigh*....
> Is it as beeyoootiful as it sounds? What are you going to make with it?
> The American lady's outfit?
> *sigh*.....;-)
> --sue
>
> Bjarne og Leif Drews wrote:
> >
> > Guess what?
> > I got 15 meters of sky blue Silk Taffeta from London today!!!
> >
> > Leif og Bjarne Drews
> > www.my-drewscostumes.dk
> >
> > http://home0.inet.tele.dk/drewscph/
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Fri, 6 Dec 2002 10:04:07 EST
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In a message dated 12/6/2002 3:16:17 AM Eastern Standard Time, 
nicolas_fouquet@yahoo.com writes:


> Nicole - who thinks disagreeing is great fun, especially in this 'oh so
> pussyfooting around times'
> 

Indeed....especially since there is no animosity between us. It's hardly a 
life defining cause.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 12/6/2002 3:16:17 AM Eastern Standard Time, nicolas_fouquet@yahoo.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">Nicole - who thinks disagreeing is great fun, especially in this 'oh so
<BR>pussyfooting around times'
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Indeed....especially since there is no animosity between us. It's hardly a life defining cause.</FONT></HTML>

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Date: Fri, 06 Dec 2002 07:08:11 -0800
Status: RO

N Kipar wrote:

> --- Penny Ladnier <penny@costumegallery.com> wrote: > I am surprised on how
>> the membership has dropped.
>
>I personally think that it also has a lot to do that this list has been prone
>to flaming.
>

I had dropped off all the lists I read after sept 11, took me about a 
year to realize how much I missed reading them. Still, I mostly read, 
not post. Flames don't scare me a bit, I just don't have a lot to say!
I like to sew (duh!) and have been getting into the vintage (late 30s, 
early 40s) 'reprints' that vogue and butterick have been doing. Only 
gotten a few done, hopefully some more after the holidays. Have to alter 
every darn one to fit. Yeesh.
Am in the SCA, wear mostly late period Persian clothing, sometime 
earlier. Sometimes European medieval, sometimes late italian renaissance.
Will pick up Margo's patterns as soon as I can - will be nice to have a 
pattern to work from. Sometimes I get so tired of drafting my own!

off to classes

liz
lizyoung@fenris.net

>  
>

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Subject: Re: [h-cost] Yep Bjarne/Thanks for the wig link
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Date: Fri, 6 Dec 2002 16:13:27 +0100
Status: RO

Hi Duchesse!
Yes i will do that, the wig i have is much two full.
When you look at 18th century wigs they are not so full, only thin hair and
then those rolls.
But it surely is difficult to find a picture of one i like, i have
turned every page in all my costume books, but no one was like i wanted it.
I think i will look at Dangerous Liasions on the puter and then capture a
picture i like of Valmont and send to him, as the wig i want.

Bjarne


> Then I do suggest to contact derek, don't forget to mention that I sent
you,
> Nicole with the 1660s wig and the 1700 wig for the fontange and with ben's
1700
> periwig where the first one got thrown out by Colin mistakenly and we had
to
> shell out 300 quid for a second one. ;-) He'll know then... :-)))
>
> He's lovely, a pleasure to work with. expensive, but hey, quality doesn't
come
> cheap, and on top of it all he is SUCH a nice chap.
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
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Date: Fri, 06 Dec 2002 10:10:38 -0500
Status: RO

I know I have asked a lot of questions before so add this to my
curiosity.  Is there a list of recommanded reading for different periods
of clothing styles and construction?  I presently own a number of books
but I feel like I am missing something.  In creating a gown from a
pattern, whether its one of the big three or much to my delight Margo
Anderson's pattern, I seem to be lacking a common knowledge about the
construction.  Hard to explain this feeling of failing to achieve a
certain look due to my skimpy sewing skills. I see wonderful paned
sleeves on gowns that have a fullness that I can't recreate.  I have
searched my books and on line but no help.  I would like to have that
fullness on the upper half of the sleeves while the lower half is
narrow.  How did they do that?  I guess I am looking for tricks of the
trade.  If there is a book or some place to find this info could someone
point me in the right direction?

Thanks in advance
Diana
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Date: Fri, 6 Dec 2002 10:15:44 -0500 (EST)
Status: RO

I'm curious--the pleats in the back of Holbein's lady and the breughel
painting are obviously very deep and pronounced, but I myself have been
unable to determine the specific pleating method used.  I've managed to
create similar wide, very rounded pleats by stuffing and then
box-pleating.  Though I have had to hand-sew the finished skirt top to
the finished bodice bottom like one does with cartridge pleats, as the
stuffed pleats were way too thick to sew through. Are you defining
cartridge-pleats as pleats that are sewn with multiple threads and then
gathered up, or as any pleats that aren't "folded under", like knife or
box pleats?

Looking at Holbein's woman (pic at
http://costume.dm.net/gallery/images/bwlady-big.gif), I would recreate
that look with a skirt lined with a layer of batting.  Ditto for breughel
(one pic at
http://homepage.mac.com/festive_attyre/research/images/dance.jpg)


Smaller cartridge pleats show up in Italian dresses of the time (example
at http://www.marquise.de/en/1500/pics/1540_1.shtml).

I'd love to see that english dress.  I think I may have--is she wearing a
Queen-mary-type flattened hood, and is the dress a really stylized
long-fronted red velvet deal? Are the pleats smaller?

Thanks,

Drea

 >
> Cartridge pleats were used, as were knife pleats. They seem to have
> been used together at times. I don't have a URL but in the Holbein
> drawing of a lady (where he's done a front *and* a back view),  there
> are obvious large cartridge pleats in the back. Some of the Breugel
> paintings also show this. There's another picture of a English court
> lady in a red dress with navy blue brocade undersleeves which shows
> the cartridge pleats at the side. However, it appears that she has
> some flat pleats to transition the front part to the back cartridge
> pleats (like 2 on each side). Unfortunately, the book which has the
> best picture of this is hiding/lost right now.
>
> Kat Russell
> <kat@grendal.rain.com>
>
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From: "Linda J. Thompson" <LindaJThompson@comcast.net>
Subject: Re: [h-cost] Dracula, was Re: JoAT Re: [h-cost]
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Date: Fri, 06 Dec 2002 09:32:21 -0600
Status: RO

 >From: AlbertCat@aol.com

 >In a message dated 12/5/2002 7:08:19 PM Eastern Standard Time,
 >mangal.kalima@virgin.net writes:

 >> Well the Designers were 'creative' but it was a movie and not an
 >> historical reenactment event based on fact.

 >Ahhhhh...but is was billed as a sort of historical event...BRAM STOKER'S
 >Dracula. Never forget that.

 >You are of course correct in thinking the clothes are beautiful. Alone they
 >are. But as a design for a show they simply fail. Mina's [or is it Lucy?]
 >wedding dress is a stunning costume. An intricate feast for the eyes. A
 >beautiful Kabuki costume..... but what, other than being white, does it have
 >to do with a wedding dress? And we have Dracula himself looking sometimes
 >like an aging drag queen in a red Kimono with a beehive hair do [in
 >Transsexual Traaaaaansivania!], next he's Leon Russell, Then he rises from
 >the grave wearing a Klimpt painting. What is that? Where's the concept? It's
 >just a jumble of a bunch of stuff the designer liked. It is bad design. Nice
 >individual pieces, but bad design. Let her go do fashion. Leave the theatre
 >to us.

I am so glad to hear someone else feels the same way about the costuming in this movie. 
None of it made sense to me.  Everytime I see the film I try to figure out what the 
costumer was trying to "say" about the characters.  I have always felt the clothing that 
an actor wears should be almost the characters skin. Whether it be a "period" piece or 
fictional, what a person sees on screen or stage, should be a visual clue to the character.

-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] Questions abook studies.
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Date: Fri, 6 Dec 2002 10:40:54 -0500 (EST)
Status: RO

Let's see: for the 16th c. (which I assume is what you're doing)  the big
three I use are Arnold's Patterns of Fashion and Queen Elizabeth's
Wardrobe Unlock'd, and Alcega's Tailor's Pattern Book.

For the fifteenth century, the books I use most often for figuring out
particular garments are Elizabeth Birbari's "Dress in Italian Painting
1460-1500", Margaret Scott's "Visual History of Costume, 14th & 15th
Centuries", Scott's "Gothic Europe 1400-1500" and Jacqueline Herald's
"Dress in Renaissance Italy 1400-1500".

Actually, Robin Netherton has given talks on aspects of 15th century dress
which blow all of the above out of the water...but none of them has been
published yet.  (Waaah!)

For the fourteenth century, pickings are depressingly slim. The Museum of
London's "Clothing and Textiles" book is the best thing out there for
showing actual garments and their construction.  There's Stella Mary
Newton's "Fashion in the Age of the Black Prince", of course, but that
has very few pictures.  There are photographs of some 14th c. costumes in
History of Costume books, and the abovementioned Visual History of
Costume comes in handy...but this century isn't my specialty, so others
could probably give you better pointers on it.

Unfortunatly, a lot of costume details simply can't be described--you
need the items or up close photos of the items themselves,  to get a feel
for how they were made.

The specific issue of "getting the look" often has as much to do with the
materials used as with the construction techniques. If you make a sleeve
out of heavy wool, interlined with cotton-linen canvas and lined with a
nice stiff silk taffeta, it looks a world different than making the sleeve out
of a cotton brocade lined with a heavy linen or brushed cotton.

One thing that could help would be taking a theatrical costume
construction class.  Even though they deal mostly with modern techniques,
you do learn the detailed properties of textiles and how to manipulate
flat and draped patterns to achieve the look you want. It gives you a
wider arsenal of tools and experience with patterns to try and work out
just how a particular look was achieved.

I did get to examine a pair of early 17th c. paned sleeves a while back,
and wrote down the details of how the thing was put together.  I can
forward you the info, if you're interested.  (I didn't get to take photos
unfortunately.  :(

Drea

 On Fri, 6 Dec 2002, Dhannti wrote:

> I know I have asked a lot of questions before so add this to my
> curiosity.  Is there a list of recommanded reading for different periods
> of clothing styles and construction?  I presently own a number of books
> but I feel like I am missing something.  In creating a gown from a
> pattern, whether its one of the big three or much to my delight Margo
> Anderson's pattern, I seem to be lacking a common knowledge about the
> construction.  Hard to explain this feeling of failing to achieve a
> certain look due to my skimpy sewing skills. I see wonderful paned
> sleeves on gowns that have a fullness that I can't recreate.  I have
> searched my books and on line but no help.  I would like to have that
> fullness on the upper half of the sleeves while the lower half is
> narrow.  How did they do that?  I guess I am looking for tricks of the
> trade.  If there is a book or some place to find this info could someone
> point me in the right direction?
>
> Thanks in advance
> Diana
> _______________________________________________
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Date: Fri, 06 Dec 2002 08:25:55 -0800
Status: RO

 I see wonderful paned
>sleeves on gowns that have a fullness that I can't recreate.  I have
>searched my books and on line but no help.  I would like to have that
>fullness on the upper half of the sleeves while the lower half is
>narrow.  How did they do that?  

This is assuming you are familiar with the basics of pattern making.  Start
with a sleeve sloper.  draw a horizontal line at the level where you want
the fullness to begin.  Slash along this line.  Then slash the upper part
of the sleeve into several vertical sections, and pivot them so that the
upper edges flare outward while the lower portions are still touching the
lower part at the sides.  Trace. Correct the side lines, to smooth curves
if you want the lowere sleeve to fit tight to the arm, or to straight lines
if you want a more triangular shape. You will probably want to increase the
height of the sleeve cap by as much as several inches, depending on how
much fullness you're adding.  Then draw in your lines where you want the
panes to be, slash along those lines, and add seam allowances.  

Clear as mud, no?

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Fri, 6 Dec 2002 11:19:28 -0500
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I joined in the early 90's, while I was working in Tennessee.  After I moved back to PA in the late 90's, I had some problems keeping subscribed.  I would subscribe and after a couple of weeks I would stop receiving digests.  After a couple of months of that I let the whole thing lapse.  I picked the list up again two years ago and haven't had any problems.  

I always learn a lot, I just don't talk a lot.

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Date: Fri, 06 Dec 2002 12:04:35 -0500
Status: RO

I don't post - or post about anything substantial - because I don't want to look like an idiot.

I'm actually considered *fairly* knowledgeable about the particular time I'm interested in (1560s/70s) and technically "pretty good" as a seamstress.  However.  I'm an autodidact, not degreed, not published, and for the last couple of years too many 21st Century things have been clogging my life.  I don't have a web page.  I don't have the personal libraries available to me that some list members have, although mine is pretty respectable.  I have a boring, exhausting, full-time 21stC job that leaves me totally wrung out at the end of the day, although I'm working on changing that. (I also don't have a partner, so there is no one to share the job of day to day living/getting on with things - and believe me, that seems to make a huge difference.)  

I don't think I'm being overly sensitive here when I worry about mentioning that I'm trying out different shift patterns in good cotton cloth rather than linen.  Or that my last set of clothes was actually a mostly-synthetic wool blend that you wouldn't have known from real wool twill from an arm's length away.  The points aren't linen tape or silk ribbon - it was some grosgrain ribbon off the shelf at the fabric store that worked, and that I could actually afford to make into two dozen sleeve points.  My present set of stays are 1/4" steel bones (and have been since I made my first set in 1981) rather than reed because for a fat girl, it works, and they give predictable results.

My impression is at times, that folks (with notable exceptions) deal a little harshly with people who take 'shortcuts' (i.e., 1/4" steels in a 1570s pair of bodies, for instance) that were perfectly acceptable ten years ago.  Having done SCA costuming since the middle 1970s, the amount of good research material around now absolutely astounds me - things have come *so* far!  I'm glad to see the bar being raised, but sorry that it excludes so many honest attempts.  The perception seems that anyone who takes a whack at doing a period piece "should have known better" about the X, Y, or Z detail that they didn't get just right.  There doesn't seem to be any appreciation for a good try.

I don't know how far off my perception is, or if it's spot on.  This list does, like any, have it's share of know-it-alls, no matter what the subject or tangent.  I've learned to either ignore or laugh at them (I find at least one of them consistently entertaining, although some of her information is good, but I suspect it's really more of a personality issue I have with her, and no, she doesn't know me from anywhere, but she posts a great deal).  I'd like to jump in some times and offer my own experience, but just -- hesitate because I don't want to look like an idiot if I get it wrong, and get jumped on by people with better access to information, more education, and moreover *more time* to spend at this incredibly consuming, wonderful hobby of ours.  

I suppose, if someone who has a few pretty good suits of clothes behind her feels uncomfortable offering advice, where would this leave a novice?

Meagn 
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From: kat@grendal.rain.com
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Subject: Re: [h-cost] Tudor question
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Date: Fri, 06 Dec 2002 09:07:15 -0800
Status: RO

Drea wrote:
> I'm curious--the pleats in the back of Holbein's lady and the breughel
> painting are obviously very deep and pronounced, but I myself have
> been unable to determine the specific pleating method used.  I've
> managed to create similar wide, very rounded pleats by stuffing and
> then box-pleating.  Though I have had to hand-sew the finished skirt
> top to the finished bodice bottom like one does with cartridge pleats,
> as the stuffed pleats were way too thick to sew through. Are you
> defining cartridge-pleats as pleats that are sewn with multiple
> threads and then gathered up, or as any pleats that aren't "folded
> under", like knife or box pleats?

I'm defining them as a pleat used to put in more fabric onto a 
specified edge than could be done with knife or box pleats without 
making it as bulky or unwieldy.

Also, many people think that cartridge pleats are only sewn on one 
edge (the top.) It really depends on the look one is going for. If 
you want them to hang down, you sew them only at the top. If you want 
to them to stand out some, you sew them at the top and bottom of the 
pleat. Where you place the pleat on the edge makes a difference too. 
Also, how much padding, where and how many gathering threads you use, 
etc.

When I teach this type of pleat in my cartridge pleating class, I 
have them sew down the whole upper edge of the "pleat" (usually it 
ends up looking like a figure 8 or a a circle with a flattened circle 
underneath it from the back side. (However, you can get away with 
fewer stitches than most of my students usually think you can. But 
that's the same with regular cartridge pleating where people can't 
believe that one or two stitches are enough to hold the thing and try 
to sew it down like it was a machine doing it. Can't do cartridge 
pleats by machine. It's a handsewing technique for a reason.)

I've not had a problem with sewing these pleats in at the top, 
despite their bulk. But it probably depends on where you put the bulk 
and what you are using for the bulk. I generally use a bouncy wool 
fabric meant for padding out men's jackets (not a regular fabric from 
the fabric store, but one from a tailoring supply store). If I need 
something stiffer, I'll use coating wool (as it doesn't have the same 
drape and hand as the tailor's wool.)
 
> I'd love to see that english dress.  I think I may have--is she
> wearing a Queen-mary-type flattened hood, and is the dress a really
> stylized long-fronted red velvet deal? Are the pleats smaller?

Yep. Sounds like the one I was speaking of. The pleats at the side 
are pretty large, however, not the smaller ones that Hunnisett shows 
or like you see on the Italian Renn dresses. More on the scale of the 
Holbein drawing and Breugel's peasants.

Kat Russell
<kat@grendal.rain.com>

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From: "Mary Temple" <noxcat@hotmail.com>
To: h-costume@indra.com
Subject: Japanese (was:Re: [h-cost] Andy's Christmas Present)
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Date: Fri, 06 Dec 2002 17:28:24 +0000
Status: RO

FWIW...

A friend of mine does 16th century Japanese in the SCA. When he won the 
Northshield tournament (an SCA Principality), he put up directions for 
making Japanese clothing for his Coronation. I made my clothing and my 
husband's using his directions - very easy. The website is:

http://www.raito.com/royalty/index.html

Mary/Katerine
>
>thanks all for the info.  He has a fencing outfit, including the face 
>protector and jacket and everything.  I really was thinking more of a 
>costume type traditional dress for dress up.
>
>there are real parallels with Penny's son.  He also flunked Japanese last 
>year and is a computer engineering major.  the flunking Japanese didn't 
>seem to discourage him.  He comes home from UC Santa Cruz tomorrow and I 
>can hardly wait.
>
>maryann
>
>
>At 07:59 PM 12/5/2002 -0500, Catherine Olanich Raymond wrote:
>>On Thursday 05 December 2002 11:28 am, mabse@attbi.com wrote:
>> > just a warning - my son had this same fascination, and now I am paying 
>>for
>> > a college junior year abroad in Japan.  (and happy to do it, just want 
>>you
>> > to know where it can lead).  He is also a fencer and is going to take
>> > traditional Japanese fencing classes when he is in Japan.  I assume 
>>that
>> > this is the same as a Samuri.  Does anyone have a reference for 
>>patterns
>> > for traditional Japanese fencing garb?  I thought I would make him a
>> > costume for his trip.
>>
>>As I notice some of the other list members have mentioned, martial arts 
>>stores
>>sell kendo uniforms that would be more appropriate for his purposes.
>>
>> > Would the Japanese have used linen or wool?  Or, were they pretty much
>> > limited to silk?
>>
>>Modern kendo uniforms are made of cotton.
>>
>>To my knowledge, historic Japanese dress did not use linen at all (I have 
>>no
>>idea if it grows in Japan or not, suspect the answer is "not.")  My
>>recollection is that they didn't use cotton much either before about the 
>>16th
>>century.  Before then, the well off wore silk, the peasants wore hemp or
>>ramie or other bast fibers.  I suspect that the only folk in Japan who 
>>wore
>>wool traditionally were the Ainu (the Caucasian tribes in northern Japan).
>>
>>This is from my general costume reading.  I'm fairly but not 100% sure of 
>>the
>>above.  There is a nice site on noble Japanese dress at
>>
>>http://www.reconstructinghistory.com/japanese/
>>
>>--
>>Cathy Raymond <cathy@thyrsus.com>
>>
>>"You shall know the truth and the truth shall make you odd."
>>  --Flannery O'Connor
>
>
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Subject: Re: [h-cost] Tudor question
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Date: Fri, 06 Dec 2002 09:35:58 -0800
Status: RO

>Also, many people think that cartridge pleats are only sewn on one 
>edge (the top.) It really depends on the look one is going for. If 
>you want them to hang down, you sew them only at the top. If you want 
>to them to stand out some, you sew them at the top and bottom of the 
>pleat. 

Actually, if you want them to hang straight down, you sew them at the
*bottom* of the pleat.  You're then left with the pleated section jutting
out like a little shelf, a look some people like but I can't stand.  

I sew my cartridge pleated skirts to my waistbands by sewing the top of the
pleat to the bottom edge of the waistband. This lets the pleated area
"hinge" onto the waistband so it can move a bit.  I've tried sewing both
top and bottom of the pleats to the waistband, but I found it pushed my
bodices up.  It might not be problem for everyone, but I'm short waisted
and high hipped, and need all the room there I can get.  

Margo


"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Fri, 06 Dec 2002 17:43:06 -0000
Status: RO

On 6 Dec 2002 at 12:04, Tudorldy@aol.com wrote:

> My impression is at times, that folks (with notable exceptions) deal a
> little harshly with people who take 'shortcuts' ....
>  There doesn't seem to be any appreciation for a good try.
> 
> I suppose, if someone who has a few pretty good suits of clothes
> behind her feels uncomfortable offering advice, where would this leave
> a novice?

Well it leaves this novice feeling fine, in fact, so 
don't worry too much. But that's because I *know* 
I'm a novice, and almost entirely ignorant. If people 
suggest that I've done something horribly wrong, this 
does not come as a surprise to me, and I don't take 
it as an insult, since they usually go to great pains to 
tell me how to do better next time.

Of course, they do all work on the assumption that I 
*want* to do everything as perfectly as I can. I'm 
happy with that, because it's usually true. If someone 
came on the list asking how best to disguise the zip 
in their Tudor dress, I can see them getting a reply 
they might not appreciate.



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Date: Fri, 6 Dec 2002 12:00:40 -0600 (CST)
Status: RO


On Fri, 6 Dec 2002, Drea Leed wrote:

> Let's see: for the 16th c. (which I assume is what you're doing)  the
> big three I use are Arnold's Patterns of Fashion and Queen Elizabeth's
> Wardrobe Unlock'd, and Alcega's Tailor's Pattern Book.
> 
> For the fifteenth century, the books I use most often for figuring out
> particular garments are Elizabeth Birbari's "Dress in Italian Painting
> 1460-1500", Margaret Scott's "Visual History of Costume, 14th & 15th
> Centuries", Scott's "Gothic Europe 1400-1500" and Jacqueline Herald's
> "Dress in Renaissance Italy 1400-1500".
> 
> Actually, Robin Netherton has given talks on aspects of 15th century
> dress which blow all of the above out of the water...but none of them
> has been published yet.  (Waaah!)

Well, that's a strong statement :-) A lot of what I have just supplements
what's in those books, or contradicts the existing findings on some very
specific points. I've only done one inroad in research in Elizabethan (on
the wheel farthingale), for instance, so outside of that topic I wouldn't
contradict anything else Arnold has said. (There might be problems, but I
wouldn't know them if I stepped on them.) I've done nothing in Italian, so
Birbari and Herald are safe from me ;-)

I have some quibbles with some of Scott's conclusions in Late Gothic
Europe -- I think that's the book in which I saw the theory that the
S-shaped Gothic posture was a result of women leaning back so their
breasts wouldn't fall out of their low-cut necklines. (Someone please tell
me I'm remembering wrong, and that this came from some other less-clued
author. Most of Scott's work is marvelous, and I use the Visual History
volume constantly for good images of primary art sources.)

Some of my lectures won't be published because making the point relies on
close examination of commonalities and trends in a copious selection of
visual images. Most journals won't consider putting 40 images into an
article, and copyright permissions for that quantity would cover my
family's budget for the next year. I have, though, posted summaries of
most of these talks to this list, and some are on my not-quite-a-webpage
at http://www.netherton.net/robin if that's of any help. I intend to get
some more text up there soon, mostly Q&As from people following up on
what's there, and more old h-cost posts on other topics.

> For the fourteenth century, pickings are depressingly slim. The Museum
> of London's "Clothing and Textiles" book is the best thing out there
> for showing actual garments and their construction.  There's Stella
> Mary Newton's "Fashion in the Age of the Black Prince", of course, but
> that has very few pictures.  There are photographs of some 14th c.
> costumes in History of Costume books, and the abovementioned Visual
> History of Costume comes in handy...but this century isn't my
> specialty, so others could probably give you better pointers on it.

No, I think you've hit the high points. And the Museum of London books,
while gold mines in themselves, must be understood to be a slice of the
existing evidence, not a compendium of all known fact. There is,
apparently, much in the books that even the authors were not really sure
of (as one of them told me, in terms direct enough to take me quite
aback), and essentially all the interpretations of the evidence should be
taken as good guesses, but not final word.

> Unfortunatly, a lot of costume details simply can't be described--you
> need the items or up close photos of the items themselves, to get a
> feel for how they were made.

I would recommend that anyone pursuing study of a particular period/place
dive deeply into the artwork of the time, in as many media as possible.
Oversize art books are your friend; online research is a nice start but
online versions of art often lose detail. And read the text, too! It's
astounding how many people will base costumes on a single visual source
without learning about the painting, the people in it, the person who made
it, and the significance of various details shown. I have many times found
that a construction I was puzzling over most likely was the artist's
imagination, which certainly simplifies the question of "How did they get 
that effect?" I have at times referred to myself as a specialist on
garments that didn't exist.

> One thing that could help would be taking a theatrical costume
> construction class.  Even though they deal mostly with modern
> techniques, you do learn the detailed properties of textiles and how
> to manipulate flat and draped patterns to achieve the look you want.
> It gives you a wider arsenal of tools and experience with patterns to
> try and work out just how a particular look was achieved.

An addendum: If you're working before 1450-1500, you should forget nerarly
everything you learn in these classes. And in home ec. Fitting and sewing
techniques probably changed more between 1200 and 1600 than they did
between 1600 and today.

--Robin


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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Re: Japanese (was:Re: [h-cost] Andy's Christmas Present)
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Date: Fri, 06 Dec 2002 18:00:29 +0000
Status: RO

Err...just clicked on it myself, and it links to the main page. Click on the 
Projects link, then on the Japanese Clothing link. (BTW, he's the guy in the 
photo on the main page).

Mary/Katerine

>FWIW...
>
>A friend of mine does 16th century Japanese in the SCA. When he won the 
>Northshield tournament (an SCA Principality), he put up directions for 
>making Japanese clothing for his Coronation. I made my clothing and my 
>husband's using his directions - very easy. The website is:
>
>http://www.raito.com/royalty/index.html
>
>Mary/Katerine
>>
>>thanks all for the info.  He has a fencing outfit, including the face 
>>protector and jacket and everything.  I really was thinking more of a 
>>costume type traditional dress for dress up.
>>
>>there are real parallels with Penny's son.  He also flunked Japanese last 
>>year and is a computer engineering major.  the flunking Japanese didn't 
>>seem to discourage him.  He comes home from UC Santa Cruz tomorrow and I 
>>can hardly wait.
>>
>>maryann
>>
>>
>>At 07:59 PM 12/5/2002 -0500, Catherine Olanich Raymond wrote:
>>>On Thursday 05 December 2002 11:28 am, mabse@attbi.com wrote:
>>> > just a warning - my son had this same fascination, and now I am paying 
>>>for
>>> > a college junior year abroad in Japan.  (and happy to do it, just want 
>>>you
>>> > to know where it can lead).  He is also a fencer and is going to take
>>> > traditional Japanese fencing classes when he is in Japan.  I assume 
>>>that
>>> > this is the same as a Samuri.  Does anyone have a reference for 
>>>patterns
>>> > for traditional Japanese fencing garb?  I thought I would make him a
>>> > costume for his trip.
>>>
>>>As I notice some of the other list members have mentioned, martial arts 
>>>stores
>>>sell kendo uniforms that would be more appropriate for his purposes.
>>>
>>> > Would the Japanese have used linen or wool?  Or, were they pretty much
>>> > limited to silk?
>>>
>>>Modern kendo uniforms are made of cotton.
>>>
>>>To my knowledge, historic Japanese dress did not use linen at all (I have 
>>>no
>>>idea if it grows in Japan or not, suspect the answer is "not.")  My
>>>recollection is that they didn't use cotton much either before about the 
>>>16th
>>>century.  Before then, the well off wore silk, the peasants wore hemp or
>>>ramie or other bast fibers.  I suspect that the only folk in Japan who 
>>>wore
>>>wool traditionally were the Ainu (the Caucasian tribes in northern 
>>>Japan).
>>>
>>>This is from my general costume reading.  I'm fairly but not 100% sure of 
>>>the
>>>above.  There is a nice site on noble Japanese dress at
>>>
>>>http://www.reconstructinghistory.com/japanese/
>>>
>>>--
>>>Cathy Raymond <cathy@thyrsus.com>
>>>
>>>"You shall know the truth and the truth shall make you odd."
>>>  --Flannery O'Connor
>>
>>
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Date: Fri, 06 Dec 2002 10:19:43 -0800
Status: RO

> I think the flame wars has a lot to do with it.  A lot of people have told
> me this over the years.  People have said that they are scared to post a
> question or answer one for the fear of being flamed.  I have run across a
> lot of old members on other lists.

I have seen very little flaming on h-costume over the years.  Flaming is uncontrolled insults
made primarily for the sake of annoying people. A moderator can always keep a list from
becoming a flamesite, and the various h-costume moderators over the years have done a good job
of it.

I  have often seen people politely disagree with one another's views. There is no way to have
an intelligent discussion without this happening.  And it is unreasonable to expect everyone
to agree with you all the time.

However, I think you have hit on another, more likely reason for a decline in h-costume
membership.  When this group began ( I was a charter member), it was the _only_ historic
costuming mailing list.   And it stayed that way for years. Until Yahoo and other such vendors
set  up the ability for anyone to create any mailing list on any topic.  I myself am a member
of 91 Yahoo email lists either focused on costuming, or on reenactment or some other topic
related to costuming. Some of these lists are practically dead.  I have most of the others set
to "nomail," and I just occasionally look at the archived messages on the list's website.
But, that still leaves me getting lots of mail from other costuming lists.

There are also now some newsgroups that discuss costuming and reenactment, and some active
website "bulletin boards."  I read at least half a dozen of those from time to time. And then
there's the vintage clothing mailing list, which I think Eliz also moderates.  That too, BTW,
has much less traffic than before, even though it was never a list for flaming.

My point is that there are now many alternatives to h-costume.  It is not at all surprising
that h-costume would lose market share. And, without this indicating any flaw in h-costume.
Many people are only interested in costuming for one historic period. Others are only
interested in some specific type of costuming--stage costuming or managing a costume rental
shop, for example.  People who dislike weeding out dozens of messages that don't interest
them, gravitate to specialized lists that focus on their preferred topic.

I think h-costume has considerable value as a list covering many eras from many angles.  It
was never set up as a list for 100% accurate reenactors, or even reenactors, for those who are
worried about that. If you want to discuss your polyester repro or your stage costume, just go
ahead and post.  But I've run across quite a number of people who regard all information that
doesn't specifically apply to their five-year period of interest as useless.  Even with a
broad list like h-costume, you can't please everybody.

The other question I would raise is:  Is fewer members really a problem?  On most lists  most
members are lurkers.  And in fact, prefer to be lurkers.  It's not that they're too scared to
post.  Many are too busy.  Also, many people regard lists as consumers rather than producers.
Just the way they'd read a book or watch TV--they absorb the information but don't create it.
I'm not saying this is wrong, or that they have nothing to contribute. Just that on most lists
a small minority posts most of the messages.

But as long as h-costume is an active list and people _are_ actively posting messages--does it
matter if some people gravitate to other, more specialized lists?

Fran

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Date: Fri, 06 Dec 2002 18:16:38 +0000
Status: RO

But you don't look like an idiot when you're posting about your own 
experience! I wasn't there when you made those stays, I can't tell you 
you're wrong when you talk about how they fit, and whether or not the 
project worked the way you wanted it to, or how comfortable it is. These 
pieces of information are indescribably valuable to me, at least.

Mary/Katerine
P.S. - my first stays are made with steel bones, and I love them! My second 
set are being made with cording because I want a different look. (And boy do 
I get teased about how long it's taking me to finish them! But I'm doing the 
last of it by hand, as that way is easier for me to "fudge" things than 
using a machine would. And they're portable, so I don't get much done on 
them at home - home is for the big projects.)

>
>I don't post - or post about anything substantial - because I don't want to 
>look like an idiot.
>
>I'm actually considered *fairly* knowledgeable about the particular time 
>I'm interested in (1560s/70s) and technically "pretty good" as a 
>seamstress.  However.  I'm an autodidact, not degreed, not published, and 
>for the last couple of years too many 21st Century things have been 
>clogging my life.  I don't have a web page.  I don't have the personal 
>libraries available to me that some list members have, although mine is 
>pretty respectable.  I have a boring, exhausting, full-time 21stC job that 
>leaves me totally wrung out at the end of the day, although I'm working on 
>changing that. (I also don't have a partner, so there is no one to share 
>the job of day to day living/getting on with things - and believe me, that 
>seems to make a huge difference.)
>
>I don't think I'm being overly sensitive here when I worry about mentioning 
>that I'm trying out different shift patterns in good cotton cloth rather 
>than linen.  Or that my last set of clothes was actually a mostly-synthetic 
>wool blend that you wouldn't have known from real wool twill from an arm's 
>length away.  The points aren't linen tape or silk ribbon - it was some 
>grosgrain ribbon off the shelf at the fabric store that worked, and that I 
>could actually afford to make into two dozen sleeve points.  My present set 
>of stays are 1/4" steel bones (and have been since I made my first set in 
>1981) rather than reed because for a fat girl, it works, and they give 
>predictable results.
>
>My impression is at times, that folks (with notable exceptions) deal a 
>little harshly with people who take 'shortcuts' (i.e., 1/4" steels in a 
>1570s pair of bodies, for instance) that were perfectly acceptable ten 
>years ago.  Having done SCA costuming since the middle 1970s, the amount of 
>good research material around now absolutely astounds me - things have come 
>*so* far!  I'm glad to see the bar being raised, but sorry that it excludes 
>so many honest attempts.  The perception seems that anyone who takes a 
>whack at doing a period piece "should have known better" about the X, Y, or 
>Z detail that they didn't get just right.  There doesn't seem to be any 
>appreciation for a good try.
>
>I don't know how far off my perception is, or if it's spot on.  This list 
>does, like any, have it's share of know-it-alls, no matter what the subject 
>or tangent.  I've learned to either ignore or laugh at them (I find at 
>least one of them consistently entertaining, although some of her 
>information is good, but I suspect it's really more of a personality issue 
>I have with her, and no, she doesn't know me from anywhere, but she posts a 
>great deal).  I'd like to jump in some times and offer my own experience, 
>but just -- hesitate because I don't want to look like an idiot if I get it 
>wrong, and get jumped on by people with better access to information, more 
>education, and moreover *more time* to spend at this incredibly consuming, 
>wonderful hobby of ours.
>
>I suppose, if someone who has a few pretty good suits of clothes behind her 
>feels uncomfortable offering advice, where would this leave a novice?
>
>Meagn
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Date: Fri, 6 Dec 2002 13:27:46 -0500
Status: RO

 
>>>I suppose, if someone who has a few pretty good suits of clothes
behind her feels uncomfortable offering advice, where would this leave a
novice?>>>
 
        Asking dumb and not so dumb questions, of course.  I have been
sewing almost all my life, but Medieval clothing is a bit different from
what I am used to (but then so were the Star Trek uniforms).  I recently
started a bit of a thread when I asked about pleating a Tudor gown that I
am making from totally inappropriate fabric.  The answers I got were
helpful and no one flamed me for making a pink polished cotton Tudor
gown.  If it works, I will make the same gown in the proper fabrics, but
Margo's wonderful Elizabethan patterns only go so far in helping with
Tudor clothing.  

        If we are to learn, we must ask questions.  If we don't ask and
don't have the Library of Congress at our fingertips, how do we get it
even close to right.  Everyone takes liberties with authenticity at one
time or another even if it is just sewing the garment with off the rack
poly/cotton thread.  The main point is to know the correct way to go even
if you don't follow it to the max.

        I got off the SCA garb list because there were too many
"authorities" with too little knowledge who were just looking to flame
others.  This list is much kinder, if a bit too windy at times.  

        Had to put my two cents worth in and add to the breeze.

Lalah
Never give up, Never surrender
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Date: Fri, 6 Dec 2002 10:40:52 -0800 (PST)
Status: RO

I have mixed feelings about this list, but love it all
the same. When I first found it, I posted a bit in the
beginning, and promptly sounded like a silly ass. Some
of my assumptions were gently but firmly set straight
by more knowledgeable folks, and the challenges I
received forced me to take a closer look at my
beliefs. 

For instance, I'm the one who said, "I can't believe
women didn't wear underwear in the 14th century to
help with chafing." Boy, did THAT get examined. A good
friend and local costumer much more experienced than I
am, still brings it up (names deleted) in classrooms
as an example of the dangerous "Would Have" statement:
Unless you are a scholar on the entire
socio-politico-religico-economic state of a period,
try to avoid saying "They would have done x.." 

Anyway, I agree that there's an element of
one-ups-manship on this list, but that's hard to avoid
when there are folks who have toiled long and hard to
gain their knowledge through the years. I've learned a
LOT here, and I'll take the occasional snippy
correction if it means I'm going to learn where I'm in
error. This is not to say I'm a push-over -- sometimes
I'm not convinced.

In general, though, I don't provide information here
anymore unless I'm 100% air-tight sure about it,
because it WILL be challenged. That may be because
there's an unspoken hierarchy on this list -- some
folks aren't proven, and thus are challenged. Others
are known, and are sacrosanct (sometimes). Just a
thought. (Please don't shoot me.)

Tasha

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Date: Fri, 6 Dec 2002 14:06:24 -0500
Status: RO

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One of the historical houses I assist with is expanding its costume/ =
education program. Since we are in a probable winter clime, there has =
been a request for 'head covers' to wear outside on the street...that =
will be warm. What are some of the credible resources that will best =
answer this problem.  I have some Fascinators from the mid 19th C and =
wonder if these knitted hoods might have been a rediscovery then, of an =
earlier time.Any thoughts?   Kathleen

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<DIV><FONT size=3D2>One of the historical houses I assist with is =
expanding its=20
costume/ education program. Since we are in a probable winter clime, =
there has=20
been a request for 'head covers' to wear outside on the street...that =
will be=20
warm. What are some of the credible resources that will best answer this =

problem.&nbsp; I have some Fascinators from the mid 19th C and wonder if =
these=20
knitted hoods might have been a rediscovery then, of an earlier time.Any =

thoughts?&nbsp;&nbsp; Kathleen</FONT></DIV></BODY></HTML>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: how many of us are there?
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Date: Fri, 6 Dec 2002 19:07:37 +0000 (GMT)
Status: RO

 --- Tasha McGann <demontsegur@yahoo.com> wrote: > 
> In general, though, I don't provide information here
> anymore unless I'm 100% air-tight sure about it,
> because it WILL be challenged. That may be because
> there's an unspoken hierarchy on this list -- some
> folks aren't proven, and thus are challenged. Others
> are known, and are sacrosanct (sometimes). Just a
> thought. (Please don't shoot me.)

Huhm.. hmmm.. damn, you have a point. A good one. *scratches head*

Guess I better go and shoot myself instead. Dang. 

Nicole - bitchy blabbermouth ;-)

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] Re: hobbit feet
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Date: Fri, 06 Dec 2002 16:06:14 -0500
Status: RO



My quick scan of the EIGHT or so digests that came today don't show an
answer to the question, although I might have missed it. So here goes:

According to the DVD, it took nearly two hours to get the hobbits ready each
day, most of that for the feet. They did not wear the feet on days that the
shooting wouldn't show them (apparently, they had the shots worked out very
closely) and were very glad of those days! But some days they didn't get to
the shots showing the hobbit feet. Mr. Austin, who played Sam, kept track
and there were 50 such days. I would have kept track too!

There's all kinds of interesting stuff on the DVD. I highly recommend it.

Gail Finke


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From h-costume-admin@indra.com  Fri Dec  6 16:20:35 2002
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Subject: [h-cost] Stunning 1870 Velvet Mantle/B.Altman Label
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Date: Fri, 6 Dec 2002 21:13:37 -0000
Status: RO

Hi all,

Ebay has a 

'Stunning 1870 Velvet Mantle/B.Altman Label' at 

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=1901858292

which may be of interest...

best wishes
Stevie

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Subject: [h-cost] Kool Aid dyeing
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Date: Fri, 6 Dec 2002 16:34:01 -0500
Status: RO

<<<<<<Apparently, you can dye fabrics quite nicely with a mixture of
koolaid.
Not sure of proportions, etc.>>>..

    Still have a lot of messages to read, but 1 pkg. to 1 oz. of wool is the
proportion, and it needs to be heated.  It's quite colorfast.
    Do not apply a concentrated mix to your teenager's hair-----it's pretty
acid, and burns the skin.  I know someone who did.  Yes, it will color their
hair.

    Works on wool and animal based fibers, not cellulose based (cotton and
linen) very well.

    Just use a quart jar to try it-----dump in a pkg. of KoolAid, add water,
add fabric or fiber that's been washed to get out any oil, and set it in the
sun for a day.  Or oven on low, or other heat source.  Yes, microwave too,
short time.  Then let it cool in solution.
    If done right, the liquid left will be clear, the fiber having taken up
all the color agent.
    Rinse well.
Lots of colors to use, lots of fun!  Some of them turn out quite surprising,
not what you expected at all.  If it's too pale, use 2 pkgs.  The blueberry
makes a light aqua----or did last year.  They keep changing the names and
apparently the color content too.

Diane S.

Diane S.

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Subject: Re: [h-cost] Imperial Taffeta
To: h-costume@indra.com
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Date: Fri, 6 Dec 2002 13:47:41 -0800 (PST)
Status: RO

where did you get your taffeta?  I've been drooling over the sale
taffetas at Thai Silks -- they are only $11.20 US per yard right now.


> 
> Guess what?
> I got 15 meters of sky blue Silk Taffeta from London today!!!
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 

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Date: Fri, 06 Dec 2002 17:22:04 -0500
Status: RO



Drea Leed wrote:

> 
> I did get to examine a pair of early 17th c. paned sleeves a while back,
> and wrote down the details of how the thing was put together.  I can
> forward you the info, if you're interested.  (I didn't get to take photos
> unfortunately.  :(
> 
 Drea  please do.   I thought about cutting two sleeve patterns in half 
and using a mutton sleeve top gathing it to the narrower sleeve ,adding
trim to cover the seam, laying the panes over the pouf and attaching the
panes with buttons or simlper stitches. I fear it will all cave in from
the weight of the panes.   I wonder if this would work if I used some
type of interfacing to keep the fullness?      


Diana
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Date: Fri, 6 Dec 2002 17:33:52 -0500
Status: RO

<<<Nicole - bitchy blabbermouth >>>

        But such a pretty one!

Lalah
Never give up, Never surrender
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Subject: [h-cost] Re: Fox Tails
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Date: Fri, 06 Dec 2002 17:33:52 -0500
Status: RO

> Subject: Fox tails, was Re: [h-cost] Tudor question
> Date: Fri, 6 Dec 2002 10:14:32 -0000
> Hi all,
>
> I see that Sarah L. Goodman's article on Farthingales and
>  Bumrolls.... at
>
>  http://www.elizabethanlady.com/farthingales.html
>
> includes a reference to foxtails being worn in much earlier periods
> under the gown to improve the figure, and I have come across a number
> of other references to this. However, I'm still baffled as to how this
> actually worked, in practise,and would welcome suggestions.
>
> best wishes
> Stevie
>
> The evidence is scanty.
>
> If we had more, of course, the evidence would be Of 'scanties'.
>
> Ahem, sorry, don't know what I was thinking.
>
> Here's what I found in a brief look through my books:

> The evidence is scanty.
>
> If we had more, of course, the evidence would be Of 'scanties'.
>
> Ahem, sorry, don't know what I was thinking.
>
> Here's what I found in a brief look through my books:

The evidence is scanty.
If we had more, of course, the evidence would be 'of "scantie"'.
ahem, sorry, don't know what i was thinking.

Here's what I found in a brief look through Fashion in the Age of the
Black Prince, by Stella Mary Newton:

Page 9, a quote from a chronicle of England known as Brut, covering the
years 1333 to 1377, in the section around 1344-6:

"And the women surpass the men in their clothing which is so tight that
they hand fox-tails under their dresses at the back to hide their arses,"
& degenerates into the usual blaming of every evil on clothing.

A later chronicler, John of Reading, probably relied on this source in his
own chronicle.

That is all that Ms. Newton could find.

Take it for what it's worth.

Ann in CT


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Date: Fri, 06 Dec 2002 17:27:31 -0500
Status: RO



Margo Anderson wrote:
> 
> This is assuming you are familiar with the basics of pattern making.  Start
> with a sleeve sloper.  draw a horizontal line at the level where you want
> the fullness to begin.  Slash along this line.  Then slash the upper part
> of the sleeve into several vertical sections, and pivot them so that the
> upper edges flare outward while the lower portions are still touching the
> lower part at the sides.  Trace. Correct the side lines, to smooth curves
> if you want the lowere sleeve to fit tight to the arm, or to straight lines
> if you want a more triangular shape. You will probably want to increase the
> height of the sleeve cap by as much as several inches, depending on how
> much fullness you're adding.  Then draw in your lines where you want the
> panes to be, slash along those lines, and add seam allowances.
> 
> Clear as mud, no?
> 

Margo its very clear. Honestly.  Makes more sense then what I was
envisioning.  I have learned not to use polyfill to make a sleeve puff
out. It manages to make the sleeve heavy which in turn pulls down on the
shoulder strap.  

Thank you,

Diana  -who is saying a thousand times over I can do this.
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Date: Fri, 06 Dec 2002 14:50:38 -0800
Status: RO

Byt the time I get this out, someone will probably have corrected me, but:

The 1851 dress is *not* supposed to be a Quinciniera dress - that's pattern 
7159.  I suspect that the yucky color scheme is mostly due to the timing of 
the release - that it came out in their Winter catalog, so they made it in 
vaguely Christmas-y colors.  If you look at the "front and back view" using 
the design viewer though, it looks as if the two dresses are from the same 
designer (based on how the design sketch has that peculiar barbie-head on 
it)...  So perhaps there was some intention of making it a second option for 
a quinciera dress.

-Laura the Geek.






On Thursday 05 December 2002 07:29 pm, AnnBWass@aol.com wrote:
  > In a message dated 12/5/2002 3:27:57 PM Eastern Standard Time,
  >
  > distantdesigns@hotmail.com writes:
  > > That
  > > pattern is being sold as a 15th birthday spanish gown.  I can't spell
  > > that word, but it's a big deal on a girls big birthday to have a ball
  > > etc. and that is the advertising on this pattern.
  >
  > Ah! A quinciera dress!  That makes sense.  Interesting, though.  In 
these
  > parts, those dresses tend to be intense pastels (if there is such a
  > thing--you know, saturated lavender, pink, etc.)

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] how many of us are there?
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Date: Fri, 6 Dec 2002 15:08:09 -0800 (PST)
Status: RO

I think that the decline in membership is due to
several issues.

When I first heard about H-Cost from someone on the
SCA-Garb list, I was being discouraged from
subscribing if I had any problems with flame-wars. The
impression at that time was that this list spent more
time flaming each other than not, and that to
subscribe on digest long enough to go through the
archives for what I wanted was the best way to go.

I didn't listen, and am glad.

Yes, there are a lot of heated discussions, and I've
watched some people whose advice I dearly treasured go
away, but I'm LEARNING.

Now that Yahoo and other groups are so prevalent, it
is very easy to have several groups which specialize
on a time period or culture--so people cut out more of
the general groups in order to have time to keep up
with those.

Real life:  simply keeping up with the bills or
children is bad enough...but then there are those of
you also running a business or researching things for
articles, books or lectures.  Some people seem to be
able to still post here and do all of those things,
others cannot.

I went the other route...dropped about 35 groups which
were specializing in certain cultures or time periods
(and other things) and kept this one for a general
overview of many more areas.  Of course, that leads me
to things like my package from Lavolta Press last
week, while I was at the LA garment district!  Instead
of concentrating only on 14th century Welsh, I'm
adding things that can only be worn somewhere else.

wolfcat (who is definitely glad it's friday!)



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Date: Fri, 6 Dec 2002 16:12:34 -0700
Status: RO


Please repost the link to the SCA Japanese garb info?  Thanks!

					...eliz
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Date: Fri, 6 Dec 2002 17:42:19 -0500
Status: RO

Hi, My name is Ann and I am a lurker.

I come from a Renn Faire background.  My local faire (Georgia
Renaissance Festival) is not known for its authenticity, but I have
caught the urge to make my clothing better and more accurate.   I have
learned Sooooo much here, and laughed, and yearned, and learned.

I use H-Costume almost as I used to specialty magazines for a subjects
that I want to learn about.  When I have asked questions here, people
have always answered me politely and helpfully.  Of course, I never
tried to act as if I knew everything either!

Occasionally, a few people seem to be getting spiteful when they
disagree, but overall this is a very polite and kind group.  It isn't a
flame if someone disagrees, or wants to know your documentation.  I have
been on lists that were very nasty over beginners' questions, and were
haughty if you couldn't go to a certain museum to examine originals.
Sorry, I can't afford to travel that way. Even the hierarchy here is one
of earned position. 

Also, I don't have time to sew for the past several months, and this is
a very busy list sometimes. I often don't read this list for 2 or 3
days.  There were over 160 messages when I started reading this evening
(less than 48 hours since I last read).

Back to lurking, cheerfully.

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Lalah T Tillinghast
Sent: Friday, December 06, 2002 1:28 PM
 
        Asking dumb and not so dumb questions, of course.  I have been
sewing almost all my life, but Medieval clothing is a bit different from
what I am used to (but then so were the Star Trek uniforms).  I recently
started a bit of a thread when I asked about pleating a Tudor gown that
I am making from totally inappropriate fabric.  The answers I got were
helpful and no one flamed me for making a pink polished cotton Tudor
gown.  If it works, I will make the same gown in the proper fabrics, but
Margo's wonderful Elizabethan patterns only go so far in helping with
Tudor clothing.  

        If we are to learn, we must ask questions.  If we don't ask and
don't have the Library of Congress at our fingertips, how do we get it
even close to right.  Everyone takes liberties with authenticity at one
time or another even if it is just sewing the garment with off the rack
poly/cotton thread.  The main point is to know the correct way to go
even if you don't follow it to the max.

        I got off the SCA garb list because there were too many
"authorities" with too little knowledge who were just looking to flame
others.  This list is much kinder, if a bit too windy at times.  

        Had to put my two cents worth in and add to the breeze.


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Subject: [h-cost] Re: [h-cost]Current Projects Was how many of us are there?
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Date: Fri, 06 Dec 2002 18:24:55 -0500
Status: RO

I prefer to look at the bright side of things.  This list is a great source of
information and sources.  Truthfully I dont post often cause I am a busy girl!
LOL So, in my copious amounts of spare time, I will at some point complete my big
projects.   My current projects are as follows:

A floor length green silk houppeland, lined with black silk and with long dagged
sleeves for my local group's Knight Marshal (sca group) as a thank you for help
with leather work

A new arming cote for the head of my household of linen and quilted (admittedly
machine quilting, but hey, I have only so much time and he needs this soon)

Reworking the german renn gown my sister made for me - it is a cranach style gown
with a standing collar.  It needs lining with horsehair interfacing to make the
collar stand and to prevent the front from buckling when I sit.  I also need to
create the hat that goes with the gown.

A Elenora of Toledo dress as found in the Janet Arnold pof.  I am currently
creating the undergown which will be of an ivory silk, with a built in corset.  I
know there is no evidence of a corset built into the gown but my sister needs the
support.  And making it part of the undergown will be easier for her.  This
project will use heavy linen and reeds for the boning, and is going to be hand
sewn completely.  I need to fit the mock up/ muslin/ sloper/ toille/
what-ever-you-want-to-call-it to my sister.  When that is done, the stitching will
commence.

The overdress for the above gown, will be made of crimson duchess satin (the
colors are reversed, in the original gown the ivory was on the outside, and the
crimson was the undergown, my sister looks better in crimson) with the embroidered
guards following the pattern outlined in the Janet Arnold book.  I have black
cotton velvet for the embroidery.  I am still trying to decide how I am going to
finish the edges of the embroidery when I do the cutting away of the velvet as was
done on the original.  I think they mentioned wax, I am not sure I want to do
that.  I am considering a bath of diluted elmers glue.  This entire dress is going
to be hand done as well.  This is my practice piece.

The next dress will be a few years coming, but I am working on making myself a
Pheonix gown.  I need to talk to someone about metal casting, either learning it
for myself or doing the sculpting of the wax molds for them so I can replicate the
jewelry.  I am analyzing the blackwork pattern in the partlet, and I am teaching
myself bobbin lace so I can create the ruffs.  I need to find appropriate velvet
for this gown as well.  Unfortunately, I will have to go with glass pearls for the
gown, unless I get a bit crazy and buy pearls a bit at a time.  It will be a
while, but this gown is what the elenora of toldeo gown is the practice piece for.

As always, I am available to the members of my shire for whatever sewing needs
they have, either to help them with problems or other things, so projects come and
go around here.  This is the laundry list so far!

so, as you can see, I am a tad busy, what with going back to college for my degree
and all.

Jenne

N Kipar wrote:

>
> Oh Jenne, don't go back into lurking, please? I know it isalways us same ones
> who are posting/talking and I know I for one sometimes really do talk too much
> (hey, can I help it that I feel so strongly about many things? *laughs*) but
> that's also because we _are_ always the same ones posting. It would be
> WONDERFUL if more people posted, it really would.
>
> Nicole

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Date: Fri, 6 Dec 2002 18:29:06 -0500
Status: RO

Ann, I frequent the GRF too!  Didn't make it there last year due to it
only being open in the spring....do you know why they quit opening in
the fall? 

 Anyhow I'm a lurker, not because I fear flaming but because y'all are
so much more knowledgeable than I am in practically everything.  I don't
always read 100% of the email but there are many discussions that
capture my interest.  I don't have a particular time period I'm
interested in, it ALL interests me.  So keep on discussing!!

Jamie


-----Original Message-----

Hi, My name is Ann and I am a lurker.

I come from a Renn Faire background.  My local faire (Georgia
Renaissance Festival) is not known for its authenticity, but I have
caught the urge to make my clothing better and more accurate.   I have
learned Sooooo much here, and laughed, and yearned, and learned.

I use H-Costume almost as I used to specialty magazines for a subjects
that I want to learn about.  When I have asked questions here, people
have always answered me politely and helpfully.  Of course, I never
tried to act as if I knew everything either!

Occasionally, a few people seem to be getting spiteful when they
disagree, but overall this is a very polite and kind group.  It isn't a
flame if someone disagrees, or wants to know your documentation.  I have
been on lists that were very nasty over beginners' questions, and were
haughty if you couldn't go to a certain museum to examine originals.
Sorry, I can't afford to travel that way. Even the hierarchy here is one
of earned position. 

Also, I don't have time to sew for the past several months, and this is
a very busy list sometimes. I often don't read this list for 2 or 3
days.  There were over 160 messages when I started reading this evening
(less than 48 hours since I last read).

Back to lurking, cheerfully.

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Questions abook studies.
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Date: Fri, 6 Dec 2002 08:57:49 -0800
Status: RO

At 10:10 AM -0500 12/6/02, Dhannti wrote:
>I know I have asked a lot of questions before so add this to my
>curiosity.  Is there a list of recommanded reading for different periods
>of clothing styles and construction?  I presently own a number of books
>but I feel like I am missing something.

If there isn't, it would certainly be a useful resource.  It can't 
possibly be complete -- there are periods for which there simply 
aren't good resources; and it can't possibly be definitive -- there 
will always be very fuzzy dividing lines between "very useful 
background material" and "misleading enough that it should be used 
only by experienced researchers".  But it would be interesting to see 
a composite, annotated list of books for various eras for which 
people take the position "I can't imagine doing anything in this era 
without being familiar with this book".

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] cartridge pleating (was Tudor question)
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Date: Fri, 6 Dec 2002 17:42:55 -0600
Status: RO

I'm having a hard time imagining how this works. I usually have a hard time
trying to imagine what some technique looks like without a picture attached
;-) Could you try explaining it again? Or do you have pictures/sketches of
this technique?


> Also, many people think that cartridge pleats are only sewn on one
> edge (the top.) It really depends on the look one is going for. If
> you want them to hang down, you sew them only at the top. If you want
> to them to stand out some, you sew them at the top and bottom of the
> pleat. Where you place the pleat on the edge makes a difference too.
> Also, how much padding, where and how many gathering threads you use,
> etc.

Re: lurking - I've been on this list for awhile now (three years? four?) but
still mostly lurk around the corners. While I too have done some fairly nice
garments, especially for my husband, I don't have confidence in my tailoring
skills. I feel like I'm just not getting the little details right that make
the whole outfit look like it jumped out of a portrait. And I *know* I
haven't researched and read as much as some people on the list in my
currently chosen area (Elizabethan). So, I hang out, absorb everything that
goes by, ooh and aah over everybody's pictures (and hope that one day I,
too, will have either a digital camera or a scanner so I can show off too!)
and generally learn as much as possible. :-)


**********************
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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Date: Fri, 06 Dec 2002 15:46:26 -0800
Status: RO

> Even the hierarchy here is one
> of earned position.
>

There is zero need for any hierarchy on a mailing list.  I personally just
ignore the whole issue and say whatever I want to whoever I want.

Fran

--------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
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http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] Huge picture of Arwen without correct underpinnings
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Date: Fri, 6 Dec 2002 23:45:03 +0000
Status: RO

Judy Mitchell <judymitch@oldwaylane.net> wrote
>chiara wrote:
>> That is not a bra strap silly. :)
>>  That is the underdress. You can see that there are three layers to 
>>this
>> dress. Two blue, one cream. The thing you are seeing is the top of the last
>> layer. :)
>
>       Actually, it is a bra strap. We thought for a while it might 
>have been tape - but it's not. And the dress is actually steel grey 
>(they do a lot of color tweaking). She has three dresses that are this 
>same 2 layered style, with variations on the sleeves; and another 2 
>that are very similar but only single layer. This is apparently her 
>"Human" style of clothing as opposed to her Elvish styles.
>
Well, there's your answer.  I was sure Elves didn't need bras, but 
obviously the human element can get a bit droopy ;-)

Jean

>       BTW, Stevie, you didn't see it in the movie because it's not a 
>dress from FotR, it's briefly in the new one. There have been a few 
>pics of it around including the one where she's dropping her cape.
>
>
>       -Judy Mitchell
>http://www.alleycatscratch.com/lotr
>
>_______________________________________________
>h-costume mailing list
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Date: Fri, 6 Dec 2002 23:48:51 +0000
Status: RO

Jane Williams <jane@williams.nildram.co.uk> wrote
>On 4 Dec 2002 at 15:52, Cynthia J Ley wrote:
>
>> Jane wrote:
>> > Sadly, most British squashes aren't juice. "Orange
>> > squash" is usually orange food colouring, orange
>> > flavouring, half a ton of sugar, and added Vitamin C
>> > to convince you it's healthy.
>>
>> Ah! We call that Kool Aid here across the pond. 8)
>
>Well, that explains a mystery. I'd heard of that, and
>assumed it was a dressing for burns :)
>
>If we call something "juice", it's juice.

Nope.  Here in Scotland, all approximately fruit-flavoured drinks can be 
"juice" - just like in Manchester, all sweets can be "toffees".  We have 
fizzy juice and diluting juice, as well as "real" juice.

Jean


>Mainly,
>anyway. Take fruit, and squeeze. Maybe add sugar,
>preservatives, colour, if it's going in a long-life
>carton, but the main content was once fruit.
>
>"Juice drink" would be a watered down version of the
>above. ("contains at least 10% real orange!")
>
>Then you get squashes with added juice.
>
>And at the bottom of the ladder, just "squash". Don't
>go there.
>
>BTW, the colourings used in the cheaper drinks stain
>cloth quite badly. But they're not fast enough to be
>used as dye, AFAIK. (There, costume content!)
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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Subject: [h-cost] The list, flaming...etc...
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Date: Fri, 06 Dec 2002 17:47:35 -0600
Status: RO

I have been on this list since late in its first year.  It's true there used to be a lot 
more people on it, with a lot more diverse, ideas, and opinions.  I have never been 
personally flamed, but I think I was once out-referenced and out-curriculum vitaed by 
someone... they had absolutely no problem using wording, and attitude to convey their 
opinion that I was a bit underclass to be saying anything. It was never anything outright, 
but definetely implied.  I actually did stop posting or reading the list after that for 
awhile.
Then I decided to the contrary, I had things to talk about.  And even at my infantile 
historic costuming level I could contribute, if nothing more than to get conversations 
started. And I have learned an enourmous amount.  As have others that have stuck around. 
Not all of the people that are now considered "experts" on this list were experts when 
they first came on, they were and still are students in many ways.
I can remember Penny as a hyper college student (she is still hyper):D, Drea was just 
beginning her in-depth studies of Elizabethan clothing, and many others just beginning in 
their journey.

I joined this list, not to become a historian, but to learn what was historically 
accurate, so I could teach others how to fake the look in an affordable way. I still 
suggest less than historic procedures on some stuff.  And it usually gets a "response" or 
rebuttal, which is ok with me.

I think it is a shame that some people left, because a few do get a little over 
enthusiastic in their passion for accuracy.   But that was and is their choice.


-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Date: Fri, 6 Dec 2002 15:57:59 -0800 (PST)
Status: RO

Sometimes I wonder if this list is really all about english/american/aussie/
etc etc etc translation... it seems every month the topic erupts Yet Again
of "what do YOU call that?" and it's usually not even sewing or costume
related.

I've been on the list almost ten years now, and I am still regularly amazed
how much that pops up.  that, more than any flaming that has ever happened,
is the only thing that's made me want to leave.  I just kind of shake my
head and go "that again?" and delete the next 100 - 150 messages from the list.

But, it's a discussion list, and I guess that's what we like to discuss.

*ducking before she gets flamed*

.heather.meadows.



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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Queries about coifs, biggins and headrails
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Date: Fri, 6 Dec 2002 23:53:10 +0000
Status: RO

"Headrail" is a word I only use for early medieval, for a large 
rectangular bit of cloth, fixed in whatever way around your 
head/neck/shoulders.  I go over to "veil" for more specific, shaped 
things, particularly where they don't wrap around.  But most of these 
distinctions are modern.  I haven't a clue what might have been termed a 
headrail in Elizabethan times.  I can't picture anything _big_ enough in 
Elizabethan headgear.

Jean



Joy Shillaker <joyshillaker@hotmail.com> wrote
>I wonder if any Elizabethan costumers could help me please.
>
>Is there a difference between a biggins and a coif and if so what is it?
>
>Does anyone know of any pictures of headrails? or, (fingers crossed) 
>extant head rails?
>
>regards
>Joy Shillaker
>
>_________________________________________________________________
>STOP MORE SPAM with the new MSN 8 and get 2 months FREE* 
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-- 
Jean Waddie
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Date: Thu, 05 Dec 2002 19:45:36 -0500
Status: RO

Hey, Nicole,
What does this lamp look like, and where did you get it?  Sounds _very_ 
interesting!

-- Mara


At 02:01 PM 11/30/2002 +0000, you wrote:
>Nicole - about to fix the new ceiling lamp: a 'copy' of those Flemish 17th
>century brass ones. *G*

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Date: Thu, 05 Dec 2002 20:04:10 -0500
Status: RO

At 04:18 PM 12/1/2002 -0700, you wrote:
>I'm wondering, for instance, about the reds.  Now, we've been
>experimenting with natural dyes lately (it seems to be the newest "in
>thing" in my local SCA group), and have gotten some wonderful reds and
>rusts and such with various period-appropriate dyes and mordants and
>fibers, but not that eye-popping cherry-red.  Darn....memory just kicked
>in.  I have seen one extant textile (a cut-and-voided velvet) with a red
>that cherry-colored.  Later time period, though (16th c.).

The pre-Columbian (i.e, before Christopher Columbus made his voyage) insect 
dye that would get you a cherry pink would be kermes, which was pretty 
scarce and expensive.  I think there's another insect dye -- St. John's 
something or other, it's in one of my books -- that does the same thing, 
but again, scarce and expensive.  Liles says you can get a garnet red with 
madder root, but you have to add lots of calcium, and it's still not that 
cherry red color you're talking about; I'm guessing it would still have 
that rust undertone that you usually get from madder.


>Also, despite what seems like an infinite variety of yellows and greens,
>I don't see many in pictures...were they painted less often because they
>were more common (and hence, less desirable?)? or because it wasn't as
>easy to achieve those colors in certain media?

Because yellow is one of those dyes (and paint colors) that fades over 
time, I'd guess...  That's one of the 'myths' of 18th century 
costume.  I've heard of people being told that 'green isn't period' -- 
well, actually, it IS, it's just that by the time that Indian block-printed 
textile gets to us, the greens have faded to blue because the yellow dye 
has faded.

- Mara

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Date: Fri, 6 Dec 2002 17:12:12 -0800 (PST)
Status: RO



Greenberg and Hammer is finally online -- looks like their
online store isnt' all there yet, but the corset supplies are
up.

yay!

http://www.greenberg-hammer.com/

now if they'd get their patternmaking supplies online, i'd be thrilled.

.heather.

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Date: Fri, 6 Dec 2002 20:36:32 EST
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I've been on this list off and on since the beginning.  I used to post quite 
a bit in the old days but now that I've got a toddler to chase around the 
house it's all I can do to keep up with reading email, much less writing it.  
That's my excuse.  ;-)

I do think Fran had a good point though about this list not being a list for 
"100% historically accurate reenactors."  I know this may come a surprise to 
some but...not everyone is trying to be historically accurate all the time!  
We have different reasons for doing this - theater, fashion design, 
role-playing games, Halloween/costume parties, movie recreations - are just a 
few of the examples I can think of where historic *authenticity* may not be a 
goal at all.  

I like to think of this list as a list about historic costume in all its 
permutations -- from poly satin flapper dresses with rayon fringe to silk civ 
war repros and everything in between. That's the gamut I run anyway!

Cheers,

Loren Dearborn
marionetta@aol.com


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
I've been on this list off and on since the beginning.&nbsp; I used to post quite a bit in the old days but now that I've got a toddler to chase around the house it's all I can do to keep up with reading email, much less writing it.&nbsp; That's my excuse.&nbsp; ;-)<BR>
<BR>
I do think Fran had a good point though about this list not being a list for "100% historically accurate reenactors."&nbsp; I know this may come a surprise to some but...not everyone is trying to be historically accurate all the time!&nbsp; We have different reasons for doing this - theater, fashion design, role-playing games, Halloween/costume parties, movie recreations - are just a few of the examples I can think of where historic *authenticity* may not be a goal at all.&nbsp; <BR>
<BR>
I like to think of this list as a list about historic costume in all its permutations -- from poly satin flapper dresses with rayon fringe to silk civ war repros and everything in between. That's the gamut I run anyway!<BR>
<BR>
Cheers,<BR>
<BR>
Loren Dearborn<BR>
marionetta@aol.com<BR>
<BR>
</FONT></HTML>
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Subject: Re: [h-cost] Queries about coifs, biggins and headrails
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Date: Thu, 5 Dec 2002 19:55:39 -0800
Status: RO

At 11:32 AM -0800 12/5/02, Margo Anderson wrote:
>At 09:24 AM 12/05/2002 +0000, Joy Shillaker wrote:
>>I wonder if any Elizabethan costumers could help me please.
>>
>>Is there a difference between a biggins and a coif and if so what is it?
>>
>the way I classify them, is that the biggins is the baby bonnet shaped
>item, usually with a strap or ties under the chin.  The coif is the one
>that has a point on the forehead and sides that curve in at the cheeks.
>
>However, I don't know that the distinction was there in the period.  In
>fact, I think it's likely that "coif" meant any number of styles of closely
>fitted headwear, rather the way we use "cap" today.

And furthermore, one of those items is a *BIGGIN*. (No "s" at the end.)

Renaissance Faire folklore persists in referring to it with the "s" 
ending due to a long-ago misunderstanding of some sources. (Or at 
least so says our local Costume Goddess -- I haven't checked the 
Oxford English Dictionary.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
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Date: Fri, 6 Dec 2002 21:35:32 -0500
Status: RO

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Here is a new topic for consideration: With the Twentieth Century =
getting further behind us, and it was a century when fashion designers =
became Known in their own right, who impresses you or has influenced =
your own design interpretations and what influence will they make in the =
ever evolving world of Historical Costuming. Anne Hollander in "Seeing =
Through Clothes" makes the case for fashion of any age being re =
interpreted subsequently in terms of the current mode of aesthetics; ( =
and this can certainly be observed in the 20th C ideas pursued by the =
movie mogul designers, as well as any time the Fashion runways quote the =
fads and fancies of the past.)   {Another semi-lurker, Kathleen M...A =
list observer since the early 90's.]=20

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<DIV><FONT size=3D2>Here is a new topic for consideration: With the =
Twentieth=20
Century getting further behind us, and it was a century when fashion =
designers=20
became Known in their own right, who impresses you or has influenced =
your own=20
design interpretations and what influence will they make in the ever =
evolving=20
world of Historical Costuming. Anne Hollander in "Seeing Through =
Clothes" makes=20
the case for fashion of any age being re interpreted subsequently in =
terms of=20
the current mode of aesthetics; ( and this can certainly be observed in =
the 20th=20
C ideas pursued by the movie mogul designers, as well as any time the =
Fashion=20
runways quote the fads and fancies of the past.)&nbsp;&nbsp; {Another=20
semi-lurker, Kathleen M...A list observer since the early=20
90's.]&nbsp;</FONT></DIV></BODY></HTML>

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Subject: [h-cost] 18th Century Dress detail 
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Date: Fri, 6 Dec 2002 18:10:28 -0800
Status: RO

Bjarne, since you popped up, perhaps you would know the answer to this
question.  I just got my copy of "Fashion" from KCI and the pictures of
dresses from your period are STUNNING!  Most of them have what appears to be
pinked ruching, or gathered self "ribbons" made of the dress fabric all up
and down the fronts of the dresses.  The unfinished edges of the fabric that
has been pinked or otherwise cut are still nice and clean.  How does that
work?

I cut fabric with pinkers and sometimes it still frays, particularly over
time. I use fray check in theater, but obviously that did not exist back
then.  What kept the pinked edges neat?  Better fabrics? A certain weave?
Something I'm missing?

Anyone with any knowledge may certainly pipe up.  It's a marvelous book.
Thanks to the original poster for mentioning it was available.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, December 05, 2002 11:20 AM
Subject: [h-cost] Imperial Taffeta


> Guess what?
> I got 15 meters of sky blue Silk Taffeta from London today!!!
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] The list, flaming...etc...
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Date: Fri, 6 Dec 2002 19:18:26 -0800
Status: RO

Well, let's see, I think my first comment after lurking around on this list
for a month or two was to proclaim that linen was dyed from 1st century AD
and what a response I got from that one!  I suppose I could have taken it
personally and unsubscribed,  but I happen to know a bit about the existance
of 14th century coloured linen so I attributed the comments I received as
extream stupidity.  I  have since learned that it pays to read all the
threads in a subject before commenting as the discussion changes and the
question one thinks they are answering is no longer the question at hand.
And I must say, that I had not ever thought about linen's use as an outer
garment seriously having done living history in hot and humid Brisbane where
it was our fabric of choice, so I was thankful that the discussion took
place.  But, if I had received such a reception when I first started
costuming it would have put a real damper on my enthusiasm.  This is a great
hobby and those just starting out should be encouraged which I do see
happening here.   I think the idea of a novice day or question is great.

Cheers,

Lisa Sinervo
Threadneedle St. Clothiers
www.ThreadneedleSt.com



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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: [h-cost] Re: how many of us are there?
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Date: Fri, 6 Dec 2002 17:01:29 -0800
Status: RO

At 10:40 AM -0800 12/6/02, Tasha McGann wrote:

<snip>

>In general, though, I don't provide information here
>anymore unless I'm 100% air-tight sure about it,
>because it WILL be challenged. That may be because
>there's an unspoken hierarchy on this list -- some
>folks aren't proven, and thus are challenged. Others
>are known, and are sacrosanct (sometimes). Just a
>thought. (Please don't shoot me.)

I think there's plenty of room for posting things that one isn't 100% 
air-tight sure about -- I think it's just a matter of distinguishing 
the different types of information clearly.  People might get  riled 
up if one posted, "Peasants in Lower Slobovia wore socks on their 
heads" whereas a posting along the lines of , "I've seen some 
illustrations of peasants in Lower Slobovia with something on their 
heads that looks remarkably similar to a sock" might provoke an 
enthusiastic thread about hat construction and Slobovian footwear 
styles.

My experience -- on this as well as other lists -- is that you aren't 
entirely off-base on the "unspoken hierarchy" observation, but I 
don't see it as a sinister plot. :)  If person X has a history of 
providing verifiable support and well-reasoned arguments for their 
statements and conclusions, then they're likely to be cut more slack 
if they pop off a random comment without supplying the full support 
and arguments (although a person of this sort is also generally happy 
to supply them when time allows if asked), and similarly, person X is 
likely to be given a bit more credence if they come up with an 
unusual theory or explanation if they have a past history of 
demonstrating well-constructed and solidly-based theories.  If said 
person X trades on this tendency too heavily, they're likely to lose 
that status, so it's a fairly self-regulating system.  If they stop 
putting out, they stop being cut the slack.  (I tend to be aware of 
this dynamic because there are a number of subjects, on various 
lists, where I get cut far more slack than _I_ think I ought to be, 
and I try to be very careful about _not_ getting lazy about supplying 
the backup information and reasoning.)


Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: Chris Laning <claning@igc.org>
Subject: [h-cost] Re: how many of us are there?
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Date: Fri, 6 Dec 2002 19:13:53 -0800
Status: RO

At 12:04 PM -0500 12/6/02, Tudorldy@aol.com wrote:
>[snipping much articulate discussion]
>...My impression is at times, that folks (with notable exceptions) 
>deal a little harshly with people who take 'shortcuts' (i.e., 1/4" 
>steels in a 1570s pair of bodies, for instance) that were perfectly 
>acceptable ten years ago.

I know quite a few of the people on this list, and I think you're 
only partly right about this. It's true that we have quite a few 
people who start out assuming that people are trying for 
authenticity. Partly I think that's due to the natural human tendency 
all of us have to think that everybody else is "just like us" <g>.

It also seems to me quite likely that the focus of the list has 
gradually shifted in that direction, due to the great progress that 
has been made in knowledge over the last decade or so.

However if anyone is concerned about possible criticism for 
"shortcuts", there's a way to avoid most of it. Just mention, "I know 
this isn't absolutely authentic, but it's what I can get (or afford, 
or do, or have time for) right now." Those with _good_ manners, at 
least, will be much more likely to speak kindly and provide help in 
doing what you _can_ do in the best way possible.

You'll have seen this happen, for instance, with a few recent 
listmembers who have posted about costuming high school plays with 
zero budgets, or what to dress an elementary school student in for a 
special theme day. People who are willing to explain what they're 
doing _do_ get advice along the lines they're working on.

I think the rudeness, most of it totally unintentional, comes purely 
and simply from posters rushing in to advise without fully 
understanding the parameters within which the other person is 
working. We can probably all do a bit better about _explaining_ up 
front what we're aiming for, rather than letting everyone else make 
assumptions that can lead to missteps. We can also probably do better 
at _asking_ what someone is aiming for before jumping in.

(As I'm sure you realize, sometimes there's a complaint from the 
opposite side, too. When someone is looking high and low for suitable 
linen sewing thread for an especially dyed-in-the-wool historical 
project, for instance, it can be quite frustrating to hear "But why 
don't you just use polyester, it's so much easier?" )

Explaining oneself saves _so_ much trouble....
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: mabse@attbi.com
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Subject: Re: [h-cost] how many of us are there?
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Date: Fri, 06 Dec 2002 19:31:37 +0000
Status: RO

I am relatively new, and I have posted several times.  I always feel like a 
complete idiot whenever I do, but oh, well, it is not an unfamiliar sensation.  

My fifteen year old daughter who has been obsessed with ballet to the exclusion 
of most any other activity including eating and sleeping came home yesterday and 
asked me if I could teach her to draft patterns.  Apparently, she had a lecture 
in her french class from someone from the fashion design institute in San 
Francisco on the history of French fashion.  It must have been a great lecture 
because she was telling me what she liked and disliked about each era.  So now 
rather than being an astronomer or volcanologist like she has wanted to be since 
second grade she says she wants to be a fashion designer.  She'll change her 
mind.  Rocket science has been the chosen profession in my family for three 
generations now and I don't see her doing anything else, well, except for 
ballet.

This may seem off topic, but my point, and I do have one, is to let those of you 
 who do this kind of outreach know that it is valued and appreciated.  Someone 
made a difference in her life opening up the world of costume to her, and it 
probably could have been any of you.  So feel good about the work you do 
researching, documenting and diseminating the kind of information that the 
people in this group specialize in.

Maryann, who is now in the middle of Nutcracker hell.
>  --- Justine Magill <philnstine@worldnet.att.net> wrote: > *de-lurking*
> > 
> > Actually, the nasty flaming is exactly why I dont post anymore.  I sometimes
> > do not
> > get my point across clearly, and do not say all I meant to because I am
> > always in
> > somewhat of a hurry due to an insane schedule.  Also, I only get to check
> > mail in
> > the early morning before work, and after work.  
> 
> Oh Jenne, don't go back into lurking, please? I know it isalways us same ones
> who are posting/talking and I know I for one sometimes really do talk too much
> (hey, can I help it that I feel so strongly about many things? *laughs*) but
> that's also because we _are_ always the same ones posting. It would be
> WONDERFUL if more people posted, it really would. 
> 
> Nicole
> 
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
> 
> __________________________________________________
> Do You Yahoo!?
> Everything you'll ever need on one web page
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> http://uk.my.yahoo.com
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Date: Fri, 06 Dec 2002 23:36:50 -0500
Status: RO

Hi, All. Amen to the aforementioned comments. If you think women's clothing is
hard to accurately document back from the 15th Cent., try looking at such
things as men's hose and patterns for cut, wear, etc.. The folks from the
Company of St. George (Gerry and John's group) have done signal service, yet
there are many differences of opinion on such subjects as the type of wool
used and it's effect on the stretch of the cloth (the Merino Controversy), the
proper cut of hose, etc. BTW, what is Scott's last publish date for "Gothic
Europe", and does anyone have a spare copy for sale? I have seen portions, but
I'd like a working copy. I also need a copy of "Visual History" by the same
author. I haven't checked e-bay, I'm just asking around the community first...
Thanks, Mike T.


>
> Well, that's a strong statement :-)

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Subject: [h-cost] De-lurking...with a medieval question.
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Date: Fri, 6 Dec 2002 23:32:05 -0500
Status: RO

I tried posting this earlier, but I'm not sure it got to the list.  Here
goes...

Well now that I've pretty much solved my wedding dress problem, I'm
wondering about
my guy.  I don't think he's likely to want to wear a houppelande or some
such, and definitely not the silly shoes.  So I'm trying to think of
something different that would still be period (late 14th to early 15th c).
He's got dark skin, so I was thinking maybe a nifty Moorish costume of some
sort.  Does anybody have any information on Moorish (or any
middle-eastern/North African) costume of this era?  I haven't been able to
find much detailed info online...

-- Maral


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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
References: <F12APNXRPmcarcR4ZDg00000a7b@hotmail.com> <05e601c29da9$988a27a0$6401a8c0@VALINOR>
Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Fri, 6 Dec 2002 21:09:23 -0800
Status: RO

Maral

This did make the list before and all I thought was that I fancied poulaines
even more than tippets so I decided to reserve my comment this time.

Lisa
----- Original Message -----
From: "Herself-the-Elf" <herself-the-elf@rogers.com>
To: <h-costume@indra.com>
Sent: Friday, December 06, 2002 8:32 PM
Subject: [h-cost] De-lurking...with a medieval question.


> I tried posting this earlier, but I'm not sure it got to the list.  Here
> goes...
>
> Well now that I've pretty much solved my wedding dress problem, I'm
> wondering about
> my guy.  I don't think he's likely to want to wear a houppelande or some
> such, and definitely not the silly shoes.  So I'm trying to think of
> something different that would still be period (late 14th to early 15th
c).
> He's got dark skin, so I was thinking maybe a nifty Moorish costume of
some
> sort.  Does anybody have any information on Moorish (or any
> middle-eastern/North African) costume of this era?  I haven't been able to
> find much detailed info online...
>
> -- Maral
>
>
> _______________________________________________
> 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] Re: how many of us are there?
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Date: Fri, 06 Dec 2002 21:06:12 -0800
Status: RO

>
>
> However if anyone is concerned about possible criticism for
> "shortcuts", there's a way to avoid most of it. Just mention, "I know
> this isn't absolutely authentic, but it's what I can get (or afford,
> or do, or have time for) right now." Those with _good_ manners, at
> least, will be much more likely to speak kindly and provide help in
> doing what you _can_ do in the best way possible.

If the person does not state what their purpose is, it would  be better
to ask if authenticity is indeed their desire--rather than assuming that
the person is aspiring to it and you just need to know what their limits
are.  Authenticity is simply not relevant for some costuming purposes.
People should not have to start out with an apology to those for whom it
is more relevant.

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: Robin Netherton <robin@shell.nightowl.net>
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On Fri, 6 Dec 2002, leigh tartaglio wrote:

> BTW, what is Scott's last publish date for "Gothic Europe", and does
> anyone have a spare copy for sale? I have seen portions, but I'd like
> a working copy. I also need a copy of "Visual History" by the same
> author.

You'll have better luck finding the Visual History book, as that series
was longer-lived.

Late Gothic Europe came out in 1980. I have been looking for a copy of
since maybe 1984 and still don't have one. I had ordered it through a
distributor, but it never arrived. I figured I'd see it remaindered
eventually, but I never did, and I was unable to find it in most
libraries. I found out why when I met Margaret Scott in 1989 and asked her
where I might find a copy, as I had had no luck in the London bookstores
either. She described an Unfortunate Series of Events. It seems it got a
bad review in one of the major US library journals (mostly on the basis of
the picture reproductions, which were not particularly good quality), and
as a result very few US libraries bought it -- so now you know why it's
scarce on this side of the water. Then the remaining copies went up in
smoke in a warehouse fire, so there aren't a lot of circulating extras
anywhere.

The book was first in a series of coffee-table costume books called the
"History of Dress" series. The second book was Renaissance Dress in Italy
by Jacqueline Herald (1981). The publisher listed on the Herald book was
Bell & Hyman in England, and Humanities Press of New Jersey on the
American side, though I don't know if any books were actually printed
here. On the Scott book, though, the English publisher is Mills & Boon,
which is better known for publishing romance novels (sort of like
Harlequin). I'm not sure how the ownership of the series worked -- my
vague memory is the Mills & Boon started it, they sold the series to Bell
& Hyman, and the latter axed it after the second volume. But the story may
have been more complicated. In any case, there were never more than two
volumes published.

--Robin





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Date: Fri, 6 Dec 2002 22:04:33 -0800 (PST)
Status: RO


http://www.raito.com/royalty/index.html
under "Projects"

Another quick'n'dirty set of directions:
http://luxnova.home.mindspring.com/samuraigame/hakama.html
http://luxnova.home.mindspring.com/samuraigame/yukata.html

Japanese costume museum:
http://www.iz2.or.jp/english/index.htm

Japanese ukiyo-e ningyo (geisha and actor dolls):
http://web.clas.ufl.edu/users/jshoaf/Jdolls/today.htm

Japanese crafts and dolls (and kits):
http://azumijapanesegallery.com/

A japanese shop that has an english version (good for the photos):
http://www.shop-japan.co.jp/english-boku/index.3html.htm

I'd also suggest renting Roshimon (Heian-kyo period), or Yojimbo (Edo period)
for a really _good_ look at the costumes and how they move.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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] Favorite Designers
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Date: Sat, 7 Dec 2002 02:45:05 -0500
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Kathleen,

One of my big areas of weakness is in fashion designers.  My 20th costume
history was in 1976.  We followed the popular designers of the day, but not
the past ones.  We studied silhouettes and name of articles of a costume.
Being on two email lists, vintage and sewretro, sparked my interest about
past designers.  They kept talking about this designers and that I had no
idea who they were talking about.  I was thrilled to get the Hudson and
Thames, Dictionary of Fashion Designers and Fashion and could look the
designer up when someone mentioned them.  This book has become my fashion
bible.  It doesn't cover every designer, but does carry the most popular
ones.

I have always been partial to Dior as one of my favorites.  But right now I
am doing some heavy research into the designer from 1920-1925.  I have tons
of illustrations from about 30 Parisian designers during this time.  I am
working on writing bios for them.  I am really having a tough time finding
bio information about some of the designers.  I am compiling all of this
information to make an e-book.  The way I will be presenting each designer
is to have a bio page and then have thumbnails in sequence of time of their
designs from 1920-1923.  So the reader will see how their designs evolved.
It is a small time frame, but a lot happened in the evolution of dress
during these four years.

What I am really fascinated while compiling this information is the later
designers who started out with the 1920s designers.  I am also interested in
how the '20s designers got their start in the fashion business.  Its almost
like making a family tree of designers.

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


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<DIV>Kathleen,</DIV>
<DIV>&nbsp;</DIV>
<DIV>One of my big areas of weakness&nbsp;is in fashion designers.&nbsp; =

My&nbsp;20th costume history was in 1976.&nbsp; We followed the popular=20
designers of the day, but not the past ones.&nbsp; We studied =
silhouettes and=20
name of articles of a costume.&nbsp; Being on two email lists, vintage =
and=20
sewretro, sparked&nbsp;my interest about past designers.&nbsp; They kept =
talking=20
about this designers and that I had no idea who they were talking =
about.&nbsp; I=20
was thrilled to get the Hudson and Thames, Dictionary of Fashion =
Designers and=20
Fashion and could look the designer up when someone mentioned =
them.&nbsp; This=20
book has become my fashion bible.&nbsp; It doesn't cover every designer, =
but=20
does carry the most popular ones.&nbsp;</DIV>
<DIV>&nbsp;&nbsp;&nbsp;&nbsp;</DIV>
<DIV>I have always been partial to Dior as one of my favorites.&nbsp; =
But right=20
now I am doing some heavy research into the designer from =
1920-1925.&nbsp; I=20
have tons of&nbsp;illustrations from about 30 Parisian designers during =
this=20
time.&nbsp; I am working on writing&nbsp;bios for them.&nbsp; I am =
really having=20
a tough time finding bio information about some of the designers.&nbsp; =
I am=20
compiling all of this information to make an e-book.&nbsp; The way I =
will be=20
presenting each designer is to have a bio page and then have thumbnails =
in=20
sequence of time of their designs from 1920-1923.&nbsp; So the reader =
will see=20
how their designs evolved.&nbsp; It is a small time frame, but a lot =
happened in=20
the evolution of dress during these four years.</DIV>
<DIV>&nbsp;</DIV>
<DIV>What I am really fascinated&nbsp;while&nbsp;compiling this =
information is=20
the&nbsp;later designers who started out with the 1920s designers.&nbsp; =
I am=20
also interested in how the '20s designers&nbsp;got their start in the =
fashion=20
business.&nbsp; Its almost like making a family tree of designers.</DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
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From: "Jane Williams" <jane@williams.nildram.co.uk>
To: h-costume@indra.com
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Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Sat, 07 Dec 2002 08:04:35 -0000
Status: RO

On 6 Dec 2002 at 21:09, Lisa Sinervo wrote:

> > I tried posting this earlier, but I'm not sure it got to the list. 

It made it, and I was assuming one of the Experts 
would have answered it by now. 

> > Here goes...
> > Well now that I've pretty much solved my wedding dress problem, I'm
> > wondering about my guy.  ....
> > He's got dark skin, so I was thinking maybe a nifty Moorish costume
> > of
> some
> > sort.  Does anybody have any information on Moorish (or any
> > middle-eastern/North African) costume of this era?  

Looking through my usual SCA_related sites for 
general info:

The Florilegium 
http://www.florilegium.org/ 
seems to have a Clothes section, and a Moorish 
article within that, which might or might not be of 
use.

Cariodoc's Miscellany 
http://www.pbm.com/~lindahl/cariadoc/miscellany.ht
ml
also has stuff on this period: I know he does a lot of 
work on the food, so would guess that he'd know 
something about the clothing.

Sorry this is a bit imprecise, but it might be slightly 
better than zero :)


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Subject: Re: [h-cost] Re: how many of us are there?
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Date: Sat, 7 Dec 2002 03:37:48 -0500
Status: RO

I am so thrilled to see so many lurkers coming out!!!!!!  <tacking their
shoes down on my computer so you can't go back into lurk mode>  Welcome to
the newcomers.  Please introduce yourself.

I never realized that there was a hierarchy on the list. So I called my
asst. Susan (a lurker on the list) to explain to me.  I guess I just love to
talk to everyone who loves costume, so I didn't notice.

Truly, I know there are people who have spend their life or a large portion
of it studying costume.  There are very few people that I have met in our
industry that I would call an expert... probably the best experts that I
have met are Valerie Steele and Richard Martin, for their time periods and
areas of study.  I have not come across anyone who is an expert in all time
periods for historic costume.   Some can tell you all the general
silhouettes the time periods, but not all the particulars.

No questions are dumb questions...
I can give a really good example.  I just finished teaching my 1912 film
class for the third time.  I had spent five years studying the costumes from
these films and watched them so many times.  At first, the students hardly
asked questions.  I explained that no questions are dumb questions.  I have
taught every type of student from 1st grade through college.  If you have a
question chances are someone else had that same question.  The students
started asking questions!!!!  Even though I have watched these films so many
times, these students asked about things I had never noticed in the films.
I cherish when someone asks these types of questions, for when I looked up
the information and re-watched that section of the film, I learned something
too.  A lot of students don't realize how much they inspire teachers to
further their research.  Sometimes teachers or researchers see their work
over and over that they miss the little things that can make a big
difference.  It is really wonderful to have someone else's perspective if
you listen with an open mind.  When I was teaching computer in public
school, I would have a know-it-all come into my class.  The student would
say, "I don't really have to pay attention because I already know this."  My
policy is... If you learn one new thing in class, it may be the one thing
you really needed to know.  If you choose to ignore the class, that one
thing could pass you by.

Everyone's input is important.  You might ask that one question that might
shed the light on a long time problem.

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


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Subject: Re: [h-cost] The list, flaming...etc...
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Date: Sat, 7 Dec 2002 03:50:13 -0500
Status: RO

Hi Linda,

Good to see you again.  Are you using a walking cane, you h-costume old
timer!!!  ROTFLMBO!!!!!  (I just had to get you back for the hyper remark.)

I have never considered myself at an expert at anything but changing diapers
and having sons!  Thank God I retired from changing diapers!

Really I hop, skip, and jump across so many time periods and types of
costume, I am nothing but a lover of fashion and gab.

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


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Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Sat, 7 Dec 2002 09:21:34 -0000
Status: RO

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>Does anybody have any information on Moorish (or any
middle-eastern/North African) costume of this era?  I haven't been able =
to
find much detailed info online...

There is a whole SCA subgroup dedicated to this, but I'm not SCA so I'm =
unsure where...


Here we go try

Middle-Eastern Costuming of 13th Century
by Rozalynd of Thornaby on Tees

http://users.lazerlink.com/~dwarph/v1n1/al-must_v1N1.html#RTFToC11

And a load more links for the Arts & Science pages of the SCA

a.. Costume Guidelines (16th century Turkish)=20
b.. Costumes for Various Styles of Oriental Dance=20
c.. Egyptian horseman's outfit, 6th century=20
d.. Costume for A 15th Century Ghwazee Wedding Dance=20
e.. The Folk Dress/Beledi Dress=20
f.. Harem Pants=20
g.. How to Hijab: Your Guide to the Islamic Dress Code=20
h.. Islamic Clothing, Jewelry, and Make-Up=20
i.. Islamic Clothing - Free Patterns=20
j.. The Islamic Dress Code=20
k.. Maghribi Women's Costume=20
l.. Medieval Middle Eastern Garb: Basic Garments Throughout the East =
with Pictures and Patterns=20
m.. Middle Eastern Costume Links=20
n.. Middle-Eastern Costuming of 13th Century (or here)=20
o.. Muslim Sexual Modesty=20
p.. Near and Middle Eastern Costume Sites Worth Seeing=20
q.. Near and Middle Eastern Costume Bibliography=20
r.. Notes on Clothing from Social Life Under the Abbasids=20
s.. Notes on Islamic Clothing=20
t.. Oriental Costumes: Their Designs and Colors=20
u.. Palace Attire and Garments: The Costumes of the Sultans=20
v.. Persian Clothing, with some references to other Middle Eastern =
styles=20
w.. A Quick Guide to Period Garb for a Turkish Lady=20
x.. Seljuk and Ottoman Periods: Women's Clothing=20
y.. Seljuk Female Costume Patterns and Seljuk Male Costume Patterns=20
z.. 6th and 7th Century Sasanian (Persian) Clothing=20
aa.. 16th Century Persian Women's Clothing=20
ab.. The Tarpus: A Very Brief View of the Turkish Hat with two pictures: =
1 and 2=20
ac.. Turkestani Coat=20
ad.. A Turkish Lady's Ensemble with five images: 1, 2, 3, 4, and 5=20
ae..=20
af.. Mel
ag.. This e-mail, and any attachment, is confidential. If you have =
received
it in error, please delete it from your system, do not use or disclose
the information in any way, and notify me immediately. The contents of
this message may contain personal views which are not the views of the
Company, unless specifically stated.



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------=_NextPart_000_01E0_01C29DD2.09A50D60--


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From h-costume-admin@indra.com  Sat Dec  7 04:38:42 2002
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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Re: how many of us are there?
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Date: Sat, 7 Dec 2002 09:39:50 -0000
Status: RO

I always think everyone starts off with no knowledge about any subject and
therefore it is perfectly acceptable to ask any question. But at the same
time I think that on occasion when answering the same or similar question
again & again, posters might just rush off an answer without being as gentle
as they might, this is probably due to time constraints & that
understandably, their interests lie futher along the learning curve, but the
people who do answer do at least bother to do so, which I think is to be
appriciated.

There is also the problem of style of writing & cultural differences in
exchanges, this has lead me to be accused of being over harsh in the past,
wheras to my mind I am answering as I always have but the reader does not
read what I say as what I meant ! OTOH I have totally misunderstood others
posts, over the years. Hopefully, I've learnt to appriciate these
differances and try to accomodate the differences as much as possible. The
great thing about these lists IS the exchange of ideas and if we were all
too frightened to disagree we would gain far less. Everyone can only truely
interpret a thing from their own experiance, but can learn to see
differences in perspective from others, this is what I love about email
lists !

THis list is pretty good on the whole. I drop in on a UK based re-enactment
board once in a while & I am really ashamed of the way novices are treated
"you f***in idiot" and similar phases being far to common, it is quite
disgusting really and this is often to school kids asking for help !! Ok
later in life "please tell me everything about the middle ages" does seem an
unreasonable question, but it isn't to a child who has no where near grasped
the time scale, even those of us used to all this time hopping don't really
understand everything & definatly about every time ! As you progress you
focus (or focii) get narrower, 1265 England, 1874 England or whatever.
Anyway that isn't what happens here thank goodness.

Anyway I've rambled on, but what I want to say is nobody should be afraid to
ask anything, but at the same time everyone should also understand those
answering are not the angellic host and may from time to time answer less
that perfectly, but in general those that answer are putting in positive
input, not the totally negative I've seen elsewhere.

Mel

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From h-costume-admin@indra.com  Sat Dec  7 04:39:56 2002
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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: <h-costume@indra.com>
References: <200212062358.gB6Nw0o3012334@jabberwock.wonderland.com>
Subject: Re: [h-cost] OT, but NOT a food question.
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Date: Sat, 7 Dec 2002 09:42:03 -0000
Status: RO

I think it helps us to understand the difficulies in talking over a multi
cultural list, if I'm not interested I hit the delete button, whether on OT
subjects or costume subject I have no interest in.

Mel

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From h-costume-admin@indra.com  Sat Dec  7 05:32:08 2002
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From: "Linda Walton" <linda.walton@dsl.pipex.com>
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References: <20021206184052.42487.qmail@web40909.mail.yahoo.com> <p05100300ba16f57d88a5@[136.152.196.25]> <00dc01c29dcb$ec5af0e0$0400a8c0@centrl01.va.comcast.net>
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Subject: [h-cost] Delurking . . . with a Roman Question
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Date: Sat, 7 Dec 2002 10:30:30 -0000
Status: RO

Hello Everyone !

Since there seems to be a mood of helpfulness abroad, and not many questions
being asked to use it up, I've nerved myself to ask about the subject that's
been worrying me lately.  I know it's not the sort of historic costume that
this group usually finds itself discussing, but someone may know about it.
Web searches have produced only fairly thin information so far, and the
books I have available are very vague indeed.

Please, how do I dress as a fairly wealthy Roman lady of the time of Cicero
?

It is for a party with my Latin class on 17th December, so I would like it
to be as authentic as I can manage, and - especially - I would like to be
able to answer questions about it.  So where my clothing isn't very
accurate, I would like to be able to explain about it.

Here are some specific areas that I am wondering about:-
1.  What about underwear ?  I want to get the general shape right, and have
heard that Roman ladies wore - among other things - corsets, but don't know
when, or what sort.  (This particularly concerns me because I must wear a
bra, due to mastectomy/prosthesis requirements, and I'm fairly plump, too.)
2.  How should I decorate the fabric ?  I've heard of gold thread in finds:
would that be couched embroidery ?  I've got some good linen waiting to be
used, but could only add simple embroidery in the time available - what
patterns would be appropriate ?  What about coloured wools ?  (If the only
answer is woven gold threads, or complicated sewing, then I'd better go down
the social scale a bit !)
3.  What about hairstyles and jewellery ?  I've got long straight hair, and
couldn't go in for a great bush of little curls:  could I get away with
putting it up in a bun like the Greek ladies.  I know I won't need a veil,
(thank goodness), but should I have some other sort of head-dress ?  Were
necklaces very common ?  I do have some rings, brooches and a bracelet that
are copies of finds, would they be enough ?

Finally, I would like to thank everyone for the immense pleasure I have had
over the years from reading your replies to even the most abstruse of
costuming questions, whether historical research or theatrical
practicalities,

yours sincerely,
Linda Walton,
(in High Wycombe, Buckinghamshire, U.K.)

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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References: <20021206184052.42487.qmail@web40909.mail.yahoo.com> <p05100300ba16f57d88a5@[136.152.196.25]> <00dc01c29dcb$ec5af0e0$0400a8c0@centrl01.va.comcast.net> <00a401c29ddb$ab1e8d20$97725651@bella>
Subject: Re: [h-cost] Delurking . . . with a Roman Question
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Date: Sat, 7 Dec 2002 10:51:08 -0000
Status: RO

I know very little about Roman clothing I'm afraid, but a friend of mine
wrote a book on it :)  Here we go Roman clothing and fasion A T Croom, it is
a UK publication so you might be able to get in in the library (it is mainly
UK civilian clothing)

Mel

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Subject: Re: [h-cost] 18th Century Dress detail 
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Date: Sat, 7 Dec 2002 11:17:40 +0000 (GMT)
Status: RO

 --- Cabbage Rose <cabbagerose@sbcglobal.net> wrote: > 
> I cut fabric with pinkers and sometimes it still frays, particularly over
> time. I use fray check in theater, but obviously that did not exist back
> then.  What kept the pinked edges neat?  Better fabrics? A certain weave?
> Something I'm missing?
> 
> Anyone with any knowledge may certainly pipe up.  It's a marvelous book.
> Thanks to the original poster for mentioning it was available.

Just an observation, since 18th c is not my field as everyone knows by now and
thus I don't do any pinking, but since you asked for comments, do you have the
book Fashion in Detail from the V&A? There are quite a few pinked silks and
they _are_ fraying a bit. I suppose it could be less because of a
closer/tighter taffeta weave? Anyway, I tried Gum Arabic on my silk ribbons for
the 1660s stuff and I am not happy with it, it dries very stiff. Didn't someone
say they used that for 16th c. cuts & slashes? How did they manage to not have
everything get awfully stiff?

Anyway, have you tried pinking on a really good taffeta like the Imperial
Taffeta that Bjarne talked about? I did some snipping on mine, and even after a
year I found that when I re-did the hem that had torn and was snipped and had
been stepped upon, it actually didn't fray very much to my surprise.
Perhaps pinking works a lot like those zig-zag scissors (I don't know the
proper English term for them) where only the 'peaks' fray a bit.

Not a proper answer, but some observations nevertheless.

nicole


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Subject: Re: [h-cost] 18th Century Dress detail : pinking
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Date: Sat, 7 Dec 2002 11:30:00 GMT
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> --- Cabbage Rose cabbagerose@sbcglobal.net>
> wrote: > 
> > I cut fabric with pinkers and sometimes it still frays, particularly over
> > time. 

N Kipar <nicolas_fouquet@yahoo.com> wrote :

> Perhaps pinking works a lot like those zig-zag scissors (I don't know the
> proper English term for them) where only the 'peaks' fray a bit.

I know them as "pinking shears". Which implys that when you refer to "pinking", you're talking about something other than using these things? 




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Subject: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 11:45:29 -0000
Status: RO

Hi all,
I have some very heavy, very pale grey cotton damask which I would
very much like to lighten up to white. Can anyone suggest ways of
doing so?
best wishes
Stevie

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Subject: [h-cost] Regency House Party for Channel 4
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Date: Sat, 7 Dec 2002 11:51:50 -0000
Status: RO

Hi all,

If you have 3 months to spare next summer then you might care to spend
them in the lap of period luxury...

http://www.channel4.com/history/microsites/R/regencyhouse/index2.html


best wishes
Stevie

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Subject: Re: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 11:50:01 +0000 (GMT)
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 --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: > Hi all,
> I have some very heavy, very pale grey cotton damask which I would
> very much like to lighten up to white. Can anyone suggest ways of
> doing so?
> best wishes
> Stevie

UK only tip:
Stevie, I tried 'Ecover' for bleaching my 19th c. laces, and boy did that stuff
bleach. You can definitely get it in Sainsbury's and it doesn't have any of the
nasty stuff in it, no chlorine. Don't use a machine, but try to put it into a
BIg pot, keep the heat up nice and as hot as possible (boiling?) and stir in
the bleack. That should do the trick, it certainly didn't kill my laces, they
are nice and white and on my mantua.

Nicole

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Date: Sat, 7 Dec 2002 12:04:38 +0000 (GMT)
Status: RO

 --- jane@williams.nildram.co.uk wrote: > 

> > Perhaps pinking works a lot like those zig-zag scissors (I don't know the
> > proper English term for them) where only the 'peaks' fray a bit.
> 
> I know them as "pinking shears". Which implys that when you refer to
> "pinking", you're talking about something other than using these things? 

Yes Jane, I though she meant those scallopy edges, the pretty ones, let me see
if I have a piccie I can upload...

Ha! Silly me, I do have some online on the Rococo bit on the Demon site (hours
later trying to remember the URL...):

http://www.kipar.demon.co.uk/female_rococo.html

The 1760s sack dress shows some pinking. Not the big fat lovely scallopy type,
but for the life of me I can't find a pic of that on my comp and don't have
time to scan.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 12:10:57 -0000
Status: RO

Nicole said:

> UK only tip:
> Stevie, I tried 'Ecover' for bleaching my 19th c. laces, and boy did
that stuff
> bleach. You can definitely get it in Sainsbury's and it doesn't have
any of the
> nasty stuff in it, no chlorine. Don't use a machine, but try to put
it into a
> BIg pot, keep the heat up nice and as hot as possible (boiling?) and
stir in
> the bleack. That should do the trick, it certainly didn't kill my
laces, they
> are nice and white and on my mantua.

Many thanks; I will brave the Islington Sainsbury's and buy some. Do I
mix the bleach and water before bringing it to the boil, and then put
the washed fabric in it?
best wishes
Stevie

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Date: Sat, 7 Dec 2002 12:19:28 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com> 
> Many thanks; I will brave the Islington Sainsbury's and buy some. Do I
> mix the bleach and water before bringing it to the boil, and then put
> the washed fabric in it?

Oh gosh, on a Saturday before Christmas *G* Why domn't you order it online?

Anyway, yes, I did stir the bleach (hefty mexture: lots of bleach, I though if
it doesn't kill it, it'll be fine) into the water and heated it up. The bleach
comes in wee little pearls, so you wnat to make sure they are as dissolved as
they can be. As an aside, I forgot to mention that I used an old jam cooking
pot (one of those huge tinny ones) and the bleach ate into the bottom of the
pot! Heating the bleach in that kind of metal seems to eat right through it. I
don't think that would happen with a steel pot though.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Sat, 7 Dec 2002 12:22:36 +0000 (GMT)
Status: RO

Okay, I deleted the original mail as usual after skimming through but suddenly
remembered that there is a lovely site on Arabic costume out there. I love the
site, though I don't know anything about period/plcae nor will ever do anything
with it. Here's a page on 13th c. Andalusian costume for example:

http://witch.drak.net/lilinah/andalus13c.html

This is the index:
http://witch.drak.net/lilinah/courtyard.html

I don't know if she has what you are looking for for your other half, but she
might give you further tips anyway.

Nicole - who just has to save pretty much any costume related pic to her
hardddrive. :-)

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] 18th Century Dress detail 
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In a message dated 12/6/2002 9:06:07 PM Eastern Standard Time, 
cabbagerose@sbcglobal.net writes:


> What kept the pinked edges neat?  Better fabrics? A certain weave?
> Something I'm missing?
> 
> 

When you look closely, you can see that fraying has started.  I think it is 
probably the fact that most of these silks were very crisp, perhaps retaining 
quite a bit of the original gum.  Add to that the likelihood that the dresses 
in collections, by the very fact that they have survived, may not have had 
particularly heavy wear.  This is just a guess, but I wonder, too, if using 
the pinking tool, might have caused less stress on the fabric than cutting 
with shears.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/6/2002 9:06:07 PM Eastern Standard Time, cabbagerose@sbcglobal.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">What kept the pinked edges neat?&nbsp; Better fabrics? A certain weave?<BR>
Something I'm missing?<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
When you look closely, you can see that fraying has started.&nbsp; I think it is probably the fact that most of these silks were very crisp, perhaps retaining quite a bit of the original gum.&nbsp; Add to that the likelihood that the dresses in collections, by the very fact that they have survived, may not have had particularly heavy wear.&nbsp; This is just a guess, but I wonder, too, if using the pinking tool, might have caused less stress on the fabric than cutting with shears.<BR>
Ann Wass</FONT></HTML>

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Subject: Re: [h-cost] 18th Century Dress detail 
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Date: Sat, 7 Dec 2002 13:58:19 +0100
Status: RO

Dear Angela.
I will read through my book, danish one, i have about fashion in 18th
century.
It is my thoaght, that they did not do anything to the fabric, only the
pinking tools, cut the fabric on bias most of the time, so that it will not
fray.
When i make a lot of ruched ribbon works on the dress, i zig zag all the
edges very closely and then i turn over the zig zag as a seam and stitch by
hand.
I do the same thing for the sleave ruffles, you cant have a doubble seam on
those, because then they wont fall propperly.
Ill look what she writes about it today and post later.

I have never done any pinking myself, i have made sleave ruffles cut like a
pinking shape, but only cut with a sharp scissor.And then only made a very
narrow seam with the zig zag turned round about 3-4 mm.

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 3:10 AM
Subject: [h-cost] 18th Century Dress detail


> Bjarne, since you popped up, perhaps you would know the answer to this
> question.  I just got my copy of "Fashion" from KCI and the pictures of
> dresses from your period are STUNNING!  Most of them have what appears to
be
> pinked ruching, or gathered self "ribbons" made of the dress fabric all up
> and down the fronts of the dresses.  The unfinished edges of the fabric
that
> has been pinked or otherwise cut are still nice and clean.  How does that
> work?
>
> I cut fabric with pinkers and sometimes it still frays, particularly over
> time. I use fray check in theater, but obviously that did not exist back
> then.  What kept the pinked edges neat?  Better fabrics? A certain weave?
> Something I'm missing?
>
> Anyone with any knowledge may certainly pipe up.  It's a marvelous book.
> Thanks to the original poster for mentioning it was available.
>
> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> http://www.cabbagerosecostumes.com
> Theatrical Costume Design
>
> "Love all, trust a few, do wrong to none:
> be able for thine enemy rather in power than use,
> and keep thy friend under thy own life's key:
> be checked for silence, but never taxed for speech..."
> W. Shakespeare
>
> ----- Original Message -----
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> To: <h-costume@indra.com>
> Sent: Thursday, December 05, 2002 11:20 AM
> Subject: [h-cost] Imperial Taffeta
>
>
> > Guess what?
> > I got 15 meters of sky blue Silk Taffeta from London today!!!
> >
> > Leif og Bjarne Drews
> > www.my-drewscostumes.dk
> >
> > http://home0.inet.tele.dk/drewscph/
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Imperial Taffeta
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Date: Sat, 7 Dec 2002 14:06:52 +0100
Status: RO

I got it from James Hare Silks.
Monarch House - Queen Street - Leeds LS1 1LX
Not London, but Leeds.
email: sales@jamesharesilks.co.uk
www.JamesHareSilks.co.uk
It is a fine quality taffeta, and the weave is very even.
They also have a lot of other qualitys.
Their Imperial Taffeta comes in 71 colours, yes you did read right, 71
colours:-)
It was Ian The Staymaker who was so generous to send me his address.
I could find taffeta here in Denmark two, but if it should be this quality,
i am sure i had to pay almost doubble price.

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Friday, December 06, 2002 10:47 PM
Subject: Re: [h-cost] Imperial Taffeta


> where did you get your taffeta?  I've been drooling over the sale
> taffetas at Thai Silks -- they are only $11.20 US per yard right now.
>
>
> >
> > Guess what?
> > I got 15 meters of sky blue Silk Taffeta from London today!!!
> >
> > Leif og Bjarne Drews
> > www.my-drewscostumes.dk
> >
> > http://home0.inet.tele.dk/drewscph/
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] Imperial Taffeta
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Date: Sat, 7 Dec 2002 13:27:19 -0000
Status: RO

Bjarne wrote:

> I got it from James Hare Silks.
> Monarch House - Queen Street - Leeds LS1 1LX
> Not London, but Leeds.
> email: sales@jamesharesilks.co.uk
> www.JamesHareSilks.co.uk
> It is a fine quality taffeta, and the weave is very even.

Can you tell us how much it cost?

best wishes
Stevie
who acquired 15 meters of James Hare's handloomed dupioni in silver
grey at the Liberty sale in the summer...

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Subject: [h-cost] My Costuming
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Date: Sat, 07 Dec 2002 08:29:19 -0500
Status: RO

I'm a generalist in terms of fashion history.

I started studying fashion, clothing, and their histories at 13, when I wanted to make my
third doll be a fairy tale princess.


I favor certain periods in my studies based on what's available, what event is coming up next,
and random interest.

I am in the SCA.  I am going to my 15th anniversery event today; I started in the SCA at this
event in 1987.  I should be sewing or at least cutting out rather than writing here.
Primarily, I am a merchant at Pennsic, who makes her own wares, which takes the vast majority
of the rest of the year.
I am switching my wardrobe over to linens and wools mostly in early 14th century cut as I can
afford the materials & time.
I also wish to make a Gothic fitted gown, of the early 15th century.  Got the materials:
linen for lining and wool for the main showing fabric, and even a fitting buddy.


I dance 'vintage dance', so I need (more more) clothing in the 1840-1910's range.

Penny, could you perhaps recommend a source for the Castle's "Whirl of Life"?


My body is perfect for 1830's, with the fashion-figure sloping shoulders, small bosom,
ribcage, and waist, sway back, and swelling hips.
Ok, techincally, the skirts didn't show the size/shape of the hips, but I get an accurate look
with the minimal requirements for petticoats, et al, rather than needing to pad up with period
remedies for no butt.   :-)
Therefore, I should procure some English muslin, and make up something in the way of gigot
sleeves with stacked knife pleats (I've seen three pleats stacked) with the same pleating
style in the skirts and folds laid across the body.
low priority.  I have nowhere to wear such a style.
There is actually a (re)created small town which is specifically examining rural New England
life in the 1830's within an hour's drive.  Old Sturbridge Village
It's a museum of relocated houses, church, mill, tavern.
The setting is rural, conservative, and later in the 1830's than the whole gigot sleeve style
anyway.
The Lowell (Massachusetts) mill girls started in the 1830's, too.
Maybe someday.

I adore the 1930's fashion, but am absolutely the wrong shape to make them for myself.
Good thing I make dolls.
The book on Madeleine Vionnet (My favorite designer), which  book I just ordered from the Met,
should arrive soon, and then I'll be trying out some of  her techinques on a small scale.
I've ordered this book four times from various vendors now, and the first three came back with
an 'oops, we can't find this book.'  While waiting for the ooops message the last time, I held
a copy of the book in my hands, at the Met, at their exhibit:

"Blithe Spirit: The Windsor Set
A remarkable cache of gowns by Vionnet, Lanvin, Schiaparelli, Chanel, and
other designers dating primarily from the 1930s.
The Costume Institute, ground floor
November 1, 2002-February 9, 2003
For more information about this event and other events and programs at the
Metropolitan Museum, visit our Web site at
http://www.metmuseum.org/calendar/index.asp?CurrentDate=11/1/2002  "


Still, though, my priority is the dolls.
I'll work on my wish list of clothes for myself, just as soon as I finish this brief list of
planned and wished dolls  (unrolls down & across the floor, and down the stairs & . . . .)


Ann in CT


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Subject: Re: [h-cost] Favorite Designers
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Date: Sat, 7 Dec 2002 08:48:31 -0500
Status: RO

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Penny, Thankyou for the thoughtful comments about fashion designers; you =
experiences seem to flow along with mine. I have been interested in the =
designs of the twenties since I was a child and have followed the =
various revivals with great...and sometimes amused interest. I =
discovered ERTE about 20 years ago and find his flights of fancy to be =
great fun,especially when he interprets other periods of costume history =
for the theatre. But I especially like the Greek and Roman 'quotes' one =
discovers in his sports clothes.                                         =
                               May I ask if there is any particular =
designer or resource you are having trouble with re your 1920-1923 =
project?  I will have time in Jan to go through periodicals and such in =
my library for those years and can pass on relevant material to you.  =
Neat project, I think!    Kathleen                               =20
  ----- Original Message -----=20
  From: Penny Ladnier=20
  To: h-costume@indra.com=20
  Sent: Saturday, December 07, 2002 2:45 AM
  Subject: Re: [h-cost] Favorite Designers


  Kathleen,

  One of my big areas of weakness is in fashion designers.  My 20th =
costume history was in 1976.  We followed the popular designers of the =
day, but not the past ones.  We studied silhouettes and name of articles =
of a costume.  Being on two email lists, vintage and sewretro, sparked =
my interest about past designers.  They kept talking about this =
designers and that I had no idea who they were talking about.  I was =
thrilled to get the Hudson and Thames, Dictionary of Fashion Designers =
and Fashion and could look the designer up when someone mentioned them.  =
This book has become my fashion bible.  It doesn't cover every designer, =
but does carry the most popular ones.=20
     =20
  I have always been partial to Dior as one of my favorites.  But right =
now I am doing some heavy research into the designer from 1920-1925.  I =
have tons of illustrations from about 30 Parisian designers during this =
time.  I am working on writing bios for them.  I am really having a =
tough time finding bio information about some of the designers.  I am =
compiling all of this information to make an e-book.  The way I will be =
presenting each designer is to have a bio page and then have thumbnails =
in sequence of time of their designs from 1920-1923.  So the reader will =
see how their designs evolved.  It is a small time frame, but a lot =
happened in the evolution of dress during these four years.

  What I am really fascinated while compiling this information is the =
later designers who started out with the 1920s designers.  I am also =
interested in how the '20s designers got their start in the fashion =
business.  Its almost like making a family tree of designers.

  Penny Ladnier
  Owner, The Costume Gallery & Costume Classroom
  http://www.costumegallery.com=20
  http://www.costumeclassroom.com
  http://www.onlinecostumeball.com


------=_NextPart_000_001C_01C29DCD.6B246900
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charset=3Diso-8859-1">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Penny, Thankyou for the thoughtful comments about =
fashion=20
designers; you experiences seem to flow along with mine. I have been =
interested=20
in the designs of the twenties since I was a child and have followed the =
various=20
revivals with great...and sometimes amused interest. I discovered ERTE =
about 20=20
years ago and find his flights of fancy to be great fun,especially when =
he=20
interprets other periods of costume history for the theatre. But I =
especially=20
like the Greek and Roman 'quotes' one discovers in his sports=20
clothes.&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; May I ask if =
there is=20
any particular designer or resource you are having trouble with re your=20
1920-1923 project?&nbsp; I will have time in Jan to go through =
periodicals and=20
such in my library for those years and can pass on relevant material to=20
you.&nbsp; Neat project, I think!&nbsp;&nbsp;&nbsp; =
Kathleen&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; </FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
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=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Dpenny@costumegallery.com =
href=3D"mailto:penny@costumegallery.com">Penny=20
  Ladnier</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dh-costume@indra.com=20
  href=3D"mailto:h-costume@indra.com">h-costume@indra.com</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, December 07, =
2002 2:45=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] Favorite=20
  Designers</DIV>
  <DIV><BR></DIV>
  <DIV>Kathleen,</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>One of my big areas of weakness&nbsp;is in fashion =
designers.&nbsp;=20
  My&nbsp;20th costume history was in 1976.&nbsp; We followed the =
popular=20
  designers of the day, but not the past ones.&nbsp; We studied =
silhouettes and=20
  name of articles of a costume.&nbsp; Being on two email lists, vintage =
and=20
  sewretro, sparked&nbsp;my interest about past designers.&nbsp; They =
kept=20
  talking about this designers and that I had no idea who they were =
talking=20
  about.&nbsp; I was thrilled to get the Hudson and Thames, Dictionary =
of=20
  Fashion Designers and Fashion and could look the designer up when =
someone=20
  mentioned them.&nbsp; This book has become my fashion bible.&nbsp; It =
doesn't=20
  cover every designer, but does carry the most popular =
ones.&nbsp;</DIV>
  <DIV>&nbsp;&nbsp;&nbsp;&nbsp;</DIV>
  <DIV>I have always been partial to Dior as one of my favorites.&nbsp; =
But=20
  right now I am doing some heavy research into the designer from=20
  1920-1925.&nbsp; I have tons of&nbsp;illustrations from about 30 =
Parisian=20
  designers during this time.&nbsp; I am working on writing&nbsp;bios =
for=20
  them.&nbsp; I am really having a tough time finding bio information =
about some=20
  of the designers.&nbsp; I am compiling all of this information to make =
an=20
  e-book.&nbsp; The way I will be presenting each designer is to have a =
bio page=20
  and then have thumbnails in sequence of time of their designs from=20
  1920-1923.&nbsp; So the reader will see how their designs =
evolved.&nbsp; It is=20
  a small time frame, but a lot happened in the evolution of dress =
during these=20
  four years.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>What I am really fascinated&nbsp;while&nbsp;compiling this =
information is=20
  the&nbsp;later designers who started out with the 1920s =
designers.&nbsp; I am=20
  also interested in how the '20s designers&nbsp;got their start in the =
fashion=20
  business.&nbsp; Its almost like making a family tree of =
designers.</DIV>
  <DIV><FONT size=3D2></FONT>&nbsp;</DIV>
  <DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
  =
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
  =
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
  =
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
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"Costume Close Up," among other books, mentions the use of pinking tools used 
for 18th century pinking.  These were kind of like chisels with a sharp 
scalloped design at one end, that were struck with a mallet to cut the 
scallop into the fabric.  Aparently the tightness of the weave combined with 
the pressure of striking the cut  prevented it from unravelling too much.  

I must admit that I've tried this using a repro 18th C pinking tool and 
either the tool wasn't well made/sharp enough or by fabric wasnt quite right 
for it but I was not happy with the results.

Cheers,

Loren Dearborn
marionetta@aol.com

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
"Costume Close Up," among other books, mentions the use of pinking tools used for 18th century pinking.&nbsp; These were kind of like chisels with a sharp scalloped design at one end, that were struck with a mallet to cut the scallop into the fabric.&nbsp; Aparently the tightness of the weave combined with the pressure of striking the cut&nbsp; prevented it from unravelling too much.&nbsp; <BR>
<BR>
I must admit that I've tried this using a repro 18th C pinking tool and either the tool wasn't well made/sharp enough or by fabric wasnt quite right for it but I was not happy with the results.<BR>
<BR>
Cheers,<BR>
<BR>
Loren Dearborn<BR>
marionetta@aol.com</FONT></HTML>

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Date: Sat, 07 Dec 2002 08:11:42 -0700
Status: RO

Hi....
I'm pretty much self-taught, which I guess means I get to make LOADS of
weird mistakes.
I learned how to do differently-shaped sleeves (such as the ones you
describe) by playing with scrap fabric and following the diagrams in a
very interesting article in an SCA publication (one of the _Creative
Anachronists_ on costuming had it, as a reprint from an earlier
publication, _Seams Like Old Times_).
The idea is to take your basic sleeve-pattern (drawn on the scrap
fabric--I used old tent canvas left over from my job at the time), and
then you cut into the pattern where you want the shape changed, and
spread it until it forms the desired shape.  Kinda like you're doing the
reverse of putting in darts.
--sue

Dhannti wrote:
> 
> I know I have asked a lot of questions before so add this to my
> curiosity.  Is there a list of recommanded reading for different periods
> of clothing styles and construction?  I presently own a number of books
> but I feel like I am missing something.  In creating a gown from a
> pattern, whether its one of the big three or much to my delight Margo
> Anderson's pattern, I seem to be lacking a common knowledge about the
> construction.  Hard to explain this feeling of failing to achieve a
> certain look due to my skimpy sewing skills. I see wonderful paned
> sleeves on gowns that have a fullness that I can't recreate.  I have
> searched my books and on line but no help.  I would like to have that
> fullness on the upper half of the sleeves while the lower half is
> narrow.  How did they do that?  I guess I am looking for tricks of the
> trade.  If there is a book or some place to find this info could someone
> point me in the right direction?
> 
> Thanks in advance
> Diana
> _______________________________________________
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From: Lee Thompson-Herbert <lee@retro.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 07:23:13 -0800 (PST)
Status: RO


"Stevie Gamble" <stevie.gamble@btinternet.com>
> Hi all,
> I have some very heavy, very pale grey cotton damask which I would
> very much like to lighten up to white. Can anyone suggest ways of
> doing so?

Dye remover.  Thiourea oxide.  It's less damaging to the fabric than
bleach.  It says not to use it with aluminum pots, but I've done it 
anyway (it was the only pot I had that was large enough for the silk
dress).  Since you're starting with a pale color, you shouldn't have
to worry about dumping the dye bath partway through to keep the dye
from re-depositing.
http://www.dharmatrading.com/html/eng/1535-AA.shtml

Another very cool technique is discharge paste.  You can paint, stamp
or stencil it on to selectively remove color from a fabric.
http://www.dharmatrading.com/html/eng/1574-AA.shtml

[not associated with Dharma Trading Co.  I just happen to live in the same
area, so I order from them when I'm in a hurry.]
Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Reproduction pinker photo, was Re: [h-cost] pinking
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Date: Sat, 7 Dec 2002 15:19:57 +0000 (GMT)
Status: RO

 --- Marionetta@aol.com wrote: > 
> "Costume Close Up," among other books, mentions the use of pinking tools used
> 
> for 18th century pinking.  These were kind of like chisels with a sharp 
> scalloped design at one end, that were struck with a mallet to cut the 
> scallop into the fabric.  Aparently the tightness of the weave combined with 
> the pressure of striking the cut  prevented it from unravelling too much.  

I knew I had the photo somewhere on my comp, and while I don't remember where
it came from and can't give credit to who made the tools nor who took the
photo, here's a pic of pinking tools:

http://www.kipar.org/h-costume/Pinker.jpg

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Sat, 7 Dec 2002 05:58:23 -0800 (PST)
Status: RO

Lest anyone think _I_ think the hierarchy is sinister,
I definitely don't! :^) I do think though, Heather,
that you've hit the point for me -- I didn't realize
when I first started posting here that assertions went
hand in hand with documentatary proof. I was used to
SCA-related lists, which often don't hold its members
to such standards, as the organization umbrellas all
levels of costuming/clothesmaking.

There are questions that come up here from time to
time that I'm sure I can add to, but choose not to
because I don't have the time or access to
double-check my sources. I am a grazer of knowledge
most of the time, and have trouble remembering details
of sources off the top of my head if it's a topic I'm
not currently buried in. Unless I'm at home next to my
books with time on my hands, I usually let such
opportunities go, because I know it's a 'put up or
shut up' scenario. 

For the record, though, I can appreciate the rigor of
such an approach, and I'd rather be held to that
standard than the opposite. Though it was jarring at
first (because I didn't expect it), I've since settled
down and accepted it. 

This discussion has been fruitful.

Tasha
_______________________________________________
At 10:40 AM -0800 12/6/02, Tasha McGann wrote:
>In general, though, I don't provide information here
>anymore unless I'm 100% air-tight sure about it,
>because it WILL be challenged. That may be because
>there's an unspoken hierarchy on this list -- some
>folks aren't proven, and thus are challenged. Others
>are known, and are sacrosanct (sometimes). Just a
>thought. (Please don't shoot me.)

I think there's plenty of room for posting things that
one isn't 100% 
air-tight sure about -- I think it's just a matter of
distinguishing 
the different types of information clearly.  People
might get  riled 
up if one posted, "Peasants in Lower Slobovia wore
socks on their 
heads" whereas a posting along the lines of , "I've
seen some 
illustrations of peasants in Lower Slobovia with
something on their 
heads that looks remarkably similar to a sock" might
provoke an 
enthusiastic thread about hat construction and
Slobovian footwear 
styles.

My experience -- on this as well as other lists -- is
that you aren't 
entirely off-base on the "unspoken hierarchy"
observation, but I 
don't see it as a sinister plot. :)  If person X has a
history of 
providing verifiable support and well-reasoned
arguments for their 
statements and conclusions, then they're likely to be
cut more slack 
if they pop off a random comment without supplying the
full support 
and arguments (although a person of this sort is also
generally happy 
to supply them when time allows if asked), and
similarly, person X is 
likely to be given a bit more credence if they come up
with an 
unusual theory or explanation if they have a past
history of 
demonstrating well-constructed and solidly-based
theories.  If said 
person X trades on this tendency too heavily, they're
likely to lose 
that status, so it's a fairly self-regulating system. 
If they stop 
putting out, they stop being cut the slack.  (I tend
to be aware of 
this dynamic because there are a number of subjects,
on various 
lists, where I get cut far more slack than _I_ think I
ought to be, 
and I try to be very careful about _not_ getting lazy
about supplying 
the backup information and reasoning.)


Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****


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Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Sat, 07 Dec 2002 07:51:35 -0700
Status: RO

Hi, Maral.  I remember your question from the first time you posted, but
didn't have anything that could help you, since I'm pretty ignorant of
Moorish cultures.
It occurs to me, though, that I've seen some stuff on Andalusian Spain,
which had a good mix of Christian and Muslim cultural influences.  I
could dig that up, if you like?
--Sue "not a lurker" Clemenger....;-)

Herself-the-Elf wrote:
> 
> I tried posting this earlier, but I'm not sure it got to the list.  Here
> goes...
> 
> Well now that I've pretty much solved my wedding dress problem, I'm
> wondering about
> my guy.  I don't think he's likely to want to wear a houppelande or some
> such, and definitely not the silly shoes.  So I'm trying to think of
> something different that would still be period (late 14th to early 15th c).
> He's got dark skin, so I was thinking maybe a nifty Moorish costume of some
> sort.  Does anybody have any information on Moorish (or any
> middle-eastern/North African) costume of this era?  I haven't been able to
> find much detailed info online...
> 
> -- Maral
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] how many of us are there?
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Date: Sat, 7 Dec 2002 15:00:27 +0000 (GMT)
Status: RO

 --- Janet Davis <castle@erie.net> wrote: > 

> This list, with this many members, generates more mail than any other list I
> am on.  If there were more members, I'd be so busy reading, I'd never get
> anything done.  On the other hand, it would be nice to hear from some other
> voices besides those who post all the time.

I fully agree with the above sentiment, but please don't forget that it is a
two-way-street. It is not the fault of the always-posters that they are the
ones posting all the time. Neither is it that of the no-posters, it just is a
doubled edged sword. It's lovely to hear from others now, it is most enjoyable.

Emotion/sensitivity-alert:

Anyway, there is one thing I have to say because it REALLY upsets me and I
can't stop thinking about it/being upset and I just have to get it off my
chest. While I deleted the mail that said it, as I do with most other than
those I archive and self-forward, I was really very upset by the mail statin g
things about 'someone who shall not be named' and then continuing in the line
of being quite rude/nasty (don't hang, draw and quarter me if I don't find the
right word in English) about not liking one particular person. Please please
please do not do such a thing on a list, it is MOST upsetting to some, at least
to me. I can't stop thinking about that and its principle, because I think it
is so mean of describing someone without saying the name and saying nasty
things about that person. Really, please don't do that. Mail the person and
discuss your problems with that person if the person is so inclined as to
answer, but please don't do what you did, and even if I am the only person
upset by that, I still plead a 'please don't do that'.

Okay, alert over and I shall not mention it ever again.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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>But as long as h-costume is an active list and people _are_ actively
posting messages--does it matter if some people gravitate to other, more
specialized lists?

This list, with this many members, generates more mail than any other list I
am on.  If there were more members, I'd be so busy reading, I'd never get
anything done.  On the other hand, it would be nice to hear from some other
voices besides those who post all the time.

Janet

Janet Davis
Castle Furnishings
http:/www.medievalbookstore.com 


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Subject: Re: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 15:36:10 +0000 (GMT)
Status: RO

 --- Lee Thompson-Herbert <lee@retro.com> wrote: > 

> Dye remover.  Thiourea oxide.  It's less damaging to the fabric than
> bleach.  It says not to use it with aluminum pots, but I've done it 
> anyway (it was the only pot I had that was large enough for the silk
> dress).  Since you're starting with a pale color, you shouldn't have
> to worry about dumping the dye bath partway through to keep the dye
> from re-depositing.
> http://www.dharmatrading.com/html/eng/1535-AA.shtml

Oh wow, Lee, that looks JUST like what I would need for a lace of mine, thanks
for sharing this. I just fear that shipping from the US might be a tad
expensive. :-( Still, I think I'll order some in the new year.

What kind of fibres have you bleached/undyed with that stuff apart from silk?

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: Lee Thompson-Herbert <lee@retro.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] Delurking . . . with a Roman Question
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Date: Sat, 7 Dec 2002 08:03:07 -0800 (PST)
Status: RO

"Linda Walton" <linda.walton@dsl.pipex.com>
[...] 
> Please, how do I dress as a fairly wealthy Roman lady of the time of Cicero
> ?
> 
> It is for a party with my Latin class on 17th December, so I would like it
> to be as authentic as I can manage, and - especially - I would like to be
> able to answer questions about it.  So where my clothing isn't very
> accurate, I would like to be able to explain about it.

I can't find the set of links I _really_ want, but this might be a
start:
http://www.uky.edu/ArtsSciences/Classics/jlsgloss.html
It's a glossary of roman clothing terms

http://www.realm-of-shade.com/RomanaeAntiquae/adornments.html
What the Roman Lady Wears

http://www.uky.edu/AS/Classics/slides/selectshow.html
Slide show of reproductions

http://www.villaivlilla.com/vestis.htm
examples from art

http://www.unc.edu/courses/rometech/public/content/survival/clothing.html
Ancient Roman Clothing

http://www.geocities.com/sallypointer/makeover/
The Roman Makeover (a very cool page)

Finally found it!  
http://www.dl.ket.org/latin1/things/romanlife/
Has instructions for making stola, dress, tunica, and tunic.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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: Sat, 7 Dec 2002 08:05:46 -0800 (PST)
Status: RO

[re: thiourea oxide]
>What kind of fibres have you bleached/undyed with that stuff apart from silk?

Cotton and silks. 
I'm fairly sure that Dylon also markets this type of color remover.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Questions abook studies.
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Date: Sat, 7 Dec 2002 08:45:03 -0700
Status: RO

Maybe the rest of us are better at it than I at predicting how a pattern
will look executed in a particular fabric with a particular lining,
interlining etc, but when I want a particular look, or am attempting
something new, I do a mockup in similar materials.   It takes some
fiddling-but that chanllenge is what makes the process fun and
interesting. 

Also when drafting or draping a pattern I sometimes have to do it 4-6
times to get the look I want (for instance the dang goller I am
currently working on.)   Once in a while I get lucky and only have to do
it once or twice.  

Also, in addition to pattern drafting or draping classes, take a
tailoring class.  If you look at extant garments (in pictures, I have
never had the opportunity to handle anything older than the 19th
century) you can see all the fabric manipulation techniques like pad
stitching etc.  These can greatly affect the way the garment lies or
holds it shape.  The Vogue Sewing book has great explanations on these
techniques.  You can find used copies of it all over the place.

Making the garments of the past is different than those of the present,
but many of the techniques are applicable.  Nobody will be able to take
a commercial pattern without fitting and altering and have it look
great. These are all learnable techniques.  

I bet if you look around your area you will find someone who knows more
than you and is willing to share their knowledge.  Someday 'return' that
favor by passing on your knowledge.  

Sg


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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Tudor question
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http://www.saragrace.net/2A_Cost_by_sg.htm
 
It probably isn't really easy to see, but the pleats on this dress are
organ pipe pleats without the taping done on the inside.  Each pleat is
sewn on by hand.  I think Julie Adam's handout is the only one I've seen
on the subject.  Even then, it is very helpful to have someone show you
how to do it.
 
Sg
 
 
>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Drea Leed
>Sent: Friday, December 06, 2002 8:16 AM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Tudor question
>
>I'm curious--the pleats in the back of Holbein's lady and the breughel
>painting are obviously very deep and pronounced, but I myself have been
>unable to determine the specific pleating method used.  I've managed to
>create similar wide, very rounded pleats by stuffing and then
>box-pleating.  Though I have had to hand-sew the finished skirt top to
>the finished bodice bottom like one does with cartridge pleats, as the
>stuffed pleats were way too thick to sew through. Are you defining
>cartridge-pleats as pleats that are sewn with multiple threads and then
>gathered up, or as any pleats that aren't "folded under", like knife or
>box pleats?
>
>Looking at Holbein's woman (pic at
>http://costume.dm.net/gallery/images/bwlady-big.gif), I would recreate
>that look with a skirt lined with a layer of batting.  Ditto for
breughel
>(one pic at
>http://homepage.mac.com/festive_attyre/research/images/dance.jpg)
>
>
>Smaller cartridge pleats show up in Italian dresses of the time
(example
>at http://www.marquise.de/en/1500/pics/1540_1.shtml).
>
>I'd love to see that english dress.  I think I may have--is she wearing
a
>Queen-mary-type flattened hood, and is the dress a really stylized
>long-fronted red velvet deal? Are the pleats smaller?
>
>Thanks,
>
>Drea
>
> >
>> Cartridge pleats were used, as were knife pleats. They seem to have
>> been used together at times. I don't have a URL but in the Holbein
>> drawing of a lady (where he's done a front *and* a back view),  there
>> are obvious large cartridge pleats in the back. Some of the Breugel
>> paintings also show this. There's another picture of a English court
>> lady in a red dress with navy blue brocade undersleeves which shows
>> the cartridge pleats at the side. However, it appears that she has
>> some flat pleats to transition the front part to the back cartridge
>> pleats (like 2 on each side). Unfortunately, the book which has the
>> best picture of this is hiding/lost right now.
>>
>> Kat Russell
>> <kat@grendal.rain.com>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>_______________________________________________
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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.saragrace.net/2A_Cost_by_sg.htm">http://www.saragrace.=
net/2A_Cost_by_sg.htm</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>It
probably isn&#8217;t really easy to see, but the pleats on this dress =
are organ
pipe pleats without the taping done on the inside.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>Each pleat is sewn on by =
hand.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>I think Julie Adam&#8217;s =
handout is
the only one I&#8217;ve seen on the subject.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>Even then, it is very helpful =
to have
someone show you how to do it.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
mso-no-proof:yes'>Sg<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
mso-no-proof:yes'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;-----Original
Message-----</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;From:
h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] =
On</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Behalf
Of Drea Leed</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Sent:
</span></font><st1:date Month=3D"12" Day=3D"6" Year=3D"2002">Friday, =
December 06,
 2002</st1:date> <st1:time Hour=3D"8" Minute=3D"16">8:16 =
AM</st1:time></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;To:
h-costume@indra.com</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Subject:
Re: [h-cost] Tudor question</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;I'm
curious--the pleats in the back of Holbein's lady and the =
breughel</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;painting
are obviously very deep and pronounced, but I myself have =
been</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;unable
to determine the specific pleating method used.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>I've managed =
to</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;create
similar wide, very rounded pleats by stuffing and then</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;box-pleating.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>Though I have had to hand-sew =
the
finished skirt top to</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;the
finished bodice bottom like one does with cartridge pleats, as =
the</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;stuffed
pleats were way too thick to sew through. Are you =
defining</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;cartridge-pleats
as pleats that are sewn with multiple threads and then</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;gathered
up, or as any pleats that aren't &quot;folded under&quot;, like knife =
or</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;box
pleats?</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Looking
at Holbein's woman (pic at</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;http://costume.dm.net/gallery/images/bwlad=
y-big.gif),
I would recreate</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;that
look with a skirt lined with a layer of batting.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>Ditto for =
breughel</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;(one
pic at</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;http://homepage.mac.com/festive_attyre/res=
earch/images/dance.jpg)</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Smaller
cartridge pleats show up in Italian dresses of the time =
(example</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;at
http://www.marquise.de/en/1500/pics/1540_1.shtml).</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;I'd
love to see that english dress.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span>I
think I may have--is she wearing a</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Queen-mary-type
flattened hood, and is the dress a really stylized</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;long-fronted
red velvet deal? Are the pleats smaller?</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Thanks,</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Drea</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;
&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
Cartridge pleats were used, as were knife pleats. They seem to =
have</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
been used together at times. I don't have a URL but in the =
Holbein</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
drawing of a lady (where he's done a front *and* a back view),<span
style=3D'mso-spacerun:yes'>&nbsp; </span>there</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
are obvious large cartridge pleats in the back. Some of the =
Breugel</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
paintings also show this. There's another picture of a English =
court</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
lady in a red dress with navy blue brocade undersleeves which =
shows</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
the cartridge pleats at the side. However, it appears that she =
has</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
some flat pleats to transition the front part to the back =
cartridge</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
pleats (like 2 on each side). Unfortunately, the book which has =
the</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
best picture of this is hiding/lost right now.</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
Kat Russell</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
&lt;kat@grendal.rain.com&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
_______________________________________________</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
http://mail.indra.com/mailman/listinfo/h-costume</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;__________________________________________=
_____</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Bleaching/lightening fabric
To: h-costume@indra.com
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Date: Sat, 7 Dec 2002 16:06:04 +0000 (GMT)
Status: RO

 --- Lee Thompson-Herbert <lee@retro.com> wrote: > [re: thiourea oxide]
> >What kind of fibres have you bleached/undyed with that stuff apart from
> silk?
> 
> Cotton and silks. 
> I'm fairly sure that Dylon also markets this type of color remover.

Nope, I tried it and didn't work. Ecover bleach was actually better than the
Dylon stuff. Perhaps the Dharma trading one would work on the cotton lace that
I have.

Thanks again
Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 16:19:23 -0000
Status: RO

Lee wrote, in a post I haven't seen yet so I'm piggybacking with
Nicole,

> Dye remover.  Thiourea oxide.  It's less damaging to the fabric than
> bleach.  It says not to use it with aluminum pots, but I've done it
> anyway (it was the only pot I had that was large enough for the silk
> dress).  Since you're starting with a pale color, you shouldn't have
> to worry about dumping the dye bath partway through to keep the dye
> from re-depositing.
> http://www.dharmatrading.com/html/eng/1535-AA.shtml

Thanks, but sadly, Dharma doesn't ship to the UK nowadays. There are
all sorts of useful things which they sell which I would love to get
my hands on:-(

I did try a google on the chemical name, with no luck, so I seem to be
stuck with ecover bleach.

best wishes
Stevie

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Subject: [h-cost] Coifs and me
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Date: Sat, 7 Dec 2002 16:28:33 -0000
Status: RO

Hi all,

I thought I'd combine a couple of recent threads by trying out a coif.
Never again; I nearly had a heart attack when I looked in the mirror,
so Heaven know's what it would do to an innocent bystander.
Are there any particular items of costume -as opposed to entire
ensembles- which people think are hideously unflattering on them, or
indeed others?

best wishes
Stevie

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Bleaching/lightening fabric
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Date: Sat, 7 Dec 2002 16:27:29 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: > Lee wrote, in a post
I haven't seen yet so I'm piggybacking with
> Nicole,

> Thanks, but sadly, Dharma doesn't ship to the UK nowadays. There are
> all sorts of useful things which they sell which I would love to get
> my hands on:-(

ACK!!!! So much for my idea of ordering something then. How anti-global is
that, not to send anywhere in the world in this day and age of the internet.
*sniff*

I might be able to ask my reenactor/costume friend in the US to send some over.
If I do that, would you like some too, Stevie?

Nicole

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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] Giraffe hunt
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Date: Sat, 7 Dec 2002 07:28:41 +0000
Status: RO

Might anyone know offhand if Hedgehog carries giraffes? Or perhaps
another company? I am looking for one that can hold embroidery hoops
ranging from 3" on up. Any website suggestions? Or another alternative?
Basically I am trying to eliminate stress from my hoop-holding hand owing
to acute arthritis and need a stand that can hold one.

Thank you for your help.

Arlys in Oregon


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From h-costume-admin@indra.com  Sat Dec  7 11:36:03 2002
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <200212062147.gB6Llfg7010309@jabberwock.wonderland.com> <001a01c29df1$83537880$4096fea9@CPQ21932199711> <007b01c29df4$5e08a0c0$b65722d9@dan>
Subject: Re: [h-cost] Imperial Taffeta
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Date: Sat, 7 Dec 2002 17:37:25 +0100
Status: RO

Hello

Imperial Silk Taffeta is 140 cm wide, it comes in 71 colours and costs 28.80
pounds a meter.
If i should buy this quality here in Copenhagen, it would cost me about 400
kr. a meter, so i have saved some money, even it costs to have it sent.



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 2:27 PM
Subject: Re: [h-cost] Imperial Taffeta


> Bjarne wrote:
>
> > I got it from James Hare Silks.
> > Monarch House - Queen Street - Leeds LS1 1LX
> > Not London, but Leeds.
> > email: sales@jamesharesilks.co.uk
> > www.JamesHareSilks.co.uk
> > It is a fine quality taffeta, and the weave is very even.
>
> Can you tell us how much it cost?
>
> best wishes
> Stevie
> who acquired 15 meters of James Hare's handloomed dupioni in silver
> grey at the Liberty sale in the summer...
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Sat, 7 Dec 2002 10:38:30 -0600
Status: RO

Square necklines for me...

T

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Stevie Gamble
Sent: Saturday, December 07, 2002 10:29 AM
To: h-costume@indra.com
Subject: [h-cost] Coifs and me


Hi all,

I thought I'd combine a couple of recent threads by trying out a coif.
Never again; I nearly had a heart attack when I looked in the mirror,
so Heaven know's what it would do to an innocent bystander.
Are there any particular items of costume -as opposed to entire
ensembles- which people think are hideously unflattering on them, or
indeed others?

best wishes
Stevie

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Date: Sat, 07 Dec 2002 10:41:35 -0600
Status: RO

hmmmm, wonder if this is wear the swaying "Foxy Lady" came from  :D

-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Date: Sat, 7 Dec 2002 11:03:25 -0600 (CST)
Status: RO


Darn, I deleted the original post. (Been under heavy deadlines, not much
time for responding.) Thanks, Linda, for reminding me that this was
mentioned, as I wanted to follow up.

Working from memory... I've always wondered about this reference. As
posted (and I've seen quoted in various references), the original
statement seems to be referring to a desire to *hide* the shape of the
rear under a tight gown. That makes me wonder if some women wore a single
tail vertically to cover the, um, obvious indentation, or even if this is
just a reference to fur linings.

But a lot of secondary sources seem to point to this quote as evidence of
a desire to *pad* the bottom, which would imply emphasizing its shape as a
"bumroll" or a farthingale would do. I wouldn't associate "hiding" as
being an early attempt to do what a farthingale does. I'm hesitant to draw
a direct connection between what's described in the quote to the padding
of 200 years later, when the desired silhouette is very different.

--Robin


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Date: Sat, 7 Dec 2002 16:50:57 -0000
Status: RO

Nicole wrote

> > Thanks, but sadly, Dharma doesn't ship to the UK nowadays. There
are
> > all sorts of useful things which they sell which I would love to
get
> > my hands on:-(
>
> ACK!!!! So much for my idea of ordering something then. How
anti-global is
> that, not to send anywhere in the world in this day and age of the
internet.
> *sniff*

I think that they did it for a while but it was so much hassle that
they packed it in.

>
> I might be able to ask my reenactor/costume friend in the US to send
some over.
> If I do that, would you like some too, Stevie?

Yes, very much so.

On general dying matters I have been very happy with stuff I get from

http://www.kemtex.co.uk/

so I could try ringing them on Monday in case they carry it.

Incidently, if anyone wants to dye a lot of fabric in one particular
colour the guy will do a special mix of dyes for you. I wanted an eye
popping red, and got it:-)

best wishes
Stevie

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Subject: RE: [h-cost] Coifs and me
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Date: Sat, 7 Dec 2002 16:55:08 +0000 (GMT)
Status: RO

 --- Talia <khanson@kc.rr.com> wrote: > Square necklines for me...
> 
> T

Peplos gowns: 'string' in the waist but excess fabric from top bloused over
that = everything as wide as the widest part, the hips, and 'boat' neckline.
*shudder*

Nicole


=====
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Email: nicole@kipar.org

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Subject: [h-cost] stays for a large person
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Date: Sat, 7 Dec 2002 18:29:37 +0100
Status: RO

Hello
I have updated my dress diary.
Go to address below, click on robe a la francaise, and scroll down to the
buttom where there is a link: underpinnings.
It is only a mock up of the stays, wich are to be send to Denver on monday.
Now, back to embroidery :-)

Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Sat, 07 Dec 2002 09:27:31 -0800
Status: RO

Stevie Gamble wrote:

>Hi all,
>
>I thought I'd combine a couple of recent threads by trying out a coif.
>Never again; I nearly had a heart attack when I looked in the mirror,
>so Heaven know's what it would do to an innocent bystander.
>Are there any particular items of costume -as opposed to entire
>ensembles- which people think are hideously unflattering on them
>
Dresses with pleated skirts and a waistline-at-the-waist. I look like a 
super-sized pincushion! I made most of a 1560 Flemish workingclass 
costume al la Drea Leed. Looked in the mirror and cried! Gave the 
completed parts to a friend. Hope she uses them someday. I didn't learn 
from that mistake and later made a sundress kind of thing w/ pleated 
waist. Ick Ick Ick. Maybe I've learned now. Need to have a dropped 
waist, or a pointed waist or no waist at all.

liz
lizyoung@fenris.net

>  
>

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Date: Sat, 07 Dec 2002 09:34:32 -0800
Status: RO

> While I deleted the mail that said it, as I do with most other than
> those I archive and self-forward, I was really very upset by the mail statin g
> things about 'someone who shall not be named' and then continuing in the line
> of being quite rude/nasty (don't hang, draw and quarter me if I don't find the
> right word in English) about not liking one particular person. Please please
> please do not do such a thing on a list, it is MOST upsetting to some, at least
> to me. I can't stop thinking about that and its principle, because I think it
> is so mean of describing someone without saying the name and saying nasty
> things about that person.

I weed out a lot of email without reading it and must have missed that one.

I suspect the poster wanted the identity of the person to be guessed by the whole
list (maybe it's someone they argue with a lot?) but they didn't quite have the
guts to post the name.  They should not have been using the list to sling insults
either way.  You are quite right to be upset about it.  I would suggest that next
time you see a post like this,  you email the moderator (I think her address is
still eliz@indra.com) and ask her to put a stop to using the list to trade insults.
It would  be better not to do it at all; but if someone insists on doing it they
should do it privately and only involve the person they are annoyed at.

Fran


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Date: Sat, 07 Dec 2002 09:46:52 -0800
Status: RO

>
>
> There are questions that come up here from time to
> time that I'm sure I can add to, but choose not to
> because I don't have the time or access to
> double-check my sources. I am a grazer of knowledge
> most of the time, and have trouble remembering details
> of sources off the top of my head if it's a topic I'm
> not currently buried in. Unless I'm at home next to my
> books with time on my hands, I usually let such
> opportunities go, because I know it's a 'put up or
> shut up' scenario.

I think people should realize there is a difference between an email
list and an academic paper.  I personally will go the full reference
route for materials I write for publication.  But for a mailing
list--generally not.  It is as you say time consuming, and I have
paying work to do.

Fran

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Date: Sat, 07 Dec 2002 10:52:43 -0700
Status: RO

Hello the list, from cold, foggy Montana!
<soapbox on>
I agree...with Fran's comment, and with the person whom she's quoting.
However, I don't think that those who are more into authenticity should
have to apologize, either.  I really get tired of being referred to as a
"cosack" or "nazi" or any other disparaging term that somehow seems
designed to make me feel like I'm some sort of stereotypical
fun-stealer.  I can't speak to the experiences of those folk who are in
groups or RenFaires other than the SCA (my own mileu), so there very
well may be groups with stricter standards.  Or looser.  Of course, I
also think that if you don't like the standards of the group, go form
your own....
But then, that variability of opinion is one of my favorite things about
this particular list--there's such an amazing variety of interests, not
just in the historical sense, but it how we define and use "costume." 
I'm primarily a medieval re-creationist/textile geek, so I really enjoy
hearing from people who are more into RenFaires, or the theatre and
movie folks, or times and cultures that I haven't thought of learning
about....projects and solutions and Amazing Stuff that I never would
have otherwise encountered!
This list, and _all_ of the people on it (both the "noisier" ones like
me, and the quieter "lurkers") have been a sanity-saver for me.  Yeah,
sometimes folks have pretty strong opinions on things, but so what? At
least they feel comfortable enough to express those opinions (whether I
agree with them or not).  And yeah, occasionally, there's a thread I
don't give a d@ng about, but then, that's what my delete key is
for....And if someone gets really out of sorts, then that's what our
List Mama is for...to gently-but-firmly remind us to stay on-topic and
polite.
Some folks have mentioned the sense of a "hierarchy" on this list....I
don't think of it like that, because it implies that there's some sort
of structure imposed on us.  Certainly, there are individuals who've
been able to learn more about their areas of interest than others, or
who have better computer/fabric/research opportunities, but that's just
life.  I don't have the time, or the resources, or the training, to have
my own website right now, but all of the examples of websites and dress
diaries I've found through this list have got me thinking that I
definitely want to do the same!
Lists like this are a great opportunity for isolated folks like me to
"converse" and "hang out" with people of all kinds--where ever they are
on any given learning curve.  Which means, I try not to let myself be
too intimidated by Bjarne, or Drea, or Heather, or Robin, or Margo....or
anyone else I'd occasionally give my eye teeth to be!  If I'm feeling
intimidated, or overwhelmed by what someone knows/can do, it's my
responsibility to deal with that--it's a reaction that _I've_ brought to
the relationship/conversation.
<soapbox off>
Obligatory Costume Content: Today, I'm off to JoAnn's with my discount
coupon, to see if they've got any wool (a girl can always hope, huh?),
and to a local fiber-arts store to buy my tablet-weaving supplies for my
gothic fitted gown (tm).  I'm going to buy some different perle cottons
to learn on, and some lovely 50/2 silk thread for the actual gown. 
Maybe lots and lots of the silk thread--it's undyed/unbleached, and a
perfect weight to use for embroidery.  And I'm learning from friends
about natural dyes....<g>
--Sue

Fran wrote:
> 
> >
> >
> > However if anyone is concerned about possible criticism for
> > "shortcuts", there's a way to avoid most of it. Just mention, "I know
> > this isn't absolutely authentic, but it's what I can get (or afford,
> > or do, or have time for) right now." Those with _good_ manners, at
> > least, will be much more likely to speak kindly and provide help in
> > doing what you _can_ do in the best way possible.
> 
> If the person does not state what their purpose is, it would  be better
> to ask if authenticity is indeed their desire--rather than assuming that
> the person is aspiring to it and you just need to know what their limits
> are.  Authenticity is simply not relevant for some costuming purposes.
> People should not have to start out with an apology to those for whom it
> is more relevant.
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Date: Sat, 07 Dec 2002 10:54:10 -0700
Status: RO

Nicole, you can probably get one of us here in the US to order it for
you, if there aren't any issues with mailing the chemicals/dyes.
--sue

Stevie Gamble wrote:
> 
> Nicole wrote
> 
> > > Thanks, but sadly, Dharma doesn't ship to the UK nowadays. There
> are
> > > all sorts of useful things which they sell which I would love to
> get
> > > my hands on:-(
> >
> > ACK!!!! So much for my idea of ordering something then. How
> anti-global is
> > that, not to send anywhere in the world in this day and age of the
> internet.
> > *sniff*
> 
> I think that they did it for a while but it was so much hassle that
> they packed it in.
> 
> >
> > I might be able to ask my reenactor/costume friend in the US to send
> some over.
> > If I do that, would you like some too, Stevie?
> 
> Yes, very much so.
> 
> On general dying matters I have been very happy with stuff I get from
> 
> http://www.kemtex.co.uk/
> 
> so I could try ringing them on Monday in case they carry it.
> 
> Incidently, if anyone wants to dye a lot of fabric in one particular
> colour the guy will do a special mix of dyes for you. I wanted an eye
> popping red, and got it:-)
> 
> best wishes
> Stevie
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Date: Sat, 07 Dec 2002 11:00:18 -0700
Status: RO

Hey! That might actually fit *me*! <g>
Bjarne, that silk is beeyoootiful! What a lucky lady!
Would silk of that type be appropriate to use for a saque dress? I've
always loved those, and would love to make one, even if I don't have
anywhere to wear it!
--sue, going back to her embroidery too, as soon as she can pry herself
away from the computer!

Bjarne og Leif Drews wrote:
> 
> Hello
> I have updated my dress diary.
> Go to address below, click on robe a la francaise, and scroll down to the
> buttom where there is a link: underpinnings.
> It is only a mock up of the stays, wich are to be send to Denver on monday.
> Now, back to embroidery :-)
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Date: Sat, 07 Dec 2002 10:21:36 -0800
Status: RO



Sue Clemenger wrote:

>
> I agree...with Fran's comment, and with the person whom she's quoting.
> However, I don't think that those who are more into authenticity should
> have to apologize, either.  I really get tired of being referred to as a
> "cosack" or "nazi" or any other disparaging term that somehow seems
> designed to make me feel like I'm some sort of stereotypical
> fun-stealer.

H-costume is supposed to be a group that embraces all types of historic
costuming.  What I mean is, that there should be no default assumption that
the person wants to make an authentic costume unless they say explicitly say
otherwise and justify it.  Any more than there should be a default assumption
that the person is making a stage costume or a Halloween costume unless they
say otherwise.  Nor should there be an assumption that "more authentic" is
always "better" and "progressive."  If you're making a stage costume whose
goal is to be seen from the back row and put on and off by the actor in a few
minutes, delicate  visual details and an intricate system of hooks and eyes
are not better.

In other words I think people should recognize that there can be entirely
different and equally valid costuming goals. Not just "levels of
authenticity"  that everyone  "should work up to" as they acquire more
expertise and money for materials.  Also, people should recognize that groups
other than reenactors make  costumes.

I understand why people resent being called costume Nazis. It's an offensive
label.  However, such name calling  is a reaction by those whose goal is not
authenticity to being told explicitly or implicity that they "ought to" pursue
their profession or hobby in a different way.  In the case of h-costume, they
should  not be told "If you don't like authenticity, don't join this group."

Fran


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Date: Sat, 7 Dec 2002 18:52:18 -0000
Status: RO

Bjarne wrote:

> I have updated my dress diary.
> Go to address below, click on robe a la francaise, and scroll down
to the
> buttom where there is a link: underpinnings.
> It is only a mock up of the stays, wich are to be send to Denver on
monday.
> Now, back to embroidery :-)
>

Bjarne, it's going to be wonderful!
My only quibble is your term 'large woman'; I know exactly what you
mean but some people may not. I recommend a term which my mother
recommended to me:
' A Junoesque lady'
Of course, not everybody is familiar with Roman mythology, but
comparing someone to a goddess is usually pretty safe.

best wishes
Stevie

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Date: Sat, 7 Dec 2002 19:38:24 -0000
Status: RO

>Nope, I tried it and didn't work. Ecover bleach was actually better than
the
Dylon stuff. Perhaps the Dharma trading one would work on the cotton lace
that
I have.


I believe Dylon takes dye away rather than bleaches, if the cotton is ecru
(I missed the rest of the thread ) you will need a bleach, Hydrogen peroxide
is better than UK floor bleach

Mel
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From h-costume-admin@indra.com  Sat Dec  7 14:35:54 2002
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Date: Sat, 7 Dec 2002 19:39:47 -0000
Status: RO

I expect they don't ship because of the laws etc on importing chemicals
between countries

Mel

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From h-costume-admin@indra.com  Sat Dec  7 14:36:01 2002
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Date: Sat, 7 Dec 2002 19:39:01 -0000
Status: RO

>on the chemical name, 

What was the chemical name ?

Mel
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From h-costume-admin@indra.com  Sat Dec  7 14:40:04 2002
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Date: Sat, 7 Dec 2002 19:43:18 -0000
Status: RO

>Peplos gowns: 'string' in the waist but excess fabric from top bloused over
that = everything as wide as the widest part, the hips, and 'boat' neckline.
*shudder*

Gareth's been an Anglo Saxon so long he actually finds these sexy !!!

I hate Napoleonic empire line stuff, my boobs are way to big !

Mel

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From h-costume-admin@indra.com  Sat Dec  7 14:42:58 2002
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Date: Sat, 7 Dec 2002 19:46:26 -0000
Status: RO

Hey I knew Peter years ago !!  I bet they can find you something

Mel

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From h-costume-admin@indra.com  Sat Dec  7 14:49:33 2002
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Subject: Re: [h-cost] stays for a large person
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Date: Sat, 7 Dec 2002 20:51:01 +0100
Status: RO

Dear Sue
The Dress i am going to make of it, is actually a saque dress. So sure you
can!



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 7:00 PM
Subject: Re: [h-cost] stays for a large person


> Hey! That might actually fit *me*! <g>
> Bjarne, that silk is beeyoootiful! What a lucky lady!
> Would silk of that type be appropriate to use for a saque dress? I've
> always loved those, and would love to make one, even if I don't have
> anywhere to wear it!
> --sue, going back to her embroidery too, as soon as she can pry herself
> away from the computer!
>
> Bjarne og Leif Drews wrote:
> >
> > Hello
> > I have updated my dress diary.
> > Go to address below, click on robe a la francaise, and scroll down to
the
> > buttom where there is a link: underpinnings.
> > It is only a mock up of the stays, wich are to be send to Denver on
monday.
> > Now, back to embroidery :-)
> _______________________________________________
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Date: Sat, 7 Dec 2002 20:54:14 +0100
Status: RO

Dear Stevie.

Good heavens! i didnt think of it this way. Is it really bad to say a large
person?
Would it be better to say large sized?
Perhaps i should use your mothers word then.
Thanks for the tip!
Did you get the cd?
I sended it for you tuesday.
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 7:52 PM
Subject: Re: [h-cost] stays for a large person


> Bjarne wrote:
>
> > I have updated my dress diary.
> > Go to address below, click on robe a la francaise, and scroll down
> to the
> > buttom where there is a link: underpinnings.
> > It is only a mock up of the stays, wich are to be send to Denver on
> monday.
> > Now, back to embroidery :-)
> >
>
> Bjarne, it's going to be wonderful!
> My only quibble is your term 'large woman'; I know exactly what you
> mean but some people may not. I recommend a term which my mother
> recommended to me:
> ' A Junoesque lady'
> Of course, not everybody is familiar with Roman mythology, but
> comparing someone to a goddess is usually pretty safe.
>
> best wishes
> Stevie
>
> _______________________________________________
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> h-costume@mail.indra.com
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>


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From h-costume-admin@indra.com  Sat Dec  7 15:08:02 2002
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] next years projekts.
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Date: Sat, 7 Dec 2002 21:09:28 +0100
Status: RO

Hello the list!
New year is not far away. What will be your next years projekts?
I have some shoes to embroider, and maybe a stomacher.
The shoes is going to be raised metal embroidery, and the stomacher will be
mixed silks and metal thread.
Then i am to make a polonaise dress.
This is the things i have in my callendar.
Then i think i want to make a late elizabethan dress.
It is on time, that i have this period on my homepage.
I never gets any renaissance orders, maybe because i dont have that period
on the web.
Perhaps i could sell it on ebay when i have made it.
What about all you lurkers out there, let us hear what you wants to make!!!



 Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-admin@indra.com  Sat Dec  7 15:20:58 2002
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Elizabeth Young <lizyoung@fenris.net>
Subject: Re: [h-cost] Coifs and me
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Date: Sat, 7 Dec 2002 15:42:12 -0500
Status: RO

On Saturday 07 December 2002 12:27 pm, Elizabeth Young wrote:
> Stevie Gamble wrote:
> >Hi all,
> >
> >I thought I'd combine a couple of recent threads by trying out a coif.
> >Never again; I nearly had a heart attack when I looked in the mirror,
> >so Heaven know's what it would do to an innocent bystander.
> >Are there any particular items of costume -as opposed to entire
> >ensembles- which people think are hideously unflattering on them

I look pretty dreadful in coifs myself.  Especially the simple Viking kind 
(which surprised me; I usually look good in headwear of all kinds, no matter 
how strange).

I look fine in a peplos type dress, provided the fabric is supple enough 
and/or thin enough to drape well; otherwise I tend to look dumpy.  

Other items of historic costume I can stand not to wear:

Broad-shouldered 1890's style "waists" (tends to emphasize my shortness and 
de-emphasize the better aspects of my torso).

That's about it, really.  Guess I'm lucky....


-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] stays
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Date: Sat, 7 Dec 2002 21:31:30 +0100
Status: RO

Dear Stevie.
I am very glad that you warned me about that word.
Silly me, i surely didnt want to be rude, and it was very careless of me.
Now i used your word Junoeque in stead. Thanks for this Stevie, i am glad
you told me.


Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-admin@indra.com  Sat Dec  7 15:41:10 2002
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Subject: Re: [h-cost] stays for a large person
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Date: Sat, 7 Dec 2002 20:43:20 -0000
Status: RO

Bjarne wrote:

> Dear Stevie.
>
> Good heavens! i didnt think of it this way. Is it really bad to say
a large
> person?
> Would it be better to say large sized?

I think you have to remember that as costumers we use words like
large, medium, small etc as factual descriptions. Unfortunately in the
outside world those terms may have undesirable connotations, and a
dress diary on the Internet is *in* the outside world. Which means
that it's perhaps preferable to use other terms...

> Perhaps i should use your mothers word then.

It's a good word; I commend to you also 'statuesque' and, in the case
of a short large lady, 'pocket Venus'.

> Thanks for the tip!

You are most welcome;

> Did you get the cd?

I did indeed, and have been sitting at my pc almost non-stop since
then. I am particularly taken with the dress at 21.jpg; there's a
detailed picture at 19.jpg  There are seashells in silver on the gown
and the matching stole. It is very lovely, but I  don't know what date
it is, though.

Many thanks for taking all that trouble

best wishes
Stevie

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From h-costume-admin@indra.com  Sat Dec  7 15:42:08 2002
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Subject: Re: [h-cost] stays
To: h-costume@indra.com
In-Reply-To: <no.id> from "Bjarne og Leif Drews" at Dec 07, 2002 09:31:30 PM
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Date: Sat, 7 Dec 2002 12:39:47 -0800 (PST)
Status: RO

the other polite options for American English are "full figured" and
"Plus sized".  "Large" is just really not very specific, either -- a "large"
person could be very tall, or very fat, or full figured.  

.heather.


> 
> Dear Stevie.
> I am very glad that you warned me about that word.
> Silly me, i surely didnt want to be rude, and it was very careless of me.
> Now i used your word Junoeque in stead. Thanks for this Stevie, i am glad
> you told me.
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 

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From h-costume-admin@indra.com  Sat Dec  7 15:44:27 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
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Subject: [h-cost] Linda's question: Roman lady's dress
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Date: Sat, 7 Dec 2002 20:42:26 +0000 (GMT)
Status: RO

While I know next to nuffin about the Romans (*Monty Pythonesque voice* 'what
have the Romans ever done for us...' hehehe) I just this book lying at my
trusty Ben's (other half) and he said it was a good one:

Costume of Ancient Rome by David J Symons, drawings by Jack Cassin-Scott.
London, BT Batsford Ltd., 1987.

Aldo, I found a photo amongst my looooooads of costume piccies (compulsive
pic-saver ;-) which shows the dressing of a Roman lady:

http://www.kipar.org/h-costume/dressing.jpg

Perhaps that helps a little.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] 18th Century Dress detail 
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Date: Sat, 7 Dec 2002 13:20:23 -0800
Status: RO

Thanks Bjarne and all!  It's fascinating to think that pinking tools was all
that was used, but does seem the most likely explanation.  I do see in my
"Fashion in Detail" that the edges are the tinest bit frayed, but given the
age of the garments, it seems amazing to me that they aren't more shredded.

It must be the weave of the fabrics, and the methods of cutting that
preserves the edges.

Bjarne, do you have closeup pics of your technique for edging the self
ruching details? I would probably do something similar for theater, because
durability is the second biggest concern to look as actors are terribly hard
on their garments.  The closer I can get to the right look the better. It's
a fabulous and fairly inexpensive way to decorate garments rather
elaborately so it's something I'd like to know a bit more about.

You people are so generous with your knowledge.  Thank you thank you.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"If we shadows have offended, think but this,
 and all is mended,
That you have but slumbered here,
 while these visions did appear."
A Midsummer Night's Dream; V, ii - W. Shakespeare



----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 4:58 AM
Subject: Re: [h-cost] 18th Century Dress detail


> Dear Angela.
> I will read through my book, danish one, i have about fashion in 18th
> century.
> It is my thoaght, that they did not do anything to the fabric, only the
> pinking tools, cut the fabric on bias most of the time, so that it will
not
> fray.
> When i make a lot of ruched ribbon works on the dress, i zig zag all the
> edges very closely and then i turn over the zig zag as a seam and stitch
by
> hand.
> I do the same thing for the sleave ruffles, you cant have a doubble seam
on
> those, because then they wont fall propperly.
> Ill look what she writes about it today and post later.
>
> I have never done any pinking myself, i have made sleave ruffles cut like
a
> pinking shape, but only cut with a sharp scissor.And then only made a very
> narrow seam with the zig zag turned round about 3-4 mm.
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
> ----- Original Message -----
> From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
> To: <h-costume@indra.com>
> Sent: Saturday, December 07, 2002 3:10 AM
> Subject: [h-cost] 18th Century Dress detail
>
>
> > Bjarne, since you popped up, perhaps you would know the answer to this
> > question.  I just got my copy of "Fashion" from KCI and the pictures of
> > dresses from your period are STUNNING!  Most of them have what appears
to
> be
> > pinked ruching, or gathered self "ribbons" made of the dress fabric all
up
> > and down the fronts of the dresses.  The unfinished edges of the fabric
> that
> > has been pinked or otherwise cut are still nice and clean.  How does
that
> > work?
> >
> > I cut fabric with pinkers and sometimes it still frays, particularly
over
> > time. I use fray check in theater, but obviously that did not exist back
> > then.  What kept the pinked edges neat?  Better fabrics? A certain
weave?
> > Something I'm missing?
> >
> > Anyone with any knowledge may certainly pipe up.  It's a marvelous book.
> > Thanks to the original poster for mentioning it was available.
> >
> > angela
> > +++++
> > Angela F. Lazear
> > Cabbage Rose Costumes
> > http://www.cabbagerosecostumes.com
> > Theatrical Costume Design
> >
> > "Love all, trust a few, do wrong to none:
> > be able for thine enemy rather in power than use,
> > and keep thy friend under thy own life's key:
> > be checked for silence, but never taxed for speech..."
> > W. Shakespeare
> >
> > ----- Original Message -----
> > From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> > To: <h-costume@indra.com>
> > Sent: Thursday, December 05, 2002 11:20 AM
> > Subject: [h-cost] Imperial Taffeta
> >
> >
> > > Guess what?
> > > I got 15 meters of sky blue Silk Taffeta from London today!!!
> > >
> > > Leif og Bjarne Drews
> > > www.my-drewscostumes.dk
> > >
> > > http://home0.inet.tele.dk/drewscph/
> > >
> > >
> > > _______________________________________________
> > > 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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Subject: Re: [h-cost] Delurking . . . with a Roman Question
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Date: Sat, 7 Dec 2002 13:28:01 -0800
Status: RO

At 10:30 AM +0000 12/7/02, Linda Walton wrote:
>Hello Everyone !
>
>Since there seems to be a mood of helpfulness abroad, and not many questions
>being asked to use it up, I've nerved myself to ask about the subject that's
>been worrying me lately.  I know it's not the sort of historic costume that
>this group usually finds itself discussing, but someone may know about it.
>Web searches have produced only fairly thin information so far, and the
>books I have available are very vague indeed.
>
>Please, how do I dress as a fairly wealthy Roman lady of the time of Cicero
>?
>
>It is for a party with my Latin class on 17th December, so I would like it
>to be as authentic as I can manage, and - especially - I would like to be
>able to answer questions about it.  So where my clothing isn't very
>accurate, I would like to be able to explain about it.


Although a brain-dump of references may not be very useful for the 
current deadline, at least you may find the following of use in the 
future. (This is simply a personal list of resources I've used -- not 
necessarily complete or definitive.)

Stauffer, Annemarie.  1995.  Textiles of Late Antiquity. 
Metropolitan Museum, New York.  ISBN  0-89099-768-8

Houston, Mary G..  1959.  Ancient Greek, Roman and Byzantine Costume 
& Decor.  Adam & Charles Black, London.

Croom, A.T.  2000.  Roman Clothing and Fashion.  Tempus Publishing, 
Inc., Charleston.  ISBN 0-7524-1469-0

Sebesta, Judith Lynn & Larissa Bonfante eds..  2001.  World of Roman 
Costume.  University of Wisconsin Press, Madicon.  ISBN  0-299-13854-2

Johns, Catherine.  1996.  Jewellery of Roman Britain.  Univ of 
Michigan Press, Ann Arbor.  ISBN  0-472-10766-6

Wild, J.P.  1970.  Textile Manufacture in the Northern Roman 
Provinces.  Cambridge University Press.  SBN 521-07491-6

Rogers, Penelope Walton, Lise Bender Jørgensen & Antoinette 
Rast-Eicher.  2001.  Roman Textile Industry and its Influence.  Oxbow 
Books, Oxford.  ISBN  1-84217-046-5

Wilson, Lillian M..  1938.  Clothing of the Ancient Romans. (?publisher?)

King, Donald.  1996.  "Roman and Byzantine Dress in Egypt" in 
Costume:  30:1-15.

I also tend to find a lot of the early Coptic material from Egypt to 
be helpful for construction and ornamentation ideas.


>Here are some specific areas that I am wondering about:-
>1.  What about underwear ?  I want to get the general shape right, and have
>heard that Roman ladies wore - among other things - corsets, but don't know
>when, or what sort.  (This particularly concerns me because I must wear a
>bra, due to mastectomy/prosthesis requirements, and I'm fairly plump, too.)


I don't recall running across anything I'd describe as a "corset" 
(well, except for the "highly imaginative" costuming in the movie 
"Gladiator"!), but you get regular references to a breast-band called 
a "strophium" that -- if it is related to the garments seen on the 
"exercise girls" mosaic and various wall-paintings of sexual 
activity, appears to be basically a band wrapped around the breasts. 
So something for breast-support does seem to have been used, and for 
your particular requirements (and the context of the event), I'd just 
go with your regular bra and design the shoulder fastenings of the 
garments to cover the bra straps.


>2.  How should I decorate the fabric ?  I've heard of gold thread in finds:
>would that be couched embroidery ?  I've got some good linen waiting to be
>used, but could only add simple embroidery in the time available - what
>patterns would be appropriate ?  What about coloured wools ?  (If the only
>answer is woven gold threads, or complicated sewing, then I'd better go down
>the social scale a bit !)


If the late-Roman finds from Egypt are typical of Roman styles (which 
is not a certainty, but a good place to start), then decoration seems 
to have been primarily woven-in (tapestry weaving) with embroidery a 
far second in popularity.  Gold thread could easily have been 
incorporated in tapestry-woven decorations.  But there are at least 
_some_ parallel designs in embroidery (primarily chain or stem stitch 
in either wool or silk), and I could see it being plausible for 
couched gold thread to be incorporated in that sort of work. 
(Sometimes the kink-patterns in the metallic thread will give a clue 
to what kind of work was done with it, but sometimes it isn't in good 
enough shape for that kind of information.)

If you want to do something relatively simple in a short time, I'd go 
with woolen embroidery in stem or chain stitch on linen, which is 
what you find in the early Coptic material.  The motifs involved are 
exactly the same sorts that you find in tapestry work -- some sort of 
simple acanthus or key-pattern bands would probably be reasonable.


>3.  What about hairstyles and jewellery ?  I've got long straight hair, and
>couldn't go in for a great bush of little curls:  could I get away with
>putting it up in a bun like the Greek ladies.  I know I won't need a veil,
>(thank goodness), but should I have some other sort of head-dress ?  Were
>necklaces very common ?  I do have some rings, brooches and a bracelet that
>are copies of finds, would they be enough ?

I'm not sure I can do justice to describing embroidery styles -- 
you'd be better off looking at portraits and archaeological finds 
from the period and getting your own sense of what would work.  Ditto 
hairstyles.  Some sort of bun-like style might work, but look at 
pictures any make your own interpretations.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****

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Date: Sat, 7 Dec 2002 13:37:02 -0800
Status: RO

I believe I joined the list in approximately 1995 or a bit later.  For those
of you unfamiliar with me, I am a theatrical costumer in the SF Bay Area,
US.  I think for the most part it is a delightful place to chat and enquire
about different questions that come up in theatrical costuming, and although
visual historic accuracy is often my objective, technical historical
accuracy is probably never going to be, unless whopper poppers were actually
the closure method of choice at the turn of the century.   Never stops me
from following a thread of interest, nor from reeling with admiration for
the collective wisdom embodied in the members here.

As others have pointed out, we could be kinder to one another from time to
time, but that is certainly always going to be true and is a part of the
human condition.  I know I have occasionally slipped up and to anyone I have
offended over the years, a sincere, heartfelt apology.

Just gotta love anyone who spends this much time thinking and "talking"
about clothes, their beauty, their history and construction. The only
difference between this list and heaven, is that in heaven, the dye lots
will always be perfect, the fabric stash will never get bugs, and the
costumes can be imagined into existence, without the backbreaking long
nights of labor... wait I actually LIKE that part!

Cheers

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"Nay then, let the devil wear black,
for I'll have a suit of sables..."
W. Shakespeare


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Date: Sat, 7 Dec 2002 16:40:01 -0500
Status: RO

        A new question just popped into my little pea brain.  When did
snaps first come out.  Can't imagine that they are very old, but they are
so convenient.  Just curious.  Thanks

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] next years projekts.
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Date: Sat, 7 Dec 2002 13:47:53 -0800
Status: RO

Ohhh, how delightful a subject is this?

I must finish a repro 20s performance Kimono, with black sheer organza trim
beaded with garnet 3-cut transparent beads and these lovely blood red
triangle beads I found coated in what is probably a gold wash.  Sparkly!

Then I will begin studying the teens (1912) in preparation for "The Music
Man" , which will audition in May. I will also be Assistant Directing my
first show.

While I'm working on that, I will be helping my daughter execute her 1940's
inspired prom dress. We will be making a chiffon skirt at the bottom in a
solid color (unless anyone can tell me a fool proof method of gradient
dying) and the top will be nude and beaded.

A wedding dress for a friend's daughter in June... then "Sweeney Todd" in
September.  Set in 1865, (I believe, I will have to double check that), it
is a period/fantasy/black comedy, for those of you who may be unfamiliar
with it.  Sondheim. Costumes are very spooky surreal.

I'll probably also find time to make myself some more bias cut day dresses,
my new favorite garb.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"So far as my coin would stretch; and where it would not
I have used my credit."
King Henry the Fourth; I, ii - W. Shakespeare

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 12:09 PM
Subject: [h-cost] next years projekts.


> Hello the list!
> New year is not far away. What will be your next years projekts?
> I have some shoes to embroider, and maybe a stomacher.
> The shoes is going to be raised metal embroidery, and the stomacher will
be
> mixed silks and metal thread.
> Then i am to make a polonaise dress.
> This is the things i have in my callendar.
> Then i think i want to make a late elizabethan dress.
> It is on time, that i have this period on my homepage.
> I never gets any renaissance orders, maybe because i dont have that period
> on the web.
> Perhaps i could sell it on ebay when i have made it.
> What about all you lurkers out there, let us hear what you wants to
make!!!
>
>
>
>  Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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References: <004c01c29d99$86cf87e0$665183d1@rmitchellras>
Subject: Re: [h-cost] Favorite Designers
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Date: Sat, 7 Dec 2002 13:53:45 -0800
Status: RO

This is a multi-part message in MIME format.

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Vionnet for inventing the bias.  Chanel in the 20s.  Worth, Balmain.
These days John Galliano for being the showiest and the most =
consistently to my own personal way over the top tastes.  He did a =
beaded / silk ribbon / 20s repro hankerchief hem line a few years backed =
that simply rocked.  Badgely Mishka for the prettiest evening wear. =20

hmm.... I'm sure I'm forgetting many.  Dior, can't forget Dior.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes=20
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"Nay then, let the devil wear black,=20
for I'll have a suit of sables..."
W. Shakespeare



  ----- Original Message -----=20
  From: Lloyd Mitchell=20
  To: H-Costume=20
  Sent: Friday, December 06, 2002 6:35 PM
  Subject: [h-cost] Favorite Designers


  Here is a new topic for consideration: With the Twentieth Century =
getting further behind us, and it was a century when fashion designers =
became Known in their own right, who impresses you or has influenced =
your own design interpretations and what influence will they make in the =
ever evolving world of Historical Costuming. Anne Hollander in "Seeing =
Through Clothes" makes the case for fashion of any age being re =
interpreted subsequently in terms of the current mode of aesthetics; ( =
and this can certainly be observed in the 20th C ideas pursued by the =
movie mogul designers, as well as any time the Fashion runways quote the =
fads and fancies of the past.)   {Another semi-lurker, Kathleen M...A =
list observer since the early 90's.] 
------=_NextPart_000_002C_01C29DF8.0F49F2F0
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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 6.00.2800.1126" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DAvantGarde size=3D2>Vionnet for inventing the =
bias.&nbsp; Chanel=20
in the 20s.&nbsp; Worth, Balmain.</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2>These days John Galliano for being =
the=20
showiest and the most consistently to my own personal way over the top=20
tastes.&nbsp; He did a beaded / silk ribbon / 20s repro hankerchief hem =
line a=20
few years backed that simply rocked.&nbsp; B</FONT><FONT =
face=3DAvantGarde=20
size=3D2>adgely Mishka for the prettiest evening wear.&nbsp; =
</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2>hmm.... I'm sure I'm forgetting =
many.&nbsp;=20
Dior, can't forget Dior.</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2>angela</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2>+++++<BR>Angela F. =
Lazear<BR>Cabbage Rose=20
Costumes <BR><A=20
href=3D"http://www.cabbagerosecostumes.com">http://www.cabbagerosecostume=
s.com</A><BR>Theatrical=20
Costume Design</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2>"Nay then, let the devil wear =
black, <BR>for=20
I'll have a suit of sables..."<BR>W. Shakespeare</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
<BLOCKQUOTE dir=3Dltr=20
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=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3Drmitchell@washjeff.edu =
href=3D"mailto:rmitchell@washjeff.edu">Lloyd=20
  Mitchell</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dh-costume@indra.com=20
  href=3D"mailto:h-costume@indra.com">H-Costume</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, December 06, 2002 =
6:35=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Favorite=20
Designers</DIV>
  <DIV><BR></DIV>
  <DIV><FONT size=3D2>Here is a new topic for consideration: With the =
Twentieth=20
  Century getting further behind us, and it was a century when fashion =
designers=20
  became Known in their own right, who impresses you or has influenced =
your own=20
  design interpretations and what influence will they make in the ever =
evolving=20
  world of Historical Costuming. Anne Hollander in "Seeing Through =
Clothes"=20
  makes the case for fashion of any age being re interpreted =
subsequently in=20
  terms of the current mode of aesthetics; ( and this can certainly be =
observed=20
  in the 20th C ideas pursued by the movie mogul designers, as well as =
any time=20
  the Fashion runways quote the fads and fancies of the =
past.)&nbsp;&nbsp;=20
  {Another semi-lurker, Kathleen M...A list observer since the early=20
  90's.]&nbsp;</FONT></DIV></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] 18th Century Dress detail /correction
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Date: Sat, 7 Dec 2002 13:57:29 -0800
Status: RO

This will drive me insane, sorry, but it's bad grammar, and it was mine.

> Thanks Bjarne and all!  It's fascinating to think that pinking tools
[WERE] all
> that was used, but ... (snip)

> angela
> +++++
> Angela F. Lazear
> Cabbage Rose Costumes
> http://www.cabbagerosecostumes.com
> Theatrical Costume Design
> "If we shadows have offended, think but this,
>  and all is mended,
> That you have but slumbered here,
>  while these visions did appear."
> A Midsummer Night's Dream; V, ii - W. Shakespeare

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Subject: Re: [h-cost] Re: how many of us are there?
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Date: Sat, 7 Dec 2002 22:23:50 -0000
Status: RO

Sue wrote, from cold, foggy Montana,

a typically thoughtful post about what the list can and cannot do;

> However, I don't think that those who are more into authenticity
should
> have to apologize, either.  I really get tired of being referred to
as a
> "cosack" or "nazi" or any other disparaging term that somehow seems
> designed to make me feel like I'm some sort of stereotypical
> fun-stealer.

I don't think you have to apologise either. People lurking on this
list don't want to be told that a nice little polycotton mix will
perfectly reproduce the handkerchief linen chemise they would like to
have; they know perfectly well that it won't. Or at least they will
know within 30 seconds of putting it on; there's a very large
distinction between 'lurking' and 'stupid'. They want to learn. You
can only learn by working at it, and sometimes that's hard. But
putting vast amounts of time, energy and money into an ensemble which
looks dreadful is a lot harder.

best wishes
Stevie

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] off topic/ paper clay
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Date: Sat, 7 Dec 2002 23:50:40 +0100
Status: RO

Hello.
I have just ben surfing a little on the internet and found some amzing dolls
made of paper clay.
Are there anyone here, who knows this?
Is it good to work with?

Bjarne who is a little scared, i might find yeat another thing to
do..............
www.my-drewscostumes.dk

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


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Subject: [h-cost] Trim on Arwen's dress
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Date: Sat, 7 Dec 2002 16:59:28 -0600
Status: RO

Hello,

I am curious about the trim on Arwen's dress (neckline and upper sleeves) in
the picture that was posted recently.

http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/image14.
shtml

I have seen trim like this on other dresses in movies but haven't the
slightest clue how they make the trim.  I am interested in making some trim
like this but I can't even begin to guess what was used or how it was done.
Any suggestions?

Also was trim like this ever used in historical garments?  I like fantasy
clothing almost as much as historical so it will be all right with me if it
isn't period, any period.  But I am curious.

Thanks so much!
Avien

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From: kate <macailith@yahoo.com>
Subject: Re: [h-cost] stays for a large person
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Date: Sat, 7 Dec 2002 15:03:33 -0800 (PST)
Status: RO

Hey Bjarne

If you go to 
http://www.geocities.com/ailithmac/elenora.jpg

you will find a better copy of the portrait of
Eleanora. Just right click on it and copy her for your
website.

Love the gown!!! Your work is absolutely stunning.

kate

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Date: Sat, 7 Dec 2002 15:06:08 -0800 (PST)
Status: RO

that was meant to go to Bjarne privately. Sorry about
that...

kate


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Subject: Re: [h-cost] Trim on Arwen's dress
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Date: Sat, 7 Dec 2002 23:10:39 +0000 (GMT)
Status: RO

 --- Avien <aviendiora@mcleodusa.net> wrote: > Hello,

What a coincidence, I was thinking about the same trim recently! (coz I love
it)

> I am curious about the trim on Arwen's dress (neckline and upper sleeves) in
> the picture that was posted recently.
> 
> http://www.warofthering.net/movies/photos/empiretttlarge/imagepages/image14.
> shtml
> 
> I have seen trim like this on other dresses in movies but haven't the
> slightest clue how they make the trim.  I am interested in making some trim
> like this but I can't even begin to guess what was used or how it was done.
> Any suggestions?

Well, actually, while I was skimming through the old brain and trying to
remember/fisgure iut where I had seen something like that it suddenly came to
me: Indian shops. There are lots of those here in England. I know that I have
seen lovely broad trims/sari edgings that were metallic embroideries and looked
very much like the ones on her dress. Also, would could well be is that a
vintage trim was used, particularly some vintage trim from India, I have some
Victorian Indian bits that are stunning and similar in workmanship. All in all
I'd say it could be reproduced using a metallic Indian sari trim. Have a look
at Ebay, I am sure I have seen some on there.

Sadly I wouldn't know how to make any like this - and to be honest, looking at
the cost of such lovely Indian trims, even those in the shops, it isn't worth
making. I suppose one could make them though using metallic threads on bullion
trim and using padded metalwork embroidery.

> Also was trim like this ever used in historical garments?  

I honestly don't think so other than in Victorian fancies, but I'm not that
knowledgable on that.

I like fantasy
> clothing almost as much as historical so it will be all right with me if it
> isn't period, any period.  But I am curious.

I'm with you on that *G* I LURVE fantasy.

Nicole (and Baroque of course, but everyone knows that, hehe)

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Sat, 07 Dec 2002 15:22:26 -0800
Status: RO

> I don't think you have to apologise either. People lurking on this
> list don't want to be told that a nice little polycotton mix will
> perfectly reproduce the handkerchief linen chemise they would like to
> have; they know perfectly well that it won't. Or at least they will
> know within 30 seconds of putting it on; there's a very large
> distinction between 'lurking' and 'stupid'. They want to learn. You
> can only learn by working at it, and sometimes that's hard. But
> putting vast amounts of time, energy and money into an ensemble which
> looks dreadful is a lot harder.
>
>

But not everyone considers a poly-cotton chemise to be a waste of time
and money.  It suits some people perfectly well--not because they're
ignorant, but because it fulfills their goals.  Whether it fulfills the
goals of some other person who is not wearing it and does not officially
set goals for some organization they both belong to, is entirely beside
the point.

Others would like to have the 100% linen but can't afford it. They don't
want to be told they are ignorant, that they "ought to" afford linen,
etc.

If someone's outfit fulfills the goals _officially_ set by their
organization or employer, and it fulfills their own goals in terms of
what they want to wear, what they can afford, what they are able to make,
etc.--it is never a waste of time and money.  There is no reason to throw
something out just because of freelance criticism, on the net or
elsewhere.

My point is that everyone, when posting, should consider that h-costume
has members with many different costuming goals.  Others may not have the
same goals  you do, but their goals are still valid for them.

Fran

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From: "Jane Williams" <jane@williams.nildram.co.uk>
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Date: Sun, 08 Dec 2002 01:27:58 -0000
Status: RO

On 7 Dec 2002 at 15:22, Lavolta Press wrote:

> >  People lurking on this
> > list don't want to be told that a nice little polycotton mix will
> > perfectly reproduce the handkerchief linen chemise they would like
> > to have; they know perfectly well that it won't. Or at least they
> > will know within 30 seconds of putting it on; there's a very large
> > distinction between 'lurking' and 'stupid'. They want to learn. You
> > can only learn by working at it, and sometimes that's hard. But
> > putting vast amounts of time, energy and money into an ensemble
> > which looks dreadful is a lot harder.

I suspect that you underestimate the ignorance of 
some of us. I don't think I'm stupid as such, but as 
yet (well, until a few minutes ago!) I had no idea to 
what extent poly-cotton could or could not reproduce 
linen. Myy guess would err towards "not", but I've 
never had the experience to judge. I'd rather not 
waste large quantities of my time finding out the 
hard way: so when I need to know this sort of thing, 
I'll be asking amazingly ignorant questions. And, 
going by past experience, getting helpful and 
informative answers. 



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Subject: Re: [h-cost] stays
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Date: Sat, 7 Dec 2002 16:44:17 +0000
Status: RO

Of course you need to remember that in America anything over a size 2 is
a plus size. :/

Arlys, who is medium tall, but not large, and *still* needs to buy the
bloody plus sizes!

On Sat, 7 Dec 2002 12:39:47 -0800 (PST) Heather Meadows
<alice@wonderland.com> writes:
> the other polite options for American English are "full figured" and
> "Plus sized".  "Large" is just really not very specific, either -- a 
> "large"
> person could be very tall, or very fat, or full figured.  
> 
> .heather.
> 
> 
> > 
> > Dear Stevie.
> > I am very glad that you warned me about that word.
> > Silly me, i surely didnt want to be rude, and it was very careless 
> of me.
> > Now i used your word Junoeque in stead. Thanks for this Stevie, i 
> am glad
> > you told me.
> > 
> > 
> > Leif og Bjarne Drews
> > www.my-drewscostumes.dk
> > 
> > http://home0.inet.tele.dk/drewscph/
> > 
> > 
> > _______________________________________________
> > 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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Date: Sat, 07 Dec 2002 18:41:06 -0700
Status: RO

The way Heather phrases it is pretty spot-on, Bjarne.  I'm at the high
end of full-figured sizes, and I wasn't offended by your use of the term
"large," but it could be taken in a number of ways, like Heather says.
For instance, I think you'd have a H*ll of a time making stays for
me--I'm very big, fairly short, and have a bigger bust than most I've
met. And a friend of mine, who could also loosely be described as
"large," but who is almost a foot taller than I, would be a different
challenge altogether--smaller bust, bigger ribcage, longer proportions.
--sue, who bought, today, some lovely 50/2 silk for the tablet-woven
edges of her fitted-gown sleeves.....I love silk....*sigh*.....

Heather Meadows wrote:
> 
> the other polite options for American English are "full figured" and
> "Plus sized".  "Large" is just really not very specific, either -- a "large"
> person could be very tall, or very fat, or full figured.
> 
> .heather.
> 
> >
> > Dear Stevie.
> > I am very glad that you warned me about that word.
> > Silly me, i surely didnt want to be rude, and it was very careless of me.
> > Now i used your word Junoeque in stead. Thanks for this Stevie, i am glad
> > you told me.
> >
> >
> > Leif og Bjarne Drews
> > www.my-drewscostumes.dk
> >
> > http://home0.inet.tele.dk/drewscph/
> >
> >
> > _______________________________________________
> > 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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Date: Sat, 07 Dec 2002 18:44:58 -0700
Status: RO

Yeah, the endorphin rush is something else, isn't it? <g>
--Sue, who's pulled a few all-nighters herself!

Cabbage Rose wrote:
> 
> Just gotta love anyone who spends this much time thinking and "talking"
> about clothes, their beauty, their history and construction. The only
> difference between this list and heaven, is that in heaven, the dye lots
> will always be perfect, the fabric stash will never get bugs, and the
> costumes can be imagined into existence, without the backbreaking long
> nights of labor... wait I actually LIKE that part!
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Date: Sat, 07 Dec 2002 18:55:28 -0700
Status: RO

Ooooh! Cool new topic!
I have a couple of goals for next year--I'm making a wool and linen
fitted gown for a competition in February.  And I'm going to be making
new garb--some nice Flemish market stuff (16th c.), and maybe a couple
of outfits from the Manesse Codex.
And I plan on picking up my bobbin lace again--I've still got the notes
and such from your class this past winter.
My biggest project, though, will be finishing the embroidery on my
blackworked shift.  I want to have it done by next August....
--sue (not a lurker, though! <g>)

Bjarne og Leif Drews wrote:
> 
> Hello the list!
> New year is not far away. What will be your next years projekts?
> I have some shoes to embroider, and maybe a stomacher.
> The shoes is going to be raised metal embroidery, and the stomacher will be
> mixed silks and metal thread.
> Then i am to make a polonaise dress.
> This is the things i have in my callendar.
> Then i think i want to make a late elizabethan dress.
> It is on time, that i have this period on my homepage.
> I never gets any renaissance orders, maybe because i dont have that period
> on the web.
> Perhaps i could sell it on ebay when i have made it.
> What about all you lurkers out there, let us hear what you wants to make!!!
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Date: Sat, 07 Dec 2002 18:17:09 -0800
Status: RO

Actually, that quote below  is from someone else's message. I didn't write
it.

What I pointed out is there are people who use poly cotton and other
synthetics from choice.  That that is an intentional goal, and they don't
appreciate being told they are ignorant and need to be "educated."

Fran

Jane Williams wrote:

> On 7 Dec 2002 at 15:22, Lavolta Press wrote:
>
> > >  People lurking on this
> > > list don't want to be told that a nice little polycotton mix will
> > > perfectly reproduce the handkerchief linen chemise they would like
> > > to have; they know perfectly well that it won't. Or at least they
> > > will know within 30 seconds of putting it on; there's a very large
> > > distinction between 'lurking' and 'stupid'. They want to learn. You
> > > can only learn by working at it, and sometimes that's hard. But
> > > putting vast amounts of time, energy and money into an ensemble
> > > which looks dreadful is a lot harder.
>
> I suspect that you underestimate the ignorance of
> some of us. I don't think I'm stupid as such, but as
> yet (well, until a few minutes ago!) I had no idea to
> what extent poly-cotton could or could not reproduce
> linen. Myy guess would err towards "not", but I've
> never had the experience to judge. I'd rather not
> waste large quantities of my time finding out the
> hard way: so when I need to know this sort of thing,
> I'll be asking amazingly ignorant questions. And,
> going by past experience, getting helpful and
> informative answers.
>
> _______________________________________________
> 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  Sat Dec  7 21:29:10 2002
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From: "Kate Cole" <mrscakehole@hotmail.com>
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I know I'm a little late (gosh, haven't checked my e-mail in 24 hours – you 
people are prodigious!!) but I wanted to weigh in with my 2p worth on the 
whole lurkers/why aren't there so many subscribers anymore debate....

I've only been a member on this list for a few months, and I don't post very 
much. I have recently been  thinking a lot about unsubscribing. Why? Because 
it annoys me (and it's 2am and I'm fortified by a certain amount of wine and 
I figure I've got nothing to lose here) that, no matter what you post about, 
there are always people who seem to take pleasure in disagreeing with you, 
just for the hell of it. But, to my mind, actually,  NOBODY really knows 
what it was like in the time periods this list covers, NOBODY was there and 
the documented evidence is scarce to say the least, and usually restricted 
to certain levels of society. Frankly, it p***es me off that people think 
they have all the answers...

On a personal level, it also annoys me when people say (as has happened a 
lot recently), "Oh, the English are like this" or "xxxx happens/happened in 
England". As an English person, born and bred, and having worked in London 
for 10 years, there have been several things mentioned on this list recently 
relating to London and/or England that have been completely inaccurate, but 
although I've thought about replying, I haven't because I can't be bothered 
to get into that whole thing where someone tells me that's not how it is 
(even though I'm there every day).

I'm sorry if this is aggressive, I'm sorry if it sounds like a rant (which I 
guess it is) but I came on this list looking for interesting conversation 
and for the most part, I just see people nit-picking with other people – 
because they can. I guess I'll get flamed for this and I'm prepared to 
accept that because I know I'll just go back to being a lurker... Just 
thought I'd explain why.  And for the record, I went to a Ren Faire once in 
California and, even though I wasn't into costume in those days, was hugely 
insulted by the interpretation of England. To my mind, it was Renaissance 
Disney.

Kate

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From h-costume-admin@indra.com  Sat Dec  7 21:29:19 2002
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References: <001901c29e43$10f60030$4096fea9@CPQ21932199711>
Subject: Re: [h-cost] off topic/ paper clay
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Date: Sat, 7 Dec 2002 21:26:52 -0500
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Paperclay is fabulous stuff; I've made small anime props and accessories out
of it and love it to bits.  It's very fine-grained, so is very smooth and
pliable but air-dries (unlike fimo or sculpey) and can be sanded to a
porcelain finish.  It's easy to work with (all you need is water) and also
dries incredibly light.

-- Maral

the den of sarcasm
http://sarcasm.fanfic.org


----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 5:50 PM
Subject: [h-cost] off topic/ paper clay


> Hello.
> I have just ben surfing a little on the internet and found some amzing
dolls
> made of paper clay.
> Are there anyone here, who knows this?
> Is it good to work with?
>
> Bjarne who is a little scared, i might find yeat another thing to
> do..............
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> 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] next years projekts.
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In a message dated 12/7/2002 8:56:27 PM Eastern Standard Time, 
mooncat@in-tch.com writes:


> What will be your next years projekts?
> 

I first have to finish up various garments for the Battle of New Orleans 
reenactment in January.  I know from experience that it can be cold, so I'm 
taking two wool spencers.  One is done and the other is in progress.  I also 
am planning a wool flannel petticoat for warmth, and would finally like to 
get my stays done.

I bought an ikat silk sari at the Smithsonian Folklife Festival last summer 
and would like to make a Regency/Federal period ball gown by June.  (We'll 
see if it gets done.)

But first, I must finish a princess outfit for my granddaughter for 
Christmas.  It is Simplicity pattern 5909.  This is a Renaissance-inspired 
look.  As I'm using some ivory polyester shantung I had on hand, the skirt 
will not be as full as the pattern (this is just for dress up anyway!)  The 
sleeves will be point d'esprit, and the vest purple velvet with rose gimp and 
silver lace trim.  Mom also requested a "princess hat," which I guess is a 
hennin, which will also be the velvet.

I have been trying to use fabrics I have on hand for current projects.  One 
of the spencers is a green wool I had planned for a skirt several years ago, 
and gold trims that I already had.  For the other spencer, I got a piece of 
camel-colored wool out of the cedar chest that was going to be a blazer about 
20 years ago.  I dyed it with Rit wine dye and it came out a nice rust color. 
 I'm lining it with white silk twill.

I admit, the sari was a new, and rather expensive, purchase.  But my husband 
had just bought himself a banjo for almost the same price, so I HAD to do 
something!

That only takes me through June.  I will need a new 1814 gown next summer, so 
have to start thinking about that.  And I bought some brown wool and velvet 
to make my husband a new tailcoat, so need to work that in somewhere.

Ann Wass

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Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 12/7/2002 8:56:27 PM Eastern Standard Time, mooncat@in-tch.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">What will be your next years projekts?<BR>
</BLOCKQUOTE><BR>
<BR>
I first have to finish up various garments for the Battle of New Orleans reenactment in January.&nbsp; I know from experience that it can be cold, so I'm taking two wool spencers.&nbsp; One is done and the other is in progress.&nbsp; I also am planning a wool flannel petticoat for warmth, and would finally like to get my stays done.<BR>
<BR>
I bought an ikat silk sari at the Smithsonian Folklife Festival last summer and would like to make a Regency/Federal period ball gown by June.&nbsp; (We'll see if it gets done.)<BR>
<BR>
But first, I must finish a princess outfit for my granddaughter for Christmas.&nbsp; It is Simplicity pattern 5909.&nbsp; This is a Renaissance-inspired look.&nbsp; As I'm using some ivory polyester shantung I had on hand, the skirt will not be as full as the pattern (this is just for dress up anyway!)&nbsp; The sleeves will be point d'esprit, and the vest purple velvet with rose gimp and silver lace trim.&nbsp; Mom also requested a "princess hat," which I guess is a hennin, which will also be the velvet.<BR>
<BR>
I have been trying to use fabrics I have on hand for current projects.&nbsp; One of the spencers is a green wool I had planned for a skirt several years ago, and gold trims that I already had.&nbsp; For the other spencer, I got a piece of camel-colored wool out of the cedar chest that was going to be a blazer about 20 years ago.&nbsp; I dyed it with Rit wine dye and it came out a nice rust color.&nbsp; I'm lining it with white silk twill.<BR>
<BR>
I admit, the sari was a new, and rather expensive, purchase.&nbsp; But my husband had just bought himself a banjo for almost the same price, so I HAD to do something!<BR>
<BR>
That only takes me through June.&nbsp; I will need a new 1814 gown next summer, so have to start thinking about that.&nbsp; And I bought some brown wool and velvet to make my husband a new tailcoat, so need to work that in somewhere.<BR>
<BR>
Ann Wass</FONT></HTML>

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Subject: Re: [h-cost] Coifs and me
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Date: Sat, 7 Dec 2002 21:46:02 -0500
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V-necklines for me, or anything that makes my already narrow shoulders look
even narrower.  Also, I've never worn a farthingale or pannier gown, but I
highly suspect I'd look very silly due to being quite short.

-- Maral


----- Original Message -----
From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 11:38 AM
Subject: RE: [h-cost] Coifs and me


> Square necklines for me...
>
> T
>
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Stevie Gamble
> Sent: Saturday, December 07, 2002 10:29 AM
> To: h-costume@indra.com
> Subject: [h-cost] Coifs and me
>
>
> Hi all,
>
> I thought I'd combine a couple of recent threads by trying out a coif.
> Never again; I nearly had a heart attack when I looked in the mirror,
> so Heaven know's what it would do to an innocent bystander.
> Are there any particular items of costume -as opposed to entire
> ensembles- which people think are hideously unflattering on them, or
> indeed others?
>
> best wishes
> Stevie
>
>


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Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Sat, 7 Dec 2002 21:47:07 -0500
Status: RO

Ooh, that might be useful indeed.  Wow, thanks for all the suggestions
everybody!  ^_^

-- Maral


----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Saturday, December 07, 2002 9:51 AM
Subject: Re: [h-cost] De-lurking...with a medieval question.


> Hi, Maral.  I remember your question from the first time you posted, but
> didn't have anything that could help you, since I'm pretty ignorant of
> Moorish cultures.
> It occurs to me, though, that I've seen some stuff on Andalusian Spain,
> which had a good mix of Christian and Muslim cultural influences.  I
> could dig that up, if you like?
> --Sue "not a lurker" Clemenger....;-)
>
> Herself-the-Elf wrote:
> >
> > I tried posting this earlier, but I'm not sure it got to the list.  Here
> > goes...
> >
> > Well now that I've pretty much solved my wedding dress problem, I'm
> > wondering about
> > my guy.  I don't think he's likely to want to wear a houppelande or some
> > such, and definitely not the silly shoes.  So I'm trying to think of
> > something different that would still be period (late 14th to early 15th
c).
> > He's got dark skin, so I was thinking maybe a nifty Moorish costume of
some
> > sort.  Does anybody have any information on Moorish (or any
> > middle-eastern/North African) costume of this era?  I haven't been able
to
> > find much detailed info online...
> >
> > -- Maral
> >
> > _______________________________________________
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Date: Sat, 07 Dec 2002 19:05:56 -0800
Status: RO

Those fabulous beaded/embroidered/decorated Art Deco Dresses look like 
expensive bundles of neglected laundry on (pear shaped) me.

Theresa Eacker

Talia wrote:

> Square necklines for me...
Stevie wrote:
> I thought I'd combine a couple of recent threads by trying out a coif.
> Never again; I nearly had a heart attack when I looked in the mirror,
> so Heaven know's what it would do to an innocent bystander.
> Are there any particular items of costume -as opposed to entire
> ensembles- which people think are hideously unflattering on them, or
> indeed others?
> 
> best wishes
> Stevie
> 
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Date: Sat, 07 Dec 2002 22:04:37 -0500
Status: RO

Hello everyone,
I'd thought I would jump in instead of lurking and only asking
questions.
 I have too many things that I want to do for next year,it is doubtful I
can complete all of them.
First on my list is finishing the beading of under sleeves to a green
gown. Next is the Elizabethan coif. I have the linen, the silk thread (
I owe Bjarne thanks for the link to Nan's site) and the pattern (Thanks
to Drea's site ) and instructions, all I need is time and the know how.
Then I hope to make a Ropa. I have a black and gold fabric that I love,
whether its period or not I can see a Ropa every time I look at it.
I want to take two more classes on line.  I hope to enter another
competition, win or lose they are fun and test my endurance. 
I have two sets of 16th century man's outfits to make, which I hope to
have completed by July. Plus I hope to begin a 1650's gown.  I'm on the
hunt for the fabric and trim now. (I'm placing blame on Nicole for this
one.  I love the blue gown. I know its redundant but the Blue gown is
sinnfully beautiful.) To end this madness of mine I want to improve my
hat making skills.  I will attempt to make two more tall hats, another
Italian bonnet, and one more french hood.
All I want and need for Christmas is 36 hours in a day. 

I think that is my list of projects for next year for me. But something
always gets added.

Diana
-who is looking at two skirts to be stitched, one hat to be finished and
the under sleeves.
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Date: Sat, 07 Dec 2002 19:09:34 -0800
Status: RO

Oh, yeah, that'll do it for the pear=shaped species among us!!!

Theresa Eacker

N Kipar wrote

 > Peplos gowns: 'string' in the waist but excess fabric from top bloused over
> that = everything as wide as the widest part, the hips, and 'boat' neckline.
> *shudder*
> 
> Nicole
> 
> 
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
> 
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Subject: Re: [h-cost] Bleaching/lightening fabric
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Date: Sun, 8 Dec 2002 16:17:00 +1300
Status: RO

> Oh wow, Lee, that looks JUST like what I would need for a lace of mine,
thanks
> for sharing this. I just fear that shipping from the US might be a tad
> expensive. :-( Still, I think I'll order some in the new year.

Try Dylon pre-colour. I use it and I understand it's available in the UK.
But now just reading that you've had problems with it.. I don't know what to
suggest. I find it took every last trace of a screaming fushia from 10m of
silk chiffon. And it managed to remove most of the dye in a silk saree (the
one I used for my Eowyn costume- it was a very dark red brown). I did find
for the saree I had to do it twice because of the dye content I assume. Very
stubborn and it was second hand so it must havce survived some washings;)

It's also pretty inexpensive so if you need two tubs it's not that big a
deal. And tubs for those not familiar with the stuff actually means a small
flat tin about 2 inches in diameter;)

I'm about to try using to remove colour from some metal and something lace;)
I don't think it's made from aluminium so it sould be fine. Bleaching it
just fades it a bit and the green to grey and I want it lighter than that.

I did find I had to stick very carefully to their instructions and when I
tried speeding it up it didn't work so well.

michaela





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Subject: Re: [h-cost] off topic/ paper clay
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Date: Sun, 8 Dec 2002 16:19:31 +1300
Status: RO

> I have just ben surfing a little on the internet and found some amzing
dolls
> made of paper clay.
> Are there anyone here, who knows this?
> Is it good to work with?

I use Das which is the same concept, probably different properties though:)
I make mixed media cats from it, the other media being cloth.

I do prefer polymer clays though to make dolls. And I mix sculpey, FIMO and
Du Kit to get a clay pliable enough but not too pliable for the sculpting
and neither brittle nor soft when baked.

Haven't made a doll in a while though. Maybe I'll go back to it at another
date:)

michaela



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Date: Sat, 07 Dec 2002 19:18:16 -0800
Status: RO


> I'm having a hard time imagining how this works. I usually have a hard
> time trying to imagine what some technique looks like without a
> picture attached ;-) Could you try explaining it again? Or do you have
> pictures/sketches of this technique?

This is one which is almost impossible to really explain. Pictures 
work the best but I don't have a website to show my diagrams. And 
some people actually have to have it demonstrated slowly in front of 
them. (I've taught this class *far* too many times and it always 
absolutely exhausts me.)

I don't know of any good books which show all the techniques. The 
Costume Technician's Handbook has one of the techniques. I suspect 
that you could do a Google search online and find some pictures as 
well.

Kat Russell
<kat@grendal.rain.com>

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Date: Sat, 07 Dec 2002 19:18:16 -0800
Status: RO

T
> >Also, many people think that cartridge pleats are only sewn on one
> >edge (the top.) It really depends on the look one is going for. If
> >you want them to hang down, you sew them only at the top. If you want
> > to them to stand out some, you sew them at the top and bottom of the
> > pleat. 
> 
> Actually, if you want them to hang straight down, you sew them at the
> *bottom* of the pleat.  You're then left with the pleated section
> jutting out like a little shelf, a look some people like but I can't
> stand.  

You are making me wish we had a better way of exchanging drawings as 
we may be saying the same thing!

Kat Russell
<kat@grendal.rain.com>

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Date: Sat, 7 Dec 2002 23:13:12 -0500
Status: RO

I have a couple of projects that I have been too busy to get to for at least 
12 months now:

A bliaut (in rust colored wool crepe) with a gold kirtle

A 1840's ball gown, in pale blue satin with a bertha of ivory-colored Alencon 
lace (machine made but still quite nice).  

At the rate I'm going at work, though, I wouldn't bet on my chances of getting 
either done in 2003....

Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Date: Sat, 7 Dec 2002 23:15:08 -0500
Status: RO

On Saturday 07 December 2002 10:09 pm, Theresa Eacker wrote:
> Oh, yeah, that'll do it for the pear=shaped species among us!!!
>
And *that* reminds me of the other fashion I look hideous in:  the miniskirt!  
(especially the microminis and no-waisted stuff of the 1960's and early 
1970s).  My thighs are disproportionately large compared to the rest of me, 
and I look grotesque in anything with a hemline signficantly above the knee.
-- 
Cathy Raymond <cathy@thyrsus.com>

"You shall know the truth and the truth shall make you odd."
 --Flannery O'Connor

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Date: Sun, 8 Dec 2002 15:09:51 +1100
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> I joined in the early 90's, while I was working in Tennessee.  After
I moved back to PA in the late 90's, I had some problems keeping
subscribed.  I would subscribe and after a couple of weeks I would
stop receiving digests.  After a couple of months of that I let the
whole thing lapse.  I picked the list up again two years ago and
haven't had any problems.
>

I had originally joined in the mid 90's but after a few years Real
Life (tm) intervened and I no longer had time to sift through the
amount of email this list can generate so I unsubscribed.

However I was recently reminded of the lists existence and thought it
might be time to come back and join in.

Baralier
--
Good planning and organisation are just crutches for people who can't
handle stress and caffeine.
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Date: Sun, 8 Dec 2002 15:30:08 +1100
Status: RO

> Sometimes I wonder if this list is really all about
english/american/aussie/
> etc etc etc translation... it seems every month the topic erupts Yet
Again
> of "what do YOU call that?" and it's usually not even sewing or
costume
> related.

I'd hazard a guess that in the process of researching costumes and the
background information the goes with them there are a lot of things
that people find that they don't understand. Sometimes it relates to
the construction of the garment (as the current thread on Tudor
pleating shows) other times it's more of a what is a such-and-such.

> I've been on the list almost ten years now, and I am still regularly
amazed
> how much that pops up.  that, more than any flaming that has ever
happened,
> is the only thing that's made me want to leave.  I just kind of
shake my
> head and go "that again?" and delete the next 100 - 150 messages
from the list.

As I'm sure happens when the discussion involves the minutae of 17th
century panniers if you have no interest in that area. Or the dyeing
of fabrics...

> But, it's a discussion list, and I guess that's what we like to
discuss.

Yup.

> *ducking before she gets flamed*

Nah.

Baralier
--
Good planning and organisation are just crutches for people who can't
handle stress and caffeine.
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate

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From: Theresa Eacker <theresa@misc.com>
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Subject: Wonderful Site (wasRe: [h-cost] OT, but NOT a food question.)
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Date: Sat, 07 Dec 2002 21:08:34 -0800
Status: RO

To Baralier-

I clicked on your URL at the bottom of your msg - what a _GREAT_ site. 
Your photograph with the bats in the leafless tree is fabulous!!!  WOW!!

Thanks for letting us know about the kewl things going on down  your way!!

Theresa Eacker


Baralier wrote:

>>Sometimes I wonder if this list is really all about
>>
> english/american/aussie/
> 
>>etc etc etc translation... it seems every month the topic erupts Yet
>>
> Again
> 
>>of "what do YOU call that?" and it's usually not even sewing or
>>
> costume
> 
>>related.
>>
> 
> I'd hazard a guess that in the process of researching costumes and the
> background information the goes with them there are a lot of things
> that people find that they don't understand. Sometimes it relates to
> the construction of the garment (as the current thread on Tudor
> pleating shows) other times it's more of a what is a such-and-such.
> 
> 
>>I've been on the list almost ten years now, and I am still regularly
>>
> amazed
> 
>>how much that pops up.  that, more than any flaming that has ever
>>
> happened,
> 
>>is the only thing that's made me want to leave.  I just kind of
>>
> shake my
> 
>>head and go "that again?" and delete the next 100 - 150 messages
>>
> from the list.
> 
> As I'm sure happens when the discussion involves the minutae of 17th
> century panniers if you have no interest in that area. Or the dyeing
> of fabrics...
> 
> 
>>But, it's a discussion list, and I guess that's what we like to
>>
> discuss.
> 
> Yup.
> 
> 
>>*ducking before she gets flamed*
>>
> 
> Nah.
> 
> Baralier
> --
> Good planning and organisation are just crutches for people who can't
> handle stress and caffeine.
> http://members.optushome.com.au/velvetspyder
> Costumier & Reprobate
> 
> _______________________________________________
> 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 Dec  8 00:16:57 2002
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From: Sue Clemenger <mooncat@in-tch.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Sat, 07 Dec 2002 22:15:55 -0700
Status: RO

Hi, Maral....
Sorry, but the ones I was thinking of, Nicole already beat me to them. 
So if you caught her post with the links, that's what I was thinking of,
too.
I guess great minds think alike, huh Nicole? Even if they're oh....7,000
miles apart? <weg>)
--sue

Herself-the-Elf wrote:
> 
> Ooh, that might be useful indeed.  Wow, thanks for all the suggestions
> everybody!  ^_^
> 
> -- Maral
> 
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: <h-costume@indra.com>
> Sent: Saturday, December 07, 2002 9:51 AM
> Subject: Re: [h-cost] De-lurking...with a medieval question.
> 
> > Hi, Maral.  I remember your question from the first time you posted, but
> > didn't have anything that could help you, since I'm pretty ignorant of
> > Moorish cultures.
> > It occurs to me, though, that I've seen some stuff on Andalusian Spain,
> > which had a good mix of Christian and Muslim cultural influences.  I
> > could dig that up, if you like?
> > --Sue "not a lurker" Clemenger....;-)
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From h-costume-admin@indra.com  Sun Dec  8 00:28:59 2002
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Subject: Re: [h-cost] Tudor question
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Date: Sat, 07 Dec 2002 22:28:14 -0700
Status: RO

Hmmmm....the way I'm understanding T's explanation, it sounds like T's
using "top" to mean the pleats on the outer edge of the skirt, and
"bottom" to mean the pleats on the inner edge of the skirt.  So, "sewn
from the top" pleats would mean that the little ledge produced by the
cartridge pleats would be towards the inside, hence not visible.....
    |
    |
    |
    XX
    X
    X
(the dashes being the bodice, and the X's the skirt, with the outside of
the garment to the left).
And "sewing from the bottom" would put the little shelf to the outside
of the garment, like this:
     |
     |
     |
     |
   XX
   X
   X

Of course, sewing both "top" and "bottom" would give you:
     |
     |
     |
     |
   XX|
   X
   X

This last tends to make the whole skirt stand out from the body a
little.  I think it looks the neatest, but it *is* more work, and may
not give exactly the look you're after.
Sorry for the bad ASCII art....
--Sue's 2 euro-worth on a foggy Saturday night, when she *should* be in
the living room, sewing....;-P

kat@grendal.rain.com wrote:
> 
> T
> > >Also, many people think that cartridge pleats are only sewn on one
> > >edge (the top.) It really depends on the look one is going for. If
> > >you want them to hang down, you sew them only at the top. If you want
> > > to them to stand out some, you sew them at the top and bottom of the
> > > pleat.
> >
> > Actually, if you want them to hang straight down, you sew them at the
> > *bottom* of the pleat.  You're then left with the pleated section
> > jutting out like a little shelf, a look some people like but I can't
> > stand.
> 
> You are making me wish we had a better way of exchanging drawings as
> we may be saying the same thing!
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Coifs and me
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Date: Sat, 07 Dec 2002 22:15:43 -0800
Status: RO

>Are there any particular items of costume -as opposed to entire
>ensembles- which people think are hideously unflattering on them, or
>indeed others?
>
Unfortunately for me, considering my specialty, I look hideous in an
Elizabethan closed ruff. 

Margo
"One Tough Costumer"


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Date: Sat, 07 Dec 2002 22:20:43 -0800
Status: RO

>It's a good word; I commend to you also 'statuesque' and, in the case
>of a short large lady, 'pocket Venus'.
>
I personally like to use the term "Sumptuous".  

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
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Date: Sat, 07 Dec 2002 22:25:26 -0800
Status: RO

At 11:50 PM 12/07/2002 +0100, Bjarne og Leif Drews wrote:
>Hello.
>I have just ben surfing a little on the internet and found some amzing dolls
>made of paper clay.
>Are there anyone here, who knows this?
>Is it good to work with?
>
>Bjarne who is a little scared, i might find yeat another thing to
>do..............
>

Bad news, Bjarne, you've got another hobby on the way!  I've made a few
dolls with paper clay and I found it really easy to work with.  It's
basically a very fine grained paper maiche.  By wetting it or letting it
get mostly dry, you can work with it in any state from almost liquid to
leather like. It air drys and after it's dry you can carve and sand it for
even more detail.

Have fun!

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From h-costume-admin@indra.com  Sun Dec  8 01:33:59 2002
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Subject: Re: [h-cost] Tudor question
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Date: Sat, 07 Dec 2002 22:36:10 -0800
Status: RO

At 07:18 PM 12/07/2002 -0800, kat@grendal.rain.com wrote:
>T
>> >Also, many people think that cartridge pleats are only sewn on one
>> >edge (the top.) It really depends on the look one is going for. If
>> >you want them to hang down, you sew them only at the top. If you want
>> > to them to stand out some, you sew them at the top and bottom of the
>> > pleat. 
>> 
>> Actually, if you want them to hang straight down, you sew them at the
>> *bottom* of the pleat.  You're then left with the pleated section
>> jutting out like a little shelf, a look some people like but I can't
>> stand.  
>
>You are making me wish we had a better way of exchanging drawings as 
>we may be saying the same thing!
>

Oh, me too!  I can't wait for email sketchpads!

When I'm talking about the shelf effect, I don't mean the spring out from
the waist you get when you sew both the top and bottom of the pleats to the
waistband.  That's lovely, and can give the same effect of a bumroll
without having to wear one, if the pleats are stiff enough.  I jsut don't
have enough room in my waist area for it to work for me.  What I'm talking
about being ugly is when just the bottoms of the pleats are sewn to the
edge of the waisband or yolk or whatever, and the folded edge of the
pleated section sticks out, bleah.  You don't see it much, thank goodness. 

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Sat, 07 Dec 2002 22:41:29 -0800
Status: RO

I just got back from a trip to the Bay Area, and I saw the most peculiar
thing.  On University Avenue in Berkeley, there are a number of stores that
sell saris, shalwar kameeez, etc.  One of them had a sign in the window
that said, "Japanese Sari and Custom Tailoring".  What the heck?  Can
anyone tell me what a "japanese sari could possibly be? I'm baffled.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Sat, 07 Dec 2002 22:41:29 -0800
Status: RO

I just got back from a trip to the Bay Area, and I saw the most peculiar
thing.  On University Avenue in Berkeley, there are a number of stores that
sell saris, shalwar kameeez, etc.  One of them had a sign in the window
that said, "Japanese Sari and Custom Tailoring".  What the heck?  Can
anyone tell me what a "japanese sari could possibly be? I'm baffled.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Sun, 08 Dec 2002 08:28:21 -0000
Status: RO

On 7 Dec 2002 at 18:17, Lavolta Press wrote:

> Actually, that quote below  is from someone else's message. I didn't
> write it.

Whoops, sorry. It's been one of those weeks :(



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Subject: Re: [h-cost] Favorite Designers
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Date: Sun, 8 Dec 2002 04:06:43 -0500
Status: RO

This is a multi-part message in MIME format.

------=_NextPart_000_00F2_01C29E6F.37EF8E00
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Kathleen,

I have just started on the bios.  I appreciate you volunteering.  I have to
locate my list again... it is in this office somewhere.  Some of the
designers I can find plenty of illustrations but have never seen written
word about them other than the illustration caption.  When you get started
in January write me and I will have located the list by then.

One of the reasons for this project is that most people know who the big
designers for certain periods are, but forget who the less known designers
were.  These little designers also made an important contribution to the
industry.  I just find it so sad that these designers were in international
publications every month.  Over the years, time forgets them.

One real puzzle to me is I have a lot of renderings of designs by Madeleine.
I suspect this is Vionnet in her early years, but I have not found
documentation that her house was named this from 1920-1925.  And I have not
found text documentation of a fashion house of Madeleine.  I have a 1922 NYC
reproduction designer client book with 33 large plates of Parisian designs.
There are some of Madaleine's designs.  So I know she must have been an
important designer.  BTW, this book is wonderful!!!! Each plate is a single
heavy cardboard-like material.  I couldn't believe I found this.

If you like Erte, you might want to see if you can find this book on eBay,
Art Deco Fashion by Martin Battersby.  Somehow I got a signed copy.  There
are wonderful plates in it from 1908 through the 20s.  Some of the plates
are from Bon Ton Ton, an art publication.  I searched for these plates on
eBay and the lowest price I found was $75.  Out of my price range for
fashion plates.

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


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<DIV>Kathleen,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I have just started on the bios.&nbsp; I appreciate you =
volunteering.&nbsp;=20
I have to locate my list again... it is in this office somewhere.&nbsp; =
Some of=20
the designers I can find plenty of illustrations but have never seen =
written=20
word about them other than the illustration caption.&nbsp; When you get =
started=20
in January write me and I will have located the list by then.</DIV>
<DIV>&nbsp;</DIV>
<DIV>One of the reasons for this project is that most people know who =
the big=20
designers for certain periods are, but forget who the less =
known&nbsp;designers=20
were.&nbsp; These little designers also made an important contribution =
to the=20
industry.&nbsp; I just find it so sad that these designers were in =
international=20
publications every month.&nbsp; Over the years, time forgets them.&nbsp; =
</DIV>
<DIV>&nbsp;</DIV>
<DIV>One real puzzle to me is I have a lot of renderings of designs by=20
Madeleine.&nbsp; I suspect this is Vionnet in her early years, but I =
have not=20
found documentation that her house was named this from 1920-1925.&nbsp; =
And I=20
have not found text documentation of a fashion house of Madeleine.&nbsp; =
I have=20
a 1922 NYC&nbsp; reproduction designer&nbsp;client book with 33 large =
plates of=20
Parisian designs.&nbsp; There are some of Madaleine's designs.&nbsp; So =
I know=20
she must have been an important designer.&nbsp; BTW, this book is=20
wonderful!!!!&nbsp;Each&nbsp;plate is a single heavy cardboard-like=20
material.&nbsp; I couldn't believe I found this.</DIV>
<DIV>&nbsp;</DIV>
<DIV>If you like Erte, you might want to see if you can find this book =
on eBay,=20
Art Deco Fashion by Martin Battersby.&nbsp; Somehow I got a signed =
copy.&nbsp;=20
There are wonderful plates in it from 1908 through the 20s.&nbsp; Some =
of the=20
plates are from Bon Ton Ton, an art publication.&nbsp; I searched for =
these=20
plates on eBay and the lowest price I found was $75.&nbsp; Out of my =
price range=20
for fashion plates.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
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From h-costume-admin@indra.com  Sun Dec  8 04:17:59 2002
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Subject: Re: [h-cost] Favorite Designers
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Date: Sun, 8 Dec 2002 04:16:22 -0500
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Angela,

I am so bad with names of present day designers.  I keep seeing shows on
Style TV with these two guys who are designing bridal gowns that are vintage
inspired.  The beadwork is outstanding!!!!

Of present day designers, I really like Valentino for women and Armini for
men!  You can't beat a man in an Armini suit!!!!! Droll!!! Well, actually I
have been following these two designers for a few decades.  I also like Bill
Blass and Ralph Lauren for menswear... so classy!  Can you tell I sold
menswear for years?  My husband and I spend too much time watching Style TV.
We can watch the runway shows for hours.  We both love to critique the
collections.  One day I am going to make it to that NY University Symposium
with the top designers!

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


------=_NextPart_000_0100_01C29E70.90ED6D00
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>Angela,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I am so bad with names of present day&nbsp;designers.&nbsp; I keep =
seeing=20
shows on Style TV with these two guys who are designing bridal gowns =
that are=20
vintage inspired.&nbsp; The beadwork is outstanding!!!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Of present day designers, I really like Valentino for women and =
Armini for=20
men!&nbsp; You can't beat a man in an Armini suit!!!!! =
Droll!!!&nbsp;Well,=20
actually I have been following these two designers&nbsp;for a few =
decades.&nbsp;=20
I also like Bill Blass and Ralph Lauren for menswear... so classy!&nbsp; =
Can you=20
tell I sold menswear for years?&nbsp; My husband and I spend too much =
time=20
watching Style TV.&nbsp; We can watch the runway shows for hours.&nbsp; =
We both=20
love to critique the collections.&nbsp; One day I am going to make it to =
that NY=20
University Symposium with the top designers!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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Subject: Re: [h-cost] Peculiar Combination
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Date: Sun, 8 Dec 2002 22:17:18 +1300
Status: RO


> I just got back from a trip to the Bay Area, and I saw the most peculiar
> thing.  On University Avenue in Berkeley, there are a number of stores
that
> sell saris, shalwar kameeez, etc.  One of them had a sign in the window
> that said, "Japanese Sari and Custom Tailoring".  What the heck?  Can
> anyone tell me what a "japanese sari could possibly be? I'm baffled.

Not sure but I do know when I went saree shopping a lot of fabrics were
woven in Japan. That could possibly be something to do with it?

Particularly fine silk and the prints were very ... blossomy I suppose,
little round petals and quite different to the patterns I've got in my
collection of second hand ones.

michaela



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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] De-lurking...with a medieval question.
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Date: Sun, 8 Dec 2002 12:08:13 +0000 (GMT)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Hi, Maral....

> I guess great minds think alike, huh Nicole? Even if they're oh....7,000
> miles apart? <weg>)

*grins* oh yes! But they also say 'fools seldom differ'. *winks*

*hugs Sue aaaaaaaaall over the pond and landmass*

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Baralier's web site, was Re: [h-cost] OT, but NOT a food question.
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Date: Sun, 8 Dec 2002 12:38:56 +0000 (GMT)
Status: RO

 --- Baralier <baralier@optusnet.com.au> wrote: > > 

> As I'm sure happens when the discussion involves the minutae of 17th
> century panniers if you have no interest in that area. Or the dyeing
> of fabrics...

*winks* 18th century, 18th...

Anyway, I have been spending some time looking through your web site, when taht
was suggested (hadn't seen your link in the first place) and I am enjoying
myself immensely. GREAT photos of SUPER costumes! May I plug your site?

http://members.optushome.com.au/velvetspyder/

It did crash my Netscape 7 and Internet Explorer, but works fine on Netscape
4.7. Go figure *G*

Nicole - who was a Goth herself once upon a time from 17 onwards but kinda
stopped at 20 coz of realising that she loved the colours and clothes, but was
bored by the philosophy behind it. Whoops. :-)


=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Re: how many of us are there?
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Date: Sun, 8 Dec 2002 13:16:33 -0000
Status: RO

Fran wrote, in response to my note::

> > I don't think you have to apologise either. People lurking on this
> > list don't want to be told that a nice little polycotton mix will
> > perfectly reproduce the handkerchief linen chemise they would like
to
> > have; they know perfectly well that it won't. Or at least they
will
> > know within 30 seconds of putting it on; there's a very large
> > distinction between 'lurking' and 'stupid'. They want to learn.
You
> > can only learn by working at it, and sometimes that's hard. But
> > putting vast amounts of time, energy and money into an ensemble
which
> > looks dreadful is a lot harder.

> But not everyone considers a poly-cotton chemise to be a waste of
time
> and money.

I didn't say that they did.

>It suits some people perfectly well--not because they're
> ignorant, but because it fulfils their goals.

Again, I didn't suggest that they were ignorant.

>Whether it fulfils the
> goals of some other person who is not wearing it and does not
officially
> set goals for some organization they both belong to, is entirely
beside
> the point.

Since I didn't suggest that it was to the point I'm puzzled as to why
you are addressing this to me.

> Others would like to have the 100% linen but can't afford it. They
don't
> want to be told they are ignorant, that they "ought to" afford
linen,
> etc.

Again, I didn't suggest any of those things.

> If someone's outfit fulfils the goals _officially_ set by their
> organization or employer, and it fulfils their own goals in terms of
> what they want to wear, what they can afford, what they are able to
make,
> etc.--it is never a waste of time and money.

Again, I didn't suggest this not to be the case.

>There is no reason to throw
> something out just because of freelance criticism, on the net or
> elsewhere.

I entirely agree, not least because I don't have the sort of income
which allows me to throw things out willy-nilly.  But even if I did
have the money, I would regard doing so as symbolic of a culture which
trashes our planet and all the species we co-exist with here, and I
don't want to be like that.

> My point is that everyone, when posting, should consider that
h-costume
> has members with many different costuming goals.  Others may not
have the
> same goals  you do, but their goals are still valid for them.
>

Indeed so. I would suggest to you, however, that if you write lengthy
posts setting up strawman targets which you then demolish, then you
run the risk of people concluding that you don't have any real
arguments. Or wondering what your goals are.

Stevie

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From h-costume-admin@indra.com  Sun Dec  8 09:21:00 2002
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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] off topic/ paper clay
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Date: Sun, 8 Dec 2002 07:19:31 -0700
Status: RO

Oh Bjarne you are in trouble!!  You simply must ask for these books for
Christmas from your honey.  I do soft sculpture too, though I haven't
done a lot in paper clay-it is lovely stuff.  I have done sculpting in
regular clay too, it just does not compare to the paper clay.  If you
decide to get into it, look for the paper clay La Doll.  

Oh I am so excited to have someone else (especially you!) interested!!

Anatomy of a Doll: The Fabric Sculptor's Handbook -- by Susanna Oroyan,
et al; Paperback 
Buy new: $18.87 -- Used & new from: $14.85    
2.   Fantastic Figures: Ideas & Techniques Using the New Clays -- by
Susanna Oroyan; Paperback 
Buy new: $16.07 -- Used & new from: $12.74    
3.   Finishing the Figure: Doll Costuming, Embellishments, Accessories
-- by Susanna Oroyan; Paperback 
Buy new: $20.97 -- Used & new from: $18.98    

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Margo Anderson
>Sent: Saturday, December 07, 2002 11:25 PM
>To: h-costume@indra.com; h-costume@indra.com
>Subject: Re: [h-cost] off topic/ paper clay
>
>At 11:50 PM 12/07/2002 +0100, Bjarne og Leif Drews wrote:
>>Hello.
>>I have just ben surfing a little on the internet and found some amzing
dolls
>>made of paper clay.
>>Are there anyone here, who knows this?
>>Is it good to work with?
>>
>>Bjarne who is a little scared, i might find yeat another thing to
>>do..............
>>
>
>Bad news, Bjarne, you've got another hobby on the way!  I've made a few
>dolls with paper clay and I found it really easy to work with.  It's
>basically a very fine grained paper maiche.  By wetting it or letting
it
>get mostly dry, you can work with it in any state from almost liquid to
>leather like. It air drys and after it's dry you can carve and sand it
for
>even more detail.
>
>Have fun!
>
>Margo
>"One Tough Costumer"
>
>
>See the newly updated Historic Costume Patterns website at
>margospatterns.com
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: Exchanging files etc-wasRE: [h-cost] Tudor question
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Date: Sun, 8 Dec 2002 07:22:30 -0700
Status: RO




>You are making me wish we had a better way of exchanging drawings as
>we may be saying the same thing!

I was just thinking the same thing.  I guess there is nothing that
prevents us from starting an H-Cost group on Yahoo or some other host
just to take advantage of the file exchange stuff.

Sg

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From h-costume-admin@indra.com  Sun Dec  8 09:41:44 2002
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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] next years projekts.
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Date: Sun, 8 Dec 2002 07:37:38 -0700
Status: RO

Finish the linen outfit with the shoulder rolls-gosh all I have left is
the trim and hem on the outer skirt!  But all the fun stuff is done-I am
bored with it now.

Do more research on some off-beat country and period that no one else is
doing.

Loose gown and coat-Elizabethan.

Figure out how to make those funky Swiss Headdresses,

Oh and the big 'round' German Headdresses too.

Lose 20 pounds so I can wear my costumes comfortably!

Write up instructions on organ pipe pleats and cartridge pleats and post
it somewhere so we can quit talking about it!!!  :)


What a great topic.  We should check back next year and see how well we
do :)

Sg




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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] next years projects.
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Date: Sun, 8 Dec 2002 16:00:09 +0000 (GMT)
Status: RO

I LOVED reading everyone's projects, now here goes, my far too optimistic list,
and I'm the world's slowest sewer. ;-) In no prticular order other than what
comes to mind:

- second gentleman's fine linen and lace shirt for Ben, bought 20 meters of
different qualities of linen at the market.

- new scarlet silk and silver tassel fringe Officer's sash for Ben, have the
silk, have the silver fringe, was too bored to make it yet.

- dark blue worsted wool lined with scarlet wool 1660s Officer's coat for Ben,
with silver lacing. All the material is already at home.

- worsted circular cloak for the 1660s and 70s, not sure about colour yet.

(now that I have him out of the way)

- lower class 1700 dark green wool bodice. I got the leather stays to go
underneath at the re-enactor's market last month.

- diverse linen coifs for different decades and levels of society. Toiles are
cut out already.

- dark red silk split petticoat, to go with the dark red 1660s bodice that
Bjarne made me, to be worn over an ivory silk petticoat, thus I already have
the fabric, it will be lined with the ivory silk from below.

- new ivory silk and gold laced petticoat because the stupid thing got totally
ruined at a re-enactment this year. ARGH! Mud is NOT good.... must get new silk
from Whaley's and use this one as lining.

(now ontowards fantasy costumes)

- the Queen of Shadows black Elizabethan dress from Margo's patterns.

- the Eowyn white Pre-raphaelite dress, arms and armour either borrowed from
ben or Colin or made for me as prezzies from Ben.

- the Knight of Shadows/guard of the Queen Byzantine style tunics/cloak for Ben
to go with my Queen.

(last but not least some mundane clothing)

- Folkwear poet's shirt, already cut out of a lovely ribbed glazed cotton.

- machine blackwork embroidered ivory glazed cotton shirt, already cut out,
partly assembled and mostly embroidered.

- kind-of-1700 coat/waistcoat, totally inauthentic because of being assembled
from different decades, pattern by Sarah Thursfield custom pattern maker, made
out of the remains of the black and silver brocade my mantua is made of, lined
with scarlet silk, as my wedding outfit for my best friend's wedding!

and most important of the whole lot:

- white linen and fine lace baby bonnet, inspired by 18th century ones, for my
godchild-to-be for (her, oh yes, it appears to be a 'her', a little Elizabeth!
so the last scan said, yippieh!) the christening.

- baby blanket in purple or dark red soft fleece with golden stars.

- soft baby toys, Saragrace sent me some great links.

To sum it all up: I will NEVER finish all of the above, but a girl can dream
and have plans :-)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Sun, 8 Dec 2002 11:01:31 -0500
Status: RO

This is a multi-part message in MIME format.

------=_NextPart_000_043E_01C29EA9.2B6FE410
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I've read the recent laments re: lack of image transfer on h-costume, and I
have a few ideas:

1) Doesn't H-costume have a website? If so, could images be submitted for
posting here, and a link provided to them?

2) Yahoo (yes, I know - lousy privacy issues - but bear with me) - you can
start a Group or Photo Album for the express purpose of posting/sharing
sketches and photos. Yahoo provides a lot of free disc space and if
compressed well images do not take up much space so they could be left
indefinitely.

Thoughts?

Allison

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<P><FONT SIZE=3D2>I've read the recent laments re: lack of image =
transfer on h-costume, and I have a few ideas:</FONT>
</P>

<P><FONT SIZE=3D2>1) Doesn't H-costume have a website? If so, could =
images be submitted for posting here, and a link provided to =
them?</FONT>
</P>

<P><FONT SIZE=3D2>2) Yahoo (yes, I know - lousy privacy issues - but =
bear with me) - you can start a Group or Photo Album for the express =
purpose of posting/sharing sketches and photos. Yahoo provides a lot of =
free disc space and if compressed well images do not take up much space =
so they could be left indefinitely.</FONT></P>

<P><FONT SIZE=3D2>Thoughts?</FONT>
</P>

<P><FONT SIZE=3D2>Allison</FONT>
</P>

</BODY>
</HTML>
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Date: Sun, 08 Dec 2002 08:09:10 -0800
Status: RO


> >You are making me wish we had a better way of exchanging drawings as
> >we may be saying the same thing!
> 
> I was just thinking the same thing.  I guess there is nothing that
> prevents us from starting an H-Cost group on Yahoo or some other host
> just to take advantage of the file exchange stuff.

Nothing except for people like me who can't do their on-line stuff.

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 8 Dec 2002 11:59:15 -0500
Status: RO

<<<!) I had no idea to 
what extent poly-cotton could or could not reproduce 
linen. >>>

        Ok,  from someone who would love to be totally authentic but
finances get in the way.  I have owned some really good handkerchief
linen in my past and quite honestly, cotton batiste is a decent
substitute.  Poly cotton batiste will look just as good, but it sure
won't feel it.  Linen is wonderful next to the skin.  It is cool and it
breathes and it wicks the sweat away.  Cotton is fairly cool and it
breathes and it holds the dampness like a sponge.  Poly cotton is warm
when you put it on, breathes little and will be sticky and uncomfortable
in short order in hot weather.  From the viewpoint of an observer they
will all pass the ten foot test, but from the viewpoint of the wearer
they are very, very different.

        By the way, the chemise I just made is cotton because I can't
even find decent handkerchief linen and couldn't afford it if I could.  I
am talking about really nice tight weave sheer handkerchief linen, not
the coarse, loose weave stuff they call handkerchief linen most places.

Lalah
Never give up, Never surrender
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Date: Sun, 8 Dec 2002 12:02:29 -0500
Status: RO

        My pink polished cotton Tudor is almost done.  I have the silk
dupioni, velvet, silk satin, and metallic gold lace to do it right.  Next
year I will be working on the Queen Mary gown in proper fabrics!!!!   Yea

Lalah
Never give up, Never surrender
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Date: Sun, 8 Dec 2002 10:01:02 -0600
Status: RO

Could be a cross-language boo-boo. Perhaps it was meant to say something
like
"Japanese (clothing), Saris, and Custom Tailoring"?

T.

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Margo Anderson
Sent: Sunday, December 08, 2002 12:41 AM
To: h-costume@indra.com; h-costume@net.indra.com
Subject: [h-cost] Peculiar Combination


I just got back from a trip to the Bay Area, and I saw the most peculiar
thing.  On University Avenue in Berkeley, there are a number of stores that
sell saris, shalwar kameeez, etc.  One of them had a sign in the window
that said, "Japanese Sari and Custom Tailoring".  What the heck?  Can
anyone tell me what a "japanese sari could possibly be? I'm baffled.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Sun, 08 Dec 2002 12:23:05 -0500
Status: RO



Margo Anderson wrote:
> 

> When I'm talking about the shelf effect, I don't mean the spring out from
> the waist you get when you sew both the top and bottom of the pleats to the
> waistband.  That's lovely, and can give the same effect of a bumroll
> without having to wear one, if the pleats are stiff enough.  I jsut don't
> have enough room in my waist area for it to work for me.  What I'm talking
> about being ugly is when just the bottoms of the pleats are sewn to the
> edge of the waisband or yolk or whatever, and the folded edge of the
> pleated section sticks out, bleah.  You don't see it much, thank goodness.
> 


In a panic here. Can you or did you see that on mine on your site?  It
would be easy to redo if I have that on my two gowns.  I learn more and
more each day. If you can see that on my skirts show me please.

Diana C.
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Date: Sun, 08 Dec 2002 10:31:47 -0700
Status: RO

Hey, Dhannti....what's the addy for your website?
--sue

Dhannti wrote:
> 
> Margo Anderson wrote:
> >
> 
> > When I'm talking about the shelf effect, I don't mean the spring out from
> > the waist you get when you sew both the top and bottom of the pleats to the
> > waistband.  That's lovely, and can give the same effect of a bumroll
> > without having to wear one, if the pleats are stiff enough.  I jsut don't
> > have enough room in my waist area for it to work for me.  What I'm talking
> > about being ugly is when just the bottoms of the pleats are sewn to the
> > edge of the waisband or yolk or whatever, and the folded edge of the
> > pleated section sticks out, bleah.  You don't see it much, thank goodness.
> >
> 
> In a panic here. Can you or did you see that on mine on your site?  It
> would be easy to redo if I have that on my two gowns.  I learn more and
> more each day. If you can see that on my skirts show me please.
> 
> Diana C.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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