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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: lining & bag lining
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I wrote, regarding the Tacuinum Sanitatus:

> > It's worth noting that there are five surviving 14th c. copies (that I
> > know of) of this book, and the text varies slightly, having been
> > translated from Arabic into Italian at that time. Then, for the modern
> > publications, it has been translated into English. So the descriptions
> > differ, sometimes in crucial details. The original might have been
> "linen
> > layer" or just "linen under the wool" or any of a variety of things --
> > without checking the originals, I wouldn't know. I have several
> > translations of several of the passages from a different source, but
> don't
> > remember offhand whether I have more than one translation of Wool. I
> will
> > look it up if people care, but not today.

On Wed, 26 Jan 2005 sunshine_buchler@agilent.com wrote:

> If it doesn't take too long, I would definitely be interested! Thank
> you! Also, is there a published reference to the increase in period
> references to lined garments in the 14th century -- I'd love to be
> able to site something when I write up my documentation for the
> outfit... :-)

Last thing first: I'm 99% certain I read some discussion of the increase
in references to lined garments in Christopher Dyer's "Standards of Living
in the Later Middle Ages," but I don't want to try locating the book, much
less the reference, at this moment. It's a good read, and I don't feel
guilty advising you to get it for yourself (ILL if it's not in your own
library).

Now, to the other matters.

_The Medieval Health Handbook_, by Luisa Cogliati Arano (Braziller, 1976)  
is a lovely illustrated book summarizing the contents of five surviving
illuminated copies of the Tacuinum Sanitatus. I use it mostly for the
artwork (Northern Italian crossed with French in style) and a general
guide to content.

Some cautions on the translations: The texts of the medieval manuscripts
were originally translated from an Arabic source into Latin (not Italian
as I had above, sorry) perhaps in the 11th century. The entries (covering
the health effects of various foods, herbs, activities etc.) were
presented in tabular form in that Latin version. The illuminated
manuscripts came much later; four were from about 1380-1400, one more
post-1400; they contain an abbreviated version of the earlier Latin text,
to accompany illustrations. More recently, two of the medieval books were
translated to modern Italian for Arano's original publication, which
included parts of other modern translations of the other three books. This
was then all re-translated to English for the Braziller edition I have
here. So I would not put a lot of effort into trying to tweeze out details
of clothing terminology from a close reading; we can't be certain how much
was subtly changed along the way.

>From the Tacuinum of the Casanatense Library, Rome:
	Woolen clothing (vestis lanea): Nature: Warm and dry. Optimum: The
	thin kind from Flanders. Usefulness: It protects the body from
	cold and holds warmth. Dangers: It causes skin irritation.
	Neutralization of the Dangers: With thin linen clothing.

>From the Tacuinum of Liege:
	Woolen clothing (vestis de lana): Nature: Warm and dry in the
	second degree. Optimum: That which is made from the very good wool
	from Flanders. Usefulness: It conducts heat. Dangers: It
	overheats. Neutralization of the Dangers: With linen clothing.

The book doesn't give translations from the Paris or Vienna copies, and
the Rouen copy doesn't include the woolen clothing entry. There are also
entries for silk and linen.

Another nice picture book, _The Four Seasons of the House of Cerruti_
trans. by Judith Spencer, is a translation and facsimile of the Vienna
manuscript. The translation, as with the book mentioned above, was made
into another modern language (I'm not sure which) before Spencer
translated it into English. It bills itself as a "free but faithful
treatment" of the original work in which "the integrity of the text of the
Vienna manuscript is preserved." That might be the case, or that might be
double-speak for "we fixed it up but it's pretty much the general idea."
Fact is, the Arano book does include some quotes from the Vienna
manuscript, which are in itemized-list format like the ones quoted above,
but the same passages are in rather beefed-up paragraph form in the
Spencer book. So I wouldn't be quite sure which of the following paragraph
were the translater's additions for purposes of creating more readable
prose.

Here, we have:
	Woolen clothes (vestis lanea): Clothes are suited to praeparatio
	aeri, or the adaptation of the climate to life, which is one of
	the seven things essential to good health. Clothes made of wool,
	whose nature is warm and dry, are beneficial in the winter to old
	people, life in northern regions, cold constitutions, all things
	that, of the four elements, correspond to water. These clothes,
	especially those in fine Flemish wool which are to be preferred,
	draw the inner heat from the body and keep it warm. The advantage
	of wool can also be a disadvantage: as too much warmth is harmful,
	wear a thin linen garment under the wool.

I wouldn't read any of this as either supporting or denying the use of
lining. I would, however, take it as fairly strong support for the use of
a linen chemise or undergarment.

 --Robin

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
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Subject: Re: [h-cost] yet one more of faux fur
Date: Tue, 1 Feb 2005 06:15:56 -0500
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It is sheepskin used for jackets, vests, hats, and heck, warm clothing.  The
garments are often made with the fur inside and the sueded leather outmost.
Very trendy just now.

Kathleen
----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1122754520.67cba2@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, January 31, 2005 3:21 PM
Subject: Re: [h-cost] yet one more of faux fur


> Lloyd Mitchell wrote:
>
> > The fur looks and feels just like a quality sherpa skin. But All
> Synthetic!
>
> Since I'm sure that no one is skinning Sherpa mountain guides, this must
> be something else -- what's sherpa?
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
>
> Vengeful Venus Day!  Tired of the sickly-sweet sentiments, or unlucky in
> love?  Cranach Venus feeling vengeful on t-shirts & etc by yours truly:
> http://www.cafepress.com/virtueventures/483955
> _______________________________________________
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Subject: Re: [h-cost] yet one more of faux fur
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Lloyd Mitchell wrote:

> It is sheepskin used for jackets, vests, hats, and heck, warm clothing.  The
> garments are often made with the fur inside and the sueded leather outmost.
> Very trendy just now.

Oh!  Faux "shearling."  I understand, thanks!

(I don't know how many times I've explained to friends what real 
shearling is vs. the various approximations.)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Subject: Re: [h-cost] Hollyrome vs. Rome
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Them thar documentary makers won't fool me. Rome isn't really Rome without 
wristwatches, red sports cars and aircraft contrails,

-C.


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Subject: [h-cost] pink anglaise dress
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Hi.
Now it is beginning to look all right. The pink dupioni anglaise dress for 
my niece for the mask ball.
I need to make the finishing touches, and i think i will add a broad stripe 
of the purple taffeta to the underskirt.
http://www.my-drewscostumes.dk/maskebal.htm
The embroidery in the last picture is ment to be made to a small purse for 
her.
And if i get the time, she also is going to have a little hat.
This has ben fun making it, and i have learned quite a few things from it, 
and finally i got rhid of that pink dupioni :-)
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Documentation of worsted wools in 1550?
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Hey Suzi... as far as I can tell, and I'm going by the OED,  yes at this 
time it was a garment.   Bridgette / Mari



>Shakespeare makes Shylock say "...and spit upon my Jewish gabardine" in 
>"Merchant of Venice. Was it a garment at that time?
>
>Suzi

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Wow, Robin, thanks heaps! I love this sort of thing! ;-D
--sue, who wants to be a scholar instead of a dilletante when she 
eventually grows up, too.....

Robin Netherton wrote:


> Last thing first: I'm 99% certain I read some discussion of the increase
> in references to lined garments in Christopher Dyer's "Standards of Living
> in the Later Middle Ages," but I don't want to try locating the book, much
> less the reference, at this moment. It's a good read, and I don't feel
> guilty advising you to get it for yourself (ILL if it's not in your own
> library).
> 
> Now, to the other matters.
<snipped>


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Subject: Re: [h-cost] pink anglaise dress
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Oh Bjarne, like everything else you do, it's BEAUTIFUL!!!  You are such an inspiration to me.  I can't wait to get home to work on my projects after seeing what you're creating.
 
Thanks so much for sharing,
 
Chris G.

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi.
Now it is beginning to look all right. The pink dupioni anglaise dress for 
my niece for the mask ball.
I need to make the finishing touches, and i think i will add a broad stripe 
of the purple taffeta to the underskirt.
http://www.my-drewscostumes.dk/maskebal.htm
The embroidery in the last picture is ment to be made to a small purse for 
her.
And if i get the time, she also is going to have a little hat.
This has ben fun making it, and i have learned quite a few things from it, 
and finally i got rhid of that pink dupioni :-)
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Whaaaaaa!!!!!!!!!!!!!!
It looks great!!
I love the colour combination!
And the embroidery for the purse is so sweete.

Greetings,
       Deredere

Bjarne og Leif Drews wrote:

> Hi.
> Now it is beginning to look all right. The pink dupioni anglaise dress 
> for my niece for the mask ball.
> I need to make the finishing touches, and i think i will add a broad 
> stripe of the purple taffeta to the underskirt.
> http://www.my-drewscostumes.dk/maskebal.htm
> The embroidery in the last picture is ment to be made to a small purse 
> for her.
> And if i get the time, she also is going to have a little hat.
> This has ben fun making it, and i have learned quite a few things from 
> it, and finally i got rhid of that pink dupioni :-)
> Bjarne
>
>
>
>
>
> 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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Sorry to be OT, but since you folks know the book--what time period does
Dyer consider to be the "Later Middle Ages'?

Thanks,
Arlys

> > Last thing first: I'm 99% certain I read some discussion of the 
> increase
> > in references to lined garments in Christopher Dyer's "Standards 
> of Living
> > in the Later Middle Ages," 

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Subject: Re: [h-cost] yet one more of faux fur
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----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1122809164.af56c5@thibault.org>

> (I don't know how many times I've explained to friends what real shearling 
> is vs. the various approximations.)


Around $500 to $3000 or more?  =}

-E House  (has several good sources for real shearling, and is starting to 
wish she hadn't sworn off sewing thick leather.) 

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Bjarne og Leif Drews wrote:

> Hi.
> Now it is beginning to look all right. The pink dupioni anglaise dress 
> for my niece for the mask ball.
> I need to make the finishing touches, and i think i will add a broad 
> stripe of the purple taffeta to the underskirt.
>
Mmmm.. I wouldn't do that.
What about a pink flounce and little purple ribbon flowers?
Or some white lace

Greetings,
       Deredere

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Subject: Re: [h-cost] yet one more of faux fur
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E House wrote:
>> (I don't know how many times I've explained to friends what real 
>> shearling is vs. the various approximations.)
> 
> Around $500 to $3000 or more?

For a coat, I suppose?  Usually I tell them about it for bedroom 
slippers, which aren't nearly so pricey.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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From: "Jennifer / Guenievre" <generys@blazemail.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Dyer's 'Later Middle Ages'
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The full title is Stnadards of Living in the Later Middle Ages: Social
Change in England c. 1200-1520.

Guenievre



> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Cynthia J Ley
> Sent: Tuesday, February 01, 2005 9:46 AM
> To: h-costume@indra.com
> Subject: [h-cost] Dyer's 'Later Middle Ages'
> 
> Sorry to be OT, but since you folks know the book--what time period does
> Dyer consider to be the "Later Middle Ages'?
> 
> Thanks,
> Arlys
> 
> > > Last thing first: I'm 99% certain I read some discussion of the
> > increase
> > > in references to lined garments in Christopher Dyer's "Standards
> > of Living
> > > in the Later Middle Ages,"
> 
> _______________________________________________
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Subject: Re: [h-cost] pink anglaise dress
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> Bjarne og Leif Drews wrote:
>> Now it is beginning to look all right. The pink dupioni anglaise dress
>> for my niece for the mask ball.
>> I need to make the finishing touches, and i think i will add a broad
>> stripe of the purple taffeta to the underskirt.

Dierdre write,
> Mmmm.. I wouldn't do that.
> What about a pink flounce and little purple ribbon flowers?
> Or some white lace

     I like the color combination!  It sounds like Bjarne is talking about
using the same style lines as an earlier gown he made - I think it
was pink or salmon with white pabels on either side of the gown and a
white panel at the bottom of the petticoat.  I recognized it from a
fashion plate.

     Is there a reason not to do that, Dierdre - too much mixing of
decades?  I see it as a fantasy/interpretation with the bright pink
fabric, so if it looks good... ?

     -Carol
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Subject: Re: [h-cost] Q on selling books
Date: Tue, 1 Feb 2005 07:22:57 -0800
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I'm afraid for the quickest return ebay is still one of the best. The cost
of listing is small, it reaches the most people with the largest retun.

Brin Kendall


----- Original Message ----- 
From: "Brenda Bell" <webwarren@earthlink.net>
To: <h-costume@indra.com>
Sent: Monday, January 31, 2005 12:36 PM
Subject: [h-cost] Q on selling books


Things have gotten really tight here; I need to sell off some of my library
to pay for basic needs such as food and rent. The books range from Lando
Synge's _Art of Embroidery_ to the little pocket-style book, _Heaven in
Art_, plus a couple of (probably OT) items such as _Wales: A History_...

Any hints on where I'm best off listing a few items at the time for the
least cost, and bringing in the largest return?

Thanks in advance.



Brenda
webwarren@earthlink.net


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Subject: Re: [h-cost] pink anglaise dress
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aquazoo@patriot.net wrote:

>>Bjarne og Leif Drews wrote:
>>    
>>
>>>Now it is beginning to look all right. The pink dupioni anglaise dress
>>>for my niece for the mask ball.
>>>I need to make the finishing touches, and i think i will add a broad
>>>stripe of the purple taffeta to the underskirt.
>>>      
>>>
>
>Dierdre write,
>  
>
>>Mmmm.. I wouldn't do that.
>>What about a pink flounce and little purple ribbon flowers?
>>Or some white lace
>>    
>>
>
>     I like the color combination!  It sounds like Bjarne is talking about
>using the same style lines as an earlier gown he made - I think it
>was pink or salmon with white pabels on either side of the gown and a
>white panel at the bottom of the petticoat.  I recognized it from a
>fashion plate.
>
>     Is there a reason not to do that, Dierdre - too much mixing of
>decades?  I see it as a fantasy/interpretation with the bright pink
>fabric, so if it looks good... ?
>  
>
I think it wil make the dress look dark.
With the pictures I saw with dresses that have such panels the dress 
fabrick is darker than that of the panels.
But it is just my taste and not historically based.
I love the way it is now but there is indeed stil something missing.


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From: elena_o_tighearnaigh@comcast.net (Elena O'Tighearnaigh)
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] pink anglaise dress
Date: Tue, 01 Feb 2005 15:59:04 +0000
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Bjarne, it is simply *stunning*!  I had a full 10 seconds of after image!

One of these days I'll be as good as you are....

--
Slan go foill 
Elena ÓTighearnaigh Įtha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> Hi. 
> Now it is beginning to look all right. The pink dupioni anglaise dress for 
> my niece for the mask ball. 
> I need to make the finishing touches, and i think i will add a broad stripe 
> of the purple taffeta to the underskirt. 
> http://www.my-drewscostumes.dk/maskebal.htm 
> The embroidery in the last picture is ment to be made to a small purse for 
> her. 
> And if i get the time, she also is going to have a little hat. 
> This has ben fun making it, and i have learned quite a few things from it, 
> and finally i got rhid of that pink dupioni :-) 
> Bjarne 
> 
> 
> 
> 
> 
> 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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Subject: Re: [h-cost] yet one more of faux fur
Date: Tue, 1 Feb 2005 11:13:42 -0600
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----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1122822332.10e390@thibault.org>
> For a coat, I suppose?  Usually I tell them about it for bedroom slippers, 
> which aren't nearly so pricey.

Yep, for a coat.  And the amount the shearling fur itself would cost is more 
like 1/5 to 1/10 that... mmmm, profit.

But oh so difficult to sew.

-E House

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Subject: [h-cost] horsehair supplys
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 hi everyone
does anyone know where i can get a contant supply of horsehair, for corset 
padding for a lady,
i dont usually use horsehair with my inflatable crinoline dresses, but this 
lady wants several horsehaie papped hip pads made, and i could only get that 
horrid stuff from the upholstery people and thats not reall any good
thankssara
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] pink anglaise dress
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Hi,
Thanks for your inputs. The stripe i want to add to the underskirt is 
inspired from some fashion prints. Stella Blums Galleries des Modes. Some 
show anglaise dresses with panles of different colour on the overskirts and 
a stripe on the underskirt. I also think i will ad a bow in purple on the 
front bodice.
Now for the hat i am a little in dilemma. I had fallen in love with the 
small triangel hat in Revolution in Fashion on page 39. It wont be in the 
way for those who are going to sit behind my niece in the opera because it 
is so small.
I could however also make her a large hat, wich she could remove when being 
in the opera.
In both cases i have plenty of fabric for pink hat with purple ribbons and 
bows, and i could also go and find some artificiall flowers and some ostrich 
feathers.............

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] Re:Rome and film authenticity.
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Status: RO



>>> anne@montgomerie.demon.co.uk 31/01/2005 21:59:09 >>>
>I was a bit bemused by the idea that it would be unexpected to have 
>lots of sex in something about Rome.  I thought orgies all the way was

>the standard version? 

Me, too - and what about paganism? Surely every schoolchild knows that
the Romans worshipped Jupiter et al. and threw Christians to the lions?
Anyone who's read Lindsey Davis's whodunits has a pretty good image of
the underside of Roman life. They're meant as entertainment, not
authentic history, but the background detail is very convincing.

Kate Bunting
Librarian and 17c reenactor


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Date: Tue, 1 Feb 2005 09:44:33 -0800 (PST)
Subject: Re: [h-cost] pink anglaise dress
From: "Diana Habra" <dch@inreach.com>
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> Hi.
> Now it is beginning to look all right. The pink dupioni anglaise dress for
> my niece for the mask ball.

Bjarne,

Have you ever thought about making a pattern to sell to others?

I am having a 1700's corset made right now and then I plan on making a
dress like the ones you make (you are SO inspiring!).  I was thining how
great it would be to have a copy of your pattern to use.  And I don't
think that there are many patterns for this type of dress available.  I
have seen more patterns for working clothes, not high court dress.

So, if I paid for it, would you sell me a pattern?

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] pink anglaise dress
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Status: RO

I'd opt for the smaller whilst in the opera and perhaps a change after?
 
Chris

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi,
Thanks for your inputs. The stripe i want to add to the underskirt is 
inspired from some fashion prints. Stella Blums Galleries des Modes. Some 
show anglaise dresses with panles of different colour on the overskirts and 
a stripe on the underskirt. I also think i will ad a bow in purple on the 
front bodice.
Now for the hat i am a little in dilemma. I had fallen in love with the 
small triangel hat in Revolution in Fashion on page 39. It wont be in the 
way for those who are going to sit behind my niece in the opera because it 
is so small.
I could however also make her a large hat, wich she could remove when being 
in the opera.
In both cases i have plenty of fabric for pink hat with purple ribbons and 
bows, and i could also go and find some artificiall flowers and some ostrich 
feathers.............

Bjarne






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Bjarne!!! That is so beautiful! Those are the most enchanting sleeves I've
ever seen!!!!

Gail Finke


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Q on selling books
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On Tue, 1 Feb 2005, Edith Reardon wrote:

> I'm afraid for the quickest return ebay is still one of the best. The
> cost of listing is small, it reaches the most people with the largest
> retun.

Has anyone here used half.com for selling books? My impression from when I
looked over the information there is that it would be less work -- doesn't
require photos, just ISBN -- and that the listings last till a sale, not
just a week. But I never pursued it. I intend to do a major clearing out,
though.

To the original poster: For selling costume-related books (or art books
that might be considered usable for costume research) we have a few
swap-and-sell lists for costumers, and I wouldn't object to a pointer
posted here saying you've put something up.

--Robin

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Robin Netherton wrote:
> Has anyone here used half.com for selling books? My impression from when I
> looked over the information there is that it would be less work -- doesn't
> require photos, just ISBN -- and that the listings last till a sale, not
> just a week. But I never pursued it. I intend to do a major clearing out,
> though.


	I've never sold anything there, but I certainly buy a lot through 
half.com! It's one of my first places I check.

	-Judy Mitchell
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Thanks, Robin!
	-sunny


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Subject: [h-cost] selling pattern
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Bjarne,

Have you ever thought about making a pattern to sell to others?

I am having a 1700's corset made right now and then I plan on making a
dress like the ones you make (you are SO inspiring!).  I was thining how
great it would be to have a copy of your pattern to use.  And I don't
think that there are many patterns for this type of dress available.  I
have seen more patterns for working clothes, not high court dress.

So, if I paid for it, would you sell me a pattern?

Diana.


Dear Diana.
I have never thoaght about this, strangely though, because i think there is 
a big demand for patterns for reenactors.
It would be an obsion for me to make a small book with drawings of different 
costume types from 18th century and make accessories like bumrolls, corsets 
and panniers.
But i would have to consult a drafter of patterns to make the different 
sizes right, i used to learn this, but it is so many years ago, and i never 
did this after, so i have forgotten to do it.
This could be quite fun to make, strange i never thoaght about this.
I usually make my own patterns by draping my dresstand. I have an eye to the 
cut from books, but i always use my own cuts.
This anglaise dress i have made very authentic in cut, and the sewing 
tecknique two. Both underskirt and overskirt is pleated before it was 
attached to waistband/ bodice and stitched on by hand. The sleaves as you 
see, is very far behind in the back, wich they also used back in time, and 
it forses the wearer to pull the shoulders back.
Stays helps with this.
Diana wich size do you use? I would prefer the old european such as size 36- 
38 etc.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] 18th c. pockets - embroidery question
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Hi Danielle,
I was a little surprised that nobody had answered your question.
Most of my sources i have from pictures in books, and most of them dont get 
any specific in any blends of threads used.
I think it is not that inportant if you must have a specific pocket 
embroidered with same blend of threads as you have. So long as it is wool or 
silk or both, it is quite fine.
Costume Close Up from Williamsburg has a pair of pockets with pattern draft 
also of the embroidery, and the big Williamsburg book What Clothes Reveal 
has many differents photos of some.

Bjarne


----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, January 27, 2005 11:12 AM
Subject: [h-cost] 18th c. pockets - embroidery question


> Greetings,
>
> While on the search for a good petticoat lining, I figured I would start 
> smaller, with a pair of embroidered pockets.  I've looked through all of 
> my books and on-line and was wondering if anyone has a reference to any 
> embroidered in a silk/wool blended floss?  I've seen either silk or wool 
> on their own but not together...I've got some gorgeous silk/wool floss in 
> natural dye colours kicking around my sewing room that seem perfect and 
> was hoping to be able to use it.  Anyone?
>
> Cheers,
> Danielle
>
> _______________________________________________
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> 


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I should do a clearing out too, particularly of videotapes.

One option:  Get togther a list of the books (with pricing), put it on a 
web page, and tell all interested friends and email lists it's there.  
Which people seem to be already starting to do on h-costume.

Another option:  Ebay. For a book of any value, protect yourself with a 
reserve, as the price can depend entirely on one or two bidders.

Another:  Half.com, if it's in their database, and if I recall their 
database includes some pictures.

Another:  Amazon Marketplace, assuming the book is recent enough to be 
in their database. It does not have to be in print, they list OP books, 
but not really old ones.   Again, their database includes some pictures.

Advanced Book Exchange (ABE).  They let anyone sign up, not just 
bookstores.  I am not sure they even allow pictures, I never seem to see 
any for the books I buy from them.

Alibris: Ditto.  They have different terms & conditions from ABE, though.

Obviously, you need to go over all their terms & conditions, weigh sale 
fees and listing fees and other fees against each other and see what 
deal is best for your situation.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com



Robin Netherton wrote:

>On Tue, 1 Feb 2005, Edith Reardon wrote:
>
>  
>
>>I'm afraid for the quickest return ebay is still one of the best. The
>>cost of listing is small, it reaches the most people with the largest
>>retun.
>>    
>>
>
>Has anyone here used half.com for selling books? My impression from when I
>looked over the information there is that it would be less work -- doesn't
>require photos, just ISBN -- and that the listings last till a sale, not
>just a week. But I never pursued it. I intend to do a major clearing out,
>though.
>
>To the original poster: For selling costume-related books (or art books
>that might be considered usable for costume research) we have a few
>swap-and-sell lists for costumers, and I wouldn't object to a pointer
>posted here saying you've put something up.
>
>--Robin
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] pink anglaise dress
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I would go for both hats.  It would be wonderful to have a really crazy 
big hat, but to still have something smart to wear when she takes it 
off.  And a little tricorn would be very cute, and a good choice for not 
blocking other people's view.

Jean


Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote
>Hi,
>Thanks for your inputs. The stripe i want to add to the underskirt is 
>inspired from some fashion prints. Stella Blums Galleries des Modes. 
>Some show anglaise dresses with panles of different colour on the 
>overskirts and a stripe on the underskirt. I also think i will ad a bow 
>purple on the front bodice.
>Now for the hat i am a little in dilemma. I had fallen in love with the 
>small triangel hat in Revolution in Fashion on page 39. It wont be in 
>the way for those who are going to sit behind my niece in the opera 
>because it is so small.
>I could however also make her a large hat, wich she could remove when 
>being in the opera.
>In both cases i have plenty of fabric for pink hat with purple ribbons 
>and bows, and i could also go and find some artificiall flowers and 
>some ostrich feathers.............
>
>Bjarne
>
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [h-cost] Re: visual patterning
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In a message dated 1/30/2005 7:11:30 PM Eastern Standard Time, 
ewalpole@austarmetro.com.au writes:

> So in short I can translate a picture
> into a garment but only because I spend a lot of time looking at patterns
> and I have enough spatial ability to understand how they fit together to
> make a garment.
> Please tell me I'm not alone in this?
> 

You aren't alone.

This "I can't make a flat piece of cloth into a cylinder around the body..." 
statement betrays a knowledge of what exactly is going on. Everyone here knows 
how to make a flat rectangle into a cylinder....you just bring two opposing 
sides together. Voila! Getting it to fit merely requires adding or subtracting 
fabric where needed [since no one....well hardly anyone...is a cylinder] There 
are only a few ways to do this. Slitting the cylinder and adding to it where 
needed and pinching it and taking it away where needed. Or dividing up the 
cylinder into sections and adding a bulge where needed and scooping in where 
needed. And combining the two methods. That's about it. The rest depends on the 
physics of the fabric being used.

Yes, it can get very complicated but this is basically all that goes on in 
flat patterning. If you can grasp the basic concept and keep it in mind, you can 
understand what you see when you look at any group of pattern pieces for a 
bodice, tunic, sleeve, pants....all bulging and nipped cylinders. Some folks 
have an innate grasp of this, but it can be taught. It's not like having perfect 
pitch or something.


Now the physics of fabric is another thing!

Still basically all you need know is in woven fabric [as opposed to felted or 
knitted fabrics] is the straight of grain, warp or weft, will fall straight, 
and the bias will stretch and bulge out. This is either pronounced or 
diminished depending on how sturdy and tight or supple and loose the weave is.

Again these are very general concepts and extensive experience with them will 
give you the instincts to predict what will happen. Of course 
everyone....even experts, run across the occasional exception.
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Subject: RE: [h-cost] pink anglaise dress
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Wow! What is the circumference on that skirt? I must know how much
fabric it takes to get a beautiful sweep like that.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Tuesday, February 01, 2005 8:06 AM
To: h-costume@indra.com
Subject: [h-cost] pink anglaise dress

Hi.
Now it is beginning to look all right. The pink dupioni anglaise dress
for 
my niece for the mask ball.
I need to make the finishing touches, and i think i will add a broad
stripe 
of the purple taffeta to the underskirt.
http://www.my-drewscostumes.dk/maskebal.htm
The embroidery in the last picture is ment to be made to a small purse
for 
her.
And if i get the time, she also is going to have a little hat.
This has ben fun making it, and i have learned quite a few things from
it, 
and finally i got rhid of that pink dupioni :-)
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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In a message dated 2/1/2005 9:52:16 AM Eastern Standard Time, 
emeraldepona@yahoo.com writes:

> finally i got rhid of that pink dupioni :-)
> 

I love the intense color! Be sure to put some purple near the neckline to get 
the eye looking up there.

Maybe even a yellow choker and a yellow rose in the hat! I mean....go for the 
color, Baby!!!!!
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Date: Tue, 1 Feb 2005 20:22:31 -0500 (EST)
Subject: Re: [h-cost] selling pattern
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Diana said,
> And I don't think that there are many patterns for this type of dress
> available.  I have seen more patterns for working clothes, not high
> court dress.

     In much of the 18thC, though, the basic cut of the gown did not
change between working class and ballgown quality.  The difference
was in the type of fabric and the trimmings.  So a gown pattern you
can get now could be made for  characters of several different
economic classes.

     High court dress would have panniers and probably a train.  There
isn't as much need for this type of dress among reenactors.  Those
who want it either develop the skill or find someone to custom-make
it.  There are pattern drafts in several books (Janet Arnold, Nora
Waugh, Blanche Payne and others) that can be blown up and fit to the
individual person.

     Also for high court wear, the gown would fit the person.  Very few
people fit a comercial pattern exactly and adjustments would need to
be made.  An imperfect fit may work for a lower-class gown (could be
a hand-me-down), but I don't think it would work for court wear.

     While Bjarne could make patterns, there actually are quite a few out
there already.  You could probably find one already to suit what you
want to make.

     -Carol
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] pink anglaise dress
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Holy Toledo, Bjarne! That stuff is *REALLY* pink! 'Bout made my eyes 
bleed! <g>
The tailoring and construction look wonderful, as usual with you.  Your 
niece is very lucky!
I'm sure I'm not alone in hoping that you'll eventually post pictures of 
her wearing the gown. ;-)
--Sue

Bjarne og Leif Drews wrote:
> Hi.
> Now it is beginning to look all right. The pink dupioni anglaise dress 
> for my niece for the mask ball.
> I need to make the finishing touches, and i think i will add a broad 
> stripe of the purple taffeta to the underskirt.
> http://www.my-drewscostumes.dk/maskebal.htm
> The embroidery in the last picture is ment to be made to a small purse 
> for her.
> And if i get the time, she also is going to have a little hat.
> This has ben fun making it, and i have learned quite a few things from 
> it, and finally i got rhid of that pink dupioni :-)
> Bjarne

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  Thank you for the info that you could offer me.  My main problem has my costume
books are very few.  Although, I do have "QEWU". And would like to have "Fashion
in Detail" or anyother excellent book on costuming.
  Where would a good source be for the painting "Journey of a Patriarch"?  Do
you think I would be able to find it through a Google search?

Roscelin
   

-------------------
http://www.pcez.com
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>   Where would a good source be for the painting "Journey of a Patriarch"?
Do
> you think I would be able to find it through a Google search?

Yes.

You could have just tried, instead of having to wait for an answer to come
back.... would have been faster...

Unless you were asking to buy a repro?
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On Tuesday 01 February 2005 12:27 pm, Bjarne og Leif Drews wrote:
[snip]
> Now for the hat i am a little in dilemma. I had fallen in love with the
> small triangel hat in Revolution in Fashion on page 39. It wont be in the
> way for those who are going to sit behind my niece in the opera because it
> is so small.
> I could however also make her a large hat, wich she could remove when being
> in the opera.

I like the idea of a small hat myself, but either would work well with the 
dress, I think.

Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Subject: Re: [h-cost] Dyed fur period?
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Roscelin wrote:
>  Where would a good source be for the painting "Journey of a Patriarch"? 
> Do
> you think I would be able to find it through a Google search?

If you're looking for the one by Giovanni Benedetto Castiglione, it's here, 
about halfway down the page:
http://www.clemusart.com/provenance/prov_search.asp?artist=C

If it's by another artist, you should specify who- more information is 
always a help.

Also, I prefer altavista for image searches.

                      -Helen/Aidan


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Subject: Re: [h-cost] Q on selling books
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I wish I could buy books on half.com but they don't sell or let me list from
Canada?
Brin Kendall

----- Original Message ----- 
From: "Judy Mitchell" <judymitch@oldwaylane.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 01, 2005 10:04 AM
Subject: Re: [h-cost] Q on selling books


Robin Netherton wrote:
> Has anyone here used half.com for selling books? My impression from when I
> looked over the information there is that it would be less work -- doesn't
> require photos, just ISBN -- and that the listings last till a sale, not
> just a week. But I never pursued it. I intend to do a major clearing out,
> though.


I've never sold anything there, but I certainly buy a lot through
half.com! It's one of my first places I check.

-Judy Mitchell
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Subject: RE: [h-cost] horsehair supplys
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The only horse hair that I know of is horse tail hair and usually Crazy Crow
carries it.

http://www.crazycrow.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=55
5-100-000

De

-----Original Message-----
 hi everyone
does anyone know where i can get a contant supply of horsehair, for corset
padding for a lady,
i dont usually use horsehair with my inflatable crinoline dresses, but this
lady wants several horsehaie papped hip pads made, and i could only get that
horrid stuff from the upholstery people and thats not reall any good
thankssara


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----- Original Message ----- 
From: "Sandra Olsen" <sandraleigh@abraxis.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Wednesday, February 02, 2005 12:48 AM
Subject: RE: [h-cost] pink anglaise dress


> Wow! What is the circumference on that skirt? I must know how much
> fabric it takes to get a beautiful sweep like that.

Hi.
I have 3 widths of the fabric wich is 90 cm wide for the underskirt, and the 
same for the overskirt. 2,70 meter in all + the width of the purple taffeta.
There is a bumroll under the skirt.
Bjarne 


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Hi, only testing, i dont think my message got trough........

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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

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Hi,
I am sorry if you get this 2 times, the first post i sended didnt get 
trough.
My dress is made in a size 38, my niece is a very slim girl and therefore 
you would have to adjust the pattern rather much to get into size 48 as you 
said.
But i have uploaded 2 pictures of the cut of bodice and sleaves. Perhaps you 
could use it as a guideline........
http://www.my-drewscostumes.dk/maskebal.htm
Also your body shape like an hourglass figure would be pretty difficult to 
adjust..........
I didnt make any patterns for the skirts, although they are somewhat curved, 
i never make paper patterns for skirts, but uses the calico i have cut as 
pattern.........

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] Elizabethan Mens' Headware
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Greetings, I have figured out the smock, and the embroidery for it. I've
vanquished the doublet, sleeves and paned slops. I've even got a start on a
properly "over the top" jerkin, to go over the doublet. But here's where I
get confused. Hats.

I've seen references to lovely, embroidered coifs (were they worn only by
women, or were they worn by men as well? Were they worn only at night?) in
Gostow's Blackwork book. And then there's the fabulous floppy hats, in some
of the portraits.

What I'm looking for is a website, book, or pattern, that would have
patterns for the headwear, and how it was worn. I don't know why this
particular aspect of Elizabethan clothing has me so baffled, but it does.

Any help at all is deeply appreciated, and I figured if anyone knew of these
resources, it would be here.

Thank you so much,
Bob Dorr--Robert of Stonemarche (SCA) --who is starting on his second pair
of gloves, with properly embroidered cuffs.


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Date: Wed, 2 Feb 2005 10:08:00 -0600 (CST)
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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Subject: [h-cost] MacBeth
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Ok, do not yell at me, it was not my idea and the original costume
designer is gone and I have to clean up the rest in less than two
weeks before we open.

He decided to make kilts for the male characters of MacBeth.
Completely ignored that there were women in the cast that needed
costumes too. Had no clue what historical was.

I am left with fabrics that are very limiting in the way of
attempting to portray the period, read satins and taffeta. There is
no budget left to fix that.

The costume closet has nothing to help. But the upshot of this all
is that there is a fabric closet. It is filled with donations from
the community. Every discarded curtain set is in there and some
other very nice things.

This is community theater. There are three of us that are sewing
what is left on the punch list to do. I am the only one that will be
there every night until we open.

My question is this. Given the amount of time I have what advise do
you all experts have to help make this more presentable
historically?

If I did not give enough information please ask! :)

Chiara
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Do you have any designs that are even vaguely historical? (I once did 
wardrobe on a famous Macb*th for Peter Hall and Paul Scofield which was PVC 
and long shag pile carpet - I kid you not!!)

How about plain kirtles with sideless surcoats, any combination of fabrics 
will do. Or plain half circle skirts and T shaped tunics in any fabric, 
fancy or plain, with plain coloured sashes across them. Lady M's sleep 
walking scene, she could wear just the kirtle. If you have any chance of 
getting Hunnisett's "Period Costume for Stage and Screen Medieval to 1500" 
there are some simple styles in there would be ideal, if you can grade up 
patterns or drape.

If it is any help, I worked with the Royal Shakespeare Company for some 
years - mail me off list for more detailed instructions if you want.

Suzi


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Subject: Re: [h-cost] Elizabethan Mens' Headware
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> What I'm looking for is a website, book, or pattern, that would have
> patterns for the headwear, and how it was worn. I don't know why this
> particular aspect of Elizabethan clothing has me so baffled, but it does.

Margo's Patterns (www.margospatterns.com) sells a package for accessories,
including many styles of hats. There's also Lynn McMasters
(www.lynnmcmasters.com) has many wonderful hat patterns.
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T-shaped tunics. 

They can be beautiful [I like a deep-ish pleat on the edge of the 
shoulder....makes a beautiful square-shaped "bodice" section] and work for men and women. 
They can be long or short, layered, split at the front, sides and or back. 
Full and dragging on the floor in rich fabrics, skimpy in distressed worn 
fabric.
 Forget the kilts. But you can use the tartans...maybe with overdying to give 
them a vegetable dyed look. In fact, dying and washing fabrics can make 
fabrics usable that you thought were not usable.

Leather looks good too, but where to get it? Upholsterers often have usable 
scraps and if the color and texture of the right side of the leather is just 
not usable...the wrong side is usually just fine. Collars, belts, trims, hoods 
out of leather scraps can really look good.

Ever see Polanski's version of MacBeth? The costumes are very simple and for 
the most part convincing. Check it out.
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Date: Wed, 2 Feb 2005 12:33:04 -0600 (CST)
Subject: Re: [h-cost] MacBeth
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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I have not seen it in a while but I seem to remember that there was
a lot of studding of the tunics.

I get the idea and I think I can make it work with tunics and
draping the kilts on a shoulder .... hmmmm ... just might work.

But the ladies dresses, I will have to work on that.

AlbertCat@aol.com said:
> T-shaped tunics.
>
> They can be beautiful [I like a deep-ish pleat on the edge of the
> shoulder....makes a beautiful square-shaped "bodice" section] and
> work for men and women.
> They can be long or short, layered, split at the front, sides and or
> back.
> Full and dragging on the floor in rich fabrics, skimpy in distressed
> worn
> fabric.
>  Forget the kilts. But you can use the tartans...maybe with
> overdying to give
> them a vegetable dyed look. In fact, dying and washing fabrics can
> make
> fabrics usable that you thought were not usable.
>
> Leather looks good too, but where to get it? Upholsterers often have
> usable
> scraps and if the color and texture of the right side of the leather
> is just
> not usable...the wrong side is usually just fine. Collars, belts,
> trims, hoods
> out of leather scraps can really look good.
>
> Ever see Polanski's version of MacBeth? The costumes are very simple
> and for
> the most part convincing. Check it out.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


Franchesca Havas
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In a message dated 2/2/2005 1:34:28 PM Eastern Standard Time, chiara@io.com 
writes:

> But the ladies dresses, I will have to work on that.
> 
> 

A t-shape tunic will work for them too. They need to be long and full...which 
takes lots of fabric. Ah there's the rub [Ooops, wrong tragedy]
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Subject: Re: [h-cost] Q on selling books
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Hey Robin since I am a beginner and usually just lurk here, I see
references to books I don't have all the time.  For me and others like
me it woul.d be nice that you listed books here with the prices you want
you might sell quite a few of them without haveing to deal with otheres.
 thanks theresa

>>> edieann@telus.net 2/2/2005 12:07:49 AM >>>
I wish I could buy books on half.com but they don't sell or let me list
from
Canada?
Brin Kendall

----- Original Message ----- 
From: "Judy Mitchell" <judymitch@oldwaylane.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 01, 2005 10:04 AM
Subject: Re: [h-cost] Q on selling books


Robin Netherton wrote:
> Has anyone here used half.com for selling books? My impression from
when I
> looked over the information there is that it would be less work --
doesn't
> require photos, just ISBN -- and that the listings last till a sale,
not
> just a week. But I never pursued it. I intend to do a major clearing
out,
> though.


I've never sold anything there, but I certainly buy a lot through
half.com! It's one of my first places I check.

-Judy Mitchell
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
Today i have cut all the materials required for the hat. Hat material and 
buttonhole stitched all the edges and made a ring with hat wire round the 
brim. It will be quite simple in shape, like a big strawhat with a small 
"head" dont know what you call the "thing" for the head, sorry.
Then i discovered that those chenille stumpwork roses i have made for 
another projekt looks absolutely gorgeous on the pink dupioni. The whole hat 
is covered with pink dupioni. So i will only add a purple ribbon round the 
head and a bow, and then i want to make 3 big stumpwork roses and green 
stumpwork leaves...................

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Jean Waddie <anne@montgomerie.demon.co.uk>
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Status: RO

Ooo! sounds glorious.  The "head" bit of a hat is called the crown.

Jean


Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote
>Hi,
>Today i have cut all the materials required for the hat. Hat material 
>and buttonhole stitched all the edges and made a ring with hat wire 
>round the brim. It will be quite simple in shape, like a big strawhat 
>with a small "head" dont know what you call the "thing" for the head, 
>sorry.
>Then i discovered that those chenille stumpwork roses i have made for 
>another projekt looks absolutely gorgeous on the pink dupioni. The 
>whole hat is covered with pink dupioni. So i will only add a purple 
>ribbon round the head and a bow, and then i want to make 3 big 
>stumpwork roses and green stumpwork leaves...................
>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
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Date: Wed, 2 Feb 2005 19:48:29 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] MacBeth
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Status: RO

Did he get the kilts made?  Is the director dead set on a medieval look? 
An alternative, if you have modern(ish) kilts and satins and taffeta, 
might be 1920s-30s?

Jean


Chiara Francesca Arianna d'Onofrio <chiara@io.com> wrote
>Ok, do not yell at me, it was not my idea and the original costume
>designer is gone and I have to clean up the rest in less than two
>weeks before we open.
>
>He decided to make kilts for the male characters of MacBeth.
>Completely ignored that there were women in the cast that needed
>costumes too. Had no clue what historical was.
>
>I am left with fabrics that are very limiting in the way of
>attempting to portray the period, read satins and taffeta. There is
>no budget left to fix that.
>
>The costume closet has nothing to help. But the upshot of this all
>is that there is a fabric closet. It is filled with donations from
>the community. Every discarded curtain set is in there and some
>other very nice things.
>
>This is community theater. There are three of us that are sewing
>what is left on the punch list to do. I am the only one that will be
>there every night until we open.
>
>My question is this. Given the amount of time I have what advise do
>you all experts have to help make this more presentable
>historically?
>
>If I did not give enough information please ask! :)
>
>Chiara
>_______________________________________________
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-- 
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I thought I'd pass this along as I seem to remember past threads about the impossibility of getting cloth that had a medieval weave.  Warning - expensive!
http://www.lonejackfibers.com/?M=A

Janet
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This e-mail is from an SCA list I am on and I thought some people here might be interested.  The lady who put this together is a fabric merchant who sells at Pennsic in one of those little houses across from the barn.

Janet
  Greetings to those of the populace who may be interested in medieval
  fabric names.
  I have an incomplete list of medieval fabric names on which I have been
  sporadically working. I thought it might be interesting to peruse and
  perhaps shed some light on a term or two. 
  The list of books from which this information was gleaned is at the
  bottom of the glossary:
  http://www.classactfabrics.com/information/glossary.htm

  Disclaimer: I'm not saying this is complete or even accurate to the nth
  degree...its just what I've found in digging through the books I own. I
  would welcome facsimiles or scans of book/manuscript pages with more
  information of this sort too!! Just need to have it 'documented' ;)

  YIS
  Maria P


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Subject: Re: [h-cost] Q on selling books
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Using Half.com is fine for selling books if you are not in a hurry or have something highly desirable that you will sell for a reasonable price.  The highly desirable things are often on the wish lists of a number of people so that as soon as your listing goes through, they will all be sent e-mails and your book can go in a couple hours.  If you have ordinary things that already have a number of listings, you could wait several years before yours sold.  It is fairly simple to set up.

I have not had much luck selling books on Ebay, although I do buy some there.  I couldn't figure out how to get a picture to show up and a picture is very useful.  If you set your price too high, no one will even start to bid on it and if it is too low, you could be unlucky and get less than your book is worth.  As a buyer, I notice that I am most likely to get an underpriced bargain when something is mis-categorized or the seller doesn't use the most common buzzwords in the title, like the people who occasionally sell book of hours manuscript facsimiles under "religious books".

Janet
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On Wed, 2 Feb 2005, Theresa Threadgill wrote:

> Hey Robin since I am a beginner and usually just lurk here, I see
> references to books I don't have all the time.  For me and others like
> me it woul.d be nice that you listed books here with the prices you
> want you might sell quite a few of them without haveing to deal with
> otheres.

I was speaking more generally, not just about books of interest to
costumers. For those, I do agree that you can save a lot of effort and
listing fees by going to this list first. So this seems to be the time to
remind people of our two associated lists for selling costume-related
items, including books:

http://groups.yahoo.com/group/costumetrader/
42 members. Dawn is the listowner.

http://groups.yahoo.com/group/swapsell/
46 members. Danielle is the listowner.

Not much activity on either, but then, as long as people are signed up,
they'll see the messages when someone does post.

--Robin

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From: "Five Rivers" <lgsteph@wightman.ca>
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Subject: [h-cost] shawls, stoles and patterns
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    Thought the good list might want to know we now have available gorgeous
Merino wool shawls and stoles very appropriate for Regency wear, some of
which are hand-embroidered.

    We also now have available the Regency line of patterns from Rocking
Horse.

    All available through our secure, online catalogue. (URL in tagline)

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of  historical sewing patterns,
quality hand-crafted cooperage, fine art, embroidery supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org


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>
> Also, I prefer altavista for image searches.
>
>                       -Helen/Aidan

*wow*  I thought that google image search was pretty dang perfect!

Jerusha
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On Wednesday 02 February 2005 2:19 pm, Bjarne og Leif Drews wrote:
> Hi,
> Today i have cut all the materials required for the hat. Hat material and
> buttonhole stitched all the edges and made a ring with hat wire round the
> brim. It will be quite simple in shape, like a big strawhat with a small
> "head" dont know what you call the "thing" for the head, sorry.

I think the word you're looking for is "crown".

> Then i discovered that those chenille stumpwork roses i have made for
> another projekt looks absolutely gorgeous on the pink dupioni. The whole
> hat is covered with pink dupioni. So i will only add a purple ribbon round
> the head and a bow, and then i want to make 3 big stumpwork roses and green
> stumpwork leaves...................

That sounds absolutely lovely!

> http://mail.indra.com/mailman/listinfo/h-costume

-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] new cloth source
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On Wednesday 02 February 2005 3:29 pm, JAMES OGILVIE wrote:
> I thought I'd pass this along as I seem to remember past threads about the
> impossibility of getting cloth that had a medieval weave.  Warning -
> expensive! http://www.lonejackfibers.com/?M=A

Indeed, expensive!  But perhaps worth it.  Thanks for passing on the link.

>
-- 
Cathy Raymond <cathy@thyrsus.com>

"Success is not final, failure is not fatal; it is the courage to continue 
that counts."--Winston Churchill
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Chiara Francesca Arianna d'Onofrio wrote:

> 
> I am left with fabrics that are very limiting in the way of
> attempting to portray the period, read satins and taffeta. There is
> no budget left to fix that.

Some satins are reasonably dull on the inside that they might be useable 
to you. I suppose it depends on what colors you have and how they look 
under lights.

Otherwise, those curtains sound like a good bet.

I believe there is still a women's sideless surcote pattern in the 
costume section of the pattern books... from Simplicity if memory serves.



Dawn


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From: "Chiara" <chiara@io.com>
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Subject: Re: [h-cost] MacBeth
Date: Wed, 2 Feb 2005 23:14:06 -0600
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Status: RO

Thanks everyone for the help. It is good. :)

I have been able to salvage it and low and behold, the previous designer had 
returned some very nice costumes to the storage unit that are perfect for 
some of the characters. He was going for a different look than the director 
was and hid these from her.

She is a very happy director now! And I only have to make two outfits!! 
Yeah!! :)

(`'·.ø(`'·.ø(`'·.øø.·'“)ø.· '“)ø.·'“)
«·.·*Ø`·¤ Chiara ¤·“Ø*·.·»
(ø.·'“(ø.·'“(ø.·'“`'·.ø)`'· .ø)`'·.ø)
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 02, 2005 8:36 PM
Subject: Re: [h-cost] MacBeth


: Chiara Francesca Arianna d'Onofrio wrote:
:
: >
: > I am left with fabrics that are very limiting in the way of
: > attempting to portray the period, read satins and taffeta. There is
: > no budget left to fix that.
:
: Some satins are reasonably dull on the inside that they might be useable
: to you. I suppose it depends on what colors you have and how they look
: under lights.
:
: Otherwise, those curtains sound like a good bet.
:
: I believe there is still a women's sideless surcote pattern in the
: costume section of the pattern books... from Simplicity if memory serves.
:
:
:
: Dawn
:
:
: _______________________________________________
: h-costume mailing list
: h-costume@mail.indra.com
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From: "Penny Ladnier" <penny@costumegallery.com>
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Date: Thu, 3 Feb 2005 02:43:11 -0500
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Subject: [h-cost] Help: London Newspaper
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I am wanting to see if anyone in England has access to archives of The London Illustrated News from June 1845.  I am working on an article entitled Her Majesty's Costume Ball.  It was published in the June 7 & 14, 1845 editions of the newspaper.  There are complete descriptions of several guests costumes.  I am missing page 376 of the article from the June 14, 1845 edition.  

If anyone has access to these archives or knows of a dealer who sells this year of the newspaper, please contact me off-list.
  
Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com 
Costume Research Library, www.costumelibrary.com 
Costume Classroom, www.costumeclassroom.com
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To: Historical Costume <h-costume@indra.com>
From: Dan and Heather Stecher <gusgus@lightspeed.ca>
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Subject: [h-cost] Elizabethan Geek
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Greetings All,

     I have been trying to access the Elizabethan Geek site, but it seems 
that a link is broken, or the site has moved, or the site has been removed. 
Does anyone know anything about this site?

     Thanks very much,
     Heather Stecher 


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Sorry to reply to my own email, but it appears
the problem was temporary, as I have just accessed the site.

     My apologies,
     Heather


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At 02:43 03/02/2005 -0500, you wrote:
>I am wanting to see if anyone in England has access to archives of The 
>London Illustrated News from June 1845.  I am working on an article 
>entitled Her Majesty's Costume Ball.  It was published in the June 7 & 14, 
>1845 editions of the newspaper.  There are complete descriptions of 
>several guests costumes.  I am missing page 376 of the article from the 
>June 14, 1845 edition.
>
>If anyone has access to these archives or knows of a dealer who sells this 
>year of the newspaper, please contact me off-list.


I am posting this reply here in case it is useful to anyone else. The 
British Library Newspaper Archive is listed here
http://www.bl.uk/collections/newspapers.html

They have copies of the Illustrated London News from the first edition  in 
1842. However I do not have the time to visit Colindale, which is where the 
archive is kept unfortunately. Maybe someone else can.

They have newspapers from 1609!!! (Collected by Dr. Thomas Burney, Fanny 
Burney's father.)

Suzi
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From: "Penny Ladnier" <penny@costumegallery.com>
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Thank you Suzi!  What is the closest large city to Colindale.

I really enjoy the Illustrated London News.  I have been a long time fan of 
pen and ink illustrations.  Their earlier illustrations are wonderful!

Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com
Costume Research Library, www.costumelibrary.com
Costume Classroom, www.costumeclassroom.com 


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Oh, well, it doesn't do me to find someone to go there.  They are booked 
through Sept.  See http://www.bl.uk/collections/open.html

Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com
Costume Research Library, www.costumelibrary.com
Costume Classroom, www.costumeclassroom.com 


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Date: Thu, 03 Feb 2005 09:51:38 +0000
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Help: London Newspaper
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Colindale is a part of London. I'm sure individual readers can use the
library without waiting for an Open Day. (Sorry, can't volunteer as I'm
not near enough.)

Kate Bunting
Librarian and 17th cent. reenactor

>>> penny@costumegallery.com 03/02/2005 09:35:35 >>>
Oh, well, it doesn't do me to find someone to go there.  They are
booked 
through Sept.  See http://www.bl.uk/collections/open.html 

Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com 
Costume Research Library, www.costumelibrary.com 
Costume Classroom, www.costumeclassroom.com 


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Thank you Kate for the info.  I know different sections of cities can be 
confusing.

Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com
Costume Research Library, www.costumelibrary.com
Costume Classroom, www.costumeclassroom.com 


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Date: Thu, 03 Feb 2005 10:08:03 +0000
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Help: London Newspaper
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At 04:35 03/02/2005 -0500, you wrote:
>Oh, well, it doesn't do me to find someone to go there.  They are booked 
>through Sept.  See http://www.bl.uk/collections/open.html


As you have the specific details of the newspaper, you ring them 48 hours 
in advance, with those details, and they will have it ready for you, or 
your researcher. You do not have to wait for an open day, or research it 
yourself. I just spoke to a most helpful gentleman there.

Suzi


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Have you contacted the Victoria and Albert Museum?
----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Thursday, February 03, 2005 2:43 AM
Subject: [h-cost] Help: London Newspaper


I am wanting to see if anyone in England has access to archives of The
London Illustrated News from June 1845.  I am working on an article entitled
Her Majesty's Costume Ball.  It was published in the June 7 & 14, 1845
editions of the newspaper.  There are complete descriptions of several
guests costumes.  I am missing page 376 of the article from the June 14,
1845 edition.

If anyone has access to these archives or knows of a dealer who sells this
year of the newspaper, please contact me off-list.

Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com
Costume Research Library, www.costumelibrary.com
Costume Classroom, www.costumeclassroom.com
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <003301c5095c$2f0a69e0$4096fea9@CPQ21932199711>
Subject: Re: [h-cost] hat
Date: Thu, 3 Feb 2005 08:34:10 -0500
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This sounds gorgeous!  I found myself thinking of the stumpwork that you
have been making and wondered if you might be using some of those pieces for
the flower part of the new hat.

Kathleen
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, February 02, 2005 2:19 PM
Subject: [h-cost] hat


> Hi,
> Today i have cut all the materials required for the hat. Hat material and
> buttonhole stitched all the edges and made a ring with hat wire round the
> brim. It will be quite simple in shape, like a big strawhat with a small
> "head" dont know what you call the "thing" for the head, sorry.
> Then i discovered that those chenille stumpwork roses i have made for
> another projekt looks absolutely gorgeous on the pink dupioni. The whole
hat
> is covered with pink dupioni. So i will only add a purple ribbon round the
> head and a bow, and then i want to make 3 big stumpwork roses and green
> stumpwork leaves...................
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] MacBeth
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Oh huzzah Chiara!

That sounds much more do-able and less stressful.

happy sewing,

Angharat/ wolfcat

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	<00df01c50609$e38bf600$765183d1@rmitchellras>
Subject: Re: [h-cost]Q?:embroidery transfer problem
Date: Thu, 3 Feb 2005 11:17:14 -0500
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For pricking, where do you get a pounce wheel that has real points on it and 
not those blunted things they try to sell as pounce wheels?
Kate
----- Original Message ----- 
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, January 29, 2005 8:53 AM
Subject: Re: [h-cost] Re:embroidery transfer problem


> This method would surely be quicker than a true stencil, I think.
> Kathleen
> ----- Original Message ----- 
> From: "Tania Gruning" <tania_gr17@yahoo.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, January 29, 2005 5:04 AM
> Subject: Re: [h-cost] Re:embroidery transfer problem
>
>
>> Hi.
>> Get a plastic folder and prick the design, then mix some water and flour
> together, put the plastic folder on the fabric and paint with the
> flourmixture so the it goes through the tiny holes, the design will show 
> as
> small whitish dots, that can be gently scratched away.
>> Works wonders on velvet and all dark coloured embroidery backgrounds.
>> Tania
>> Denmark
>>
>> Kathryn Parke <kjp1685@yahoo.com> wrote:
>> Hello, all --
>>
>> Forgive me for hijacking this post, but I have a somewhat different
> problem I hope some of you may have dealt with. I'm designing a ribbon
> embroidery memento for one of my "kids" who's getting married, and I'm 
> doing
> her and her fiance's name, surrounded by flowers, on black velveteen, to
> make it look really rich. The flowers, of course, are free form (and, I
> hope, successful, as I'm fairly new to this kind of work!), but the names
> will be embroidered in a beautiful non-metallic silver. Now -- what would
> you recommend as the best way to transfer the font to the velveteen for me
> to follow? A lightboard won't work, as the fabric is too dense and dark, 
> and
> the nap would make a transfer pencil difficult. I had thought of
> transferring the names to a tear-away stabilizer, and either embroidering
> over that, OR doing that and then doing a running stitch to mark it on the
> cloth (sort of like pouncing with thread, I guess), as I'm nervous that 
> the
> stabilizer might distort the stit!
>> ches if I
>> embroider closely directly over it. Any suggestions would be most 
>> welcome!
> Bjarne, your work is always so lovely -- have you done anything like this 
> on
> dark fabric? Most of your work I've seen since I've joined this list has
> been on pastels, but I would love to emulate your elegant work.
>>
>> Thank you in advance for your advice --
>> KP
>>
>>
>>
>>
>>
>> ---------------------------------
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>> _______________________________________________
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>>
>>
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>>
>
> _______________________________________________
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> 


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Subject: Re: [h-cost] Q on selling books
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I start my bid price low but put reserve prices on the books so it doesn't
scare bidders away.  I sold lots of books but I had to use key words in the
title.  I did well if I stayed with topics I knew something about but also
got lucky with some on topics I was clueless about.  Some books I paid 50
cents for and sold for $16.00.  I had an old gardening book lying around and
decided to sell it as it was so big sold for $54.00, who knew.

Brin Kendall


----- Original Message ----- 
From: "JAMES OGILVIE" <bear_janet@msn.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, February 02, 2005 1:43 PM
Subject: Re: [h-cost] Q on selling books


Using Half.com is fine for selling books if you are not in a hurry or have
something highly desirable that you will sell for a reasonable price.  The
highly desirable things are often on the wish lists of a number of people so
that as soon as your listing goes through, they will all be sent e-mails and
your book can go in a couple hours.  If you have ordinary things that
already have a number of listings, you could wait several years before yours
sold.  It is fairly simple to set up.

I have not had much luck selling books on Ebay, although I do buy some
there.  I couldn't figure out how to get a picture to show up and a picture
is very useful.  If you set your price too high, no one will even start to
bid on it and if it is too low, you could be unlucky and get less than your
book is worth.  As a buyer, I notice that I am most likely to get an
underpriced bargain when something is mis-categorized or the seller doesn't
use the most common buzzwords in the title, like the people who occasionally
sell book of hours manuscript facsimiles under "religious books".

Janet
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Subject: Re: [h-cost] horsehair supplys
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You should look for horse hair under indian craft supplies like this one???
lots of them sell horse hair

http://www.indian-craft-supplies.com/cgi-local/shop.pl/page=cat-animal-hair.htm/SID=243424013

Brin Kendall


----- Original Message ----- 
From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, February 01, 2005 10:11 PM
Subject: RE: [h-cost] horsehair supplys


The only horse hair that I know of is horse tail hair and usually Crazy Crow
carries it.

http://www.crazycrow.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=55
5-100-000

De

-----Original Message-----
 hi everyone
does anyone know where i can get a contant supply of horsehair, for corset
padding for a lady,
i dont usually use horsehair with my inflatable crinoline dresses, but this
lady wants several horsehaie papped hip pads made, and i could only get that
horrid stuff from the upholstery people and thats not reall any good
thankssara


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Robin - if you ever sell some of your books I would definitely be 
interested!

Taking that a step further, when people on this list have 'costume' books to 
sell, would it be ethical (or whatever the correct word is) to put them on 
this list?

Berenice Calvina


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I don't mind as long as you don't continue to advertise them.  I would like
to know what is available but just in one email per person per group of
books.

Brin Kendall



----- Original Message ----- 
From: "Laura Waack" <pottratzwaack@hotmail.com>
To: <h-costume@indra.com>
Sent: Thursday, February 03, 2005 10:17 AM
Subject: [h-cost] selling books


Robin - if you ever sell some of your books I would definitely be
interested!

Taking that a step further, when people on this list have 'costume' books to
sell, would it be ethical (or whatever the correct word is) to put them on
this list?

Berenice Calvina


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Excerpt of message received from ArtRes:

>Images from the Victoria and Albert Museum are supplied to advertising and 
>design agencies, book publishers, newspapers and magazines, television and 
>electronic media companies, as well as to academic publishers and authors 
>of scholarly publications. If you fall into one of these groups and work 
>in North America you are eligible to receive a gratis copy of " 100 GREAT 
>PAINTINGS FROM THE VICTORIA & ALBERT MUSEUM".
>
>In order to receive your copy of 100 GREAT PAINTINGS IN THE VICTORIA AND 
>ALBERT MUSEUM please send us your:
>Name
>address
>e-mail
>a description of the type of photo work you do
>Send in an e-mail to news@artres.com or call us at (212) 505-8700 (MON- FRI).
>
>Click 
><http://www.artresourceinc.com/c/htm/CDocT.aspx?E=2UNTWAK2YA9W&DT=ALB> to 
>see hightlights from The Victoria & Albert Museum. »

Brenda
webwarren@earthlink.net


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Subject: [h-cost] Allegorical fashons becoming real fashions
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Status: RO

There are a couple of late 15thC/early 16thC elements that I've been tracking lately.  In the earlier years of that time range they appear in paintings, the elements are only shown in allegorical settings, but later on, they begin to appear with regularity on real people, and in informal or non-symbolic portraits.  

For example, there's a sort of a floaty sash shown around the waists of 15th century saints. However, by the early 16th century, these floaty sashes are portrayed realistically in portraits, sketches by Holbein of real people, and so on--they're clearly a real garment by around 1520.  

Another example is the slit skirt. Again, it starts showing up in paintings that are just dripping with allegory. A little while later, it shows up on lots of images of Anne de Bretagne; so many that it almost seems to become one of her identifying features in later, postmortem AdB images. A little while after that, it begins to show up on servants, and in portraits, and eventually it spreads all over the place in the form of the Tudor divided skirt. 

There's a similar progression for sleeveless (not sideless) overgowns, although there's less of a clear-cut progression, since sleeveless gowns never became entirely allegorical (just less popular, apparently).  Headwear seems to work the same way, sometimes; a wild element of a saint's headdress later shows up as a wild element of a real headdress.  

In other words, it's beginning to seem to me as though things don't always STAY allegorical, even if they started that way. With both the slit skirt and the floaty waist sash, I can actually sort of see how it might have happened, as AdB favored both, and it is on AdB that both begin to be painted/drawn in a _realistic_ manner.  She was in a position to be exposed to plenty of the more impressive paintings of saints; she may well have decided to adopt elements of saints' clothing for political, 'image' reasons.  (I vaguely remember reading that some fashion-forward parts of Elizabeth's [?] wardrobe were meant to imitate halos--same idea.)  With a queen wearing them, they became fashionable, and within the next 10-20 years spread far enough to be painted by Cranach and Holbein on reasonably humble real people.

Has anyone else found examples of allegorical clothing, etc, becoming real clothing? I'm not talking about finding realistic examples of elements shown in allegorical paints, at the same time (wonderful though that is); I'm talking about seeing a timeline where the item is allegorical only, for a while, and THEN starts being worn in realistic settings.

(I suppose the whole pre-Raphaelite movement is full of examples of this, now that I think of it. 
"A most intense young man, 
A soulful-eyed young man, 
An ultra-poetical, super-aesthetical 
Out-of-the-way young man...")

-E House, too busy to upload illustrative pics now, but will do so on request when time allows if folks start talkin'
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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20050129100455.37695.qmail@web41015.mail.yahoo.com><00df01c50609$e38bf600$765183d1@rmitchellras>
	<023b01c50a0b$d669c0a0$4da810ac@Kate>
Subject: Re: [h-cost]Q?:embroidery transfer problem
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Kate wrote:
> For pricking, where do you get a pounce wheel that has real points on it 
> and not those blunted things they try to sell as pounce wheels?

Take a look at this one:
http://www.widgetsupply.com/page/WS/PROD/stylus/BEN66
It's made by the people who make X-acto knives, so it's sharper than the one 
from the sewing stores.  You should be able to find it at a hobby store (the 
kind that does model trains) or order it on-line from Widget.  (Widget is 
cheap, reliable, and has way too much cool stuff to temp you...)
                      -Helen/Aidan


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Subject: RE: [h-cost] Elizabethan Geek
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OK, I just HAVE to know, what is this site all about? Anne

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Dan and Heather Stecher
Sent: Thursday, February 03, 2005 3:12 AM
To: Historical Costume
Subject: Re: [h-cost] Elizabethan Geek


Sorry to reply to my own email, but it appears
the problem was temporary, as I have just accessed the site.

     My apologies,
     Heather


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thank you so much I've been here all day trying to get up the nerve to ask 
therea
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Subject: RE: [h-cost] Elizabethan Geek
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It's a site devoted to research on the Elizabethan era, mostly costuming, 
but other stuff as well.

     Hope that helps,
     Heather


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References: <6.2.1.2.0.20050203155447.05288eb0@earthlink.net>
Subject: Re: [h-cost] ArtRes/V&A offer to acad. authors and publishers
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Brenda, I am a designer and seamstress of Period Costumes and the Performing
Arts (specifically Classical Ballet). Thanks for the info. I spent some time
at the V&A some years ago and purchased a number of phamplets and several
days sketching the costumes in the Costume Gallery.  All of my books,
sketches, and phamplets are in storage right now waiting to be moved to my
new home in Va.  When they are unpacked and you are interested in titles and
publishers I would be happy to forward them to you.  You may already have
them, but possibly not.
----- Original Message -----
From: "Brenda Bell" <webwarren@earthlink.net>
To: <h-costume@indra.com>
Sent: Thursday, February 03, 2005 3:57 PM
Subject: [h-cost] ArtRes/V&A offer to acad. authors and publishers


> Excerpt of message received from ArtRes:
>
> >Images from the Victoria and Albert Museum are supplied to advertising
and
> >design agencies, book publishers, newspapers and magazines, television
and
> >electronic media companies, as well as to academic publishers and authors
> >of scholarly publications. If you fall into one of these groups and work
> >in North America you are eligible to receive a gratis copy of " 100 GREAT
> >PAINTINGS FROM THE VICTORIA & ALBERT MUSEUM".
> >
> >In order to receive your copy of 100 GREAT PAINTINGS IN THE VICTORIA AND
> >ALBERT MUSEUM please send us your:
> >Name
> >address
> >e-mail
> >a description of the type of photo work you do
> >Send in an e-mail to news@artres.com or call us at (212) 505-8700 (MON-
FRI).
> >
> >Click
> ><http://www.artresourceinc.com/c/htm/CDocT.aspx?E=2UNTWAK2YA9W&DT=ALB> to
> >see hightlights from The Victoria & Albert Museum. »
>
> Brenda
> webwarren@earthlink.net
>
>
> _______________________________________________
> 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]Q?:embroidery transfer problem
Date: Thu, 3 Feb 2005 19:41:33 -0500
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When I was in Grad school ages ago, we used to have one that had points like 
little awls set into a wheel. Holes were about 1/8" apart and it would go 
thru the lighting gels as well as kraft paper. I'm hoping to find this kind, 
if possible.
Kate
----- Original Message ----- 
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 03, 2005 6:04 PM
Subject: Re: [h-cost]Q?:embroidery transfer problem


> Kate wrote:
>> For pricking, where do you get a pounce wheel that has real points on it 
>> and not those blunted things they try to sell as pounce wheels?
>
> Take a look at this one:
> http://www.widgetsupply.com/page/WS/PROD/stylus/BEN66
> It's made by the people who make X-acto knives, so it's sharper than the 
> one from the sewing stores.  You should be able to find it at a hobby 
> store (the kind that does model trains) or order it on-line from Widget. 
> (Widget is cheap, reliable, and has way too much cool stuff to temp 
> you...)
>                      -Helen/Aidan
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 


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From h-costume-bounces@indra.com  Fri Feb  4 02:32:27 2005
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Subject: [h-cost] Stays Workshops with Mark Hutter
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I received a Stay workshop announcement from my English Country Dancing list. I thought it may be of interest here. I apologize if this is a cross post.
 
Mark Hutter, Colonial Williamsburg's Master Tailor will instruct eighteenth century 
manner of constructing women's stays. The workshops will take place March 11th
through the 14th. 

I posted the flyer attachment here:
http://www.geocities.com/altablue/posts/Stays_Workshop.doc

Have fun!
Heather 


 
 
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	<02ed01c50a52$4a572bb0$4da810ac@Kate>
Subject: Re: [h-cost]Q?:embroidery transfer problem
Date: Fri, 4 Feb 2005 08:06:22 -0500
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This sounds like an instrument that I see offered for leather tooling.? Look
at leatherunlimited.com.
Kathleen
----- Original Message ----- 
From: "Kate Pinner" <pinner@mccc.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, February 03, 2005 7:41 PM
Subject: Re: [h-cost]Q?:embroidery transfer problem


> When I was in Grad school ages ago, we used to have one that had points
like
> little awls set into a wheel. Holes were about 1/8" apart and it would go
> thru the lighting gels as well as kraft paper. I'm hoping to find this
kind,
> if possible.
> Kate
> ----- Original Message ----- 
> From: "Helen Pinto" <hpinto@mindspring.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Thursday, February 03, 2005 6:04 PM
> Subject: Re: [h-cost]Q?:embroidery transfer problem
>
>
> > Kate wrote:
> >> For pricking, where do you get a pounce wheel that has real points on
it
> >> and not those blunted things they try to sell as pounce wheels?
> >
> > Take a look at this one:
> > http://www.widgetsupply.com/page/WS/PROD/stylus/BEN66
> > It's made by the people who make X-acto knives, so it's sharper than the
> > one from the sewing stores.  You should be able to find it at a hobby
> > store (the kind that does model trains) or order it on-line from Widget.
> > (Widget is cheap, reliable, and has way too much cool stuff to temp
> > you...)
> >                      -Helen/Aidan
> >
> >
> > _______________________________________________
> > 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: Fri, 4 Feb 2005 20:09:41 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Allegorical fashons becoming real fashions
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Please post some pictures - I did a quick search for Anne de Bretagne 
but couldn't see anything I would describe as a "floaty waist sash". 
Please let us see what you're talking about.

Jean


E House <formfunc@formfunction.org> wrote
>There are a couple of late 15thC/early 16thC elements that I've been 
>tracking lately.  In the earlier years of that time range they appear 
>in paintings, the elements are only shown in allegorical settings, but 
>later on, they begin to appear with regularity on real people, and in 
>informal or non-symbolic portraits.
>
>For example, there's a sort of a floaty sash shown around the waists of 
>15th century saints. However, by the early 16th century, these floaty 
>sashes are portrayed realistically in portraits, sketches by Holbein of 
>real people, and so on--they're clearly a real garment by around 1520.
>
>Another example is the slit skirt. Again, it starts showing up in 
>paintings that are just dripping with allegory. A little while later, 
>it shows up on lots of images of Anne de Bretagne; so many that it 
>almost seems to become one of her identifying features in later, 
>postmortem AdB images. A little while after that, it begins to show up 
>on servants, and in portraits, and eventually it spreads all over the 
>place in the form of the Tudor divided skirt.
>
>There's a similar progression for sleeveless (not sideless) overgowns, 
>although there's less of a clear-cut progression, since sleeveless 
>gowns never became entirely allegorical (just less popular, 
>apparently). Headwear seems to work the same way, sometimes; a wild 
>element of a saint's headdress later shows up as a wild element of a 
>real headdress.
>
>In other words, it's beginning to seem to me as though things don't 
>always STAY allegorical, even if they started that way. With both the 
>slit skirt and the floaty waist sash, I can actually sort of see how it 
>might have happened, as AdB favored both, and it is on AdB that both 
>begin to be painted/drawn in a _realistic_ manner.  She was in a 
>position to be exposed to plenty of the more impressive paintings of 
>saints; she may well have decided to adopt elements of saints' clothing 
>for political, 'image' reasons.  (I vaguely remember reading that some 
>fashion-forward parts of Elizabeth's [?] wardrobe were meant to imitate 
>halos--same idea.)  With a queen wearing them, they became fashionable, 
>and within the next 10-20 years spread far enough to be painted by 
>Cranach and Holbein on reasonably humble real people.
>
>Has anyone else found examples of allegorical clothing, etc, becoming 
>real clothing? I'm not talking about finding realistic examples of 
>elements shown in allegorical paints, at the same time (wonderful 
>though that is); I'm talking about seeing a timeline where the item is 
>allegorical only, for a while, and THEN starts being worn in realistic 
>settings.
>
>(I suppose the whole pre-Raphaelite movement is full of examples of 
>this, now that I think of it.
>"A most intense young man,
>A soulful-eyed young man,
>An ultra-poetical, super-aesthetical
>Out-of-the-way young man...")
>
>-E House, too busy to upload illustrative pics now, but will do so on 
>request when time allows if folks start talkin'
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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Subject: [h-cost] Question for the list....
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I apologize if some of you receive this more than once...

I am trying to find a supplier of historically accurate (or close to
historically accurate) brocades and other patterned fabrics to offer to
costumers and I need your help!

I would like to know what you guys typically will spend on a brocade or
jacquard fabric for a costume.

So the questions are:

1) How much per yard do you usually spend on a brocade fabric?

2) Do you care about the fabric content?  Do you try to buy natural fibers
(cotton/linen/wool) instead of synthetic blends?  Or does it not matter?

3) What is most important when you shop for brocades? Price, fabric
content, or pattern?

I want to offer brocades that people want and at reasonable prices. 
Thanks for your help!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Fri Feb  4 19:11:44 2005
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Date: Fri, 4 Feb 2005 19:10:01 -0500 (EST)
From: Janet Renzetti <celtic_dragonrider@yahoo.ca>
Subject: Re: [h-cost] Question for the list....
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I know I am rarely writing on this message board now.  I am never home to write the messages, merely skim them.
 
THis one interested me.
 
I have a few questions that might answer yours.
 
Personaly I go with the Medieval - Elizabethan era so larger patterned brocades are important to me.  Also I live in Canada so my prices may be different from you.  TYpically I go to 2 stores where the prices are great, the others are about 10 times the amount, so I rarely go there.  
 
Depending on the purpose would determine the fabric type (cotton, synthetic, etc.).  Where I buy my fabric, I can acquire the fabric around $2-10/m or yard (CND).  I always go to the tapestry or apolstry section when making a period outfit.  I typically use broadcloth ($2/yrd or m) for lining and broadcloth/silk ($2-5/ m or yard) for an underdress.  Normally I can make a dress for about $30-85 for myself and then to transfer to the customer that cost and raise hourly work for a profit.
 
My questions to you are these:
1. What period are you looking at? (earlier periods used larger and repetative/consistant patterns according to some sources that I have seen and heard from)
 
2.How much are you willing to spend (a tudor/elizabethan dress takes about 4+ m for my overdress alone)
 
3.Do you care about the fabric being washable, feelable, knitted or woven (woven is period)
 
4.Are your customers wanting researched reproduction quality or something that resembles what they have seen from a movie
 
5.How much profit are you wanting to achieve based on the cost of material

I know others will have their experiences and opinions, but I hope this helped some.
 
Janet

Diana Habra <dch@inreach.com> wrote:
I apologize if some of you receive this more than once...

I am trying to find a supplier of historically accurate (or close to
historically accurate) brocades and other patterned fabrics to offer to
costumers and I need your help!

I would like to know what you guys typically will spend on a brocade or
jacquard fabric for a costume.

So the questions are:

1) How much per yard do you usually spend on a brocade fabric?

2) Do you care about the fabric content? Do you try to buy natural fibers
(cotton/linen/wool) instead of synthetic blends? Or does it not matter?

3) What is most important when you shop for brocades? Price, fabric
content, or pattern?

I want to offer brocades that people want and at reasonable prices. 
Thanks for your help!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

_______________________________________________
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Helen, thank you very much for the advice.  I do really appreciate it.  And I
don't actually recall ever using altavista.  I'll have to check that search
engine out the next time I need an image.  The other search engine I forgot
we had, is Copernic.  

Roscelin

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Question for the list....
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Quoting Diana Habra <dch@inreach.com>:

> 1) How much per yard do you usually spend on a brocade fabric?

OK, I live in New Zealand, so all my prices are in New Zealand dollars, which I
think are wourth about $US0.71.  

I rarely buy brocade, but speaking in general, I will spend up to $12/m for good
115cm wide fabric, or $16/m for 150/160cm.  _Perfect_ fabric is a different
thing, and I can be persuaded to go as high as around $25/m if it's _really_
good _and_ I have a planned project to use it in. 


> 2) Do you care about the fabric content? Do you try to buy natural
> fibers
> (cotton/linen/wool) instead of synthetic blends? Or does it not matter?

I buy natural fibres pretty much exclusively. 


> 3) What is most important when you shop for brocades? Price, fabric
> content, or pattern?

There's not a single "most" important feature.  All of those things are
important, as well as weight, drape, and colour.  
  
 

Adele d'M
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Subject: [h-cost] Princess Seam
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I would like to thank everyone for being so patient with me when it comes to
my questions about costuming.  It's only been a few years that I have really
started to get serious about the subject.  I've always been a needlework person,
almost any form of embroidery or decorative stitching.
 
My new question has to do with princess seams.  I was unsatisfied with a piece
of emergency garb that I had to sew.  It was because it was supposed to be a
Renaissance bodice and it had princess seams.  At the event I was holding I
mention my dissatisfaction about the seams and how OOP they were, when another
lady (who is a professional costumer) informed me that they were actually proper
for the time period.

I decided to go to my books on costuming (The 20,000 Years of Fashion and The
History of Costume) and could not find anything about this type of seam or any
pictures (at least none in the Ren period).

So, friends, when did princess seams come in?

Roscelin

Roscelin

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From: "roscelin"<roscelin@pcez.com>
To: h-costume@indra.com
Date: Sat, 5 Feb 2005 01:03:19 GMT
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Subject: [h-cost] Fashion doll
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  I need some assistance on a future project.  I would like to make a doll like
the "fashion doll" in QEWU.  It's on page 157 and 158 fig. 248 & 248a.
  Is there anyone in the group has made this type of doll before and what is
the best way to go about creating the pattern for the doll's outfit?  I've only
made rag dolls and period-like doll clothes from a Simplicity pattern.

Roscelin

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Subject: Re: [h-cost] Princess Seam
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In a message dated 2/4/2005 7:56:28 PM Eastern Standard Time,  
roscelin@pcez.com writes:

So,  friends, when did princess seams come in?



I always thought they were "invented" by Worth, in the 19th century, but  
that may not be correct.
 
Ann Wass
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Subject: Re: [h-cost] Princess Seam
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On Sat, 5 Feb 2005, roscelin wrote:

> So, friends, when did princess seams come in?

Depends on how you define "princess seam."

Some people use the term to refer to any side front seam that goes over
the bust point.

Some people make a distinction between side front seams that curve
sideways into the armhole, as opposed to continuing up to the shoulder.

There are certainly side front seams that curve over the bust point in the
later Middle Ages and on. The earliest such seam I've seen is in the
portrait of Agnes Sorel as the Maddona, by Fouquet (known for the single
exposed breast), which was painted around 1450. Many people will point to
this and say, "See, princess seams are period." However, I wouldn't call
this a "princess seam" in the modern sense.

For me, a crucial issue -- more important than whether the seam goes to
the shoulder or the armhole -- is the shape of the curve, and the
variation in degree of curve between the front piece and side piece.  A
modern "princess seam" cut is designed to lie over a foundation that holds
the breasts up (but not high) and out; the foundation (e.g., a bra) holds
the breasts in this position, and the princess cut shapes the overlying
fabric to lie smoothly over the established bosom. Agnes Sorel's dress
apparently used seams in this position to shape the bosom in a certain
way, but not to make the dress fall neatly over an already-established
profile -- and the shape itself would not be that of the modern princess
dress.

I believe some Elizabethan and Renaissance designs also use a seam in this
position, but again, the shape is different, and so the cut of the pieces
and the interaction of the curves is not that of the modern "princess"
cut. So, if you're just looking for evidence of a seam in this position,
that shouldn't be a problem in the 16th century. But that doesn't make it
a "princess seam."

The same goes for earlier constructions seen on some extant garments, such
as the Greenland dresses, some of which use vertical piecing to create
sufficient width around the body and to accomplish some shaping all the
way around the body to come closer in the torso. The fact that some of
these extra body seams fall near to the bust doesn't make them princess
seams.

So, if someone says that princess seams existed in a certain time period,
it's important to determine whether they're referring to the *modern*
princess cut, or just using that term as shorthand for any over-the-bust
seam.

--Robin


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> In a message dated 2/4/2005 7:56:28 PM Eastern Standard Time,  
> roscelin@pcez.com writes:
>
> So,  friends, when did princess seams come in?
>

Well, I've got this painting by Fouquet (1420-1480) and those look pretty 
much like princess seams to me.
<http://www.goldsword.com/sfarmer/SCA/Paintings/fouquet_Madonna.jpg>

Jerusha

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Subject: [h-cost] History of Fashion virtual paper dolls
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Thought this might be fun for some:

http://www.paperdollheaven.com/historyoffashion.php

Latest Flash plugin required, and no, I don't know how accurate it all
is - the undewear is certainly fanciful until about 1930, when it
looks like someone at least tried to do some research.

Anyway - have fun!

Allison T.
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>   I need some assistance on a future project.  I would like to make a 
> doll like
>the "fashion doll" in QEWU.  It's on page 157 and 158 fig. 248 & 248a.
>   Is there anyone in the group has made this type of doll before and what is
>the best way to go about creating the pattern for the doll's outfit?  I've 
>only
>made rag dolls and period-like doll clothes from a Simplicity pattern.

I make dolls, and the best way to make patterns is to look at the big 
patterns and make smaller versions just like them.  It's kind of like 
making patterns for someone not the same size as the original 
pattern.  Sometimes the patterns come on a grid, like in Janet Arnold, and 
can be easily scaled directly to another grid.  Failing that, drape the 
patterns right on the doll body.

BTW, I don't own this book, and have never seen this fashion baby.  Is she 
all cloth, wood and cloth, or all wood?


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: Re: [h-cost] Fashion doll
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> 
> BTW, I don't own this book, and have never seen this fashion baby. 
> Is she 
> all cloth, wood and cloth, or all wood?
> 
> 

>From another doll source that I don't have to hand to site at the
moment, the doll is a wire frame, wrapped with reeled or unspun silk
threads of yellow and red.  The head appears to be a cloth head, with
embroidered features and has human hair for her wig.

One of the things that I think is interesting about this doll is that
is rather simple when compared to the artwork of this period that show
dolls.  Of course, my estimate that the dolls that show in those
paintings are probably twelve to fifteen inches tall would allow for
more detail than this one that is only six and a half inches.

I would suggest that if you are unfamilar with patterning your own
clothes for dolls or people that you should look at something like
Janet Arnold's Patterns of fashions, pick an outfit that you'd like to
recreate in doll size, make your doll match the grid size of the
pattern, and if that chart grid is too small, put it on a copier to say
200%, and scale the doll appropriately.  That way you have a pattern
that is exactly the size that you need for your doll.

Alexandria
16th century dolls is one of my pet projects- on the one hand you have
dolls, which are always fun, and on the other, you need to make clothes
for them, what more can you ask for?

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Hey, Carol, will you be around tomorrow (Saturday)? We will be at 
Adelphi Mill (Pirate Feast) and my wife will be bringing some of the 
examples she has done of some of the historical knitting. Cheers, Mike T.


>
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Subject: [h-cost] Re: Needle point tracing wheel
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I knew we had one of these, and I finally found the source:  (don't know if 
this will show up as a link - if not, cut and paste, etc.)

http://www.baerfabrics.com/detail.asp?product_ID=500760-EA

Baer Fabric is a great store in Louisville, KY.  We specifically planned a 
route through there on one of our last costuming trips so we could shop 
there.  We were able to get several tools and notions that we couldn't find 
anywhere else.

HTH,

Sandy

At 01:03 PM 2/4/2005, you wrote:
>From: "Kate Pinner" <pinner@mccc.edu>
>Subject: Re: [h-cost]Q?:embroidery transfer problem
>
>When I was in Grad school ages ago, we used to have one that had points like
>little awls set into a wheel. Holes were about 1/8" apart and it would go
>thru the lighting gels as well as kraft paper. I'm hoping to find this kind,
>if possible.
>Kate
>
>From: "Helen Pinto" <hpinto@mindspring.com>
>Subject: Re: [h-cost]Q?:embroidery transfer problem
>
> > Kate wrote:
> >> For pricking, where do you get a pounce wheel that has real points on it
> >> and not those blunted things they try to sell as pounce wheels?
> >
> > Take a look at this one:
> > http://www.widgetsupply.com/page/WS/PROD/stylus/BEN66
> > It's made by the people who make X-acto knives, so it's sharper than the
> > one from the sewing stores.  You should be able to find it at a hobby
> > store (the kind that does model trains) or order it on-line from Widget.
> > (Widget is cheap, reliable, and has way too much cool stuff to temp
> > you...)
> >                      -Helen/Aidan

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

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

Andromeda  


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Subject: [h-cost] Was: Allegorical Fashions...  "floaty waist sash". 
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Dear Jean

This could be what in Italian costume I've heard
referred to as a 'poste' - a long possibly silken sash
which appears in many paintings around the late 15C.
There is an excellent page about it on the website of
Kamillah called 'Sugar & Gamurra'
http://www.geocities.com/kamillavh/0109.html
with lots of serious research. Enjoy!

HTH
Katherine
p.s. I've no idea if it was allegorical /before/ it
became 'real'...


	
	
		
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----- Original Message ----- 
From: "Susan Farmer" <sfarmer@sabre.goldsword.com>
To: <h-costume@indra.com>
Sent: Saturday, February 05, 2005 12:55 PM
Subject: Re: [h-cost] Princess Seam


> > In a message dated 2/4/2005 7:56:28 PM Eastern Standard Time,
> > roscelin@pcez.com writes:
> >
> > So,  friends, when did princess seams come in?
> >
>
> Well, I've got this painting by Fouquet (1420-1480) and those look pretty
> much like princess seams to me.
> <http://www.goldsword.com/sfarmer/SCA/Paintings/fouquet_Madonna.jpg>
>
> Jerusha
>

but I don't think they are acting in the same way as modern princess seams
which are designed to skim over the curves of a body which is supported by
separate undergarments. and I certainly haven't seen any evidence for seams
over the bust in the 16th century, and you certainly wouldn't want the seam
to be curved as the ideal figure was essentially cone shaped.
Elizabeth
---------------------------------------------------------------------------
Elizabeth Beaumont              Elizabeth Walpole
             in                        OR                 in
Politarchopolis, Lochac        Canberra, Australia
                 ewalpole@iimetro.com.au
        http://au.geocities.com/e_walpole/

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From: "Elizabeth Walpole" <ewalpole@iimetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <7d21ac1905020419126b5ce474@mail.gmail.com>
Subject: Re: [h-cost] History of Fashion virtual paper dolls
Date: Sat, 5 Feb 2005 20:27:00 +1100
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----- Original Message ----- 
From: "A. Thurman" <athurman@gmail.com>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Saturday, February 05, 2005 2:12 PM
Subject: [h-cost] History of Fashion virtual paper dolls


> Thought this might be fun for some:
>
> http://www.paperdollheaven.com/historyoffashion.php
>
> Latest Flash plugin required, and no, I don't know how accurate it all
> is - the undewear is certainly fanciful until about 1930, when it
> looks like someone at least tried to do some research.
>
> Anyway - have fun!
>
> Allison T.

cringe, the 1940s and later looks OK but otherwise pretty inaccurate
(especially the underwear)
Elizabeth

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From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] masqued ball
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Katheryne,
Please,  please,  please put up pictures when you've finished -
it  sounds fantastic! What started this project? ( just curious
:-) )
Joannah.
--- purplkat@optonline.net wrote:
From: purplkat@optonline.net
Date: Mon, 10 Jan 2005 23:03:17 -0500
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] masqued ball
Bjarne,
Is  there  any  way  I  can  beg  the  scraps of this wonderful
dupioni???
I  am  in  the midst of the final parts of the Elizabethan that
drives authenticity-nuts CRAZY!!
It  is  perfectly  done,  the corset is correct, the pattern is
correct,  I  cartridge pleated the skirt, everything is correct
--
EXCEPT the fabric -- 3" squares of random various fabrics.....
(from  leather  to  lace  to  silk  to double knit polyester to
fabric made out of fiberglass (circa 1950's) to linen.
Katheryne
who is having WAY tooo much fun on this dress.
----- Original Message -----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
.  So  i  finally  will  find something to use my shocking pink
dupioni of.
> She shall have a dress of this. I have 12 meters of it.
>
> Bjarne
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From h-costume-bounces@indra.com  Sat Feb  5 07:57:49 2005
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Was: Allegorical Fashions...  "floaty waist sash". 
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On Sat, 5 Feb 2005, katherine sanders wrote:

> This could be what in Italian costume I've heard referred to as a
> 'poste' - a long possibly silken sash which appears in many paintings
> around the late 15C. ... I've no idea if it was allegorical /before/
> it became 'real'...

Hmm. Some of the clothing tidbits that 15th c. Northern European artists
used for allegorical purposes were meant to send the message of "foreign
character" -- and some of those were modeled on actual foreign clothing
seen on visitors (e.g. the appearance of certain outlandish hats has been
traced to a celebrated visit from the Turkish court), or seen by artists
on their travels (e.g., several of the Northern Renaissance painters
visited Italy).

It may be that the sash was a real element of fashion in some other
geographic area, and was picked up as a "foreign" element by artists
before eventually working its way in as a live fashion through the usual
routes. I don't know Anne de Bretagne's history, but E mentions her as a
possible introducer of the sash; a queen with foreign roots could be a
fast-track vector for a foreign fashion.

E, do let us know more about your findings. I'm not convinced that the
line of influence is paintings --> real life in the examples you cite, but
I think you may be seeing signs of a more complicated pattern of movement.
To suss it out, you should probably look at which artists in particular
used the element(s) in question and exactly when and how; for instance,
some artists have documented travels that affected their use of costume,
and some symbols tended to be used by particular groups or schools of
artists and only later picked up by others.

I would also look for direct chains of geographic and temporal movement,
to counter the possibility that an element might show up independently in
two separated circumstances as a result of different lines of evolution.
For instance, I'd be hesitant to draw a direct line regarding split skirts
from Flemish saints to the Tudor court, given the many other differences
in silhouette between those styles and other issues going on with Tudor
clothing development (e.g. the mechanics of laying a skirt over a
farthingale) and other sources of influence (e.g. Spain), but you might be
able to track something.

--Robin



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From: Joannah Hansen <Joannah@sluggy.net>
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Subject: Re: [h-cost] fabric junkie alert
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Katheryne,
Raw silk, if you put it through the washing machine and dryer,
'plumps' up and gets a very 'homespun' appearance, if you would
like that look. I have a skirt ( which I still use for
re-enactment and probably shouldn't ) which is made of raw silk
which has been treated this way and it is very hard-wearing, as
well as easy care - I continue to throw it into the washing
machine whenever it needs it ( I also don't bother to use
special detergent / 'woolwash' usually, either ) - and it is
still nice against the skin, if considerably faded now more
than 4 years.
Probably not 'period' for you, though.
But, it's an idea of how it _could_ work for you.
Joannah.
--- purplkat@optonline.net wrote:
From: purplkat@optonline.net
Date: Tue, 11 Jan 2005 12:10:45 -0500
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fabric junkie alert
My Jo-Anns specializes in fleece and 'crafty' fabric..
Have to really look for the good stuff....
Katheryne
who would love to find a use for olive green raw silk - in the
medieval period....
hhmmm dye it perhaps?? Jo-Anns had 3!! bolts full at $3 / yd
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Subject: [h-cost] Researching the Re: "floaty waist sash". 
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This is just my little ol' opinion, but if you have read the Mummies of Urmichi (not sure about spelling of Urmichi), they render excellent examples of the kind of research Robin is talking about. 

Again, I could be wrong...There may be better examples out there...

--
Slan go foill 
Elena ÓTighearnaigh Įtha An Ri 

Emer's Needle Wares

-------------- Original message -------------- 

> 
> On Sat, 5 Feb 2005, katherine sanders wrote: 
> 
> > This could be what in Italian costume I've heard referred to as a 
> > 'poste' - a long possibly silken sash which appears in many paintings 
> > around the late 15C. ... I've no idea if it was allegorical /before/ 
> > it became 'real'... 
> 
> Hmm. Some of the clothing tidbits that 15th c. Northern European artists 
> used for allegorical purposes were meant to send the message of "foreign 
> character" -- and some of those were modeled on actual foreign clothing 
> seen on visitors (e.g. the appearance of certain outlandish hats has been 
> traced to a celebrated visit from the Turkish court), or seen by artists 
> on their travels (e.g., several of the Northern Renaissance painters 
> visited Italy). 
> 
> It may be that the sash was a real element of fashion in some other 
> geographic area, and was picked up as a "foreign" element by artists 
> before eventually working its way in as a live fashion through the usual 
> routes. I don't know Anne de Bretagne's history, but E mentions her as a 
> possible introducer of the sash; a queen with foreign roots could be a 
> fast-track vector for a foreign fashion. 
> 
> E, do let us know more about your findings. I'm not convinced that the 
> line of influence is paintings --> real life in the examples you cite, but 
> I think you may be seeing signs of a more complicated pattern of movement. 
> To suss it out, you should probably look at which artists in particular 
> used the element(s) in question and exactly when and how; for instance, 
> some artists have documented travels that affected their use of costume, 
> and some symbols tended to be used by particular groups or schools of 
> artists and only later picked up by others. 
> 
> I would also look for direct chains of geographic and temporal movement, 
> to counter the possibility that an element might show up independently in 
> two separated circumstances as a result of different lines of evolution. 
> For instance, I'd be hesitant to draw a direct line regarding split skirts 
> from Flemish saints to the Tudor court, given the many other differences 
> in silhouette between those styles and other issues going on with Tudor 
> clothing development (e.g. the mechanics of laying a skirt over a 
> farthingale) and other sources of influence (e.g. Spain), but you might be 
> able to track something. 
> 
> --Robin 
> 
> 
> 
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From h-costume-bounces@indra.com  Sat Feb  5 08:34:07 2005
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	<6.1.2.0.2.20050204235836.02815158@pop.radiks.net>
Subject: Re: [h-cost] Re: Needle point tracing wheel
Date: Sat, 5 Feb 2005 08:32:59 -0500
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YES!!! YES!!! YES!!!
That is exactly what I have been looking for! Although the other suggestions 
and my own search on google turned up lots of interesting toys, er.. tools, 
I hadn't found it. Thank you!
Kate

----- Original Message ----- 
From: "Pierre & Sandy Pettinger" <costumrs@radiks.net>
To: <h-costume@indra.com>
Sent: Saturday, February 05, 2005 1:01 AM
Subject: [h-cost] Re: Needle point tracing wheel


>I knew we had one of these, and I finally found the source:  (don't know if 
>this will show up as a link - if not, cut and paste, etc.)
>
> http://www.baerfabrics.com/detail.asp?product_ID=500760-EA
>
> Baer Fabric is a great store in Louisville, KY.  We specifically planned a 
> route through there on one of our last costuming trips so we could shop 
> there.  We were able to get several tools and notions that we couldn't 
> find anywhere else.
>
> HTH,
>
> Sandy
>
> At 01:03 PM 2/4/2005, you wrote:
>>From: "Kate Pinner" <pinner@mccc.edu>
>>Subject: Re: [h-cost]Q?:embroidery transfer problem
>>
>>When I was in Grad school ages ago, we used to have one that had points 
>>like
>>little awls set into a wheel. Holes were about 1/8" apart and it would go
>>thru the lighting gels as well as kraft paper. I'm hoping to find this 
>>kind,
>>if possible.
>>Kate
>>
>>From: "Helen Pinto" <hpinto@mindspring.com>
>>Subject: Re: [h-cost]Q?:embroidery transfer problem
>>
>> > Kate wrote:
>> >> For pricking, where do you get a pounce wheel that has real points on 
>> >> it
>> >> and not those blunted things they try to sell as pounce wheels?
>> >
>> > Take a look at this one:
>> > http://www.widgetsupply.com/page/WS/PROD/stylus/BEN66
>> > It's made by the people who make X-acto knives, so it's sharper than 
>> > the
>> > one from the sewing stores.  You should be able to find it at a hobby
>> > store (the kind that does model trains) or order it on-line from 
>> > Widget.
>> > (Widget is cheap, reliable, and has way too much cool stuff to temp
>> > you...)
>> >                      -Helen/Aidan
>
> "Those Who Fail To Learn History
> Are Doomed to Repeat It;
> Those Who Fail To Learn History Correctly --
> Why They Are Simply Doomed.
>
> Achemdro'hm
> "The Illusion of Historical Fact"
>  -- C.Y. 4971
>
> Andromeda
>
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> 


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Subject: Re: [h-cost] Fashion doll
Date: Sat, 5 Feb 2005 08:36:03 -0500
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This has been an ongoing project of mine for the last three years.  I chose
to take a porcelain doll class for the model.  After choosing the Kessner
'Gibson girl"  12-14" for the doll, I had an ongoing 'discussion' with the
teacher about the amount of color I preferred for the face.  Even after I
brought QEWU to class, she still tried to persuade me to do the head in the
traditional color fashion.  I won, at least to my satisfaction. On to the
clothing.  I found out by accident that the Hunnisett patterns for corsets,
bodices, and sleeves were exactly the scale for the body of the doll.  (Mine
has a cloth body that was tailored by the teacher of a friend several years
ago). It is very shapely.  I stuffed it with 50 year-old sawdust that had
been 'oven-cured.  I have completed one ensemble that is Ren. influenced and
have been collecting fabric and beads and jewelry for an honest portrait
attempt.

Just this month I received my issue of "Doll Costuming" and was surprised
and delighted to see that the major article was on a QE doll!  It is the
best that I have seen. The artist chose to make his own model and she is
very nice indeed.  A bit more color than I would have used on the face, but
it suits the current aesthetic.  The costume is Fabulous!  He used the
Pelican portrait for the gown, including all the jewels and embroidery one
needed to bring the portrait to life.

Kathleen


----- Original Message ----- 
From: "roscelin" <roscelin@pcez.com>
To: <h-costume@indra.com>
Sent: Friday, February 04, 2005 8:03 PM
Subject: [h-cost] Fashion doll


>   I need some assistance on a future project.  I would like to make a doll
like
> the "fashion doll" in QEWU.  It's on page 157 and 158 fig. 248 & 248a.
>   Is there anyone in the group has made this type of doll before and what
is
> the best way to go about creating the pattern for the doll's outfit?  I've
only
> made rag dolls and period-like doll clothes from a Simplicity pattern.
>
> Roscelin
>
> -------------------
> http://www.pcez.com
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Subject: Re: [h-cost] Princess Seam/Barbie?
Date: Sat, 5 Feb 2005 08:59:11 -0500
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Status: RO

This painting struck me as a 15th century Barbie! But seriously, What's with 
the skirt of her gown? It looks as if she's pulled it up and tied a 
belt/braid to keep it there.  My question is, Why?  I understand exposing 
the breast to feed the baby but why raise her skirt? Or was this a fashion?
Kate
----- Original Message ----- 
From: "Susan Farmer" <sfarmer@sabre.goldsword.com>
To: <h-costume@indra.com>
Sent: Friday, February 04, 2005 8:55 PM
Subject: Re: [h-cost] Princess Seam


>> In a message dated 2/4/2005 7:56:28 PM Eastern Standard Time,
>> roscelin@pcez.com writes:
>>
>> So,  friends, when did princess seams come in?
>>
>
> Well, I've got this painting by Fouquet (1420-1480) and those look pretty
> much like princess seams to me.
> <http://www.goldsword.com/sfarmer/SCA/Paintings/fouquet_Madonna.jpg>
>
> Jerusha
>
> _______________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Princess Seam
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On Fri, 4 Feb 2005, Robin Netherton wrote:
> On Sat, 5 Feb 2005, roscelin wrote:
> > So, friends, when did princess seams come in?
>
> There are certainly side front seams that curve over the bust point in the
> later Middle Ages and on. The earliest such seam I've seen is in the
> portrait of Agnes Sorel as the Maddona, by Fouquet (known for the single
> exposed breast), which was painted around 1450.

The miller's wife in the "Falconry" Devonshire Hunting tapestry also has
a very clear seam line like the Agnes Sorel one. Linda Woolley gives an
estimated date for this tapestry as somewhere around 1430 (in "Medieval
Life and Leisure in the Devonshire Hunting Tapestries") - is the dating
off, or is this an earlier visual source for this kind of seam?

Ingrid

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Subject: Re: [h-cost] Re: Needle point tracing wheel
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In a message dated 2/5/2005 6:35:15 AM Mountain Standard Time, 
pinner@mccc.edu writes:
>>When I was in Grad school ages ago, we used to have one that had points 
>>like
>>little awls set into a wheel. Holes were about 1/8" apart and it would go
>>thru the lighting gels as well as kraft paper. I'm hoping to find this 
>>kind,
>>if possible.
You can also get them at Greenburg and Hammer in NYC.  They have an extensive 
catalogue of hard-to-find specialities for costume construction.
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> > > In a message dated 2/4/2005 7:56:28 PM Eastern Standard Time,
> > > roscelin@pcez.com writes:
> > >
> > > So,  friends, when did princess seams come in?
> > >
> >
> > Well, I've got this painting by Fouquet (1420-1480) and those look pretty
> > much like princess seams to me.
> > <http://www.goldsword.com/sfarmer/SCA/Paintings/fouquet_Madonna.jpg>
> >
> > Jerusha
> >
>
> but I don't think they are acting in the same way as modern princess seams
> which are designed to skim over the curves of a body which is supported by
> separate undergarments. and I certainly haven't seen any evidence for seams
> over the bust in the 16th century, and you certainly wouldn't want the seam
> to be curved as the ideal figure was essentially cone shaped.

And you know, I wan't thinking when I sent that painting yesterday.  (I
was trying to do a bazillion things at the same time and my brain was
fried!)  If I'd had my with about me, I would have qualified that with
the "yes they put seams here, but did they serve the same function"
comment that Robin so eloquently elaborated on.

Warning, be sure brain is engaged before answering email!  :-S

Jerusha
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Princess Seam
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On Sat, 5 Feb 2005, [iso-8859-1] Ingrid G. Storrų wrote:

> The miller's wife in the "Falconry" Devonshire Hunting tapestry also
> has a very clear seam line like the Agnes Sorel one. Linda Woolley
> gives an estimated date for this tapestry as somewhere around 1430 (in
> "Medieval Life and Leisure in the Devonshire Hunting Tapestries") - is
> the dating off, or is this an earlier visual source for this kind of
> seam?

I've always been very troubled by that image. There are dating problems
with all the Devonshire tapestries, in whole or part. They were not a
uniform set from a single place and time, but examples of a popular genre
that was produced over a span of time. One problem you get with tapestries
like this is that they may include internal contradictions in time period.
These may occur when parts of cartoons (the templates from which the
weaving is done) drawn in different time periods are combined into a new
arrangement to create a new tapestry. You can also get incongruities when
tapestries are cut apart, re-pieced, and rewoven to fit different spaces.

There are several things about the Miller's Wife figure that make her seem
out of place in her setting, to my eye at least. I have often wondered
whether she was restored at some point along the line, or whether some
parts of her or the figure as a whole were later additions. I hope someday
that a textile scholar is intrigued enough by this question to examine
that part of the tapestry for signs that it was pieced in or restored.

--Robin


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Subject: Re: [h-cost] Allegorical fashons becoming real fashions
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----- Original Message ----- 
From: "Jean Waddie" <anne@montgomerie.demon.co.uk>

> Please post some pictures - I did a quick search for Anne de Bretagne but 
> couldn't see anything I would describe as a "floaty waist sash". Please 
> let us see what you're talking about.
>
> Jean

Here are a couple of quick AdB examples:
http://www.formfunction.org/temp3/c1500AdB1.jpg
http://www.formfunction.org/temp3/c1500_adbaftermarriagetolouisXII_plutarque_2.jpg
The first shows AdB wearing both the waist sash and the split skirt I 
mentioned.

Here it is, around the same time, on another sprig of royalty, Margaret of 
Austria (or possibly of Savoy):
http://www.formfunction.org/temp3/margaretofaustriaorsavoy.jpg
And here, on another pair of Princesses (Mary & Margaret Tudor, I think?):
http://www.formfunction.org/temp3/1500seatrip.jpg

Each of the above dates between 1500 and ~1510 or earlier.

This shows the floaty waist sash in a religious setting (on Salome):
http://www.formfunction.org/temp3/1507-8flemmassys.jpg
You can see more clearly here why I think of it as the "floaty" waist sash:
http://www.formfunction.org/temp3/c1505germany.jpg

And to give you a clearer look than some of these images provide, here's a 
version of it on Diana as she leads a hunt:
http://www.formfunction.org/temp3/__hr_Diana%20and%20Hunters.jpg

The Unicorn Hunt tapestry may or may not be the best source for realistic 
depictions, but here it is again worn with a perfectly documentable real 
style:
http://www.formfunction.org/temp3/1495-1505unicornkilleddet.jpg

It shows up on women in religious settings much earlier than any images I've 
included; I haven't added those simply because the sash is so obscured by 
the rest of what's going on that it's not the best example. However, given 
the distinctive knot you see in so many of the later depictions, it's not 
too hard to identify it from just a peek at the waist.  Well, actually, I 
may as well put up an example of that:
http://www.formfunction.org/temp3/1475-80dutch.jpg
The earlier depictions show it worn slightly differently; the portion around 
the waist is often twisted, as here.

It's also worn by men:
http://www.formfunction.org/temp3/c1500lejardin.jpg
http://www.formfunction.org/temp3/1465-8flemishgoes.jpg
(In fact, it seems to be downright common on men in the second half of the 
15thC--I don't really collect images of men's clothing, but in a quick 
search for images to show you, I ran across at least a dozen examples of 
this type or similar types of sashes on men.)  On men, it's depicted more 
realistically, and the use of the sash as an allegorical symbol may well 
relate to where those men got the fashion.

And here it is later on, in clearly non-allegorical, non-royal, 
non-historical settings:
http://www.formfunction.org/temp3/english.jpg
http://www.formfunction.org/temp3/leyden3.jpg

As worn by an early 16thC spinster for her brass (she's wearing styles that 
are MUCH earlier than her date of death--her dress is more like late 
1480s/early 1490s, and if I remember correctly, her death was around 1525. 
The sash may be a way of updating the outfit a tad):
http://www.formfunction.org/temp3/trivick04.gif

Looking back through my images just now, I'm finding it in more regions that 
I'd remembered--England, France & the Lowlands, Hungary & Bohemia and 
Germanic areas, Italy, in Spain on a Moor...  It's worn by men, women, and 
children; over the course of a few decades, it appears on nearly every 
class.  Artists such as Van Leyden who are noted for accurate rendering of 
local costumes (and were described this way within living memory of their 
career) show it; well-travelled artists such as Holbein show it; isolated 
small-time artists such as those in Hungary & Bohemia include it in an 
almost iconographic manner. It appears in isolated situations in the 2nd 
half of the 15thC; right around 1500-1505, it seems to go through an 
explosion of popularity and shows up all over the place in short order. 
(From a practical standpoint, it would be an easy fashion to adopt, since 
all you really need is a few yards of very narrow fabric/wide ribbon/tablet 
weaving.)  It seems to stick around longest in Dutch areas, and drifts out 
of use around 1530-1535 (at least in the parts of Europe I study).

-E House


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Subject: Re: [h-cost] Was: Allegorical Fashions...  "floaty waist sash". 
Date: Sat, 5 Feb 2005 17:54:30 -0600
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>

> Hmm. Some of the clothing tidbits that 15th c. Northern European artists
> used for allegorical purposes were meant to send the message of "foreign
> character" -- and some of those were modeled on actual foreign clothing
> seen on visitors (e.g. the appearance of certain outlandish hats has been
> traced to a celebrated visit from the Turkish court), or seen by artists
> on their travels (e.g., several of the Northern Renaissance painters
> visited Italy).

>From looking into the poste a tad just now, there does seem to be some 
connection there.  So far, I've got earlier dates for it in Northern Europe 
than Southern, but I clearly haven't looked into it enough to know with any 
certainty who got there first. Still, there's the fact that within Northern 
Europe, the garment hangs about in allegorical settings for decades, then 
suddenly explodes into a real fashion. It's that jump from 
shown-but-not-worn, to WORN, that fascinates me.

> It may be that the sash was a real element of fashion in some other
> geographic area, and was picked up as a "foreign" element by artists
> before eventually working its way in as a live fashion through the usual
> routes. I don't know Anne de Bretagne's history, but E mentions her as a
> possible introducer of the sash; a queen with foreign roots could be a
> fast-track vector for a foreign fashion.

AdB (sorry, I get really tired of typing out the full name!) may not be the 
single innovator, but she is either the earliest or one of the earliest 
peolpe that appear to actually wear it, rather than just being depicted in 
it. When she's first shown in it, she's shown in rather heavily symbolic 
settings, giving the sash a sort of allegorical feel; later, though, she 
seems to be just plain wearing it as a garment. It's that transition in the 
way it's shown on her specifically that makes me think of it as moving from 
allegory to reality on AdB herself. However, the transition I see played out 
on her may not have originated there.

> E, do let us know more about your findings. I'm not convinced that the
> line of influence is paintings --> real life in the examples you cite, but
> I think you may be seeing signs of a more complicated pattern of movement.
> To suss it out, you should probably look at which artists in particular
> used the element(s) in question and exactly when and how; for instance,
> some artists have documented travels that affected their use of costume,
> and some symbols tended to be used by particular groups or schools of
> artists and only later picked up by others.


> I would also look for direct chains of geographic and temporal movement,
> to counter the possibility that an element might show up independently in
> two separated circumstances as a result of different lines of evolution.

I've looked into this a bit, and so far have found no clear connection (or 
perhaps, too many connections to pin a single one down).  However, I have 
much more information on the later, worn-as-a-real-garment artists than on 
the earlier artists (often just known to me as 'Master of the ...') so there 
certainly may be a connection that I'm just not able to find at the moment. 
I'm not saying I've done all the research I can on the question, by any 
means; just that I don't have time to do any more on this subject right now, 
but I haven't found anything in what I _have_ done.

But again, right now I'm more interested in the fact that a garment depicted 
as a fantasy becoming a reality, regardless of where the artist got the idea 
for that fantasy. (Considering all the fancy drapery going around at that 
time, I wouldn't be the least surprised if some artist somewhere just 
...decided it would be pretty. Or if another artist somewhere saw it being 
worn in a different manner on a trip to Italy and decided to re-purpose it, 
and another associated it with the Holy Land and used it as a symbol, 
and... )  The 'where they got the idea' is important and interesting and I 
want to know, but the simple fact of that leap from not-worn to worn makes 
me suddenly a lot more interested in and less dismissive of allegorical 
fashions.

> For instance, I'd be hesitant to draw a direct line regarding split skirts
> from Flemish saints to the Tudor court, given the many other differences
> in silhouette between those styles and other issues going on with Tudor
> clothing development (e.g. the mechanics of laying a skirt over a
> farthingale) and other sources of influence (e.g. Spain), but you might be
> able to track something.
>
> --Robin

The split skirt brings up topics too long for me to post about here & now, 
but to summarize, the 'Tudor'* style seems to be a combination of what was 
going on in Spain, and what was already in place in Northern Europe; the 
split skirt is one element that was already going on in NE before the 
foundational elements came in from Spain. In other words, I'm not calling it 
a straight line, but rather saying that this specific element was already in 
place in NE before the new style fully developed.  Though Spain certainly 
had a lot of impact on that fashion and the ways it was constructed, I 
really think Spain's impact has been overstated. The gowns being worn just 
before the new fashion are almost the same as the new fashion; they're just 
built over a different support/underpinning system.

*The term 'Tudor' for that style of dress is one of my buttons; I could 
refer to wildly different English clothing from 1485 as Tudor with equal 
accuracy.  But everyone knows what I'm talking about when I say 'Tudor', so 
I use it anyway...

-E House really needs to go sew on 30 pair of hooks and eyes now, sigh.


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From: "E House" <formfunc@formfunction.org>
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References: <020520051322.26286.4204C8B10004815A000066AE22070009530809070E029D0E0A0809079BA101A10E020A040A@comcast.net>
Subject: Re: [h-cost] mummies (was researching, floaty, etc)
Date: Sat, 5 Feb 2005 18:07:50 -0600
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I haven't read that, but that book has been on my to-buy list for a while! 
I'm absolutely fascinated by the Urumchi mummies. (And the rest of the Silk 
Road mummies--were they all found in Urumchi?  I think there were more 
elsewhere.)  In fact, I'm absolutely fascinated by mummies in general. I 
hope that doesn't make me too morbid. What is it about seeing the actual 
faces?!

-E House

----- Original Message ----- 
> From: "Elena O'Tighearnaigh" <elena_o_tighearnaigh@comcast.net>


> This is just my little ol' opinion, but if you have read the
> Mummies of Urmichi (not sure about spelling of Urmichi),
> they render excellent examples of the kind of research
> Robin is talking about.

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Princess Seam
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  They sure do to me, as well - into the armhole?
    I always wonder when I see these "plucked head" ladies - how peculiar do 
they look without the headgear?
<GGG>

Liadain

----- Original Message ----- 
From: "Susan Farmer" <sfarmer@sabre.goldsword.com>
To: <h-costume@indra.com>
Sent: Friday, February 04, 2005 6:55 PM
Subject: Re: [h-cost] Princess Seam


>> In a message dated 2/4/2005 7:56:28 PM Eastern Standard Time,
>> roscelin@pcez.com writes:
>>
>> So,  friends, when did princess seams come in?
>>
>
> Well, I've got this painting by Fouquet (1420-1480) and those look pretty
> much like princess seams to me.
> <http://www.goldsword.com/sfarmer/SCA/Paintings/fouquet_Madonna.jpg>
>
> Jerusha
>
> _______________________________________________
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Subject: Re: [h-cost] Princess Seam
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> The miller's wife in the "Falconry" Devonshire Hunting tapestry also has
> a very clear seam line like the Agnes Sorel one. Linda Woolley gives an
> estimated date for this tapestry as somewhere around 1430 (in "Medieval
> Life and Leisure in the Devonshire Hunting Tapestries") - is the dating
> off, or is this an earlier visual source for this kind of seam?

There are two figures that have seams over the busts. The other is a woman
tending some sheep. Her skirt is bunched up over her hips and she has bare
feet.

http://img.photobucket.com/albums/v609/glittersweet/frau/devon2.jpg

http://img.photobucket.com/albums/v609/glittersweet/frau/devon1.jpg
This one is a bit more weird as they seem to converge into a middle seam.

They do look much later than other figures.

michaela de bruce
http://glittersweet.com



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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Princess Seam
Date: Sun, 6 Feb 2005 15:46:07 +1300
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> but I don't think they are acting in the same way as modern princess seams
> which are designed to skim over the curves of a body which is supported by
> separate undergarments. and I certainly haven't seen any evidence for
seams
> over the bust in the 16th century, and you certainly wouldn't want the
seam
> to be curved as the ideal figure was essentially cone shaped.
> Elizabeth

Early or late;)?

Ther eis plenty of visual and extant evidence of curved seams over the bust
in late 16thC Spanish dress, but they ae not about shaping to the bust. In
paintings they are harder to distinguisd as curved, but even in a conical
shaped torso you can use curves. They are also used in 17th and 18thC
corsetry and bodices.

I suspect is is as much for visually drawing the eye as there are some
instances where seams are decorated (jewellery especially in the Spanish
stuff.)

But a curve also offers a bit more stretch, so I suspect it is also about
fitting smoothing over the cone shaped base.

My Elizabeth de Valois gown uses an extant Spanish jerkin as the base of the
bodice (darn near perfect size for me scaled directly up) which is found in
the first edition of History of Costume by Blanche Payne.
http://costumes.glittersweet.com/sca/valois.htm
If you scroll to the bottom you'll see the test patterns which show the
seams more readily.

Curved seams and what look to be faked curved seams can also be found in
Alcega.

Note though I am *not* suggesting they are princess seams in any way shape
or form. the query was for seams over the bust.

And a side note, Worth didn't claim credit for the princess seam. It was the
pincesse line (en princesse) that he or proponants claim he invented.

His dresses used darts at the front and seams at the back to create a dress
with no waist seams.

Apparently though he really just made the look more popular when he used it
for his royal clients.

michaela
http://glittersweet.com



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In a message dated 2/4/2005 11:18:54 P.M. Central Standard Time,  
h-costume-request@indra.com writes:

I am  trying to find a supplier of historically accurate (or close  to
historically accurate) brocades and other patterned fabrics to offer  to
costumers and I need your help!
Hi, I'm new to the list, but I thought this link might be useful to  you:
 
_Istok Enterprises, Inc. ::  Fabrics :: Brocade_ 
(http://www.istok.net/home.php?cat=676)  
 
They sell silk brocade, some of which is period-looking, if pricey.
 
-- Tea Rose, who can't afford brocade but spends a lot of time staring at  it 
and drooling on her keyboard
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Princess Seam
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On Sun, 6 Feb 2005, michaela wrote:

> http://img.photobucket.com/albums/v609/glittersweet/frau/devon2.jpg

Thanks for posting this. I was writing from memory before, and forgot
about the other costume element in this figure that screams "quite a bit
later than 1430" to me: The partlet, very clearly rendered and fastening
under the arms. I can't recall ever seeing that in anything from the early
15th c., but I know it does appear much later -- 16th c.? Out of my range
of expertise, certainly. This, even more than the "princess" seam, is what
made me wonder whether the figure was a later addition or restoration.

> http://img.photobucket.com/albums/v609/glittersweet/frau/devon1.jpg
> This one is a bit more weird as they seem to converge into a middle seam.

There are other weirdnesses about this image, too, including her oddly
formed left arm. Does make me wonder whether someone had to cobble
together a restoration job at a later date while retaining some intact
parts.

--Robin

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