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From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Mind Your Manners!
To: Historical Costume <h-costume@indra.com>
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Hi all,

could someone please re-post the link to the 'Mind Your Manners' game?
I thought I'd bookmarked it, but I find I was wrong. :-)

I didn't get a chance to try it out and now I've even forgotten what
museum it was located at. I only remember that it was a Canadian
museum.

Thanks!


Bella

Find local movie times and trailers on Yahoo! Movies.
http://au.movies.yahoo.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fw: [Authentic_SCA] a litlle OT: Lessons from Sewing
	(humor)
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Oh YES!!! Those are absolutely true.  Thanks!

Lalah, Never give up, Never surrender


--- "Elizabeth Walpole" <ewalpole@iimetro.com.au> wrote:

From: "Elizabeth Walpole" <ewalpole@iimetro.com.au>
Date: Thu, 31 Mar 2005 10:04:39 +1000
To: "historic costume" <h-costume@indra.com>,
	"Garb list" <SCA-GARB@LIST.UVM.EDU>
Subject: [h-cost] Fw: [Authentic_SCA] a litlle OT: Lessons from Sewing
	(humor)


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From h-costume-bounces@indra.com  Thu Mar 31 20:21:00 2005
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Subject: Re: [h-cost] Re: Use of "Reenactor"--slightly OT
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Hey! I resemble that description, except for the snobbish part! <g> 
Even if I never thought of myself as a reenactor in any sense, given the 
whole structural looseness of my experiences in the SCA (and lack of 
opportunity to do other historical time periods, etc.).
I got to learn to spin flax last summer, and it's lots of fun.  Bummer 
that I don't have any way to grow my own as well!
--sue, actually spinning her own thread and making her own fabric for an 
early-period SCA outfit...say, 10th c. or so (well, slowly, but it *is* 
being done on a drop spindle)

Chris Laning wrote:

> That's the trouble, of course -- so many people use it to mean 
> completely different things.
> 
> If, for instance, your concept of a "re-enactor" is "a snobbish and 
> overly picky person who obsesses about the spin direction and fiber 
> length of the linen thread used to stitch seams no one will ever see", 
> then obviously you're probably going to consider it unflattering <g>.


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From h-costume-bounces@indra.com  Thu Mar 31 20:30:58 2005
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I can agree with that, with some certainty. ;-)  My hips/tummy weren't
an issue, but my bust sure was! I needed so much extra room for the
girls that my mockup ended with the "shoulder" seam at my elbows!
What I ended up doing to fix it was look at all the extant shifts I
could find from the St. Louis shirt forward into the 18th c.  I found a
couple of examples (mostly later) that showed a distinct, but subtle
narrowing of the fabric just at the shoulders, so that's what I did.  I
marked the shoulder line on my body-rectangle, marked where my bust was
(the point where I needed the full width available), and removed narrow
wedges of fabric so that I essentially had two trapezoids, joined at the
narrow ends (my shoulders).  Other than that, I followed instructions as
requested, and the shift turned out just fine.  The fabric missing in
the shoulder area isn't even visually noticeable when I'm wearing it.
I don't recall for certain, but I may have had to readjust the sleeve 
length a bit to make them a little longer, but that was about it.
--sue

tearoses@aol.com wrote:

> Judy -- I believe there is a note somewhere on Drea's site that the
> smock generator can produce some weird results for those of us with
> more ::ahem:: womanly proportions. I made one myself last year for
> Halloween, and as I recall I had to alter the pattern a bit to make
> it approach the proper proportions.

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Subject: Re: [h-cost] Re: Bleach experiment, Elizabethan smock
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If we're talking about my experiment, it was sealed pretty tightly, but 
probably not completely air-tight.  With a cat in the house, there's no way 
I'm going to leave anything uncovered that I don't want her to A) drink or 
B) knock over or C) knock over and then drink.

The evaporation thing is interesting, though, since over-the-counter bleach 
is pretty dilute--maybe the actual bleachy part sort of evaporated within 
the closed system and condensed at the top of the container.

-E
(long time since I took them thar science classes...) 

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Date: Thu, 31 Mar 2005 16:17:14 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: Wool denim
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At 8:40 AM -0700 3/31/05, Wicked Frau wrote:
>Fashion fabrics club has some interesting wool denim blends.  I know 
>they are not considered "period" (1400-1650).  But what exactly is 
>denim weave?  Just curious if it was something that was achievable 
>during the time and they didn't have it, or???

As others have said, most denim is a simple 2/2 twill. I _think_ 
(though I'm not sure) that one of the things that makes it 
specifically "denim" is that the warp and weft are usually different 
colors, such as green and white, blue and white, or black and white.

(I once found some denim that I didn't realize was actually black and 
orange till I got it home and saw the edges raveling. From a distance 
it was just a nice brown!)

My copy of Fairchild's dictionary of textiles seems to support this 
interpretation, too.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Date: Thu, 31 Mar 2005 19:47:24 -0800 (PST)
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Sizing up Uniquely You
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Hello everyone!

I bought a Uniquely You dress form and cover when I was several sizes
smaller.  Now I am a real size 18 (eek!) but the covers only go up to size
14.  Has anybody tried to size one up from the 14?  Any suggestions?

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] Mind Your Manners!
Date: Thu, 31 Mar 2005 23:05:47 -0600
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----- Original Message ----- 
From: "Bella" <bella_lucia_da_verona@yahoo.com.au>
> could someone please re-post the link to the 'Mind Your Manners' game?
> I thought I'd bookmarked it, but I find I was wrong. :-)


www.mccord-museum.qc.ca/en/keys/games/game_0/


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Subject: Re: [h-cost] Re: Bleach experiment, Elizabethan smock
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I am a chemistry teacher in real life and chlorine vaporizes fairly quickly,  
so if the bleach is old this type of stuff doesn't go nearly as well.  It's 
good for laundry but not for tests or experiments.  So when doing experiments 
on fabric use new bleach.
theresa
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Subject: [h-cost] updated errata for "Ecclesiastical Pomp"
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Vastly extended pages of errata for "Ecclesiastical Pomp and  Aristocratic 
Circumstance", mainly containing new information that has come to  light since 
its publication in 2000, are available on my web page.  Click  on the book 
cover, then go to the link at the bottom of the page.
 
Nancy  

<><><><><><><><><><><><><><><><>

Nancy  Spies
Arelate Studio
_www.weavershand.com/ArelateStudio.html_ 
(http://www.weavershand.com/ArelateStudio.html) 
Ingvild  Josefsdatter, OL
Bright Hills, Atlantia

"But if by a 'Liberal' they  mean someone who looks ahead and not behind, 
someone who welcomes new ideas  without rigid reactions, someone who cares about 
the welfare of the people --  their health, their housing, their schools, 
their jobs, their civil rights, and  their civil liberties -- someone who believes 
we can break through the stalemate  and suspicions that grip us in our 
policies abroad, if that is what they mean by  a 'Liberal,' then I'm proud to say 
I'm a 'Liberal'." John F. Kennedy, 14 Sept  1960

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At 10:26 AM 3/31/2005, you wrote:
Jodi,

What Kate said!!  FYI, more info about the Costume Con in Ogden, UT is at:

www.crossroadsutah.org

Info about Costume Cons in general is available at:

www.Costume-Con.org

Welcome!!

Sandy Pettinger
>Just wanted to introduce myself to the group. My name is Jodi Nelson and
>I have been costuming for 4 years now. I live in St.George, UT.
>-------------------------------------
>Welcome to the asylum! ;)
>
>As you are in Utah, will you be attending the fast approaching Costume
>Con? I'm not able to attend this year, darn it, but am looking forward
>to stories and pictures.
>
>Kate McClure

"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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Date: Fri, 1 Apr 2005 15:40:25 +1000 (EST)
From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Mind Your Manners!
To: Historical Costume <h-costume@indra.com>
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Thank you! :-)

Bella

--- E House <formfunc@formfunction.org> wrote:
> ----- Original Message ----- 
> From: "Bella" <bella_lucia_da_verona@yahoo.com.au>
> > could someone please re-post the link to the 'Mind Your Manners'
> game?
> > I thought I'd bookmarked it, but I find I was wrong. :-)
> 
> 
> www.mccord-museum.qc.ca/en/keys/games/game_0/
> 
> 
> _______________________________________________
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Find local movie times and trailers on Yahoo! Movies.
http://au.movies.yahoo.com
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> I didn't get a chance to try it out and now I've even forgotten what
> museum it was located at. I only remember that it was a Canadian
> museum.

I don't have the link anymore, but it was at McCord Museum, should be pretty 
easy to find with Google. 
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Mariner's Cuffs
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I'm not an expert on this period, but as no-one else seems to have
answered...
I don't think there is an actual pocket there, if that's what you are
suggesting, but yes, I think the flap is stitched to one side of the
outer arm seam and the buttons to the other.

Kate Bunting
Librarian and 17th century reenactor

>>> dgandh@t-online.de 31/03/2005 14:39:36 >>>

I am trying to figure out how mariner's cuffs work circa 1690-1720.  To
me
it looks like its just a pocket flap that 3-buttons the sleeve closed. 
Does
this go over the seam of the arm though?  Like the pocket is on one
side and
the buttons are on the other?

This one is a little later but will give you the idea
http://www.nmm.ac.uk/mag/pages/mnuExplore/PaintingDetail.cfm?letter=c&ID=BHC

3017
and
http://www.nmm.ac.uk/collections/CollectionsDetail.cfm?ID=UNI0006&picture=0


The coat I am trying to make is more of a short jacket than a fancy
justaucorps in the pictures above... 

Any suggestions?

Thanks

Greg
www.gentlemenoffortune.com 


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Sizing up Uniquely You
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Diana Habra wrote:
> Hello everyone!
> 
> I bought a Uniquely You dress form and cover when I was several sizes
> smaller.  Now I am a real size 18 (eek!) but the covers only go up to size
> 14.  Has anybody tried to size one up from the 14?  Any suggestions?

	Oh yeah, I have. I has a size 18 UY, but I'm bigger than that. If you 
are really industrious, you could take the cover apart and add in pieces 
and re-tailor it to fit you the way you are now. You'll still have to 
pad up the form.

	What I did, was take upholstery batting (nice big sheets of padding, 
easy to cut and shape) and wrap it around the form, and add bits of 
polyfill where it need a touch more. I did this over the cover (rather 
than re-tailor the cover), and then wrapped around the padding with some 
old, wide ace bandages to kepp everything in place. It's not perfect, 
but it's a lot closer.

	-Judy Mitchell
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Subject: [h-cost] What is the history of denim weave?
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Hi,

There are a variety of theories about Denim. The most popular seems to be 
the "Serge de Nimes" theory, which relates to a wool/silk fabric produced in 
Nimes from the 16th century on and imported into the UK. Since serge is also 
a twill weave, maybe the name was transferred with the weave, rather than 
with the material.... "Jeans" comes from the type of fustian (linen warp, 
cotton weft) woven in Genoa during the 16th century. It was called "jean" or 
"jeans" (while cloth from Ulm in Germany was called "holmes"). The first 
jeans were made from this type of cloth, which by the 18th century was made 
completely out of cotton, but kept the name. Denim Jeans could therefore 
maybe be translated into "Twill-woven Fustian"...... or today "Cotton 
twill"....

Wool/Cotton blends are actually not modern. There are a variety of fabrics 
from the 14th century onwards that use cotton and wool in different amounts. 
The problem today is rather that the fibres are a mix in each thread (warp 
and weft) and not (like it was then) warp made of one material and weft made 
of the other. An example would be farsitia, which was made in Florence.

So if they can let you know what the go is with those denims, maybe you can 
use them still, as long as you stay away from the polyester and lyrca 
ones.....

Hope this helps,

Caithlinn


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Thread-Topic: bleaching ecru lace
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From: "Ferguson, Natalie" <nbd2@CDC.GOV>
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From h-costume-bounces@indra.com  Fri Apr  1 11:45:35 2005
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] bleaching ecru lace
Date: Fri, 1 Apr 2005 09:52:19 -0700
To: Historical Costume <h-costume@indra.com>
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If it's poly, bleach won't do any good.  If its cotton or rayon, it 
will take bleach, but all the color may not bleach out.   Try a bit and 
see.

Sylrog

On Apr 1, 2005, at 9:22 AM, Ferguson, Natalie wrote:

> A question from lurker land:
>
> I have a large roll of wide ecru Chantilly (?) lace; I am fairly sure 
> it's not made of a natural fiber. Am wanting to bleach it in order to 
> make a turn-of-the-20th century peignoir and nightdress. Both garments 
> require yards and yards and yards of wide lace.
>
> Is it possible to safely bleach manmade fibers, or should I teastain 
> the batiste to sort-of match the lace?
>
> With thanks, and I sure do enjoying reading everyone's posts,
>
> Natalie in KY
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Fri, 01 Apr 2005 11:06:42 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] bleaching ecru lace
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>I have a large roll of wide ecru Chantilly (?) lace; I am fairly sure it's 
>not made of a natural fiber. Am wanting to bleach it in order to make a 
>turn-of-the-20th century peignoir and nightdress. Both garments require 
>yards and yards and yards of wide lace.
>
>Is it possible to safely bleach manmade fibers, or should I teastain the 
>batiste to sort-of match the lace?

Dye the batiste.  Either the bleaching will not work, and you can't tell 
how well beforehand, or it will damage the lace, and you can't tell how 
much till it falls apart later, so make the fabric match the lace instead 
of the other way around.


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

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I've heard bits here and there that cotton may not be as scarce in Western Europe as we've been led to believe.  Any of you learned folks have any knowledge of this?  Where were these wool/cotton fabrics found?
Thanks
Julie
----  <h-costume@indra.com> wrote:
>> Wool/Cotton blends are actually not modern. There are a variety of fabrics 
> from the 14th century onwards that use cotton and wool in different amounts. 

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Subject: [h-cost] re: Mariner's Cuffs
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Greg,
I too was rather loathe to reply as I have never done Naval uniforms,
nor any men's tailoring in your target period & country.  I did a
French court suit from 1740 (rather far afield) but it has the turned
back cuffs and some of the details shown in the portrait.  This link:
http://photos.yahoo.com/hysteria95126
will get you to my freshly posted in-process construction pictures. If
a picture is worth 1K words, here's a novella.  Ask questions, if you
like. I dont know what your tailoring ability is.
My primary pattern sources were contemporary paintings, Norah Waugh's
"Cut of Men's Clothes" with lots and lots of mockups.   In the photos
you'll see some horrible fabric... that was the last mockup w/
complete construction & interfacing detail.  I have the suit, fitting
mock, final mock & can take more pictures.

Also, check w/ Fred Sthuthers at RL Shep for Men's tailoring guides
in/near your period. Pattern books with often show ossified styles
like uniforms, court clothes that date to much earlier than the book's
original publication date.

Finally, the other person who replied is correct. There is no pocket
in the sleeve vent. It's an inset flap that goes betw the cuff & cuff
lining.  I would guess the flap looks like many pocket flaps you have
seen thus the confusion.

--cin
Cynthia Barnes
CinBarnes@gmail.com

Message: 3
Date: Thu, 31 Mar 2005 15:39:36 +0200
From: "dgandh" <>
Subject: [h-cost] Mariner's Cuffs
To: "'Historical Costume'" <h-costume@indra.com>
Message-ID: <1DGzta-1rY7BQ0@fwd16.sul.t-online.de>
Content-Type: text/plain;       charset="us-ascii"

I am trying to figure out how mariner's cuffs work circa 1690-1720.  To me
it looks like its just a pocket flap that 3-buttons the sleeve closed.  Does
this go over the seam of the arm though?  Like the pocket is on one side and
the buttons are on the other?

This one is a little later but will give you the idea
http://www.nmm.ac.uk/mag/pages/mnuExplore/PaintingDetail.cfm?letter=c&ID=BHC3017
and
http://www.nmm.ac.uk/collections/CollectionsDetail.cfm?ID=UNI0006&picture=0

The coat I am trying to make is more of a short jacket than a fancy
justaucorps in the pictures above...

Any suggestions?

Thanks

Greg
www.gentlemenoffortune.com
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To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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At 11:31 AM -0800 4/1/05, Julie wrote:
>I've heard bits here and there that cotton may not be as scarce in 
>Western Europe as we've been led to believe.  Any of you learned 
>folks have any knowledge of this?  Where were these wool/cotton 
>fabrics found?

Yes, we've had these discussions quite a few times -- though not in 
the last year or two, IIRC. You might want to check our out list 
archives: start by going to 
http://mail.indra.com/mailman/listinfo/h-costume . There was 
something of a discussion on "fustian" about a year ago, for instance.

More ancient archives are at 
http://sca.uwaterloo.ca/~fashion/archives , which has an excellent 
search engine. (The 1995 archive is the one I happened to hit, and 
there are several interesting messages if you search for "cotton.")

There are also good discussions at:
http://sca.uwaterloo.ca/Fashion/index.cgi?l=hcos97&FirstItem=30&s=Cotton&Cmd=Match+34
http://sca.uwaterloo.ca/Fashion/index.cgi?l=hcos97&FirstItem=30&s=Cotton&Cmd=Match+35

The classic book on the subject is _The Italian Cotton Industry of 
the Later Middle Ages, 1100-1600_ by M.F. Mazzaoui (Cambridge, 1991) 
ISBN 0 521 23095 0 -- I think it's probably out of print by now, but 
might be available in a college library or on the used-book market.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Date: Sat, 02 Apr 2005 02:45:27 -0600
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] cotton
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I don't know about blended fabrics for sure but I have definite references 
to cotton fabric used in England during the 16th century.

Cheers,
Danielle

At 11:31 AM 4/1/2005 -0800, you wrote:
>I've heard bits here and there that cotton may not be as scarce in Western 
>Europe as we've been led to believe.  Any of you learned folks have any 
>knowledge of this?  Where were these wool/cotton fabrics found?
>Thanks
>Julie
>----  <h-costume@indra.com> wrote:
> >> Wool/Cotton blends are actually not modern. There are a variety of 
> fabrics
> > from the 14th century onwards that use cotton and wool in different 
> amounts.

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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Mariner's Cuffs
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Greg

If you get hold of a copy of Costume Close-up by Linda Baumgarten and 
others, you will find, at item No. 19 a late 18th century French coat with 
"mariner's cuffs". There are clear patterns, and a wonderful photograph, 
showing the exact construction. The Museum of London has a similar striped 
coat on display of the same date, but it has plain cuffs, and very fancy 
buttons.
Hope this helps.

Suzi


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Hi, All. I think the consensus of most of the fabric/costume historians 
on the subject of cotton (the plant) usage can be summed up as follows:
The plant has been grown for use as a cloth fiber in the Middle East, 
North Africa and India for quite a long time. Therefore, it was most 
probably available readily to those cultures.
It may have been available, albeit at a higher cost, to Southern 
European cultures with trade in the Middle East (most notably Italy).
It was a rather costly item to Northern European countries up until the 
3rd quarter of the 17th Cent., but was occasionally seen, especially 
when woven as a weft in the manufacturing process with linen warp.
The term "cotton" or "cottoning" was used as a phrase in English 
speaking references to describe a process done to woolen fabrics to make 
them fluffy or napped. Perhaps this came to be because of their access 
to raw cotton, which was definitely available as a stuffing or padding 
(this may be because the cotton plant's fibers were small and difficult 
to spin, or the market was there for the non-processed product) which 
begat the name of a fluffing, napping process due to it's resemblance to 
the plant material.
Round about the middle of the 17th Cent. seems to be the most confusion 
as to the usage of the word "cotton" and what it means.
By about the 1670s, due perhaps to English interests in India, true 
cotton (the plant) fabrics were much cheaper and more readily available 
in Northern Europe, especially in England.
Hopefully this covers the salient points.
Now on to the nitty-gritty...What do you want to do with this info?
If it is for research, there is a lot of work to do searching out the 
references. For example, you could see a reference to "cottons" being 
produced in England for use by Cromwell's army in Ireland, but the 
likelyhood that it is the plant material and not a woolen, for which 
England was famous for centuries, is rather slim (i.e cottons as an 
export out of England as opposed to an import).
If it is for clothing/costume, consider the source of your concern. Does 
the group/person that you are clothing care about such fine details? 
Perhaps, perhaps not.
Just my observations on an ancient topic, Mike T. 

>
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http://simplicity.com/index.cfm?page=section/contests/hallowinners05/hallo_winners05.htm

Some of these are very nicely made and/or cute.



Dawn




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Subject: Re: [h-cost] Re: cotton
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I've collected some notes on cotton, mostly from posts with useful 
references and translations.  They're not exactly well organized, but if 
anyone would like a text file copy email me off-list and I'll pass it 
around.  You'd be far better off actually reading the Mizzoui book, etc, but 
my notes can help if you need something quick to go on.

-E House
(Mmmm.... Flemish trade routes.) 

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Date: Sat, 2 Apr 2005 09:03:10 -0800
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Re: cotton
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There are a couple of other compilations of old posts on the subject at:

http://www.florilegium.org/files/TEXTILES/cotton-art.text
http://www.florilegium.org/files/TEXTILES/cotton-msg.text

BTW, if anyone mentins a scrap of cotton knitting "found in a Viking 
grave", it's been debunked. The cotton turns out to have been modern 
mercerized cotton, which means it's a modern intrusion (and the 
context where it was found is disturbed enough that this is quite 
possible).
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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Date: Sat, 2 Apr 2005 17:48:52 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: cotton
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I'd like to second the suggestion already made to go through the list
archives for past threads on cotton. (Note: There are no archives at
indra, but the h-cost info page includes directions for finding the
archives, which are kept by a volunteer.)

Cotton seems to be a topic that gets people all excited, for quite a
number of time periods of study. Some years ago the topic inspired the
only real flame war I've seen on this list, after which two people were
banned (a sad thing, as both were knowledgeable contributors). So clearly
it's something that there's a lot of disagreement over.

Some things I've found useful to bear in mind:

1. As Mike mentioned, the word "cotton" has had many meanings. Sometimes
it refers to a fabric, other times to cotton fiber in a form other than
fabric, sometimes to another fiber in certain forms, sometimes to a
process ("cottoning"). Seeing the word "cotton" in the writing of one
period is not sufficient to justify saying "They had cotton" meaning the
fabric as we know it today.

2. The presence of the fiber doesn't mean it was used for fabric.

3. The presence of the fiber or the fabric in one place/time doesn't mean
it was used in another place at the same time, or another time in the same
place.

4. The presence of the fabric doesn't mean it was used for clothing; in my
own period of study (medieval Western Europe) there's plenty of evidence
for cotton used for things like embroidery grounds or home decor, but far
less for clothing.

5. The presence of the fabric in one type or class of clothing doesn't
mean it was used for all types and classes.

Summing up: Usage varied quite a bit by place, time, and purpose. When I
lecture about certain styles, I advise against using cotton fabric because
there's no evidence that it was used for those fashions -- meaning for
that time, place, and type of garment. It truly grieves me to hear this
come back to me third- or fourth-hand as "Robin says cotton isn't period,"
which is just as bad a generalization as saying "cotton is period for
Elizabethan, therefore I can use it for any garment and culture within the
SCA context" -- something I've also heard.

--Robin

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From h-costume-bounces@indra.com  Sun Apr  3 00:17:22 2005
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Subject: [h-cost] Fwd: Medieval gowns
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I'm resending this message because it hasn't shown up yet, so if it  
appears twice, you'll know why.
>
>
> I finally have a couple questions I know you experts can help me with.  
>  I got a commission to make a medieval dress for an SCA woman, based  
> on Butterick 3552--     
> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi? 
> search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.
>
> She says she has been told that the seams on sleeves from this era are  
> supposed to be toward the back rather than under the arm.  Is this  
> correct?  Also, I am wondering about the correctness of the over the  
> bust princess seam on the pattern.  I think I will have to leave it  
> there, due to the nature of the fabric she has chosen, but it seems a  
> bit modern to me for some reason.
>
> I'm going to lace up the back instead of using a zipper.  Would  
> grommets have been used yet or would they just be sewn eyelets (which  
> I dont think I am going to do)?
>
> TIA,
> Sylrog
>
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Date: Sun, 03 Apr 2005 17:37:26 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Fwd: Medieval gowns
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>  I got a commission to make a medieval dress for an SCA woman, based  
> on Butterick 3552--     
> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi? 
> search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.
>
>> She says she has been told that the seams on sleeves from this era 
>> are  supposed to be toward the back rather than under the arm.  Is 
>> this  correct?  Also, I am wondering about the correctness of the 
>> over the  bust princess seam on the pattern.  I think I will have to 
>> leave it  there, due to the nature of the fabric she has chosen, but 
>> it seems a  bit modern to me for some reason.
>>
>> I'm going to lace up the back instead of using a zipper.  Would  
>> grommets have been used yet or would they just be sewn eyelets 
>> (which  I dont think I am going to do)?
>>

I don't know a huge amount about this era, but it appears to be an 
attempt at a 12th-century bliaut. 

To answer your questions in a basic way, no, this is probably before 
sleeve seams get rotated to the back.  And no, grommets wouldn't have 
been used.  The little reading I've done on this area suggests it should 
lace up under the arms rather than the back.

I suggest you check out
http://bliautlady.50megs.com/
http://members.shaw.ca/evethejust/bliaut.html

Adele
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
References: <2982a4646a56230eaffa0a1c6a23ce54@ntw.net>
Subject: Re: [h-cost] Fwd: Medieval gowns
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> > I finally have a couple questions I know you experts can help me with.
> >  I got a commission to make a medieval dress for an SCA woman, based
> > on Butterick 3552-- 
> > http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?
search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.

> > She says she has been told that the seams on sleeves from this era are
> > supposed to be toward the back rather than under the arm.  Is this
> > correct?  Also, I am wondering about the correctness of the over the
> > bust princess seam on the pattern.  I think I will have to leave it
> > there, due to the nature of the fabric she has chosen, but it seems a
> > bit modern to me for some reason.

Well... if as Adele says it's to be a Bliaut inspired ensemble, then
disregard everything I'm about to say;)

It could also be based on early 16thC Dutch/Flemish styles and yes, the seam
could be rotated to the back.. it certainly helps the opening of the sleeve
to lie flat together rather than open (like you see in the cover of the
pattern.)
http://costumes.glittersweet.com/sca/yellowflemish.htm
That's my gown from the era this could be from, and I've includeda  few
images and links to images if you want to pass it on to her to see if that
is the style she is after.

These sleeves do differe as they are made from a good deal more fabric and
are rather heavy once lined. There are allegorical and religious figures
from this era who do have multiple part sleeves.

> > I'm going to lace up the back instead of using a zipper.  Would
> > grommets have been used yet or would they just be sewn eyelets (which
> > I dont think I am going to do)?

Side lacing is a really good way to go with this style as well, as it's one
of those "magic" dresses that you get multiple views of in a tapestry, yet
has no obvious opening.

You can also do lacing rings. I prefer them over grommets and you can even
date them to the 15thC very easily. Weyden shows small rather heavy rings on
at least two figures, and the Agnes Sorrel Madonna has lacing rings sewn to
the inside of her dress that would probably be invisible from the outside.
They take less work than an eyelet, but more than a grommet. From the
outside they can close the edges together and look a bit like hooks and
eyes.

regards,
michaela de bruce
http://glittersweet.com



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fwd: Medieval gowns
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On Sun, 3 Apr 2005, michaela wrote:

> > > I finally have a couple questions I know you experts can help me with.
> > >  I got a commission to make a medieval dress for an SCA woman, based
> > > on Butterick 3552-- 
> > > http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?
> search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.
> 
> Well... if as Adele says it's to be a Bliaut inspired ensemble, then
> disregard everything I'm about to say;)
> 
> It could also be based on early 16thC Dutch/Flemish styles...

It could be a lot of things! It has cosmetic elements of various styles
from over 500 years mixed together and then translated to modern
construction. It has a general medievalish look to it, which is fine for
many uses (including SCA if you're not entering any competitions and
aren't concerned about accuracy to a single period). But the best you
could do in nailing down a period would be to call it "Pre-Raphaelite."

Period methods for things like sleeve seam placement varied from one
period to another, and depended on having the entire dress made in a
consistent historical method. Changing an element here or there to match
the rules of one period won't make the rest of the dress period. As Adele
said, if you're going to declare that this is supposed to be 12th century,
you might not rotate the sleeve seam, but then you'd also probably be
putting in gussets under the arms and not doing a set-in sleeve at all,
and you'd be doing side lacing instead of back, and no princess seams, and
a different neckline. If you're going to pick up on some other details and
assume it's late 15th c., you might keep the neckline, but you'd change
the placement and curves of those princess seams, build in a foundation or
add an underdress, get rid of the upper-arm bands, use hidden lacings (and
probably not in the back), etc.

(I have no idea where that weird train comes from.)

If your friend is happy with the style of the dress and it makes her feel
medieval, it will do the job. You obviously want to get rid of the truly
obvious element -- the zipper -- and choose a fabric and color that has at
least some semblance of being medieval. But I wouldn't suggest rotating
seams or making other changes in hopes of making it more "period" unless
you know which particular period you're emulating ... and if you know
that, you probably don't want this pattern as a starting point. Isolated
changes really won't have much impact on the overall "periodness," and
they may not work as desired because the pattern was designed to work with
modern construction methods.

--Robin

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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Fwd: Medieval gowns
To: Historical Costume <h-costume@indra.com>
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Status: RO

The more I look at it The more I agreee with Robin its a creative Mish mash of periods... and to me it looks like an English Kirtle...... (I know Kirtle in Elizabethan era is a completely different Garment.)   
 
I have a question for Adele about Bliaults.... Would you now of any websites taht have information about them and possible construction???? or good reference books I may be able to find...... Thanks 
 
 
GNL Question How far back to Corsets really go?????? I am in a debate with a lady a DD cup  and insists on everything WAY to TIGHT and corseting all she puts on. including Viking, Roman, Kirtles, Cotehardies and Italian Ren ( the pregnant looking style) .... and it looks well to be extremely nice about it. she looks plain! awlful......How does one deal with a person who will not listen to even Laurels that she was misinformed????????  
 
Thansk for the advice and help
 
Satine
 
 

Robin Netherton <robin@shell.nightowl.net> wrote:

On Sun, 3 Apr 2005, michaela wrote:

> > > I finally have a couple questions I know you experts can help me with.
> > > I got a commission to make a medieval dress for an SCA woman, based
> > > on Butterick 3552-- 
> > > http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?
> search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.
> 
> Well... if as Adele says it's to be a Bliaut inspired ensemble, then
> disregard everything I'm about to say;)
> 
> It could also be based on early 16thC Dutch/Flemish styles...

It could be a lot of things! It has cosmetic elements of various styles
from over 500 years mixed together and then translated to modern
construction. It has a general medievalish look to it, which is fine for
many uses (including SCA if you're not entering any competitions and
aren't concerned about accuracy to a single period). But the best you
could do in nailing down a period would be to call it "Pre-Raphaelite."

Period methods for things like sleeve seam placement varied from one
period to another, and depended on having the entire dress made in a
consistent historical method. Changing an element here or there to match
the rules of one period won't make the rest of the dress period. As Adele
said, if you're going to declare that this is supposed to be 12th century,
you might not rotate the sleeve seam, but then you'd also probably be
putting in gussets under the arms and not doing a set-in sleeve at all,
and you'd be doing side lacing instead of back, and no princess seams, and
a different neckline. If you're going to pick up on some other details and
assume it's late 15th c., you might keep the neckline, but you'd change
the placement and curves of those princess seams, build in a foundation or
add an underdress, get rid of the upper-arm bands, use hidden lacings (and
probably not in the back), etc.

(I have no idea where that weird train comes from.)

If your friend is happy with the style of the dress and it makes her feel
medieval, it will do the job. You obviously want to get rid of the truly
obvious element -- the zipper -- and choose a fabric and color that has at
least some semblance of being medieval. But I wouldn't suggest rotating
seams or making other changes in hopes of making it more "period" unless
you know which particular period you're emulating ... and if you know
that, you probably don't want this pattern as a starting point. Isolated
changes really won't have much impact on the overall "periodness," and
they may not work as desired because the pattern was designed to work with
modern construction methods.

--Robin

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Fwd: Medieval gowns
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Lady Satine wrote:

>I have a question for Adele about Bliaults.... Would you now of any websites taht have information about them and possible construction???? or good reference books I may be able to find...... Thanks 
>  
>
Hi Satine--

Sadly, no-- just the websites I suggested in my email.  This is well 
outside my area.

> 
>GNL Question How far back to Corsets really go?????? I am in a debate with a lady a DD cup  and insists on everything WAY to TIGHT and corseting all she puts on. including Viking, Roman, Kirtles, Cotehardies and Italian Ren ( the pregnant looking style) .... and it looks well to be extremely nice about it. she looks plain! awlful......How does one deal with a person who will not listen to even Laurels that she was misinformed????????  
>  
>

Some time in the 16th century, as far as anyone knows.

I wouldn't worry about it, actually... she's not interested in being 
told she's wrong ust at the moment, but it's probably a phase and she'll 
get over it.

Adele
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That's Eowyn's dress! It's from Lord of the Rings and, as Robin guessed, it might best be described as Pre-Raphaelite with a medievalish inspiration. It's a lovely dress, but it's NOT medieval at all, it's fantasy Hollywood (or New Zealand) and never intended to do anything other than invoke a feel of a long ago time. If she wants the dress, I'm sure it will look lovely, but I agree with Robin in that tweaking one or two bits won't make it period anything. 


Karen
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Subject: Re: [h-cost] Fwd: Medieval gowns
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On Apr 3, 2005, at 8:31 AM, seamstrix@juno.com wrote:

>
> That's Eowyn's dress! It's from Lord of the Rings and, as Robin 
> guessed, it might best be described as Pre-Raphaelite with a 
> medievalish inspiration. It's a lovely dress, but it's NOT medieval at 
> all, it's fantasy Hollywood (or New Zealand) and never intended to do 
> anything other than invoke a feel of a long ago time. If she wants the 
> dress, I'm sure it will look lovely, but I agree with Robin in that 
> tweaking one or two bits won't make it period anything.
>
>
> I didnt recognize it from LOTR but after doing a bit of research from 
> what books I have on hand, I concluded it wasn't very historically 
> accurate, so I'm glad to get all your comments.  I will pass them 
> along to the customer who, I'm sure, is still going to want this 
> dress, which is fine with me, but now i have to figure out how much to 
> charge.  Any suggestions from those of you who sew for profit?  I am 
> thinking in the range of $150-200.  Her fabric has a definite pattern 
> which she wants matched and that alone will take some time.

Sylrog

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Subject: [h-cost] Cotehardie sleeves
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Hi folks!

Maybe I missed any prior disussion, but I would REALLY like know where I
can find examples of cotehardie sleeves with a seam up the side of the
arm.  I mean pictoral evidence. Or a statue or something.  I have spent
many years doing costuming and everybody "says" that cotehardie seams are
down the side of the arm but I have never seen pictures that prove it!

When I did my research a couple of years ago, I found two different
pictures of men (statues from 1340 & 1355) in my book "A Visual History of
Costume" that show the buttons on the sleeves.  But after the buttons end,
there is no seam.  For those of you who have the book, they are pages 49 &
52.  There are several other examples of buttons going up to the elbow
and/or beyond but you only see the profile view so you can't tell if there
is a seam or not.

So does anybody have a picture (or several preferrably) that shows the
seam up the side of the arm?

Thanks!

Diana

As a side note:  I actually made my sleeve pattern with the normal sleeve
seam and then a cutout in the shape of a V for the button area.  I use a
facing and can have a tight fit in the forearm without restricting the arm
movement.  Since I couldn't see a seam beyond the buttons, I figured that
it was one possible way that the sleeves were done.


www.RenaissanceFabrics.net
"Everything for the Costumer"

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Grommets and hooks and corsets oh my!
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I'll combine your posts to save on bandwidth.

> thing.... I would use Grommets and not Eyelets
> because eyelets pull out easier than Grommets.... I
> have Heard that Hook and Eyes are period... I am
> lookng into that.....

Grommets and eyelets were invented in the 1800's as a
matter of trivia. Somewhere in the dusty corners of my
mind there is a date, but I can't recall it. Anyway,
that not being the point, I try to avoid either of
them unless they are small enough that one can push
the fibres aside and stuff the upper half of the
eyelet through rather than actually cutting the
fibres. I have sworn off of all metal grommetty things
because of the tearing and knawing they do on the
fabric. Even after being set properly, the natural
movement of the person wearing the clothing will
slowly saw away at the fabric and cut the fibres
anyway. I use jewellry finding rings (metal rings were
used historically as well to stabilise the hole)and
whipstitch the hole open. My opinion, YMMV. 

And yes, hooks and eyes are period - to SCA later
periods anyway that I am aware. Hooks in their own way
are earlier as well, but for a different purpose -
first that comes to mind is wickelbinder/leg
wraps/puttees are hooked closed to hold them tight.
They appear not unlike the little grabby hooky things
one uses to hold an ace bandage closed on your twisted
ankle. I'd love to hear other evidence from other
periods on this topic too, really.
"Kilt" pins, in their simplest form are technically
period as well. These fall under the fibula pin
category. A little trivia I found out when I made a
cloak pin long long ago.

> GNL Question How far back to Corsets really go??????

This is not as easy to answer as one may think. It
depends on what you define as a "corset". The word
itself has its' own etymology that dates to the latter
half of the 16th c (erm, I think, I'm lazy today and
not dragging out my books for this). If you define the
modern blanket term of "corset" as "a textile based
garment that has been stiffened through methods of
layers of heavily woven fabric, stiffening products
such as whalebone or bents, or employs leather in any
way to assist in the support of the female breasts" I
can take you back to at least the Roman era. If you
are looking at say, pfalzgrafen and effigy extant
corsets and say "that's a corset!" Then it's 16th c. 
Throw in the Toledo bodice and it really gets hazy -
there is endless debate as to the true purpose of that
bodice. By all general accounts, it does not really
fit the standard definition of corset, but it could
have acted as support i.e. the difference between the
atomic bra with fabric solid enough to stop a tank vs.
one of those little tissue-y pair of squares of lace
sewn to a bit of elastic. Just depended on how heavy
chested the person was and their cultural fashion
silhouette at the time.

> I am in a debate with a lady a DD cup  

I am this size as well and have come up with solutions
to fix this issue. When I need to find something that
I have no evidence for, I do my own little private
"costuming junkyard wars". I take all the things
someone from the time and place I am trying to emulate
would have had reasonable access to, and start
building. My answer to this issue of heavy chested
women and support issues is a kirtle of sorts. I made
it with as few cuts to the fabric as possible, the
shape as natural as I can, but gives me the support I
need. The real secret to making a kirtle that doesn't
squash the girls flat is the liberal and creative use
of bias cutting. No documentation for the garment, but
hey, it works, and no one is the wiser. I have had
someone ask me for a pattern from it though. :-)

and insists
> on everything WAY to TIGHT and corseting all she
> puts on. including Viking, Roman, Kirtles,
> Cotehardies and Italian Ren ( the pregnant looking
> style) .... and it looks well to be extremely nice
> about it. she looks plain! awlful......

I'd find that amusing to see more than anything else,
but would never say it out loud. A Norse corset...
heheheh... *grin*

How does one
> deal with a person who will not listen to even
> Laurels that she was misinformed????????  

Ya don't. And jumping up and down in her face won't
give you the best reputation in the world, either. Oh
yes, I have seen many a person I have soooo wanted to
walk up to and start fixing things, inform or
otherwise in my own way tell them what they are
proudly wearing is painfully all wrong, but, unless
directly asked to I would never ever do it. Let her go
her own way, interpret it in whatever style she likes
best - if that means the Corsetted Viking Wench - as
much as that makes us shudder - let her do it. Either
she will one day figure it out, fix things then look
back and laugh at herself, or will further develop her
style into something even weirder that she becomes an
alternate fashion timeline. And hey, we all need
distracting entertainment in those fleeting moments of
boredom. ;-)

Kathy

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Cotehardie sleeves
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On Sun, 3 Apr 2005, Diana Habra wrote:

> As a side note:  I actually made my sleeve pattern with the normal
> sleeve seam and then a cutout in the shape of a V for the button area.  
> I use a facing and can have a tight fit in the forearm without
> restricting the arm movement.  Since I couldn't see a seam beyond the
> buttons, I figured that it was one possible way that the sleeves were
> done.

I do something very similar. I have only one full-length seam on my
sleeve, and it runs along the inside; the button seam goes only the length
of the buttons and is the result of the removal of a wedge of excess
fabric.

However, I do rotate the sleeve in that the inside seam hits about two
inches in front of my side seam -- at the forward inner point. Regardless
of where you put your seam, this should be the deepest part of the sleeve
curve. So, you can make your curve symmetrical, and put the seam a bit
forward of side, or you can offset your curve, and put the seam directly
at bottom, matching the body side seam -- but in either case, the dip
under your arm lies somewhat forward of the side of your body. If you move
your arm around you can see where the center of your range of motion is,
and where you want the least bulk.

Correspondingly, the tallest part of your sleeve is not at the top of your
arm; it's a bit to the back. And it's from there that you want the weight
of a hanging sleeve to fall. For many of us, this is the "fold line" on a
symmetrical sleeve. Some people put a seam there, and I have done so on
occasion when I've had to piece fabric. This is the location of the
"offset outer seam down the back" that I think you are referring to.

Finding images of seams on cotehardie/fitted dress sleeves is almost
impossible. I'd love to see some too, and not just on the sleeves!
Generally your only clue is button placement; the question then is whether
the seam continues up or only extends for the length of the buttons.

But sometimes you do see seams on, say, big bag sleeves of the same
period, if the seams are decorated with fringe, and you can sometimes see
they come out of the back of the armhole, not the top of the armhole. (The
courtesan from Hecyra, in a pink dress with green fringe in her bag
sleeve, is one nice example of this.)

--Robin

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Fwd: Medieval gowns
Date: Sun, 3 Apr 2005 15:38:27 -0500
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Butterick 3552 is not an Eowyn dress knock off. It is a Pre- LOTRs pattern.
3552 came out a little after Mists of Avalon and a few other Medievally type
movies.
the main body can pass as "Italian" early 1400s (?. you would have a
straight sleeve with seam on the back side. Will look for a picture tonight
when I have more time.

Arian

*****Original******
<<<<That's Eowyn's dress! It's from Lord of the Rings and, as Robin guessed,
it might best be described as Pre-Raphaelite with a medievalish inspiration.
It's a lovely dress, but it's NOT medieval at all, it's fantasy Hollywood
(or New Zealand) and never intended to do anything other than invoke a feel
of a long ago time. If she wants the dress, I'm sure it will look lovely,
but I agree with Robin in that tweaking one or two bits won't make it period
anything.

Karen>>>>>


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I second everything -- very pretty, but not medieval. Besides that, I don't
see why it needs to lace or zipper closed at all. From the photo on the
pattern, anyway, it doesn't look fitted enough to require any sort of
closure. It looks like it has enough ease built in to be able to wiggle into
it. Depending on the lady's size and shape, that is.

Gail Finke

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Date: Sun, 3 Apr 2005 21:54:23 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] perhaps to put a final note to an old debate (was cotton)
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One last point - I understand that cotton was used in Northen Europe for 
household textiles a good bit earlier than  for clothing, so to make use 
of any references to cotton manufacture you need to check what the 
finished item was going to be.

Jean


michael tartaglio <mikes@dandy.net> wrote
>Hi, All. I think the consensus of most of the fabric/costume historians 
>on the subject of cotton (the plant) usage can be summed up as follows:
>The plant has been grown for use as a cloth fiber in the Middle East, 
>North Africa and India for quite a long time. Therefore, it was most 
>probably available readily to those cultures.
>It may have been available, albeit at a higher cost, to Southern 
>European cultures with trade in the Middle East (most notably Italy).
>It was a rather costly item to Northern European countries up until the 
>3rd quarter of the 17th Cent., but was occasionally seen, especially 
>when woven as a weft in the manufacturing process with linen warp.
>The term "cotton" or "cottoning" was used as a phrase in English 
>speaking references to describe a process done to woolen fabrics to 
>make them fluffy or napped. Perhaps this came to be because of their 
>access to raw cotton, which was definitely available as a stuffing or 
>padding (this may be because the cotton plant's fibers were small and 
>difficult to spin, or the market was there for the non-processed 
>product) which begat the name of a fluffing, napping process due to 
>it's resemblance to the plant material.
>Round about the middle of the 17th Cent. seems to be the most confusion 
>as to the usage of the word "cotton" and what it means.
>By about the 1670s, due perhaps to English interests in India, true 
>cotton (the plant) fabrics were much cheaper and more readily available 
>in Northern Europe, especially in England.
>Hopefully this covers the salient points.
>Now on to the nitty-gritty...What do you want to do with this info?
>If it is for research, there is a lot of work to do searching out the 
>references. For example, you could see a reference to "cottons" being 
>produced in England for use by Cromwell's army in Ireland, but the 
>likelyhood that it is the plant material and not a woolen, for which 
>England was famous for centuries, is rather slim (i.e cottons as an 
>export out of England as opposed to an import).
>If it is for clothing/costume, consider the source of your concern. 
>Does the group/person that you are clothing care about such fine 
>details? Perhaps, perhaps not.
>Just my observations on an ancient topic, Mike T.
>>
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-- 
Jean Waddie
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On Sun, 3 Apr 2005, Jean Waddie wrote:

> One last point - I understand that cotton was used in Northen Europe
> for household textiles a good bit earlier than for clothing, so to
> make use of any references to cotton manufacture you need to check
> what the finished item was going to be.

I'm pretty certain that non-clothing usage accounts for a lot of the
cotton trade that some people point to as "evidence" for cotton clothing
in the 12th-14th centuries.

I think as costumers we may find it easy to overlook the many, many other
uses for textiles in general: upholstery, cushions, bed hangings, wall
hangings, draperies, bed and table linens, wrapping, sacking, sailcloth,
horse blankets, tents, stage scenery, banners ... not that all of these
were cotton, of course, but that we have to remember that not every
textile-related account entry or extant scrap had to do with clothing ...
far from it.

--Robin

==========================================================
Robin Netherton // Editor at Large
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1333
Life is just a bowl of queries.

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Grommets and hooks and corsets oh my!
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>them unless they are small enough that one can push
>the fibres aside and stuff the upper half of the
>eyelet through rather than actually cutting the
>fibres.

I agree with your method.  This is possible with up to half-inch grommets, 
tho the process is really slow.  I then stitch over the grommet, so it 
looks like there's a metal ring reinforcement under the stitching.  My 
latest bodice used only stitching for the lacing holes, no metal, and I too 
am a DD.  It lasted two faire seasons, and the lacing holes had not worn 
out by the time I retired it.


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

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Hi. This is an interesting concept, and as much as I agree, I can't help 
wondering how this all plays out in the general run of things. I am 
curious as to how many products such as those mentioned were 
manufactured, then sent abroad as completed imports (draperies, napkins, 
tablecloths, etc.), and how many were made at the end of the line from 
the fabric as it was available. In the latter case, then, what would 
stop anyone from making anything they wanted from the material? Was 
cotton (the plant fiber fabric) viewed by some Northern European 
cultures in the earlier to mid Medieval period as being intrinsically 
better or more proper for, lets say, bedding linens, wall hangings or 
sacking ? Where is a point in a culture when material that was sold for 
one use starts being used for another? I never thought, really, of 
Medieval folks as being of the mindset (aside from finickyness about 
social station issues and cost) that would prevent them from doing 
anything they wanted once they got their hands on a bolt of any fabric, 
much less something that was imported (kind of like silk) and perhaps 
costlier than linen, hemp or nettle fabrics (the homemade, but still 
well made stuff). If anyone has any definitive descriptions of finished 
cotton (the plant fiber) fabrics being used for specifically 
non-clothing uses, I would be curious to see them. I could imagine if 
they were of a fancy weave with a specific pattern, the Church might 
have used some for liturgical drapery, but that doesn't account for 
domestic consumption. Perhaps cotton was first introduced into Northern 
Europe in a sort of analog to the flour sack or feedbag clothing from 
the Depression era in the US (Hey, wow! What is this great cloth that 
these Syrian glasses are wrapped in? I'm gonna give it to my wife and 
see what she can make with it!!)  Thanks for all of the great 
discussion, Mike T.


>  
>
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Subject: [h-cost] A silk garment filched by a monk?
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I remember this story from one of my history classes and just looked it up again on the net.

SULPITIUS SEVERUS ON THE LIFE OF ST. MARTIN  

(SULPITIUS (or Sulpicius) SEVERUS was born in Aquitania about A.D. 363,
and died, as is generally supposed, in A.D. 420.)

A Case of Diabolic Deception. 

    THERE was a certain man, Clarus by name, a most noble youth, who 
afterwards became a presbyter, and who is now, through his happy departure 
from this world, numbered among the saints.  He, leaving all others, betook 
himself to Martin, and in a short time became distinguished for the most 
exalted faith, and for all sorts of excellence.  Now, it came to pass that, 
when he had erected an abode for himself not far from the monastery of the 
bishop, and many brethren were staying with him, a certain youth, Anatolius by 
name, having, under the profession of a monk, falsely assumed every appearance 
of humility and innocence, came to him, and lived for some time on the common 
store along with the rest.  Then, as time went on, he began to affirm that 
angels were in the habit of talking with him.  As no one gave any credit to 
his words, he urged a number of the brethren to believe by certain signs.  At 
length he went to such a length as to declare that angels passed between him 
and God; and now he wished that he should be regarded as one of the prophets. 
Clarus, however, could by no means be induced to believe.  He then began to 
threaten Clarus with the anger of God and present afflictions, because he did 
not believe one of the saints.  At the last, he is related to have burst forth 
with the following declaration: "Behold, the Lord will this night give me a 
white robe out of heaven, clothed in which, I will dwell in the midst of you; 
and that will be to you a sign that I am the Power of God, inasmuch as I have 
been presented with the garment of God."  Then truly the expectation of all 
was highly raised by this profession.  Accordingly, about the middle of the 
night, it was seen, by the noise of people moving eagerly about, that the 
whole monastery in the place was excited.  It might be seen, too, that the 
cell in which the young man referred to lived was glittering with numerous 
lights; and the whisperings of those moving about in it, as well as a kind of 
murmur of many. voices, could be heard.  Then, on silence being secured, the 
youth coming forth calls one of the brethren, Sabatius by name, to himself, 
and shows him the robe in which he had been clothed.  He again, filled with 
amazement, gathers the rest together, and Clarus himself also runs up; and a 
light being obtained, they all carefully inspect the garment.  Now, it was of 
the utmost softness, of marvelous brightness, and of glittering purple, and 
yet no one could discover what was its nature, or of what sort of fleece it 
had been formed.  However, when it was more minutely examined by the eyes or 
fingers, it seemed nothing else than a garment.  In the meantime, Clarus urges 
upon the brethren to be earnest in prayer, that the Lord would show them more 
clearly what it really was.  Accordingly, the rest of the night was spent in 
singing hymns and psalms.  But when day broke, Clarus wished to take the young 
man by the hand, and bring him to Martin, being well aware that he could not 
be deceived by any arts of the devil.  Then, indeed, the miserable man began 
to resist and refuse, and affirmed that he had been forbidden to show himself 
to Martin.  And when they compelled him to go against his will, the garment 
vanished from among the hands of those who were conducting him.  Wherefore, 
who can doubt that this, too, was an illustration of the power of Martin, so 
that the devil could no longer dissemble or conceal his own deception, when it 
was to be submitted to the eyes of Martin? 

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] perhaps to put a final note to an old debate (was cotton)
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On Sun, 3 Apr 2005, michael tartaglio wrote:

> Hi. This is an interesting concept, and as much as I agree, I can't
> help wondering how this all plays out in the general run of things. I
> am curious as to how many products such as those mentioned were
> manufactured, then sent abroad as completed imports (draperies,
> napkins, tablecloths, etc.), and how many were made at the end of the
> line from the fabric as it was available. In the latter case, then,
> what would stop anyone from making anything they wanted from the
> material? Was cotton (the plant fiber fabric) viewed by some Northern
> European cultures in the earlier to mid Medieval period as being
> intrinsically better or more proper for, lets say, bedding linens,
> wall hangings or sacking ? Where is a point in a culture when material
> that was sold for one use starts being used for another? I never
> thought, really, of Medieval folks as being of the mindset (aside from
> finickyness about social station issues and cost) that would prevent
> them from doing anything they wanted once they got their hands on a
> bolt of any fabric, much less something that was imported (kind of
> like silk) and perhaps costlier than linen, hemp or nettle fabrics
> (the homemade, but still well made stuff).

On the contrary, there's plenty of evidence for just such a mindset in
medieval Western Europe, in that there was a clear preference for certain
uses for fabrics based on their intrinsic qualities. For example, undyed
(often bleached) linen was far and away *the* fabric for bed linens and
table linens (that's why we still call them "linens"), toweling,
underwear, and certain other garments such as coifs, as well as linings
for non-underwear garments but has essentially no presence as outer
(visible) layers of gowns, where wool was the dominant choice, and silk an
alternative for the wealthy. This difference in usage makes sense when
considering the properties of the fabrics as regards dye depth/permanence,
washability, wearability, strength/stretch, etc. Preferences changed over
time; in the 16th c. we see linen used for outer layers -- but by then the
economics and types of garments were extremely different. And obviously
preferences changed by geographic region, reflecting differences in
culture, climate, availability/expense of different materials, etc.

Differences in garment construction and fashions might have contributed in
part to the different preferences in fabric by place and time, but I
suspect the influence worked the other way -- garment construction almost
certainly reflected the availability of particular materials to work with.
If your culture's dominant available fabric is cotton, you will end up
with different garment constructions than if it's wool, because the
fabrics behave differently in use. And if you try to make something out of
cotton that was designed to be made out of a fabric with the properties of
wool, you're often going to end up with an unsatisfactory result.
Sometimes it doesn't matter, of course, but for many uses, fabrics are not
interchangeable with equally acceptable results.

There's ample evidence, including suviving artifacts, of cotton being used
for home decor, embroidery, etc. in W. Europe from (I think) the 12th or
13th c.; it doesn't seem to show up in garments till much later. Sorry I
don't have cites at my fingertips; this is not my area of expertise. Let's
just say that of the inventories and other documents I do read in my
period and place of interest (14th/early 15th c. France/Flanders/England),
there's plenty of references to linen, wool, and silk for garments, and a
notable absence of cotton. But I occasionally notice the presence of
cotton in non-garment uses from this period (e.g. a cushion in a museum
exhibit). Cotton also shows up as a stuffing or padding material,
including for garment use.  One of the existing pourpoints -- not Charles
de Blois, the other one, is it Charles V? -- has cotton interlayers, and I
believe that's the fiber, not fabric.

FWIW, I have personally found cotton highly inferior to work with from a
purely mechanical standpoint in making clothing of the 14th century
(understanding that modern cotton fabrics may not be reflective of
medieval ones, of course, but that same handicap occurs with any modern
fabric). I frankly would not be surprised if medieval garment-makers had
the same experience; given the expense of cotton, why would they want to
spend that much money on yard goods and end up with something that fit
badly, wore poorly, and was uncomfortable in wear? Better to use that
cloth for a wall hanging or embroidery ground.

--Robin

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Robin wrote:

> FWIW, I have personally found cotton highly inferior to work with from a
> purely mechanical standpoint in making clothing of the 14th century

I have also found it inferior in the laundry. Dirt seem to wash out of my 
linens heaps easier than any cotton worn to the same events. Wool, of 
course, is a dream!

Glenda. 

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Date: Sun, 3 Apr 2005 22:53:25 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Fwd: Medieval gowns
To: Historical Costume <h-costume@indra.com>
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Thanks.... I hope so. I needed to Vent...
 
 
Satine  
 
 
Adele de Maisieres <ladyadele@paradise.net.nz> wrote:
Lady Satine wrote:

>I have a question for Adele about Bliaults.... Would you now of any websites taht have information about them and possible construction???? or good reference books I may be able to find...... Thanks 
> 
>
Hi Satine--

Sadly, no-- just the websites I suggested in my email. This is well 
outside my area.

> 
>GNL Question How far back to Corsets really go?????? I am in a debate with a lady a DD cup and insists on everything WAY to TIGHT and corseting all she puts on. including Viking, Roman, Kirtles, Cotehardies and Italian Ren ( the pregnant looking style) .... and it looks well to be extremely nice about it. she looks plain! awlful......How does one deal with a person who will not listen to even Laurels that she was misinformed???????? 
> 
>

Some time in the 16th century, as far as anyone knows.

I wouldn't worry about it, actually... she's not interested in being 
told she's wrong ust at the moment, but it's probably a phase and she'll 
get over it.

Adele
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 00:07:12 -0600
To: Historical Costume <h-costume@indra.com>
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It's definitely too fitted not to have a closure and since it is not 
historically accurate, what would you all suggest?  Grommets?  Fabric 
loops?  Rings?  I'm going to put the closure on the back, not at the 
sides.

Sylrog

On Apr 3, 2005, at 3:44 PM, Gail & Scott Finke wrote:

>
> I second everything -- very pretty, but not medieval. Besides that, I 
> don't
> see why it needs to lace or zipper closed at all. From the photo on the
> pattern, anyway, it doesn't look fitted enough to require any sort of
> closure. It looks like it has enough ease built in to be able to 
> wiggle into
> it. Depending on the lady's size and shape, that is.
>
> Gail Finke
>
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Subject: Re: [h-cost] Re: medieval gown
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On Mon, 4 Apr 2005, Sylvia Rognstad wrote:

> It's definitely too fitted not to have a closure and since it is not
> historically accurate, what would you all suggest?  Grommets?  Fabric
> loops?  Rings?  I'm going to put the closure on the back, not at the
> sides.

The best solution would be hand-made eyelets. I have posted here before on
how I do them; they are surprisingly easy and fast, and they wear very
well. However, I remember you said you were not eager to do these.

I have not seen any examples of fabric loops in the middle ages, though
some people swear they must have existed. My experience with them is that
it's hard to make them look good and pull up evenly. If you're going to be
putting any strain on the seam at all, I wouldn't recommend them.

Nor have I seen metal grommets or metal eyelets. However, small metal
eyelets in the color of the fabric would probably look more like hand-made
eyelets than anything else. When you put them in, pry the fabric threads
apart with an awl rather than punching a hole. If you punch a hole, your
eyelets will start popping out within the first couple of wearings. If
your eyelets are on a vertical line, you may need to cut one or two of the
threads running vertically through the middle of the eyelets at each of
the holes, to avoid puckering.

Lacing rings appear by the 15th century at least, probably a little
earlier. I feel sure I've seen them in the 14th century in Italy. But
for your purposes, they would probably be harder than making your own
eyelets by hand.

--Robin

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Date: Mon, 4 Apr 2005 00:19:26 -0700 (PDT)
From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Fwd: Medieval gowns     No taste in corsets or fashions
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--- Lady Satine <seamuslady@yahoo.com> wrote:
>    snip 
> GNL Question How far back to Corsets really go??????
> I am in a debate with a lady a DD cup  and insists
> on everything WAY to TIGHT and corseting all she
> puts on. including Viking, Roman, Kirtles,
> Cotehardies and Italian Ren ( the pregnant looking
> style) .... and it looks well to be extremely nice
> about it. she looks plain! awlful......How does one
> deal with a person who will not listen to even
> Laurels that she was misinformed????????  
>  
> Thanks for the advice and help
>   Satine

>  Well, I found out after making my sis a Ren
outfit,to save your sanity & friendship you just smile
and nod.
She probably knows she looks awful,but some people are
too proud to say "i was wrong".
My sis wanted an authentic Eliz. outfit, when we went
shopping for material- she headed straight for the
acetate velvet cut pile stuff. Ok, its her dime...
I had to squeeze the tears back int omy eyes when she
then proceeded to pick out gold acetate sheer
w/glitter accents pasted on with tiny gold
plastic-rubber balls glued all over it for the
chemise. I cut the goods out,sewed it up to her
measurements, gave it to her for faire and she
insisted it was too big.
( She has this incredible ability to smoosh her waist
into this circulation cutting off curcumference,which
frankly looks probably worse then Ms.DD because she
has really high hips , she ends up looking like
a"spade" symbol turned upside down) But she thinks she
look fine so out came the machine,-5 alterations
later.....she's happily smooshed into her 24" waist
size,40" hips.
 So remember, smile & nod,eventually she'll see the
light....
>  Melody
> 
> Robin Netherton <robin@shell.nightowl.net> wrote:
> 
> On Sun, 3 Apr 2005, michaela wrote:
> 
> > > > I finally have a couple questions I know you
> experts can help me with.
> > > > I got a commission to make a medieval dress
> for an SCA woman, based
> > > > on Butterick 3552-- 
> > > >
>
http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?
> >
>
search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.
> > 
> > Well... if as Adele says it's to be a Bliaut
> inspired ensemble, then
> > disregard everything I'm about to say;)
> > 
> > It could also be based on early 16thC
> Dutch/Flemish styles...
> 
> It could be a lot of things! It has cosmetic
> elements of various styles
> from over 500 years mixed together and then
> translated to modern
> construction. It has a general medievalish look to
> it, which is fine for
> many uses (including SCA if you're not entering any
> competitions and
> aren't concerned about accuracy to a single period).
> But the best you
> could do in nailing down a period would be to call
> it "Pre-Raphaelite."
> 
> Period methods for things like sleeve seam placement
> varied from one
> period to another, and depended on having the entire
> dress made in a
> consistent historical method. Changing an element
> here or there to match
> the rules of one period won't make the rest of the
> dress period. As Adele
> said, if you're going to declare that this is
> supposed to be 12th century,
> you might not rotate the sleeve seam, but then you'd
> also probably be
> putting in gussets under the arms and not doing a
> set-in sleeve at all,
> and you'd be doing side lacing instead of back, and
> no princess seams, and
> a different neckline. If you're going to pick up on
> some other details and
> assume it's late 15th c., you might keep the
> neckline, but you'd change
> the placement and curves of those princess seams,
> build in a foundation or
> add an underdress, get rid of the upper-arm bands,
> use hidden lacings (and
> probably not in the back), etc.
> 
> (I have no idea where that weird train comes from.)
> 
> If your friend is happy with the style of the dress
> and it makes her feel
> medieval, it will do the job. You obviously want to
> get rid of the truly
> obvious element -- the zipper -- and choose a fabric
> and color that has at
> least some semblance of being medieval. But I
> wouldn't suggest rotating
> seams or making other changes in hopes of making it
> more "period" unless
> you know which particular period you're emulating
> ... and if you know
> that, you probably don't want this pattern as a
> starting point. Isolated
> changes really won't have much impact on the overall
> "periodness," and
> they may not work as desired because the pattern was
> designed to work with
> modern construction methods.
> 
> --Robin
> 
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 02:20:09 -0500
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Before you settle on the back, perhaps you need to know how well the
customer will be able to lace it closed if it is in the back. Will she
needing assistance to lace herself up?
Will she be wearing a shift under the gown?

De

-----Original Message-----
 I'm going to put the closure on the back, not at the
sides.

Sylrog



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Date: Mon, 4 Apr 2005 00:15:29 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Thank you! for the guidance! 
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I want to thank Everyone for the Guidance.  It has helped. I am going to do nothing.  Just ride it out... 

Thank you for letting me Vent! 

 

Satine

		
---------------------------------
Do you Yahoo!?
 Better first dates. More second dates. Yahoo! Personals 
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At 11:54 PM -0600 4/3/05, h-costume-request@indra.com wrote:
>I am
>curious as to how many products such as those mentioned were
>manufactured, then sent abroad as completed imports (draperies, napkins,
>tablecloths, etc.), and how many were made at the end of the line from
>the fabric as it was available. In the latter case, then, what would
>stop anyone from making anything they wanted from the material?

Style and fashion <VBEG> Would you wear say burlap to the office? 
It's a frustrating thing--technologically you might have X (think 
Viking pink!) BUT the 64,000 lira question is was it worn?

As a fashion challenged person in the Modern world and a techno geek 
in dyes and fibers I find many of my questions lie in the was it 
stylish, or even worn range....

Ta
Carol-- drying out after ~7 inches of rain in less than 12 days....
-- 
Creative Clutter is Better Than Idle Neatness!
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 07:48:14 -0600
To: Historical Costume <h-costume@indra.com>
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Her boyfriend is also in the SCA so she has him to assist her.  I 
imagine she will just be wearing her normal undergarments.  She wants  
a placket under the back opening.

On Apr 4, 2005, at 1:20 AM, otsisto wrote:

> Before you settle on the back, perhaps you need to know how well the
> customer will be able to lace it closed if it is in the back. Will she
> needing assistance to lace herself up?
> Will she be wearing a shift under the gown?
>
> De
>
> -----Original Message-----
>  I'm going to put the closure on the back, not at the
> sides.
>
> Sylrog
>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 09:41:20 -0500
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Ummmm...I don't think that the times she dresses in the women's bathroom
that her boyfriend will be able to help and you do not always have someone
there who is able to help. But if lacing in the back is all you can sew then
thats all you can sew.

Another thing you can do for lacing holes
if you don't want to make button holes is use hooks and eyes. Pairing the
eyes with eyes and hooks with hooks. Bottom half of the opening would have
hooks and the upper half with eyes. Does that make sense?

De

-----Original Message-----
Her boyfriend is also in the SCA so she has him to assist her.  I
imagine she will just be wearing her normal undergarments.  She wants
a placket under the back opening.

On Apr 4, 2005, at 1:20 AM, otsisto wrote:



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Subject: [h-cost] Bliauts, was Medieval gowns
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Lady Satine stepped close to the microphone and whispered:

> >I have a question for Adele about Bliaults.... Would you now of any 
> websites taht have information about them and possible construction???? 
> or good reference books I may be able to find...... Thanks
> >
> >
>Hi Satine--
>
>Sadly, no-- just the websites I suggested in my email. This is well
>outside my area.

There is a new speculative pamphlet that the SCA put out recently about the 
bliaut.  If you go to http://www.sca.org/members/marketplace.html and order 
Compleat Anacronist  number 124 - summer 2004 (it's so new it isn't on 
their list, but you can probably get it hard copy)  "Elles'Habille en 
Bliaut:  Haute Coutre of the 12th Century"  by Grace Payne

I don't agree with the construction speculation she uses, I really like the 
number of actual statues that she sites.  Great bibliography as well.  The 
biggest problem with the Bliaut is that there is so little evidence of it, 
and it's almost all French, or so it seems.

Good luck
Genie

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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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The bliaut is discussed/argued AT LENGTH by many very knowledgeable 
people on an SCA yahoo list. 
(12thcenturygarb-subscribe@yahoogroups.com)  If you are interested in 
very serious discussions, this is the place to go.  In the meantime:

http://bliautlady.50megs.com/
http://www.chateau-michel.org/belle_bliaut.htm
http://web.comhem.se/~u41200125/rutigbliaut.html

Grace/Jessamyn
jessamynscloset.com
On Monday, April 4, 2005, at 10:27 AM, Genie Barrett wrote:

> Lady Satine stepped close to the microphone and whispered:
>
>> >I have a question for Adele about Bliaults.... Would you now of any 
>> websites taht have information about them and possible 
>> construction???? or good reference books I may be able to find...... 
>> Thanks
>> >
>> >
>> Hi Satine--
>>
>> Sadly, no-- just the websites I suggested in my email. This is well
>> outside my area.
>
> There is a new speculative pamphlet that the SCA put out recently 
> about the bliaut.  If you go to 
> http://www.sca.org/members/marketplace.html and order Compleat 
> Anacronist  number 124 - summer 2004 (it's so new it isn't on their 
> list, but you can probably get it hard copy)  "Elles'Habille en 
> Bliaut:  Haute Coutre of the 12th Century"  by Grace Payne
>
> I don't agree with the construction speculation she uses, I really 
> like the number of actual statues that she sites.  Great bibliography 
> as well.  The biggest problem with the Bliaut is that there is so 
> little evidence of it, and it's almost all French, or so it seems.
>
> Good luck
> Genie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] Re: medieval gown
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Sylvia Rognstad wrote:

> It's definitely too fitted not to have a closure and since it is not 
> historically accurate, what would you all suggest?  Grommets?  Fabric 
> loops?  Rings?  I'm going to put the closure on the back, not at the 
> sides.
>
> Sylrog

what about an inseam hidden zip under the right arm.  very popular in 
the fourties and fifties and good for fitted garments.   it would remove 
the closure method from being a factor in deciding what period it is. 

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Subject: Re: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 11:54:12 -0600
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Sorry, but I'm not understanding you.  How can you just put hooks  or 
eyes on both sides of the garment?
On Apr 4, 2005, at 8:41 AM, otsisto wrote:

> Ummmm...I don't think that the times she dresses in the women's 
> bathroom
> that her boyfriend will be able to help and you do not always have 
> someone
> there who is able to help. But if lacing in the back is all you can 
> sew then
> thats all you can sew.
>
> Another thing you can do for lacing holes
> if you don't want to make button holes is use hooks and eyes. Pairing 
> the
> eyes with eyes and hooks with hooks. Bottom half of the opening would 
> have
> hooks and the upper half with eyes. Does that make sense?
>
> De
>
> -----Original Message-----
> Her boyfriend is also in the SCA so she has him to assist her.  I
> imagine she will just be wearing her normal undergarments.  She wants
> a placket under the back opening.
>
> On Apr 4, 2005, at 1:20 AM, otsisto wrote:
>
>
>
> _______________________________________________
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Date: Mon, 4 Apr 2005 10:47:02 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
To: Historical Costume <h-costume@indra.com>
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Than you for the sites I will check them out!
 
Satine


Grace Morris <grace.morris@providenceday.org> wrote:
The bliaut is discussed/argued AT LENGTH by many very knowledgeable 
people on an SCA yahoo list. 
(12thcenturygarb-subscribe@yahoogroups.com) If you are interested in 
very serious discussions, this is the place to go. In the meantime:

http://bliautlady.50megs.com/
http://www.chateau-michel.org/belle_bliaut.htm
http://web.comhem.se/~u41200125/rutigbliaut.html

Grace/Jessamyn
jessamynscloset.com
On Monday, April 4, 2005, at 10:27 AM, Genie Barrett wrote:

> Lady Satine stepped close to the microphone and whispered:
>
>> >I have a question for Adele about Bliaults.... Would you now of any 
>> websites taht have information about them and possible 
>> construction???? or good reference books I may be able to find...... 
>> Thanks
>> >
>> >
>> Hi Satine--
>>
>> Sadly, no-- just the websites I suggested in my email. This is well
>> outside my area.
>
> There is a new speculative pamphlet that the SCA put out recently 
> about the bliaut. If you go to 
> http://www.sca.org/members/marketplace.html and order Compleat 
> Anacronist number 124 - summer 2004 (it's so new it isn't on their 
> list, but you can probably get it hard copy) "Elles'Habille en 
> Bliaut: Haute Coutre of the 12th Century" by Grace Payne
>
> I don't agree with the construction speculation she uses, I really 
> like the number of actual statues that she sites. Great bibliography 
> as well. The biggest problem with the Bliaut is that there is so 
> little evidence of it, and it's almost all French, or so it seems.
>
> Good luck
> Genie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Glad to know I'm not the only person with some serious doubts about that 
construction theory.  Maybe I'll go read those other lists... see if anyone 
is thinking in the same direction I am.
Bridgette.

>I don't agree with the construction speculation she uses, I really like 
>the number of actual statues that she sites.  Great bibliography as 
>well.  The biggest problem with the Bliaut is that there is so little 
>evidence of it, and it's almost all French, or so it seems.
>
>Good luck
>Genie

Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Does anyone know of websites that might display historically themed movie or theatre costumes from the past, ideally from the 1930s-1960s? I'm not looking for _accurate_ costumes, just for nicely done examples of the popular conceptions of medieval clothing--costumes from 'Robin Hood,' 'Camelot', 'A CT Yankee in King Arthur's Court,' that sort of thing. Something along the lines of the link recently provided for theatrical costumes from that Canadian museum (their name slips my mind, unfortunately) would be perfect.

-E House
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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Could someone give a quick description of this new, speculative theory of 
bliaut construction?

-E House 

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At 12:01 PM -0600 4/4/05, h-costume-request@indra.com wrote:
>Well Drat!  Just got word from Barnes & Noble that this title would not
>be available on the published date, something about 'delayed at the
>publisher', and they would email be again if it was going to be over 30
>days.  Anyone else received this notice?


Yup--that's what ya get for going for the lowest price on the planet 
<G> I can wait! Sort of...
Ta
Carol, who managed to save enough on this and AS Dress to afford 
both...and then some OOP books turned up--SIGH Including ML Ryder for 
mega $$$$
-- 
Creative Clutter is Better Than Idle Neatness!
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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Hi there...

I don't usually paddle around in the Bliaut pool... but I follow sewing 
technology and construction techniques almost fanatically.    What struck 
me as incongruous about the construction in the "Creative Anachronist" was 
that the author used a complex compound curve to form the join between the 
body and the skirt.

This is bliaut... this is "early medieval"  we have centuries to go before 
we see our other first curve,  the armhole.  So the proposal that the 
bliaut used a compound curve is - in my opinion - out there.  I won't say 
impossible.  But I will say improbable.

I think it much more likely that the lower portion in the front that the 
author was trying to create is a result of the side lacing causing the 
sides of the torso to ruck-up and rest on the hip bones,  while the center 
front of the skirt hangs unsupported from the front of the bodice piece (if 
you go for separate pieces theory) causing the front of the body to hang 
lower.  Resulting in the appearance of a curved base to the body portion.

Bridgette


>Could someone give a quick description of this new, speculative theory of 
>bliaut construction?
>
>-E House
>_______________________________________________

Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Today while watching the Pope's body being moved to St. Peter's, I saw a
vestment I can't identify. This isn't remarkable -- I don't know them all --
but I would like to know what it's called. I saw a couple of them, all made
out of gorgeous red and gold embroidered fabric. Instead of a chasuble,
which I think is always a sideless garment, this looked almost like what I
think of as a herald's tabard. It had sleeves, and looked like a very stiff
t-tunic. Does anyone know what that is?

Also, one of the bishops (the camerlengo, maybe?) was wearing a half-circle
bishop's cape, also made out of that amazing embroidered red fabric. It was
very stiff and made a sort of self-collar in the back. I've noticed that on
bishop's copes before, but I never wondered -- is that the way all
ceremonial half-circle cloaks would have looked in the middle ages? Or is it
simply a function of the very stiff fabric these particular copes are made
of?

I didn't tape it, but I will take another look at these during the nightly
news. And I'm sure various commemmorative publications will come out that
will show many of the ceremonies.

Gail Finke


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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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> Could someone give a quick description of this new, speculative theory of
> bliaut construction?
>
> -E House
>

Two pieces -- waist seam and all that.  And she doesn't take kindly to 
differing points of view.

Susan

-----
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sfarmer@goldsword.com
Botany Department, University of Tennessee
http://www.goldsword.com/sfarmer/Trillium

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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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> I think it much more likely that the lower portion in the front that the 
> author was trying to create is a result of the side lacing causing the 
> sides of the torso to ruck-up and rest on the hip bones,  while the center 
> front of the skirt hangs unsupported from the front of the bodice piece 
> (if you go for separate pieces theory) causing the front of the body to 
> hang lower.  Resulting in the appearance of a curved base to the body 
> portion.

I've done mine as one piece, I really don't elieve in the separate pieces 
theory. I did it as a T-tunic and put it on, then my mom pinned me into it 
on the sides so I could cut curves and then I laced it on. If I were to do 
it again, I wouldn't lace the sides, I'd sew myself in. But even with the 
sides cut out, it puckers because of the tension, a little like the images. 
If I were to sew it closed, it would definitely pucker and ride up on the 
sides. 
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Date: Mon, 4 Apr 2005 21:06:37 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
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I've always felt that even separate pieces is so "out of time" as to be 
very unlikely.

Jean


M Stewart <ms154@cornell.edu> wrote
>
>Hi there...
>
>I don't usually paddle around in the Bliaut pool... but I follow sewing 
>technology and construction techniques almost fanatically.    What 
>struck me as incongruous about the construction in the "Creative 
>Anachronist" was that the author used a complex compound curve to form 
>the join between the body and the skirt.
>
>This is bliaut... this is "early medieval"  we have centuries to go 
>before we see our other first curve,  the armhole.  So the proposal 
>that the bliaut used a compound curve is - in my opinion - out there. 
>I won't say impossible.  But I will say improbable.
>
>I think it much more likely that the lower portion in the front that 
>the author was trying to create is a result of the side lacing causing 
>the sides of the torso to ruck-up and rest on the hip bones,  while the 
>center front of the skirt hangs unsupported from the front of the 
>bodice piece (if you go for separate pieces theory) causing the front 
>of the body to hang lower. Resulting in the appearance of a curved base 
>to the body portion.
>
>Bridgette
>
>
>>Could someone give a quick description of this new, speculative theory 
>>of bliaut construction?
>>
>>-E House
>>_______________________________________________
>
>Mari Stewart
>Webmaster
>College of Veterinary Medicine
>Cornell University
>
>
>_______________________________________________
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-- 
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: medieval gown
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If it's an SCA event, and you're changing in the women's bathroom, there 
will be others doing the same who will be more than happy to help.

Jean


otsisto <otsisto@socket.net> wrote
>Ummmm...I don't think that the times she dresses in the women's bathroom
>that her boyfriend will be able to help and you do not always have someone
>there who is able to help. But if lacing in the back is all you can sew then
>thats all you can sew.
>
>Another thing you can do for lacing holes
>if you don't want to make button holes is use hooks and eyes. Pairing the
>eyes with eyes and hooks with hooks. Bottom half of the opening would have
>hooks and the upper half with eyes. Does that make sense?
>
>De
>
>-----Original Message-----
>Her boyfriend is also in the SCA so she has him to assist her.  I
>imagine she will just be wearing her normal undergarments.  She wants
>a placket under the back opening.
>
>On Apr 4, 2005, at 1:20 AM, otsisto wrote:
>
>
>
>_______________________________________________
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I make no claim to be an expert on bliauts.....or even exceptionally knowledgable about them. But they have interested me for years just because, in terms of the evolution of dress, they are so weird and such a mystery. Years ago when I was at the University of Illinois Urbana-Champaign (Go Illini!) I found a very interesting cast of one of the cathedral figures dressed in a bliaut at, what was at the time, the World Heritage Museum. I believe they have since moved to a new building and changed the name. Anyway, the figure is larger than life size and shows the details of the bliaut very clearly- you could get up to about 2 feet away from it. The torso portion was very obviously puckered/honeycombed, not just wrinkled, and the effect could not come from simply gathering it into horizontal pleats across the torso. I think that some form of smocking is the likeliest explanation for the form fitting torso combined with the pleated effect in the skirt. The details on the statue !
 matched exactly what you would expect from a simple smocking stitch. 

Now someone is going to chime in with evidence that they didn't do smocking in period and blow my pet theory out of the water!   


Karen
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From: Susan Farmer <sfarmer@utk.edu>
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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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> I make no claim to be an expert on bliauts.....or even exceptionally 
knowledga
ble about them. But they have interested me for years just because, in terms 
of
the evolution of dress, they are so weird and such a mystery. Years ago when I 
w
as at the University of Illinois Urbana-Champaign (Go Illini!) I found a very 
in
teresting cast of one of the cathedral figures dressed in a bliaut at, what 
was
at the time, the World Heritage Museum. I believe they have since moved to a 
new
 building and changed the name. Anyway, the figure is larger than life size 
and
shows the details of the bliaut very clearly- you could get up to about 2 feet 
a
way from it. The torso portion was very obviously puckered/honeycombed, not 
just
 wrinkled, and the effect could not come from simply gathering it into 
horizonta
l pleats across the torso. I think that some form of smocking is the likeliest 
e
xplanation for the form fitting torso combined with the pleated effect in the 
sk
irt. The details on the statue matched exactly what you would expect from a 
simple smocking stitch.

Me too.  I suspect that there may be several things hiding under the single 
term.  Anyway, I found the images of these capitals -- they're not the 
stylaized figures like you have at the Chartres Cathedral -- notice the 
smocking effect in the upper bodice/torso ...

<http://epee.goldsword.com/sfarmer/SCA/Paintings/french_Capital_fig12.jpg>
<http://epee.goldsword.com/sfarmer/SCA/Paintings/french_Capital_fig8.jpg>

and then I found this one -- notice that the pleats coming out from under
the ornamented band at the bottom of the bodice .....

<http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-detai
2l.jpg>

This one almost looks like a separate corsage over a finely pleated gown -- at 
least to my eyes.

Susan/ Jerusha

-----
Susan Farmer
sfarmer@goldsword.com
Botany Department, University of Tennessee
http://www.goldsword.com/sfarmer/Trillium

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To: Historical Costume <h-costume@indra.com>
From: Mari Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
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<chuckle>  Who Us??</chuckle>

How about if I chime in with evidence of something like it, whitework... 
but I would beware of the term smocking... from an alb attributed to 
Bernulf of Utrecht,  ca. 1028-1056.
Fleury Lembourg, p. 193.

Bridgette


>I make no claim to be an expert on bliauts.....or even exceptionally 
>knowledgable about them. But they have interested me for years just 
>because, in terms of the evolution of dress, they are so weird and such a 
>mystery. Years ago when I was at the University of Illinois 
>Urbana-Champaign (Go Illini!) I found a very interesting cast of one of 
>the cathedral figures dressed in a bliaut at, what was at the time, the 
>World Heritage Museum. I believe they have since moved to a new building 
>and changed the name. Anyway, the figure is larger than life size and 
>shows the details of the bliaut very clearly- you could get up to about 2 
>feet away from it. The torso portion was very obviously 
>puckered/honeycombed, not just wrinkled, and the effect could not come 
>from simply gathering it into horizontal pleats across the torso. I think 
>that some form of smocking is the likeliest explanation for the form 
>fitting torso combined with the pleated effect in the skirt. The details 
>on the statue !
>  matched exactly what you would expect from a simple smocking stitch.
>
>Now someone is going to chime in with evidence that they didn't do 
>smocking in period and blow my pet theory out of the water!
>
>
>Karen
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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Date: Tue, 05 Apr 2005 09:12:36 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Genie Barrett wrote:

> Lady Satine stepped close to the microphone and whispered:
>
>> >I have a question for Adele about Bliaults.... Would you now of any 
>> websites taht have information about them and possible 
>> construction???? or good reference books I may be able to find...... 
>> Thanks
>> >
>> >
>> Hi Satine--
>>
>> Sadly, no-- just the websites I suggested in my email. This is well
>> outside my area.
>
>
> There is a new speculative pamphlet that the SCA put out recently 
> about the bliaut.  If you go to 
> http://www.sca.org/members/marketplace.html and order Compleat 
> Anacronist  number 124 - summer 2004 (it's so new it isn't on their 
> list, but you can probably get it hard copy)  "Elles'Habille en 
> Bliaut:  Haute Coutre of the 12th Century"  by Grace Payne
>
> I don't agree with the construction speculation she uses, I really 
> like the number of actual statues that she sites.  Great bibliography 
> as well.  The biggest problem with the Bliaut is that there is so 
> little evidence of it, and it's almost all French, or so it seems.
>

There's also "The Bliaut: A Reconstruction Based on Primary Source 
Material" by Rowena le Sarjent in Tournaments Illuminated #109 (now 
Roheisa le Sarjent)
And this article by the same author: 
http://www.sca.org.nz/collegium/costume/wardrobe_12C_frankish_noblewoman.php

I disagree strongly with some of Roheisa's conclusions, but her work is 
almost certainly worth a read.
<http://www.sca.org/goodbye.cgi?url=http://www.spis.co.nz/phil/bc/roll.htm>

-- 
Adele de Maisieres

-----------------------------
Quot homines, tot sententiae.
----------------------------- 

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Gail,

I used assist our priest with neighborhood masses.  He always explained to 
the parishioners the names and brief history of each part the vestments at 
the beginning of the each mass.  One of the best places I have found with 
definitions of the vestments can be found at the Catholic Encyclopedia, 
http://www.newadvent.org/cathen/15388a.htm . If you see the vestment on the 
CE website, let me know.

I believe I noticed in today's procession there were a few priests of other 
faiths.  That may be what you saw.  I did tape the procession.  I will be 
watching it again tomorrow with my husband.  I will try to look and see the 
vestments that you mentioned.



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


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Gail,

I forgot to mention, that the Catholic Encyclopedia website is really busy 
right now. You may need to wait a few seconds for the site to load.  Also 
another page of interest is the Liturgical Colours.  The colors are very 
important in the Catholic church and have a lot of symbolism behind them. 
Here is a webpage about them: http://www.newadvent.org/cathen/04134a.htm .

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: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 17:06:09 -0500
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If you are lacing it.
You run the lace through the eyes like you would a button hole and then
latch it on to the hooks as you go up. The Hooks and eyes would be on the
inside of the garment. Do not get the tiny h&es, get the ones that your cord
will go though.
Does that help?

De

-----Original Message-----
Sorry, but I'm not understanding you.  How can you just put hooks  or
eyes on both sides of the garment?
On Apr 4, 2005, at 8:41 AM, otsisto wrote:



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Subject: RE: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 17:12:28 -0500
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I have learned through experience that you may not always have help. And
having to go out and find someone to lace up your back can be a bit drafty.
Personally, if the garment is to be my "everyday" wear or my only garb, then
I want it to be something that I can put on with ease. For others, (I have
noticed) if it is difficult to put on, it tends to discourage the wearer and
can, at times put a bit of a damper on the event.

De

-----Original Message-----
If it's an SCA event, and you're changing in the women's bathroom, there
will be others doing the same who will be more than happy to help.

Jean



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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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--- "seamstrix@juno.com" <seamstrix@juno.com> wrote:
> 
> bliauts.
> I found a very interesting cast of one of the
> cathedral figures dressed in a bliaut at, what was
> at the time, the World Heritage Museum.
> the figure is larger than life
> size and shows the details of the bliaut very
> clearly- you could get up to about 2 feet away from
> it. The torso portion was very obviously
> puckered/honeycombed, not just wrinkled, and the
> effect could not come from simply gathering it into
> horizontal pleats across the torso. I think that
> some form of smocking is the likeliest explanation
> for the form fitting torso combined with the pleated
> effect in the skirt. The details on the statue !
>  matched exactly what you would expect from a simple
> smocking stitch. 
> 
> Karen

Except that every honey-comb torso I've ever seen in
the bliaut era is going the 'wrong' way to provide
useful stretch for fitting a garment.  
I.e., the statues show horizontal cells, so the
stretch is vertical, if it is smocked, not vertically,
so any stretch goes around the figure where it's
actually needed.

And if the cast is of one of the figures from the
royal portal at Chartres, allow me to point out the
suspiciously regular wrinkling around the ankles of
several shepards from the same cathedral.  
I'm betting it's artistic liscense, that makes untidy
wrinkles prettier.
<http://www.owlnet.rice.edu/~hart205/Gothic/images/28.gif>

A linen tunic of mine, with slightly too-long sleeves,
tends towards the horizontal cell wrinkling at the
wrists (parallel to the wrist hem, that is) from my
movements while wearing it.  Certainly not proof, but
suggestive.


I tend towards the lace or otherwise squish up the
side seams longish T-tunic side of the argument,
myself.

Ann in CT

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Thanks everyone for welcoming me. Kate mentioned Costume Con. What is it and where do I find out about it ? 

		
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Subject: [h-cost] smooshed waist
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>
>
>( She has this incredible ability to smoosh her waist
>into this circulation cutting off curcumference,which
>frankly looks probably worse then Ms.DD because she
>has really high hips , she ends up looking like
>a"spade" symbol turned upside down) But she thinks she
>look fine so out came the machine,-5 alterations
>later.....she's happily smooshed into her 24" waist
>size,40" hips.
> So remember, smile & nod,eventually she'll see the
>light....
>  
>
>>>  Melody
>>

When i was young and thin I excercized my fanny off, but the only place 
I lost inches was my waist.   so from a 36/26/36 I went down to a 
36/24/36.   That just looked silly and I decide that I didn't ever need 
to do waiste excercizes again in my life.  God gave me the right 
proportions for my body and any excercise is for stamina and health, not 
spot loss.   LOL   not to say I don't need major excercize, but not to 
make my waist thinner.   Kitty

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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Types of smocking were definitely known and used pre-17th century
(although more to control fullness, say in a neckline than all across a
torso), but I'm of the (firm) opinion that there are other, possible
explanations for the wrinkled bodice thing.  I also don't know of 
anything resembling smocking being known to have coexisted with the 
bliaut, although there are some anomalies here and there in medieval 
textiles that show something that sure looks like a type of smocking 
(like, say, under the arm to control fullness...I can look up the 
specific source if anyone would like me to).
For one, who's to say that it's meant to be taken literally? IIRC, that
sort of art/sculpture, *at that time* was highly stylized.  As a
sculptor or designer of those columns for those cathedrals, you might
really want to emphasize and regularize the contrasting horizontal and
vertical lines.
Other sources depicting similar garments (illos. in manuscripts, etc.)
often do show some pulling across the torso, but I haven't seen any that
look as "honeycombed" as those statues.....
My primary objection to the particular technique espoused in the 
afore-mentioned _CA_ is not that it doesn't work--it does, indeed, 
create a similar look.  I just don't find it logical in a 12th century 
context.  No other garments that I know at that time had anything *like* 
a separately cut skirt sewn to a torso, let alone one also pleated or 
gathered.  I'm guessing the separate skirt argument has hung around so 
long because modern sewers/costumers are familiar with the technique, so 
they're comfortable interpreting that old, odd style using techniques 
(separate skirts, complex curved patterns, etc.) that are actually 
ahistorical for the garments.
--sue (long-time SCA member, who's had a 2-decades-long friendly running 
argument with a friend over just this topic! ;o)

seamstrix@juno.com wrote:

> I make no claim to be an expert on bliauts.....or even exceptionally
> knowledgable about them. But they have interested me for years just
> because, in terms of the evolution of dress, they are so weird and
> such a mystery. Years ago when I was at the University of Illinois
> Urbana-Champaign (Go Illini!) I found a very interesting cast of one
> of the cathedral figures dressed in a bliaut at, what was at the
> time, the World Heritage Museum. I believe they have since moved to a
> new building and changed the name. Anyway, the figure is larger than
> life size and shows the details of the bliaut very clearly- you could
> get up to about 2 feet away from it. The torso portion was very
> obviously puckered/honeycombed, not just wrinkled, and the effect
> could not come from simply gathering it into horizontal pleats across
> the torso. I think that some form of smocking is the likeliest
> explanation for the form fitting torso combined with the pleated
> effect in the skirt. The details on the statue ! matched exactly what
> you would expect from a simple smocking stitch.
> 
> Now someone is going to chime in with evidence that they didn't do
> smocking in period and blow my pet theory out of the water!

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Anne Catelli Wrote: 

Except that every honey-comb torso I've ever seen in
the bliaut era is going the 'wrong' way to provide
useful stretch for fitting a garment.  
I.e., the statues show horizontal cells, so the
stretch is vertical, if it is smocked, not vertically,
so any stretch goes around the figure where it's
actually needed.

And that is a very valid point. When not under tension, smocking cells tend to have more length than width. However, I postulate that the depiction in question shows the smocking under noticable tension due to lacing at the side to bring the garment tightly against the body. This would tend to distort the smocking cells and produce the shape of cells depicted on the statue. 

I gotta go back to the museum and try to find that statue. I now have a spiffy little digital camera and I will take pictures of the parts in question so that I don't have to try to describe something from a 15 year old memory. 


Karen

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From: Susan Carroll-Clark <nicolaa@rogers.com>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Greetings--

> This one almost looks like a separate corsage over a
> finely pleated gown -- at 
> least to my eyes.

The problem with the "corsage" theory is that I
suspect it came from people doing exactly what we're
doing--looking at statuary and making guesses about
what we're seeing.  Which is fine--but I've never
found evidence of a separate, corset-like garment from
any period preceeding the bliaut or immediately after
the bliaut--and 12th century tailors, being generally
conservative, would not have (in my opinion) learned a
new technique and simply discarded it after a few
years. Nor is there any description of a corset-like
garment in contemporary literature--while we *do* have
descriptions of side laced garments.  So for me, it's
pretty clear that the bliaut was probably side-laced. 
How it was actually cut, and how much from the
statuary is artistic license, and how much the fabrics
affected things remain for me the fascinating
mysteries.

Susan
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like old timey shoes and some work boots today, hooks to catch the lace 
and then the loops you would normally hook the hooks through used 
together you thread the laces through instead, like you would 
eyelets.     maybe you have a hunter or other in your family that you 
could view the boots?   hiking boots have them too.   not all boots but 
lots do.  Kitty

Sylvia Rognstad wrote:

> Sorry, but I'm not understanding you.  How can you just put hooks  or 
> eyes on both sides of the garment?
> On Apr 4, 2005, at 8:41 AM, otsisto wrote:
>
>> Ummmm...I don't think that the times she dresses in the women's bathroom
>> that her boyfriend will be able to help and you do not always have 
>> someone
>> there who is able to help. But if lacing in the back is all you can 
>> sew then
>> thats all you can sew.
>>
>> Another thing you can do for lacing holes
>> if you don't want to make button holes is use hooks and eyes. Pairing 
>> the
>> eyes with eyes and hooks with hooks. Bottom half of the opening would 
>> have
>> hooks and the upper half with eyes. Does that make sense?
>>
>> De
>


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Subject: [h-cost] was:   No taste in corsets or fashions   Who is Ms D.D.?
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Who is Ms D.D.?

Melody Watts wrote:

>( She has this incredible ability to smoosh her waist
>into this circulation cutting off curcumference,which
>frankly looks probably worse then Ms.DD because she
>has really high hips , she ends up looking like
>a"spade" symbol turned upside down)
>
>  
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
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Date: Mon, 4 Apr 2005 22:21:24 -0500
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On Monday 04 April 2005 2:45 pm, fastusminimus wrote:
> At 12:01 PM -0600 4/4/05, h-costume-request@indra.com wrote:
> >Well Drat!  Just got word from Barnes & Noble that this title would not
> >be available on the published date, something about 'delayed at the
> >publisher', and they would email be again if it was going to be over 30
> >days.  Anyone else received this notice?

Yes, I did, too.
>

-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] MC&T journal? was: untitled post
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On Mon, 4 Apr 2005, Catherine Olanich Raymond wrote:

> On Monday 04 April 2005 2:45 pm, fastusminimus wrote:
> > At 12:01 PM -0600 4/4/05, h-costume-request@indra.com wrote:
> > >Well Drat!  Just got word from Barnes & Noble that this title would not
> > >be available on the published date, something about 'delayed at the
> > >publisher', and they would email be again if it was going to be over 30
> > >days.  Anyone else received this notice?
> 
> Yes, I did, too.

I missed that first post, but I'm seeing answers to it now. Was this about
the Medieval Clothing & Textiles journal? I know that Boydell (in England)
claims to be shipping now, but I don't know how long it takes for books to
reach secondary distributors outside of England.

For those who haven't bought yet, today I received a batch of flyers that
I may distribute to my colleagues -- and they include a discount code that
brings the price down to $37.50. That's not as good as the Barnes & Noble
price, last I looked. But if you want that discount, please e-mail me
directly. I consider the members of this list my colleagues, and am happy
to offer you the deal.

However, please do *not* forward the above paragraph elsewhere, as I
cannot claim that the members of several dozen costume lists are my
colleagues ;-)

Something else I should mention: I've tried to be very explicit in my
postings on this list about the nature of MC&T -- it's an academic journal
(in the form of an annual hardbound volume), and as such it contains a
group of highly in-depth papers on a handful of disconnected topics. It
should be very useful to people who are doing serious research in those
particular topics, but I don't want anyone to think that this is a general
reference volume for the average costumer. I truly expected most people to
plan on borrowing copies through libraries, and I've been stunned and
impressed by the number of people who are buying their own copies -- I
hope on the basis of having read the volume contents (posted in my
messages, and also at http://www.boydell.co.uk/43831236.HTM).

However, based on some some messages that I've been getting lately, I'm
worrying that the name of the journal is now being tossed around various
lists as a "must-have new reference book" for re-enactors. Anyone buying
on the basis of title alone, thinking that this is a general book about
medieval clothing and textiles, will be very disappointed, and I really
don't want that to happen!

So, if any of you are on any such lists and hear any such talk, please set
people straight: This is an academic journal, and a much-needed one, in an
active research field that is producing much new work. But it is a
collection of scholarly essays on disparate specialized topics, not a
general reference.

BTW, I am now in the throes of editing Vol. 2. The lineup so far includes
papers on Renaissance "flea furs"; royal costume in Irish literature and
archaeology of the Viking period; clothmaking as a literary device in
French 12th-c. romance; cloth trade in Paris in the 13th and 14th
centuries; attitudes about clothing in late medieval English literature
and sumptuary law; 15th-century textile cleaning techniques; and the
English Renaissance embroidered jacket.

--Robin


===============================================================
Robin Netherton // robin@nightowl.net
Editor, Medieval Clothing & Textiles
"No student knows his subject. The most he knows is where and 
how to find out the things he does not know." -- Woodrow Wilson


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] MC&T journal? was: untitled post
Date: Mon, 4 Apr 2005 23:33:52 -0500
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On Tuesday 05 April 2005 12:33 am, Robin Netherton wrote:
> On Mon, 4 Apr 2005, Catherine Olanich Raymond wrote:
> > On Monday 04 April 2005 2:45 pm, fastusminimus wrote:
> > > At 12:01 PM -0600 4/4/05, h-costume-request@indra.com wrote:
> > > >Well Drat!  Just got word from Barnes & Noble that this title would
> > > > not be available on the published date, something about 'delayed at
> > > > the publisher', and they would email be again if it was going to be
> > > > over 30 days.  Anyone else received this notice?
> >
> > Yes, I did, too.
>
> I missed that first post, but I'm seeing answers to it now. Was this about
> the Medieval Clothing & Textiles journal?

That was what I was talking about, at least.  



-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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Maybe I have something set wrong but I am getting 3 copies of every messages
from this list. which is playing havoc with my in box.

 

Am I doing something wrong?

 

Greg

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] was: No taste in corsets or fashions Who is Ms D.D.?
Date: Tue, 5 Apr 2005 00:45:36 -0500
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I think she means Ms DD = Ms Double D as in bra size.

De


Who is Ms D.D.?

Melody Watts wrote:

>( She has this incredible ability to smoosh her waist
>into this circulation cutting off curcumference,which
>frankly looks probably worse then Ms.DD because she
>has really high hips , she ends up looking like
>a"spade" symbol turned upside down)


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References: <42770C6F@webmail.utk.edu>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
Date: Tue, 5 Apr 2005 01:54:57 -0400
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and then I found this one -- notice that the pleats coming out from under
the ornamented band at the bottom of the bodice .....

<http://epee.goldsword.com/sfarmer/SCA/Paintings/stLoupDeNaud_LeftPortal-detai
2l.jpg>

This one almost looks like a separate corsage over a finely pleated gown -- at 
least to my eyes.

Susan/ Jerusha

Could you please re-post this link or give me another way to get there?  I would really like to see this and I keep getting error messages.

Janet
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Date: Mon, 4 Apr 2005 22:55:28 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] was: No taste in corsets or fashions Who is Ms D.D.?
To: Historical Costume <h-costume@indra.com>
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Someone I know who is being sill with her re-creations...... I needed advice on how to deal with a situation and the wonderful people here helped me out Imensely!!! 
 
I want to than you all for the Guidance and pep talk! It has helped
 
Satine

Wicked Frau <wickedfrau@earthlink.net> wrote:
Who is Ms D.D.?

Melody Watts wrote:

>( She has this incredible ability to smoosh her waist
>into this circulation cutting off curcumference,which
>frankly looks probably worse then Ms.DD because she
>has really high hips , she ends up looking like
>a"spade" symbol turned upside down)
>
> 
>
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Subject: [h-cost] Bliauts
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Many years ago (when I was much thinner), I made a Bliaut of each of the 
theories. I tend against the smocking, and separate piece theories myself.

I did find a few statues from other churches of the period with this style 
but not many. Something that I did find quite helpful (and everyone seems 
to ignore) were metalwork objects where one could clearly see the artistic 
stylized folds. There is an arm reliquery (sp?) in the Walters Art Gallery 
in Baltimore that is a good example.

Beth Matney 

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Beth and Bob Matney wrote:

> Something that I did find quite helpful (and 
> everyone seems to ignore) were metalwork objects where one could clearly 
> see the artistic stylized folds.

There seems to be a dearth of "let's search text sources for 
descriptions" too.  Probably because it's difficult, but it might shed 
some light on the question.  Possibly there are professional costume 
historians doing that.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Binary-numbered clock & Geek Mandalas! 
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There are, indeed,  a large number of French texts describing this type 
of garment.....discussed at length on the 12thcentury list...
Jessamyn
On Tuesday, April 5, 2005, at 08:03 AM, Cynthia Virtue wrote:

> Beth and Bob Matney wrote:
>
>> Something that I did find quite helpful (and everyone seems to 
>> ignore) were metalwork objects where one could clearly see the 
>> artistic stylized folds.
>
> There seems to be a dearth of "let's search text sources for 
> descriptions" too.  Probably because it's difficult, but it might shed 
> some light on the question.  Possibly there are professional costume 
> historians doing that.
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
>
> Binary-numbered clock & Geek Mandalas! 
> http://www.cafeshops.com/virtueventures
> _______________________________________________
> 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] was: No taste in corsets or fashions Who is Ms D.D.?
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The double-D client referred to in an earlier post....
--sue

Wicked Frau wrote:
> Who is Ms D.D.?
> 
> Melody Watts wrote:
> 
>> ( She has this incredible ability to smoosh her waist
>> into this circulation cutting off curcumference,which
>> frankly looks probably worse then Ms.DD because she
>> has really high hips , she ends up looking like
>> a"spade" symbol turned upside down)
>>
>>  
>>
> _______________________________________________
> h-costume mailing list
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References: <200504041801.j34I0Jm3047238@net.indra.com>	<a05010400be773a20a153@[10.0.1.2]>
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I didn't get one, but then again, I just ordered this weekend.  Delivery 
expected within two weeks....
--sue

Catherine Olanich Raymond wrote:

> On Monday 04 April 2005 2:45 pm, fastusminimus wrote:
> 
>>At 12:01 PM -0600 4/4/05, h-costume-request@indra.com wrote:
>>
>>>Well Drat!  Just got word from Barnes & Noble that this title would not
>>>be available on the published date, something about 'delayed at the
>>>publisher', and they would email be again if it was going to be over 30
>>>days.  Anyone else received this notice?
> 
> 
> Yes, I did, too.
> 
> 

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From: Susan Farmer <sfarmer@utk.edu>
To: h-costume@indra.com
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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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> > This one almost looks like a separate corsage over a
> > finely pleated gown -- at
> > least to my eyes.
>
> The problem with the "corsage" theory is that I
> suspect it came from people doing exactly what we're
> doing--looking at statuary and making guesses about
> what we're seeing.  Which is fine--but I've never
> found evidence of a separate, corset-like garment from
> any period preceeding the bliaut or immediately after
> the bliaut--and 12th century tailors, being generally
> conservative, would not have (in my opinion) learned a
> new technique and simply discarded it after a few
> years. Nor is there any description of a corset-like
> garment in contemporary literature--while we *do* have
> descriptions of side laced garments.  So for me, it's
> pretty clear that the bliaut was probably side-laced.
> How it was actually cut, and how much from the
> statuary is artistic license, and how much the fabrics
> affected things remain for me the fascinating
> mysteries.

I know that Goddard discusses "corsage;" but at the moment, I don't 
remember if it's in terms of a separate garment or not.


Devil's Advocate mode ...

I'm sure that most of the "separate garment" idea came from the early
illuminations/tapestries with the wrapped mantle like this.

<http://epee.goldsword.com/sfarmer/SCA/Paintings/abbeyLawrence_MatthewDetail.j
pg>

where it is very obviously wrapping of some sort around the torso.
but then there are images like these ... (and you've probably seen 
then all before, but ...)

<http://epee.goldsword.com/sfarmer/SCA/Paintings/bibleFloreffe_NativityChristD
etail.jpg>
<http://epee.goldsword.com/sfarmer/SCA/Paintings/goddard_Plate10.JPG>
<http://epee.goldsword.com/sfarmer/SCA/Paintings/german_Sarah-harksenPl17.jpg>

and last but not least .....

<http://epee.goldsword.com/sfarmer/SCA/Paintings/german_Ecclesia-harksenPl9.jp
g>

<devil's advocate off>

I have no clue what I'm seeing (but, please don't try and tell me that 
the fact that the pleats are still so nice and regular at the bottom 
of the decorative band on a statue means that they had to be pleated onto 
the bodice .....)  I'm only just now learning to "read" early art.

Jerusha (who always welcomes more pairs of eyes ....)

-----
Susan Farmer
sfarmer@goldsword.com
Botany Department, University of Tennessee
http://www.goldsword.com/sfarmer/Trillium

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Subject: Re: [h-cost] was: No taste in corsets or fashions Who is Ms D.D.?
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Oh, I think it should be me!  DOI DOI ???  (Slap on forhead with heel of 
hand!)  :)
Thanks!

Wicked Frau wrote:

> Who is Ms D.D.?
>
> Melody Watts wrote:
>
>> ( She has this incredible ability to smoosh her waist
>> into this circulation cutting off curcumference,which
>> frankly looks probably worse then Ms.DD because she
>> has really high hips , she ends up looking like
>> a"spade" symbol turned upside down)
>>
>>  
>>
> _______________________________________________
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Subject: [h-cost] Corsettum, was Bliauts
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Status: RO


Jerusha brings up an interesting point.

<speculation on>
Remember the discussions in "Dress in the Age of the Black Prince".  All 
those lovely references to "corsette" "corselette" and "corsettum"  in the 
inventories of both the french and english kings.  AND those references are 
early in the roles,  before the entries that involve buttons and more 
fitted garments. So -old idea recycled here- perhaps those garments are a 
body related piece, coming from the Latin, for body.  So perhaps that is a 
distant remnant of a different clothing item that we see here in a stylized 
form.
<speculation off>
Bridgette

>Devil's Advocate mode ...
>
>I'm sure that most of the "separate garment" idea came from the early
>illuminations/tapestries with the wrapped mantle like this.
>
><http://epee.goldsword.com/sfarmer/SCA/Paintings/abbeyLawrence_MatthewDetail.j
>pg>
>
>where it is very obviously wrapping of some sort around the torso.
>but then there are images like these ... (and you've probably seen
>then all before, but ...)
>
><http://epee.goldsword.com/sfarmer/SCA/Paintings/bibleFloreffe_NativityChristD
>etail.jpg>
><http://epee.goldsword.com/sfarmer/SCA/Paintings/goddard_Plate10.JPG>
><http://epee.goldsword.com/sfarmer/SCA/Paintings/german_Sarah-harksenPl17.jpg>
>
>and last but not least .....
>
><http://epee.goldsword.com/sfarmer/SCA/Paintings/german_Ecclesia-harksenPl9.jp
>g>
>
><devil's advocate off>
>
>I have no clue what I'm seeing (but, please don't try and tell me that
>the fact that the pleats are still so nice and regular at the bottom
>of the decorative band on a statue means that they had to be pleated onto
>the bodice .....)  I'm only just now learning to "read" early art.
>
>Jerusha (who always welcomes more pairs of eyes ....)

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Subject: [h-cost] Japanese kimonos
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I have another question for any kimono experts out there (I really love 
this list--you guys are fabulous!).  I'm in the process of altering 
some authentic Japanese kimonos for use in a play I'm costuming.  They 
are old garments but I'm wondering how old they are, since they are 
hand-sewn.  Does that mean they are so old they were made before sewing 
machines?   I cant imagine that they would be in such good condition if 
they were.  Are kimonos still being hand sewn or would they have been 
during the 20th century in spite of the presence of sewing machines?  
They are made out of silk and it looks like the thread is silk too.

Sylrog

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From h-costume-bounces@indra.com  Tue Apr  5 12:05:36 2005
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I'm no expert on Kimonos or anything but my Mother had some suits made in  
Hong Cong [I know....not Japan] in the 1960s and they are entirely hand sewn. On 
 films I've done that took place in the 1950s we uses men's suits and all 
sorts  of ladies fine things all entirely hand sewn.
My point is that hands sewn garments, especially if traditional [like a  
Kimono or even a kilt] or "top drawer", are very available into the 20th  
century.... and I'm sure even now.
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which title? 

Catherine Olanich Raymond wrote:

>On Monday 04 April 2005 2:45 pm, fastusminimus wrote:
>  
>
>>At 12:01 PM -0600 4/4/05, h-costume-request@indra.com wrote:
>>    
>>
>>>Well Drat!  Just got word from Barnes & Noble that this title would not
>>>be available on the published date, something about 'delayed at the
>>>publisher', and they would email be again if it was going to be over 30
>>>days.  Anyone else received this notice?
>>>      
>>>
>
>Yes, I did, too.
>  
>
>
>  
>


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From h-costume-bounces@indra.com  Tue Apr  5 12:20:49 2005
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dgandh wrote:

>Maybe I have something set wrong but I am getting 3 copies of every messages
>from this list. which is playing havoc with my in box.
>
> 
>
>Am I doing something wrong?
>
> 
>
>Greg
>

More than likely it is a computer somewhere between you and the source 
of our list, hiccuping. 
we all get it sometimes, and no it isn't the list... this time, nor is 
it likely to be your settings, especially if you didn't get them 
yesterday.   Ahhh the joys of technology.   count your blessings, it 
could be ten copies, which I did one time have for a week from one 
list.   Kitty

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From h-costume-bounces@indra.com  Tue Apr  5 14:36:15 2005
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Ann Catelli <elvestoorder@yahoo.com> wrote
>
<snip>
>
>A linen tunic of mine, with slightly too-long sleeves,
>tends towards the horizontal cell wrinkling at the
>wrists (parallel to the wrist hem, that is) from my
>movements while wearing it.  Certainly not proof, but
>suggestive.
>
Many 12th century illustrations show horizontal wrinkling at the wrists 
of a tight sleeve (usually an underdress but sometimes you can only see 
one layer).  I've seen suggestions that they were cut extra long to 
exaggerate the effect.  It's certainly very characteristic.

Jean
-- 
Jean Waddie
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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Bliauts
Date: Tue, 5 Apr 2005 14:25:03 -0500
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I haven't been following this thread real closely so my apologies for
duplication.

My first SCA garb was a bliaut, laced up the sides. I made a second bliaut
with to long of a waist and not quite wide enough.
When I pulled the lacing tight it made horizontal gatherings across the body
below the bust.

Is there a possibility that there was more then one way of making a bliaut?
Could it have been regional? Like Paris made it one way and Brussels made it
another?

De



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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Bliauts
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otsisto wrote:

>I haven't been following this thread real closely so my apologies for
>duplication.
>
>My first SCA garb was a bliaut, laced up the sides. I made a second bliaut
>with to long of a waist and not quite wide enough.
>When I pulled the lacing tight it made horizontal gatherings across the body
>below the bust.
>  
>

Actually, I suspect that is the _right_ way of achieing the wrinkles.

-- 
Adele de Maisieres

-----------------------------
Quot homines, tot sententiae.
----------------------------- 

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Bliauts
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otsisto wrote:

>Is there a possibility that there was more then one way of making a bliaut?
>Could it have been regional? Like Paris made it one way and Brussels made it
>another?
>  
>

Regional variations, yes.  Completely different construction methods, 
probably not.

-- 
Adele de Maisieres

-----------------------------
Quot homines, tot sententiae.
----------------------------- 

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Subject: [h-cost] Martha McCain Patterns
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 I'm hoping that the next Simplicity Catalog(after "Early Summer" which
has just come out)will feature some 18th century patterns by Martha
McCain. There were no new costumes in the Early Summer issue which gives
me some hope?

Of does someone on the list know something I don't?
Thanks!
Cindy Abel
Cindy, I can answer that.
I was supposed to have 18th century patterns ready this spring.  In fact,
I've already spent a year in the libraries, looked at originals, made 18th
century muslins, etc.
BUT I got waylaid last March by Carolann Schmitt's wonderful lecture on
sleeves at the Ladies and Gentlemen of the Civil War Conference.  I was
inspired to do some basic mid-nineteenth-century bodices with tricky sleeve
options.  And that's what's coming out soon.  There are three packages and I
believe they'll appear one at a time.
Now I'm working full time on 18th century.  No more distractions.
Martha




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Subject: Re: [h-cost] Japanese kimonos
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> some authentic Japanese kimonos for use in a play I'm costuming.  They are 
> old garments but I'm wondering how old they are, since they are hand-sewn.

Traditionnally, kimonos are hand-sewn and taken apart to be washed, at least 
according to "Make your own japanese clothes" (1988). They're often formal 
garments that seldom get washed, once a year or so. They would be hand-sewn, 
even in the 20th century, until fairly recently, when ready-made kimonos 
became more popular.

Actually, it'll be faster if I just quote the book
> Sewing traditional clothing-kimono, in particular- is an exacting art in 
> Japan. Collars, sleeves, and hems must drape just so; the stitching must 
> be easily removable for washing the garment piece by piece; the entire 
> garment, in fact, must be sewn by hand to achieve the ideal results. These 
> results include proper fit and protection of the fabric (hand stitching 
> will rip before the fabric does when a seam undergoes stress). 
> Accordingly, you will not find racks of readymade quality kimono in 
> department stores. Rather, department stores, as well as neighborhood 
> gofukuya, or tailor shops, sell bolts of narrow fabric and sew each kimono 
> by hand to order. Times do change, however. Recently, readymade 
> one-size-fits-all kimono of lined polyester have made their debut, while 
> inexpensive cotton summer kimono (yukata) have been mass-produced for some 
> time. 
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Hi guys, I remember having a discussion once about what you guys thought 
was the best bra.  I am looking for both a sport bra and a regular one.
Have any of you tried this Enell brand sport bra?

http://www.enell.com/quotes.html#
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From: Susan Carroll-Clark <nicolaa@rogers.com>
Subject: Re: [h-cost] Bliauts
To: Historical Costume <h-costume@indra.com>
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Greetings--

--- Adele de Maisieres <ladyadele@paradise.net.nz>
wrote:
> otsisto wrote:
> 
> >Is there a possibility that there was more then one
> way of making a bliaut?
> >Could it have been regional? Like Paris made it one
> way and Brussels made it
> >another?
> >  
> >
> 
> Regional variations, yes.  Completely different
> construction methods, 
> probably not.

I agree.

Given that all the clothing from the periods that
bracket the bliaut period use generally
straight/triangular cut fitting (with the odd little
tweak, like those Viking-age tunics with the slightly
curved sleeve head, etc.) it's not likely you would
see radical differences.  It's one of the reasons why
I don't tend to go for the waist seam theories. 
However, weirdnesses like the Viborg shirt mean that I
probably can't completely discount it--but just opine
I think it's less likely than other cuts.

Susan

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From: Ann Catelli <elvestoorder@yahoo.com>
Subject: Re: [h-cost] Bliauts, was Medieval gowns
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--- Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
> Ann Catelli <elvestoorder@yahoo.com> wrote

> >A linen tunic of mine, with slightly too-long
> sleeves,
> >tends towards the horizontal cell wrinkling at the
> >wrists (parallel to the wrist hem, that is) from my
> >movements while wearing it.  Certainly not proof,
> but
> >suggestive.
> >
> Many 12th century illustrations show horizontal
> wrinkling at the wrists 
> of a tight sleeve (usually an underdress but
> sometimes you can only see 
> one layer).  I've seen suggestions that they were
> cut extra long to 
> exaggerate the effect.  It's certainly very
> characteristic.
> 
> Jean

It's the cell-shape, rather like a distorted
honeycomb, that I'm emphasizing here. 
Lends itself nicely to the stylization shown on
several figures from Chartres.

You are certainly correct that there are Lots of
narrow sleeves wrinkled on purpose up the forearm in
12th century illuminations & other art forms.

Ann in CT


		
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I got that too, but it turns out I had written one of the Outlook "sort
message to.." rules three times.
Had to go to the help section for instructions on how the change/edit rules
already written. Might be worth checking out.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of dgandh
Sent: Tuesday, April 05, 2005 12:38 AM
To: h-costume@net.indra.com
Subject: [h-cost] Threee copies of every message

Maybe I have something set wrong but I am getting 3 copies of every messages
from this list. which is playing havoc with my in box.

 

Am I doing something wrong?

 

Greg

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Besty!
Thanks 
That was it.... exactly!

Greg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Betsy Marshal
Sent: Wednesday, April 06, 2005 6:03 AM
To: 'Historical Costume'
Subject: RE: [h-cost] Threee copies of every message

I got that too, but it turns out I had written one of the Outlook "sort
message to.." rules three times.
Had to go to the help section for instructions on how the change/edit rules
already written. Might be worth checking out.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of dgandh
Sent: Tuesday, April 05, 2005 12:38 AM
To: h-costume@net.indra.com
Subject: [h-cost] Threee copies of every message

Maybe I have something set wrong but I am getting 3 copies of every messages
from this list. which is playing havoc with my in box.

 

Am I doing something wrong?

 

Greg

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I've found that there is also cottoned finish in wools, which is often 
referred to as cotton in pre-cotton-gin periods. They seemed to be used for 
similar things, so I don't find that I can tell the difference with any 
clarity by descriptions from the period. I've recently replaced a lot of my 
17th century bits and pieces I'd made from cotton lawn with handkerchief 
linen because of my inability to work out whether fine cotton's OK or not. I 
have, however got decent references to cotton thread and cotton waste for 
padding (fencing doublets and mattresses) from the MoL Textiles and Clothing 
Book.

To me, it's one of the more interesting vaguarities of our historical 
studies. Any input would be appreciated.

Glenda

----- Original Message ----- 
From: "Danielle Nunn-Weinberg" <dannw@mn.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 02, 2005 6:45 PM
Subject: Re: [h-cost] cotton


>I don't know about blended fabrics for sure but I have definite references 
>to cotton fabric used in England during the 16th century.
>
> Cheers,
> Danielle
>

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From: Sylvia Rognstad <sylvia@ntw.net>
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Subject: [h-cost] Medieval gowns
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I finally have a couple questions I know you experts can help me with.   
I got a commission to make a medieval dress for an SCA woman, based on  
Butterick 3552--     
http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi? 
search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9.

She says she has been told that the seams on sleeves from this era are  
supposed to be toward the back rather than under the arm.  Is this  
correct?  Also, I am wondering about the correctness of the over the  
bust princess seam on the pattern.  I think I will have to leave it  
there, due to the nature of the fabric she has chosen, but it seems a  
bit modern to me for some reason.

I'm going to lace up the back instead of using a zipper.  Would  
grommets have been used yet or would they just be sewn eyelets (which I  
dont think I am going to do)?

TIA,
Sylrog

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Fwd: Medieval gowns
Date: Sat, 2 Apr 2005 22:59:02 -0700
To: Historical Costume <h-costume@indra.com>
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On Apr 2, 2005, at 10:37 PM, Adele de Maisieres wrote:

>
>>  I got a commission to make a medieval dress for an SCA woman, based   
>> on Butterick 3552--      
>> http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?  
>> search=3552&s.search.all.x=14&s.search.all.y=14&TI=10001&M=&pageSize=9 
>> .
>>>
>>> I'm going to lace up the back instead of using a zipper.  Would   
>>> grommets have been used yet or would they just be sewn eyelets  
>>> (which  I dont think I am going to do)?
>>>
>
> And no, grommets wouldn't have been used.  The little reading I've  
> done on this area suggests it should lace up under the arms rather  
> than the back.
>
> Would you use hand sewn eyelets or loops?

Sylrog

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From: Lady Satine <seamuslady@yahoo.com>
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Hmmmm    Princess seams are not period, Tehy are modern....  I have been scolded by many a Laurel about this...However I have been told by other Laurels  as Long as its not an A& S project its fine....What does anyone else think?????
 
Metal Grommets from todays standards are not period... to get arround this I have seen People sew arround the Grommet to hide the Shiny metal thing.... I would use Grommets and not Eyelets because eyelets pull out easier than Grommets.... I have Heard that Hook and Eyes are period... I am lookng into that.....
 
Under arrm sleves v. towards the back....I would check it out further... 
 
I have a dozen reasons I do not like that pattern it looks costumey to me even with amazing fabric...and tallented seamstresses..... . but that is my humble opinion..... 
 
Satine
 

Sylvia Rognstad <sylvia@ntw.net> wrote:
I'm resending this message because it hasn't shown up yet, so if it 
appears twice, you'll know why.
>
>
> I finally have a couple questions I know you experts can help me with. 
> I got a commission to make a medieval dress for an SCA woman, based 
> on Butterick 3552-- 
>
> She says she has been told that the seams on sleeves from this era are 
> supposed to be toward the back rather than under the arm. Is this 
> correct? Also, I am wondering about the correctness of the over the 
> bust princess seam on the pattern. I think I will have to leave it 
> there, due to the nature of the fabric she has chosen, but it seems a 
> bit modern to me for some reason.
>
> I'm going to lace up the back instead of using a zipper. Would 
> grommets have been used yet or would they just be sewn eyelets (which 
> I dont think I am going to do)?
>
> TIA,
> Sylrog
>
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Cotehardie sleeves
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At 09:31 03/04/2005 -0700, you wrote:
>Hi folks!
>
>Maybe I missed any prior disussion, but I would REALLY like know where I
>can find examples of cotehardie sleeves with a seam up the side of the
>arm.  I mean pictoral evidence. Or a statue or something.  I have spent
>many years doing costuming and everybody "says" that cotehardie seams are
>down the side of the arm but I have never seen pictures that prove it!
>
>When I did my research a couple of years ago, I found two different
>pictures of men (statues from 1340 & 1355) in my book "A Visual History of
>Costume" that show the buttons on the sleeves.  But after the buttons end,
>there is no seam.  For those of you who have the book, they are pages 49 &
>52.  There are several other examples of buttons going up to the elbow
>and/or beyond but you only see the profile view so you can't tell if there
>is a seam or not.
>
>So does anybody have a picture (or several preferrably) that shows the
>seam up the side of the arm?


There is a  wrist fragment of a sleeve in "Textiles and Clothing" Medieval 
Finds from Excavations in London, (HMSO). (Elisabeth Crowfoot, Frances 
Pritchard, and Kay Staniland). It is dated from the 2nd quarter of the 14th 
century, and is pictured laid out flat, buttons one side, holes the other. 
It buttons up the side of the arm, in my opinion, and continues beyond the 
buttons, perhaps as far as the elbow, as a finished edge. However, it is 
impossible to tell what garment it came from, and how far the seam 
continued. It could have stopped at the elbow and a top part of the sleeve 
could have been attached at that point. The top is very odd, and while it 
might have the whisper of an armhole shaping it might just be the way it 
has disintegrated.

Not helpful I'm afraid, but a real sleeve!!

Suzi


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BTW, I should add that, if I recall, this took place in Gaul.

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

Lavolta Press wrote:

> I remember this story from one of my history classes and just looked 
> it up again on the net.
>
> SULPITIUS SEVERUS ON THE LIFE OF ST. MARTIN 
> (SULPITIUS (or Sulpicius) SEVERUS was born in Aquitania about A.D. 363,
> and died, as is generally supposed, in A.D. 420.)
>
> A Case of Diabolic Deception.
>   

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Subject: RE: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 02:20:08 -0500
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Perhaps for lacing you could use grograin ribbon strips.
Sewn on vertically on each side leaving openings for the lace to go though.

De



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Subject: Re: [h-cost] A silk garment filched by a monk?
Date: Mon, 4 Apr 2005 08:06:12 -0400
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Could this be an early tale of the family of "the Emperor's New Clothes"?
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Sunday, April 03, 2005 10:13 PM
Subject: [h-cost] A silk garment filched by a monk?


> I remember this story from one of my history classes and just looked it up
again on the net.
>
> SULPITIUS SEVERUS ON THE LIFE OF ST. MARTIN
>
> (SULPITIUS (or Sulpicius) SEVERUS was born in Aquitania about A.D. 363,
> and died, as is generally supposed, in A.D. 420.)
>
> A Case of Diabolic Deception.
>
>     THERE was a certain man, Clarus by name, a most noble youth, who
> afterwards became a presbyter, and who is now, through his happy departure
> from this world, numbered among the saints.  He, leaving all others,
betook
> himself to Martin, and in a short time became distinguished for the most
> exalted faith, and for all sorts of excellence.  Now, it came to pass
that,
> when he had erected an abode for himself not far from the monastery of the
> bishop, and many brethren were staying with him, a certain youth,
Anatolius by
> name, having, under the profession of a monk, falsely assumed every
appearance
> of humility and innocence, came to him, and lived for some time on the
common
> store along with the rest.  Then, as time went on, he began to affirm that
> angels were in the habit of talking with him.  As no one gave any credit
to
> his words, he urged a number of the brethren to believe by certain signs.
At
> length he went to such a length as to declare that angels passed between
him
> and God; and now he wished that he should be regarded as one of the
prophets.
> Clarus, however, could by no means be induced to believe.  He then began
to
> threaten Clarus with the anger of God and present afflictions, because he
did
> not believe one of the saints.  At the last, he is related to have burst
forth
> with the following declaration: "Behold, the Lord will this night give me
a
> white robe out of heaven, clothed in which, I will dwell in the midst of
you;
> and that will be to you a sign that I am the Power of God, inasmuch as I
have
> been presented with the garment of God."  Then truly the expectation of
all
> was highly raised by this profession.  Accordingly, about the middle of
the
> night, it was seen, by the noise of people moving eagerly about, that the
> whole monastery in the place was excited.  It might be seen, too, that the
> cell in which the young man referred to lived was glittering with numerous
> lights; and the whisperings of those moving about in it, as well as a kind
of
> murmur of many. voices, could be heard.  Then, on silence being secured,
the
> youth coming forth calls one of the brethren, Sabatius by name, to
himself,
> and shows him the robe in which he had been clothed.  He again, filled
with
> amazement, gathers the rest together, and Clarus himself also runs up; and
a
> light being obtained, they all carefully inspect the garment.  Now, it was
of
> the utmost softness, of marvelous brightness, and of glittering purple,
and
> yet no one could discover what was its nature, or of what sort of fleece
it
> had been formed.  However, when it was more minutely examined by the eyes
or
> fingers, it seemed nothing else than a garment.  In the meantime, Clarus
urges
> upon the brethren to be earnest in prayer, that the Lord would show them
more
> clearly what it really was.  Accordingly, the rest of the night was spent
in
> singing hymns and psalms.  But when day broke, Clarus wished to take the
young
> man by the hand, and bring him to Martin, being well aware that he could
not
> be deceived by any arts of the devil.  Then, indeed, the miserable man
began
> to resist and refuse, and affirmed that he had been forbidden to show
himself
> to Martin.  And when they compelled him to go against his will, the
garment
> vanished from among the hands of those who were conducting him.
Wherefore,
> who can doubt that this, too, was an illustration of the power of Martin,
so
> that the devil could no longer dissemble or conceal his own deception,
when it
> was to be submitted to the eyes of Martin?
>
> _______________________________________________
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Subject: Re: [h-cost] Re: medieval gown
Date: Mon, 4 Apr 2005 07:46:18 -0600
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On Apr 4, 2005, at 12:30 AM, Robin Netherton wrote:

>
> On Mon, 4 Apr 2005, Sylvia Rognstad wrote:
>
>> It's definitely too fitted not to have a closure and since it is not
>> historically accurate, what would you all suggest?  Grommets?  Fabric
>> loops?  Rings?  I'm going to put the closure on the back, not at the
>> sides.
> Lacing rings appear by the 15th century at least, probably a little
> earlier. I feel sure I've seen them in the 14th century in Italy. But
> for your purposes, they would probably be harder than making your own
> eyelets by hand.

What are lacing rings?  The metal rings that have been mentioned in 
previous posts?  If so, I'm not sure what they are, where you get them 
and how they work?  I'm not opposed to hand made eyelets.  I've done 
them before.  It's just that they take a great deal of time compared to 
other methods and I doubt the customer is going to want to pay that 
much.

Sylrog

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Subject: [h-cost] Re: Medieval gowns
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> Date: Sun, 3 Apr 2005 01:03:20 -0800 (PST)
> From: Lady Satine <seamuslady@yahoo.com>
> Subject: Re: [h-cost] Fwd: Medieval gowns
> 
> I have a question for Adele about Bliaults.... Would you now of any
> websites taht have information about them and possible
> construction???? or good reference books I may be able to
> find...... Thanks 
>  
>  
Here are some other websites about bliauts:

<http://www.chateau-michel.org/belle_bliaut.htm>
<http://www.geocities.com/louise_de_la_mare/12th_Century_Bliaut.htm>
<http://www.sca.org.nz/collegium/costume/wardrobe_12C_frankish_noblewoman.php>

HTH,
~mary
<http://www.quite-contrary.org/costume_links.htm#Medieval>

"Pictures of perfection, as you know, make me sick & wicked."
~ Jane Austen

"Right now I'm having amnesia and deja vu at the same time.  I think I've forgotten this before."      ~ Steven Wright
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From: "Catherine Kinsey" <ckinsey@kumc.edu>
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Subject: [h-cost] Medieval Clothing and Textiles vol 1
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Well Drat!  Just got word from Barnes & Noble that this title would not
be available on the published date, something about 'delayed at the
publisher', and they would email be again if it was going to be over 30
days.  Anyone else received this notice?

Catherine
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Thread-Topic: When will more Martha McCain historical costumes by Simplicity
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 I'm hoping that the next Simplicity Catalog(after "Early Summer" which
has just come out)will feature some 18th century patterns by Martha
McCain. There were no new costumes in the Early Summer issue which gives
me some hope?

Of does someone on the list know something I don't?

Thanks!

Cindy Abel
brujne@creighton.edu

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