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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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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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 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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Subject: Re: [h-cost] perhaps to put a final note to an old debate (was cotton)
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>From my reading, I've gotten the impression that cotton's strength and 
durability was not trusted; it was more often used in weft, not warp, for 
example, and a weft is generally expected to have to withstand less stress. 
Possibly as a result, I keep seeing references to cotton weft, linen/wool 
warp fabrics being used in continental Europe for middle or lower class 
garments, rather than upper class garments as is generally assumed by 
reenactors.  According to Mazzoui and others, cotton/cotton blends were 
generally used in outerwear garments by lower classes, but generally in 
accessories (headwear, handkerchiefs, gloves, ribbons, linings, 
undergarments, etc) by higher ranking individuals.

And since we don't seem to be getting away from the discussion, I wanted to 
throw out a few of the references I've found to cotton or cotton blends 
being used as a part of a garment.  I've also included a few references to 
the dyeing of cotton, which to me implies a somewhat wider range of uses for 
the finished material. (After all, who'd bother to dye batting black? And 
how many records do we have of bright red chemises?)

-E House
(who would never willingly use cotton for anything that had to drape!)

[Same disclaimer as my notes--attribution info is included where I have it, 
but I don't always have it.]
------------

Cardon, Dominique.  "Burial Clothing of One of the
First Counts of Toulouse". Archaeological Textiles
Newsletter 21 (Autumn, 1995), 7-11.
(from the article:)

"...Taking into account all their structural
characteristics, the one hundred textile fragments
found in the sarcophagus could eventually be
classified into five different types of textiles:
there are two different qualities of linen
tabby, a 2/1 twill woollen cloth, a 3/1 twill-based
broken lozenge in linen and cotton, and some silk
braids [sic] in tubular tablet weaving... the
conclusion that they [the garments] correspond to the
rather close-fitting garments worn by an up to now
mysterious Raimond, Count of Toulouse.

"Under a short, long-armed beige or yellow tunic, made
of a linen and cotton fabric with a lozenge pattern,
and fastened by red silk braids [sic], he was wearing
one -- or possibly two -- white linen shirt(s) and red
hose made of woollen cloth and going up to the thigh.
A combination of the information provided by the
radio-carbon dating of one of his bones, and new
historical research into genealogy of the first Counts
of Toulouse has allowed a fairly precise dating for
his death: either AD 961 or 978, according to which of
several Raimonds he actually was."


1599 HAKLUYT Voy. II. I.
127 "Also we had three kintals of cotten wooll for a *carsie."
*Carsie = kersey, a type of fabric used in garments


Inventoy of John Port, 1524-25
Nichols' Manners and Expences of 15th, 16th and 17th Centuries.
"a kertell of damask, the bodys of saten old, lined with yello cotton 10s"


DIRMANDEI, TIRTEY, TIRENTAIL
OED: [Fr.; 1247 in Godef. Compl. (also ? c 1400 tierteine, 1449 tirtaine 
(1718,
Littré), 1487 tertaine; 1581 tritaine): cf. TARTAN.]
A cloth woven of wool mixed with linen or cotton, 'worne ordinarily by the
French peasants' (Cotgr.); linsey-woolsey.
[Quote from Godefroy?]
OED: Tartan [Of uncertain origin: in use early in 16th c.
It has been conjectured to be a. F. tiretaine (1247 in Godef. Compl.) 'a 
kind
of cloth, half wool, half linen or cotton', for which a variant tertaine is
quoted by Godefroy of date 1487.


[quote from a post, copied in case the University of Washington in question 
might possibly be my local Washington University:]
"Abegg Foundation replied that they do not have any of these fabrics, but 
that I
should write to Dr. Zander-Seidel. However, the lovely Tangwystl, working on
making a very nice German ren, wrote to me and suggested I try the 
University of
Washington, which has a nice textile collection. She was part of a tour of 
the
collection and had kept notes on some period cotton velvet-like fabrics. 
More
follow-up to do!"
Katherine [possibly Katherine Barich?]


[I've left out quite a bit of material on fustian & barchent, simply because 
there WAS so much.  The two are similar fabrics, used among other things for 
clothing, and there seems to be specific proof that at least in some cases 
they contained actual cotton.]
CDS, pg 106:
"...The cotton used in their manufacture was of course imported, chiefly by 
the
Turkey Company. A letter from this company to the Aleppo Factors, June 3, 
1586,
contains the earliest noted reference to cotton fustian manufacture in 
England:
"For cotton yarne we would have you send us 60 baggs at the least, wearof 
some
20 or 30 may be of the bigest you can gett, and the other the fynest you can
gett for the great serveth for candells, and the smaulest for fustians."


[OK, not specifically garment related, but still nifty:]
from http://costume.dm.net/dyes/segreti.htm
"The Segreti per Colori, or "Secrets of Colors" was a mid-15th century 
manuscript in latinized Italian. It is a small volume in duodecimo, on 
cotton paper, and is preserved in the Library of the R. R. Canonici Regolari 
in the convent of S. Salvatore in bologna. It is numbered 165."

"...369. To dye cotton or silk black. --Take 1 lb. of iron filings, 2 oz. of 
galls well pounded, 11/2 oz. of Roman vitriol, rinds of pomegranates, bark 
of the roots of walnut-trees, 2 oz. of verzino well ground, and strong 
vinegar; boil all together until reduced to one-fourth, and let the 
decoction cool, and put it in the sun for 3 or 4 days, stirring it 8 or 10 
times every day. Then strain it, and when you wish to dye silk or cotton set 
the decoction to boil, and boil the silk or cloth in it for a quarter of an 
hour; then dry it in the shade, and the more you dip it, the finer and more 
beautiful it will be.
"370. To dye cotton cloth. --Take 5 lbs. of galls well pounded, and put them 
into hot water with 10 lbs. of "pignolato,"(4) and then add 5 lbs. of Roman 
vitriol well pounded, and mix the whole well together, and let it stand a 
night, and it will be good. "

[From the footnotes: "Guarnello is a kind of cloth made of cotton, but the 
term is also used to denote a woman's dress made of this material." This 
footnote may be from Mazzoui, p88:]
note 41-- 
"Cecchetti, La vita dei Veneziani nel 1300, p. 7: "Unam pignolatam
a femina ... unum fustaneum a femina" (designations for the cote).  Sella,
GLE, s.v. "fustaneus:" "de aliquo fustaneno a femina." Charles Du Fresne Du
Cange, Glossarium Mediae et Infimae Latinitatis new ed.; 10 vols. (Paris,
1937-8), s.v. pignolatum." In central Italy, the term guarnello ( a plain
cotton cloth) was sometimes used to denote the tunic.  Sella, GLI, GLE, s.
v. "guarnellus:" "guarnello ab homine...guarnello a muliere." Cf.
Ciavarini, Statuti Anconitani, I,  pp. 176-180-I:"guarnellos veteres
[tunics]...guarnellos cordellatos [fabrics'."  See also Levi Pisetzky,
Storia del costume, I, p. 289; II, p. 99.  The standard attire of knights in
the thirteenth century included a tunic undergarment of cotton or other
white cloth ("tunicam interiorem de panno albo vel pignolato").  Ludovico
Vittorio Savioli,  Annali Bolognesi (Bassano, 1784 -98), III, ;. 369.

[I'll leave out the extensive references Mazzoui makes to Italian cotton 
garments, since I don't know enough about her research to trust that the 
following fabric terms used in contemporary documents really did mean cotton 
content, as she claims:]
pignolato
fustagno [=fustian, which piques my suspicious side]
guarnello
boccasino
bombasina

Mazzoui, Note 21:
"A fifteenth-century Venetian manual on dyeing contains a recipe for dyeing 
cotton and linen cloth and yarn with madder."
Rebora,  Manuale, pp.68-9, c.xiii.

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

	CostumeCon is an annual convention dedicated solely to costuming of all 
sorts. There are panels, workshops, costume exhibits, a social on Friday 
night, a SF/F competition on Saturday night, and a historic competition 
(both recreation and interpretation) on Sunday night. Many people wear 
costumes of some sort all the time - often changing two or three times a 
day. The only thing they haven't been terribly big on lately has been 
vendors. There are some, but not a lot.

	this year's CostumeCon is in Utah at the end of April 
<http://www.crossroadsutah.org/> while next year's will be in Iowa at 
the end of May. You can find out about past, present and future cons at 
<http://www.costume-con.org/CClink/index.shtml> - many past ones have 
pics of the the competitions online.

	-Judy Mitchell
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost]Costume Con
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>Costume Con. What is it

A whole three-day weekend about costume making, costume wearing, and 
schmoozing with other costume makers.  This includes historical costumers 
and re-enactors and docents, theatrical costumers, LARP players, Ren. Faire 
folks, fantasy and science fiction convention costumers, Halloween 
costumers, Furries, and even some doll makers and fiber artists.  It also 
includes displays of costumes, workshops and panels about various aspects 
of costuming and costume parts, and three different costume contests.  Oh, 
and did I say there's usually a dealers' room to die for?

>  and where do I find out about it ?

Find out about any of them here:

http://www.costume-con.org/

(I'm running the doll show/competition at CC26, in 2008 in the San 
Francisco Bay Area.)

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

              //// \\\
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Subject: [h-cost] Re: perhaps to put a final note to an old debate (was
	cotton)
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Am late to this as haven't had time to read lists much lately (apologies if 
repeat anything already covered - have probably missed loads).

Not sure about household textiles - as not really my thing can't comment.

However, I've been doing some research into padded armour recently, and 
cotton, either as padding (the raw fibre), or as the weft in fustian, was used 
quite widely.  There are lots of mentions of cotton or fustian in accounts dealing 
with padding from all over Europe (Britain, France, Germany, Scandinavia, 
Poland, Italy, Spain) that I'm aware of.  

As well as these, many of the existing pieces of padding are padded with 
cotton - including the Black Prince's at Canterbury Cathedral (article by Arnold), 
the pourpoint of Charles de Blois (conservation report - padded with raw 
cotton and linen fabric), the Lubeck jacks (padded with cotton and lined with 
fustian), the 'coat armour' of Charles the Bold.  

There are mentions of bulk shipments of raw cotton being imported into 
England in the Portsmouth port records (offhand described as Turkish and Syrian, and 
in the 13th - 14th c's).  Cotton was grown in southern Europe (e.g. Italy), 
although am not sure in what quantities, and there was a substantial fustian 
industry in southern Germany.

It has also been suggested that the term aketon (and it's variations) come 
from a term for cotton (don't have notes to hand so not gonna give specifics).

That said, northern archers marching into London in the c15th are described 
as wearing jacks stuffed with tow, and there are assorted sumptuary laws (in 
assorted countries) banning the use of anything but cotton or better (i.e. 
silk), as padding, (and as pointed out by Ribeiro and Embleton among others, why 
ban something that nobody's doing?)

Personally am sceptical about use in general clothing pre c17th or 18th, 
(although am prejudiced cos I like linen), but as I said, my recent research is 
all into padding.


Debs.


PS Jacks in Lubeck and Stendal are believed to be soldiers jacks, indicating 
that cotton wasn't just used as padding for the wealthy.

PPS If anybody's aware of any extant pieces of padding I'd be v. interested 
to hear of them.


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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] was:   No taste....  Who is Ms D.D.?
To: Historical Costume <h-costume@indra.com>
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The original posters client (the gal who owns the DD
chest and smooshes it with corsets in every period)

--- 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)
> >
> >  
> >
> _______________________________________________
> h-costume mailing list
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Subject: Re: [h-cost] vestment question(s)
Date: Tue, 5 Apr 2005 08:46:27 -0400
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Penny, I am so glad to have these references for vestments.  When I was a
beginning costumer about 35 years ago, I spent many fruitless hours trying
to find sources for "Luther"," Man for  All Seasons", "Henry the Fourth",
"Enrico the Fourth" any other period piece that featured men (and women) of
the cloth.  The EB11 was my best bet, but it was hard to get the right
visuals.
So where was the Internet Then?!!
Kathleen
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 04, 2005 5:20 PM
Subject: Re: [h-cost] vestment question(s)


> 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
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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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 
wou
ld really like to see this and I keep getting error messages.
>


Sorry, it's the whole "line-wrap" thing.  Sometimes the angle brackets help,
and sometimes they don't.

Try this .....

http://tinyurl.com/6qse5

Jerusha

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

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Subject: [h-cost] Re: vestments
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Penny:

Thanks for that link. I used to consult a different site for vestment names,
but it's apparently not working or has been taken down. Generally, I don't
use the online Catholic Encyclopedia, because it is a very old edition (1908
or 1914, I believe) and was partly put online for philosophical reasons, by
a group of people who don't like any Vatican II reforms. So I don't trust it
as a reliable source for anything after, say, 1900. But in this case the
information seems to be pretty much on-target. From the sound of things (I
couldn't find pictures) this is a dalmatic, which is usually a deacon's
garment but which is worn by bishops under their chasubles for pontifical
masses. And that's exactly what I remember seeing -- a garment that was open
up the sides but that had sleeves, and yet seemed to be worn underneath
something else made of matching fabric and was definitely NOT worn by a
deacon. And it was a Roman rite garment, not an Eastern rite garment.
Whatever it was called, it looked gorgeous! Please let me know if you agree
after you get a chance to watch your tape.

I have to agree with G.K. Chesteron when it comes to vestments. I understand
some people's beliefs that religious leaders (and churches, for that matter)
ought to look plain. But I personally have to go along with the rest of
mankind. When people are dressed up for important things, they ought to look
gorgeous! If it's true of a mummer's parade or a starlet on Oscar night,
then why not a bishops?

Gail Finke

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I passed on the conclusion I came to with all your help in regard to 
the Butterick pattern and its lack of historical accuracy to my 
customer, thinking she would want to go ahead anyhow, but it appears 
she may want to try something else that is more period accurate.  
Unfortunately, the fabric she has already purchased is not anything 
found in the Middle Ages.  She's already bought a lot of it and it is 
lovely fabric.    Do I tell her or just ignore that and proceed with 
whatever we both decide to make?  She is thinking now of using McCalls 
2806, which can be found here:
http://www.reddawn.net/costume/mccalls.htm

It is a discontinued Elizabethan pattern.  I thought the SCA was 
supposed to be medieval.  Isn't this too late for the SCA?  Not to 
mention that the pattern in discontinued.  Plus if I have to make a 
pattern the dress will end up costing her another $100 or so.  I wish 
she could have consulted with me before ever starting this project but 
since she already has the fabric, I'm not sure what to advise her now.

Sylrog

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Date: Tue, 05 Apr 2005 09:03:51 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Japanese kimonos
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Kimonos are still hand-sewn since they are taken apart for washing and then 
reassembled.  I had a cotton kimono that my father brought back after he 
was stationed in Okinawa that was hand-sewn with long running stitches.
Joan

At 09:48 AM 4/5/2005 -0600, you wrote:
>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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At 09:48 05/04/2005 -0600, you wrote:
>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.


I made a mantua and a Regency dress for a Japanese lady who flew in from 
Japan for a summer school here. She brought me 4 short modern kimonos - 
what we in the West call "happi coats" and they were all of silk, hand 
sewn, and made exactly as they have been made since the year dot. For 
patterns see "Cut My Cote" a Canadian publication by Dorothy Burnham(?) 
(Incidentally, what I had asked for was a piece of silk of any length - 
this was very rare and expensive, at least where she was looking. For her 
Regency dress she brought me a whole bolt of silk, which was 21" wide!!! 
Fascinating to work with, and just enough for the dress - it was a kimono 
length!)

Suzi


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So, Robin, when can we expect volume II?  Some of those topics sound very interesting too.  Academic journals are good.  If some of the topics are not particularly interesting at the moment they may be later on.  I never know where my costuming will lead me.

Lalah, Never give up, Never surrender


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

From: Robin Netherton <robin@shell.nightowl.net>
Date: Mon, 4 Apr 2005 23:33:59 -0500 (CDT)
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] MC&T journal? was: untitled post


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: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] historical movie costumes
Date: Tue, 05 Apr 2005 21:10:43 -0400
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There was an exhibition 12+ years ago at the LA County Museum of Art 
entitled Hollywood and History--perhaps there is still a catalogue floating 
around.



Nancy Kiel
nancy_kiel@hotmail.com
Never tease a weasel!
This is very good advice.
For the weasel will not like it
And teasing isn't nice.




>From: "E House" <formfunc@formfunction.org>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: "Historical Costume" <h-costume@indra.com>
>Subject: [h-cost] historical movie costumes
>Date: Mon, 4 Apr 2005 13:05:16 -0500
>
>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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>h-costume@mail.indra.com
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Boy, that one took a while to come in. I thought it had been lost.

Glenda.


----- Original Message ----- 
From: <glendarob@exemail.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 02, 2005 8:04 PM
Subject: Re: [h-cost] cotton


> 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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> h-costume@mail.indra.com
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> 

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Subject: Re: [h-cost] medieval dress/McCall's 2806
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Sylvia Rognstad wrote:

> She is thinking now of using McCalls 2806, which can be found here:
> http://www.reddawn.net/costume/mccalls.htm
> 
> It is a discontinued Elizabethan pattern.  I thought the SCA was 
> supposed to be medieval.  Isn't this too late for the SCA?

That's Italian Renaissance, which is within the SCA's time period, as 
the Italian Renaissance started earlier and then it spread northward 
like rising bread dough.  The SCA goes until 1601 officially, with some 
sloppiness of the date due to many factors, which let's not get into here.

(Side note: 26 missed messages from the past week just got dumped out by 
Indra again.  Argh.)

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Goddess Bless America bumperstickers -- not only monotheists love their 
country!  http://www.cafeshops.com/virtueventures
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keep an eye on ebay: 
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=11801&item=8182862734&rd=1&ssPageName=WDVW

On Apr 5, 2005 11:26 AM, Sylvia Rognstad <sylvia@ntw.net> wrote:
> I passed on the conclusion I came to with all your help in regard to
> the Butterick pattern and its lack of historical accuracy to my
> customer, thinking she would want to go ahead anyhow, but it appears
> she may want to try something else that is more period accurate.
> Unfortunately, the fabric she has already purchased is not anything
> found in the Middle Ages.  She's already bought a lot of it and it is
> lovely fabric.    Do I tell her or just ignore that and proceed with
> whatever we both decide to make?  She is thinking now of using McCalls
> 2806, which can be found here:
> http://www.reddawn.net/costume/mccalls.htm
> 
> It is a discontinued Elizabethan pattern.  I thought the SCA was
> supposed to be medieval.  Isn't this too late for the SCA?  Not to
> mention that the pattern in discontinued.  Plus if I have to make a
> pattern the dress will end up costing her another $100 or so.  I wish
> she could have consulted with me before ever starting this project but
> since she already has the fabric, I'm not sure what to advise her now.
> 
> Sylrog
> 
> _______________________________________________
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Fwd: Medieval gowns
Date: Wed, 6 Apr 2005 07:42:28 -0600
To: Historical Costume <h-costume@indra.com>
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On Apr 3, 2005, at 1:40 AM, Lady Satine wrote:

> 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?????

What's A & S?

>

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] historical movie costumes
Date: Wed, 6 Apr 2005 07:47:04 -0600
To: Historical Costume <h-costume@indra.com>
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I have the catalog and I think a friend of mine has one she may want to 
sell if you wish to purchase a copy.

Sylrog

On Apr 5, 2005, at 7:10 PM, Nancy Kiel wrote:

> There was an exhibition 12+ years ago at the LA County Museum of Art 
> entitled Hollywood and History--perhaps there is still a catalogue 
> floating around.
>
>
>
> Nancy Kiel
> nancy_kiel@hotmail.com
> Never tease a weasel!
> This is very good advice.
> For the weasel will not like it
> And teasing isn't nice.
>
>
>
>
>> From: "E House" <formfunc@formfunction.org>
>> Reply-To: Historical Costume <h-costume@indra.com>
>> To: "Historical Costume" <h-costume@indra.com>
>> Subject: [h-cost] historical movie costumes
>> Date: Mon, 4 Apr 2005 13:05:16 -0500
>>
>> 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
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
> h-costume mailing list
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] MC&T journal? was: untitled post
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On Tue, 5 Apr 2005, Lalah wrote:

> So, Robin, when can we expect volume II?  Some of those topics sound
> very interesting too.  Academic journals are good.  If some of the
> topics are not particularly interesting at the moment they may be
> later on.  I never know where my costuming will lead me.

The journal is annual. We want to have it ready for the International
Medieval Congress in early May of each year, so it looks like we're going
to have an annual April release.

--Robin

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Sylvia Rognstad wrote:

>> Hmmmm    Princess seams are not period, Tehy are modern.

Search the archives for "princess seam" -- you'll find exhaustive 
information.  Short version: there are different seam lines which could 
be called princess seams.  Some of these are medieval.  The main 
difference to be concerned about is less where the seam goes, than what 
the fabric is doing with regard to support of the bust.  Supporting the 
bust without a bra = more medieval.  Skimming over the bust with a bra 
underneath = modern.  This message brought to you by the Robin Netherton 
Fan Club.

>> 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?????
> What's A & S?

Arts & Sciences contests in the SCA.

cv
-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Goddess Bless America bumperstickers -- not only monotheists love their 
country!  http://www.cafeshops.com/virtueventures
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] historical movie costumes
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On Tue, 5 Apr 2005, Nancy Kiel wrote:

> There was an exhibition 12+ years ago at the LA County Museum of Art
> entitled Hollywood and History--perhaps there is still a catalogue
> floating around.

That may have been the source of the book of the same name, which I have
around here somewhere ... Fun read.

--Robin


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Subject: Re: [h-cost] Fwd: Medieval gowns
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On Wed, 6 Apr 2005, Cynthia Virtue wrote:

> Search the archives for "princess seam" -- you'll find exhaustive
> information.  Short version: there are different seam lines which
> could be called princess seams.  Some of these are medieval.  The main
> difference to be concerned about is less where the seam goes, than
> what the fabric is doing with regard to support of the bust.  
> Supporting the bust without a bra = more medieval.  Skimming over the
> bust with a bra underneath = modern.  This message brought to you by
> the Robin Netherton Fan Club.

!!!

And by "medieval," that doesn't mean "all of the SCA period." The earliest
of those particular bust-supporting seams I've seen is about 1450 for
Western Europe.

There are some interesting curved seams on both backs and fronts of 15th
and 16th c. garments in various place (particularly Italy) that some
people would probably call princess seams because of placement but
definitely don't work the same way as the modern. Ditto some of the shaped
panel-piecing in c. 1400 Greenland -- some people will call those princess
seams because they lie somewhere between center front and side seam, but
they are by no means anything like a modern princess seam in shape,
placement or function.

Whenever anyone talks about whether something is "period" -- whether
you're asking if it is, or someone is telling you it isn't, or anything in
between -- the very next words should be something like "which period, and
where?" Although many people use the phrase "SCA period" to mean "before
1600," saying something is "period" or "not period" is pretty much
meaningless for costume unless you've established a particular subset of
time and place.

--Robin

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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Medieval Clothing and Textiles vol 1
To: Historical Costume <h-costume@indra.com>
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Yep!  NOT happy, but what can you do?  (chew nails :)
 
Chris G.

Catherine Kinsey <ckinsey@kumc.edu> 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?

Catherine
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Subject: [h-cost] MC&T Journal
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 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
<snip>
Robin
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Maybe we want to help be sure there is a second volume :).

Catherine
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Subject: RE: [h-cost] Threee copies of every message
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Happy to be of service! B.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of dgandh
Sent: Tuesday, April 05, 2005 11:55 PM
To: 'Historical Costume'
Subject: RE: [h-cost] Threee copies of every message

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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From h-costume-bounces@indra.com  Wed Apr  6 11:59:04 2005
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Subject: [h-cost] Early construction (was: Bliauts)
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Hi,

Since you mentioned the Viking Age armholes already..... I don't necessarily 
think that every piece of  early clothing construction was based on 
triangles and rectangles. There might have been less "sophisticated" cuts, 
but seeing that Viking age clothing has a fair number of features previously 
not seen before 1300....

Curved armholes, inset sleeves with the medieval sleevetop cut, other tunics 
following the Viborg-cut, jackets whose cut still can't quite be determined, 
even instances of grand assiette armholes.... I guess later centuries with 
different artforms and more surviving remains have the advantage that one 
can see possible construction methods better. After all, images from around 
1000 are not very clear on seamlines....

There are even bogfinds (Skjoldehamn) which have been dated to the 14th 
century "judging by the type of clothing" where C14 dating has revealed an 
actual date of 1000-1100.....

I don't agree with the "horizontal seam" for the bliaut as well, but more 
from a fitting/appearance point of view, not from the assumption they 
wouldn't know how to do it. Heck, at least in Viking Age Denmark, they used 
all sorts of methods, and not necessarily fabric saving, rather 
"scrap-using" if anything (some clothes are made from several small pieces, 
with the grain going in all sorts of directions or whole clothes using 
fabric at an odd angle....)

Cheers,

Caithlinn


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C M wrote:

>
> There are even bogfinds (Skjoldehamn) which have been dated to the 
> 14th century "judging by the type of clothing" where C14 dating has 
> revealed an actual date of 1000-1100.....
>
I've always wondered about those. Does anyone specify whether they think 
the clothing might be 14th century but the fabric from an earlier time 
period. I mean that the 14th cent. article might have been 
constructed/reconstructed from older fabric. Or is it just assumed that 
fabric age=construction age?

- Hope
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Subject: Re: [h-cost] A silk garment filched by a monk?
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According to the story, a number of monks saw, handled, and closely 
examined the garment.

My interpretation is that an ambitous monk had a carefully formed plan 
to elevate himself to prophethood.  First he cultivated an image of 
"humility and innocence."  Then he started to claim that he discoursed 
with angels.  Nobody believed him, so he staged a miracle as proof.  He 
secretly had, or had access to, a garment made of some beautiful fabric 
he knew would be unfamiliar to the other monks.  Possibly the style was 
also unfamiliar. The monk claimed that God would, on a specific night, 
give him "a robe out of heaven."   He then staged sound and light 
effects from inside his cell, which no one else viewed from within the 
cell.  Possibly he did something as simple as light some candles, move 
them around, and mutter to himself.  The other monks' expectations 
having been thoroughly aroused, the would-be prophet emerged from his 
cell with the promised garment, which the others "carefully inspected."  
"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 
minutely examined by the eyes or fingers, it seemed nothing else than a 
garment." 

However, the much-respected monk Clarus was skeptical, and wanted to 
take the would-be prophet to St. Martin (who I think was the abbot but 
I'd have to check) for further questioning.  The monk refused.  When he 
was compelled to go against his will, " the garment vanished from among 
the hands of those who were conducting him."  Therfore the monks 
concluded that the garment was the work of the devil and that the 
spiritual power of St. Martin had made it disappear. 

Scoring, politically, a miracle for Martin instead of the monk. 

My interpretation is that one of the monks conducting the would-be 
prophet, or a bystander, filched the garment.  Quite possibly to 
discredit the "prophet" by removing the evidence.  Alternatively, 
possibly one of the monks knew what the garment fabric actually was, and 
also thought St. Martin might know; and was trying to protect the  
"prophet" by removing the evidence.  Or yet again, one of the monks 
thought the garment might have intrinsic wordly value. 

By this time everybody was wrought up to perceive every occurrence as 
magical, and political feeling was generally against the monk.  If his 
"miracle" had succeeded, his status would have been considerably raised; 
and by staging more miracles, he might have elevated himself to 
sainthood in time.

But the question for costume historians is:  What was the garment, as an 
earthly phenomenon?

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:

>Could this be an early tale of the family of "the Emperor's New Clothes"?
>Kathleen
>  
>
>  
>
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Subject: [h-cost] RE: Early construction (was: Bliauts)
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From: Hope Greenberg <hope.greenberg@uvm.edu>
>>There are even bogfinds (Skjoldehamn) which have been dated to the 14th 
>>century "judging by the type of clothing" where C14 dating has revealed an 
>>actual date of 1000-1100.....
>I've always wondered about those. Does anyone specify whether they think 
>the clothing might be 14th century but the fabric from an earlier time 
>period. I mean that the 14th cent. article might have been 
>constructed/reconstructed from older fabric. Or is it just assumed that 
>fabric age=construction age?

This is occasionally suggested, yes.

How many people are going to make daily wear clothes out of 3-400 year old 
wool?

Marc


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Robin Netherton wrote:
 > This message brought to you by
>>the Robin Netherton Fan Club.
> 
> !!!

Hope I didn't annoy you, but I wanted to attribute the ideas properly 
and with a little humor.

> The earliest
> of those particular bust-supporting seams I've seen is about 1450 for
> Western Europe.

Y'know, somehow I never really internalized this so efficiently.  "No 
prince seams before 1450" is fairly easy to remember, though.

Although of course that Museum of London book illustration of the cote 
with princess-like seaming is going to be in the brains of everyone for 
a long, long time; I think I remember your lecture addressed it as a 
poor drawing of reality?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

Goddess Bless America bumperstickers -- not only monotheists love their 
country!  http://www.cafeshops.com/virtueventures
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Subject: [h-cost] Re: A silk garment filched by a monk?
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I would have thought monks would be familiar with silk. What's the date and location of this story?
 
And what would they have meant by "marvelous brightness?" They state the color in the next phrase, so brightness must mean something else. Did they mean it was shiny? 
 
not-a-historian Tea Rose
 
 
>>>>The other monks' expectations having been thoroughly aroused, the would-be prophet emerged from his cell with the promised garment, which the others "carefully inspected."  "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 
minutely examined by the eyes or fingers, it seemed nothing else than a 
garment." 
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Subject: Re: [h-cost] Bliauts, was Medieval gowns
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Status: RO

Eventually I figured out what my problem was.  When I was typing in the last few characters that ended up on the next line, I was typing 21.jpg but finally realized that it was 2"small L".jpg.  The characters looked the same to me, but not to the computer.

Thanks,

Janet
> 
<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 
wou
ld really like to see this and I keep getting error messages.
>


Sorry, it's the whole "line-wrap" thing.  Sometimes the angle brackets help,
and sometimes they don't.

Try this .....

http://tinyurl.com/6qse5

Jerusha

-----
Susan Farmer
sfarmer@goldsword.com
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As I said earlier, the account was written by:

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.)

and as I said in my second message, this took place in Gaul.

What do you think the garment was?  Enough people examined it in enough 
detail that I doubt it was imaginary, though I also doubt it was 
miraculous.  As for "brightness," the term could mean shininess, it 
could perhaps mean intensity/saturation of color, it could perhaps mean 
both.

Fran
Lavolta Press
http://www.lavoltapress.som

tearoses@aol.com wrote:

>I would have thought monks would be familiar with silk. What's the date and location of this story?
> 
>And what would they have meant by "marvelous brightness?" They state the color in the next phrase, so brightness must mean something else. Did they mean it was shiny? 
> 
>not-a-historian Tea Rose
>  
>
>  
>
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Do we have the right number (2806)?  That dress is Italian Renaissance rather than Elizabethan and actually might be easier to make up than the earlier pattern, not to mention it is more athentic.  Just try to keep her away fram the all too common practice of having a dress like the red one that splits down the front and wearing only a chemise under it.  

Janet
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Satine wrote

> 
> 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?????

I think it depends on what your goals are.  If your goal is to have clothing that is constructed in a manner that was used in Europe prior to 1600, then princess seams are, to the best of my knowledge, right out.  If your goal is to have clothing that looks like "an attempt at pre-17th century clothing" and is thus socially acceptable for use in the SCA then princess seams are not a problem.  
> 
> I would use Grommets and not Eyelets because 
> eyelets pull out easier than Grommets.

Out of curiosity, has this been your experience, or is this something that you have heard?  I have *never* seen or heard of a handsewn eyelet ripping out, while grommets seem to go all the time.  As for covering a grommet with thread, that just seems like too much work to me :)

>... I have Heard that Hook 
> and Eyes are period... I am lookng into that.....

Janet Arnold has several examples in _Patterns of Fashion vol.I_, I don't remember when exactly hooks and eyes were introduced, but I think it was in the late 15th or 16th century.  

This is in no way directed at you, but  pet peeve of mine is people claiming that "x is period" or "y is not period" without saying where and when.  In my experience "X is period" is used to mean "X was invented in Albania in 1598" just as often as it is used to mean "X has been common as dirt for most of human history".  Ditto for "y is not period".
> 
> Under arrm sleves v. towards the back....I would check it out further...

Again, sleeve placement depends a great deal on where/when.
> 
> I have a dozen reasons I do not like that pattern it looks costumey 
> to me even with amazing fabric

That may be because it *is* a costume, and intended to be such :)

my two cents,
Katie

Buffy: And what are we if not women up to a challenge? 
Willow: Exactly!  I mean, did we not put the 'grr' in girl?





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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] medieval dress/McCall's 2806
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At 08:45 06/04/2005 -0400, you wrote:
>Sylvia Rognstad wrote:
>
>>She is thinking now of using McCalls 2806, which can be found here:
>>http://www.reddawn.net/costume/mccalls.htm
>>It is a discontinued Elizabethan pattern.  I thought the SCA was supposed 
>>to be medieval.  Isn't this too late for the SCA?
>
>That's Italian Renaissance, which is within the SCA's time period, as the 
>Italian Renaissance started earlier and then it spread northward like 
>rising bread dough.  The SCA goes until 1601 officially, with some 
>sloppiness of the date due to many factors, which let's not get into here.
>
>(Side note: 26 missed messages from the past week just got dumped out by 
>Indra again.  Argh.)




I got 47 all at once  - argh too!

Suzi


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Subject: [h-cost] Dylon dye stripper - effective!
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Crumbs!  I'm just using Dylon machine dye-stripper on a length of linen 
I dyed before but now want a different colour.  You put the fabric in 
the machine, start the cycle, leave it 15 minutes and then mix up the 
dye stripper and pour it in the soap dispenser.  By the time I had 
finished rinsing the noxious stuff out of the mixing jug, I glanced in 
the machine and the colour had gone completely!  Now that's effective!

Slightly stunned,
Jean
-- 
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Subject: Re: [h-cost] Re: A silk garment filched by a monk?
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To clarify, this was St. Martin of Tours.  He was born at Sabaria (today 
Steinamanger in German, or Szombathely in Hungarian), Pannonia 
(Hungary), about 316.  Martin was enrolled in the Roman army and sent to 
Amiens in Gaul.  Got baptised as a Christian, and later finished his 
military service. 

In 361 Martin enrolled himself among the disciples of St. Hilary in 
Poitiers.  He obtained permission from Hilary to live a solitary life in 
a deserted region now known as Ligugé.  A great number of other monks 
gathered around him, and eventually this became the Benedictine Abbey of 
Ligugé.  Martin was there about ten years, but often left to 
preach/convert in the central and western parts of Gaul.  Around 371 or 
372, Martin was reluctantly persuaded to become the second bishop of 
Tours.  However, he disliked living in the city and settled himself in a 
cell at a short distance from Tours, beyond the Loire. Other hermits 
joined him there, gradually forming a new monastery, which was named 
Marmoutier.  Martin traveled a good deal on ecclesiastical business.  He 
died at Candes, Touraine around 397 or 400.

Fran
Lavolta Press
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] A silk garment filched by a monk?
Date: Wed, 6 Apr 2005 14:55:16 -0500
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This could also have been set up to improve St. Martin's status as I am sure
he wasn't consider a saint at the time of the alleged incident.

De

-----Original Message-----
My interpretation is that an ambitous monk had a carefully formed plan
to elevate himself to prophethood.  First he cultivated an image of
"humility and innocence."  Then he started to claim that he discoursed
with angels.  Nobody believed him, so he staged a miracle as proof.  He
secretly had, or had access to, a garment made of some beautiful fabric
he knew would be unfamiliar to the other monks. ........snip......
But the question for costume historians is:  What was the garment, as an
earthly phenomenon?

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:

>Could this be an early tale of the family of "the Emperor's New Clothes"?
>Kathleen
>


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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] medieval dress
Date: Wed, 6 Apr 2005 15:13:56 -0500
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M2806. Italian Ren, late 1400s style. This was an easily adaptable pattern.
All you needed to do was make a camicia/chemise. Remove the darts on the
blue part. Make the bodice about an 1" longer (optional). Make the
decorative sleeve pieces separate from the chemise sleeve, lengthen them add
loops & lacing. Option of moving the seam of the decorative sleeve to the
backside of the arm. The red part of the sitting figure is actually a
separate piece and is a failing attempt at a gionea(?)

De
PS. A&S = Arts and Science



Original:
Do we have the right number (2806)?  That dress is Italian Renaissance
rather than Elizabethan and actually might be easier to make up than the
earlier pattern, not to mention it is more athentic.  Just try to keep her
away fram the all too common practice of having a dress like the red one
that splits down the front and wearing only a chemise under it.

Janet
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This is a great picture - it shows several points I've been trying to document.  What and where is it?
Thanks!
Julie
----  <h-costume@indra.com> wrote:
> Try this .....
> 
> http://tinyurl.com/6qse5
> 
> Jerusha
> 
> -----
> Susan Farmer
> sfarmer@goldsword.com
> 

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Subject: Re: [h-cost] A silk garment filched by a monk?
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Fran, I love this.  Do you have an illustrator in mind?  Great children's
book!!
Kathleen
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 06, 2005 12:34 PM
Subject: Re: [h-cost] A silk garment filched by a monk?


> According to the story, a number of monks saw, handled, and closely
> examined the garment.
>
> My interpretation is that an ambitous monk had a carefully formed plan
> to elevate himself to prophethood.  First he cultivated an image of
> "humility and innocence."  Then he started to claim that he discoursed
> with angels.  Nobody believed him, so he staged a miracle as proof.  He
> secretly had, or had access to, a garment made of some beautiful fabric
> he knew would be unfamiliar to the other monks.  Possibly the style was
> also unfamiliar. The monk claimed that God would, on a specific night,
> give him "a robe out of heaven."   He then staged sound and light
> effects from inside his cell, which no one else viewed from within the
> cell.  Possibly he did something as simple as light some candles, move
> them around, and mutter to himself.  The other monks' expectations
> having been thoroughly aroused, the would-be prophet emerged from his
> cell with the promised garment, which the others "carefully inspected."
> "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
> minutely examined by the eyes or fingers, it seemed nothing else than a
> garment."
>
> However, the much-respected monk Clarus was skeptical, and wanted to
> take the would-be prophet to St. Martin (who I think was the abbot but
> I'd have to check) for further questioning.  The monk refused.  When he
> was compelled to go against his will, " the garment vanished from among
> the hands of those who were conducting him."  Therfore the monks
> concluded that the garment was the work of the devil and that the
> spiritual power of St. Martin had made it disappear.
>
> Scoring, politically, a miracle for Martin instead of the monk.
>
> My interpretation is that one of the monks conducting the would-be
> prophet, or a bystander, filched the garment.  Quite possibly to
> discredit the "prophet" by removing the evidence.  Alternatively,
> possibly one of the monks knew what the garment fabric actually was, and
> also thought St. Martin might know; and was trying to protect the
> "prophet" by removing the evidence.  Or yet again, one of the monks
> thought the garment might have intrinsic wordly value.
>
> By this time everybody was wrought up to perceive every occurrence as
> magical, and political feeling was generally against the monk.  If his
> "miracle" had succeeded, his status would have been considerably raised;
> and by staging more miracles, he might have elevated himself to
> sainthood in time.
>
> But the question for costume historians is:  What was the garment, as an
> earthly phenomenon?
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> Lloyd Mitchell wrote:
>
> >Could this be an early tale of the family of "the Emperor's New Clothes"?
> >Kathleen
> >
> >
> >
> >
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Fwd: Medieval gowns
Date: Wed, 6 Apr 2005 14:56:48 -0600
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On Apr 6, 2005, at 12:03 PM, Katie Lewis wrote:

>
> Satine wrote
>
>>
>> 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?????
>
> I think it depends on what your goals are.  If your goal is to have 
> clothing that is constructed in a manner that was used in Europe prior 
> to 1600, then princess seams are, to the best of my knowledge, right 
> out.  If your goal is to have clothing that looks like "an attempt at 
> pre-17th century clothing" and is thus socially acceptable for use in 
> the SCA then princess seams are not a problem.

I keep trying to figure out just how much authenticity my customer 
wants to go for and I am finding it very difficult to pin her down.  I 
am not a member of the SCA myself and I gather that there are very wide 
variations in authenticity within the organization.  This has probably 
come up in discussion before, but are there any standards that those of 
you know of who are in the SCA?

Sylrog
'

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Subject: [h-cost] Kimono
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>Kimonos are still hand-sewn since they are taken apart for washing and then
>reassembled.  I had a cotton kimono that my father brought back after he
>was stationed in Okinawa that was hand-sewn with long running stitches.
>Joan

They are often taken apart for cleaning, tho not necessarily.  (Mine
we not taken apart at the Shibuya cleaners.)  I own 7 or 8, a few
haori and at least 1/2 dozen obi of various styles. All acquired when
I lived in Tokyo. We returned to the US in 2002.  Mine are sewn in
silk or cotton threads, it varies depending on the use of padding (as
is my wedding furosode, a formal style) or seams. Some garments have
both. Applied decorative elements are all sewn in silk. The fabrics
are all silk.  There are plenty of cotton yukata and happi coats for
more casual wear such as baseball games (mine is for the Hanshin
Tigers), sleep, office gifts (Raz, the DH, has one with his company
logo) and the onsen (spa).

The vast majority of stitches is, as the above author states, running
stitches, tho my obis are whip stitched.   The wedding kimono is blind
hem stitched.

In English, the best kimono care & feeding book is Norio Yamanaka "The
Book of Kimono".  The styles change every season (there are seasons
just in summer) and of, course, eery year, so ignore that bit.

Toodle around the Kyoto School of Kimono, the Kyoto Museum of Costume
and the Bunka Gaguin for nifty photos.  Mostly Japanese... gozaimaz'.

At 09:48 AM 4/5/2005 -0600, you wrote:
>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

At stage distances no one will see your stitches.  Just dont make them
too tight.  The above ref'd book also contains a spotters guide to
fabrics & event or seasonal appropriateness of color, fiber & weave. 
Yes, it *is* a big deal.  It's more codified than Victorian wear, if
you can imagine.

--cin
Cynthia Barnes
formerly "Cynthia in Tokyo" on this list
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] A silk garment filched by a monk?
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I have no intention of publishing St. Martin's story; this material has 
already been published as part of a hagiography. I'm an atheist besides. 
  I'm just wondering about the mystery garment.

Fran
Lavolta Press
http://www.lavoltapress.com

Lloyd Mitchell wrote:

>Fran, I love this.  Do you have an illustrator in mind?  Great children's
>book!!
>Kathleen
>----- Original Message ----- 
>From: "Lavolta Press" <fran@lavoltapress.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, April 06, 2005 12:34 PM
>Subject: Re: [h-cost] A silk garment filched by a monk?
>
>
>  
>
>>According to the story, a number of monks saw, handled, and closely
>>examined the garment.
>>
>>My interpretation is that an ambitous monk had a carefully formed plan
>>to elevate himself to prophethood.  First he cultivated an image of
>>"humility and innocence."  Then he started to claim that he discoursed
>>with angels.  Nobody believed him, so he staged a miracle as proof.  He
>>secretly had, or had access to, a garment made of some beautiful fabric
>>he knew would be unfamiliar to the other monks.  Possibly the style was
>>also unfamiliar. The monk claimed that God would, on a specific night,
>>give him "a robe out of heaven."   He then staged sound and light
>>effects from inside his cell, which no one else viewed from within the
>>cell.  Possibly he did something as simple as light some candles, move
>>them around, and mutter to himself.  The other monks' expectations
>>having been thoroughly aroused, the would-be prophet emerged from his
>>cell with the promised garment, which the others "carefully inspected."
>>"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
>>minutely examined by the eyes or fingers, it seemed nothing else than a
>>garment."
>>
>>However, the much-respected monk Clarus was skeptical, and wanted to
>>take the would-be prophet to St. Martin (who I think was the abbot but
>>I'd have to check) for further questioning.  The monk refused.  When he
>>was compelled to go against his will, " the garment vanished from among
>>the hands of those who were conducting him."  Therfore the monks
>>concluded that the garment was the work of the devil and that the
>>spiritual power of St. Martin had made it disappear.
>>
>>Scoring, politically, a miracle for Martin instead of the monk.
>>
>>My interpretation is that one of the monks conducting the would-be
>>prophet, or a bystander, filched the garment.  Quite possibly to
>>discredit the "prophet" by removing the evidence.  Alternatively,
>>possibly one of the monks knew what the garment fabric actually was, and
>>also thought St. Martin might know; and was trying to protect the
>>"prophet" by removing the evidence.  Or yet again, one of the monks
>>thought the garment might have intrinsic wordly value.
>>
>>By this time everybody was wrought up to perceive every occurrence as
>>magical, and political feeling was generally against the monk.  If his
>>"miracle" had succeeded, his status would have been considerably raised;
>>and by staging more miracles, he might have elevated himself to
>>sainthood in time.
>>
>>But the question for costume historians is:  What was the garment, as an
>>earthly phenomenon?
>>
>>Fran
>>Lavolta Press
>>http://www.lavoltapress.com
>>
>>Lloyd Mitchell wrote:
>>
>>    
>>
>>>Could this be an early tale of the family of "the Emperor's New Clothes"?
>>>Kathleen
>>>
>>>
>>>
>>>
>>>      
>>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
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>>
>>    
>>
>
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>
>  
>
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she probably doesn't know herself.   if she is new to sca she might not 
know that many people go to faires with medieval type clothing for fun 
and to have a good time.  if she wants to enter contests or events she 
would need meticulous authenticity which she might not be ready for.   
if she just wants to have fun for now, ask her to bring you a photo of 
what she wants, or a list of the requirements for the contest she wants 
to enter, maybe that will help her to pin down what she wants.   or 
alternatively, you could sit down with her and scetch out the design 
elements she wants to add.   Kitty

Sylvia Rognstad wrote:

>
> On Apr 6, 2005, at 12:03 PM, Katie Lewis wrote:
>
>>
>> Satine wrote
>>
>>>
>>> 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?????
>>
>>
>> I think it depends on what your goals are.  If your goal is to have 
>> clothing that is constructed in a manner that was used in Europe 
>> prior to 1600, then princess seams are, to the best of my knowledge, 
>> right out.  If your goal is to have clothing that looks like "an 
>> attempt at pre-17th century clothing" and is thus socially acceptable 
>> for use in the SCA then princess seams are not a problem.
>
>
> I keep trying to figure out just how much authenticity my customer 
> wants to go for and I am finding it very difficult to pin her down.  I 
> am not a member of the SCA myself and I gather that there are very 
> wide variations in authenticity within the organization.  This has 
> probably come up in discussion before, but are there any standards 
> that those of you know of who are in the SCA?
>
> Sylrog


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Date: Wed, 06 Apr 2005 14:21:14 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] A silk garment filched by a monk?
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>I have no intention of publishing St. Martin's story; this material has 
>already been published as part of a hagiography. I'm an atheist 
>besides.  I'm just wondering about the mystery garment.

>>Fran, I love this.  Do you have an illustrator in mind?  Great children's
>>book!!

I don't think this is Fantasy enough to sell as a children's book, besides 
being too Catholic to keep the objectionable sort of Fundies happy.  It's a 
good enough story for me, complete with a historical garment central to the 
plot, but not, I think, the kind of thing most modern children would like.


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

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Subject: Re: [h-cost] A silk garment filched by a monk?
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>
>>I have no intention of publishing St. Martin's story; this material has
>>already been published as part of a hagiography. I'm an atheist
>>besides.  I'm just wondering about the mystery garment.
>
>>>Fran, I love this.  Do you have an illustrator in mind?  Great
>>> children's  book!!
>
> I don't think this is Fantasy enough to sell as a children's book, besides
> being too Catholic to keep the objectionable sort of Fundies happy.  It's
> a good enough story for me, complete with a historical garment central
> to the plot, but not, I think, the kind of thing most modern children
would like.
>         CarolynKayta Barrows

     It's not like someone is trying to get it adopted as a textbook -
there are plenty of niches in pubishing, even for children's books. 
I saw some beautiful ones a couple years back that were stories and
explanations of Buddhism.

     As a children's story, though, it would need some simplifcation - who
is the good guy, who is the bad guy.  And that's what I find
interesting, the fact that it is not clear cut.

     -Carol
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Date: Thu, 07 Apr 2005 09:44:50 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Fwd: Medieval gowns
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Sylvia Rognstad wrote:

>
> I keep trying to figure out just how much authenticity my customer 
> wants to go for and I am finding it very difficult to pin her down.  I 
> am not a member of the SCA myself and I gather that there are very 
> wide variations in authenticity within the organization.  This has 
> probably come up in discussion before, but are there any standards 
> that those of you know of who are in the SCA?
>
The onl Society-wide standard is "an attempt at pre-17th century 
clothing".  Local groups vary _hugely_ in terms of the encouragement of 
authenticity.  I strongly suggest that your client discuss this with 
members of her local group.

-- 
Adele de Maisieres

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

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>I have Heard that Hook and Eyes are period... I am lookng into that.....

There are two portraits in Davenport's costume book that show hooks and 
eyes being used in the early 1500s, and Janet Arnold's _Patterns Of 
Fashion_ book covering the mid- to late-1500s shows photographs of these on 
actual historical garments.  I'd like to think they go back earlier, but I 
have no way to prove it.

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

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>This has probably come up in discussion before, but are there any 
>standards that those of you know of who are in the SCA?

I think the rule of thumb is "as authentic as possible", but I know nobody 
has ever been thrown out of the SCA for costuming somebody else didn't 
think was authentic enough (I've seen some doozies since 1971...).

At one end of the costuming range are those folks without a clue, without 
much sewing skill, or without much money, who start out with their own 
ideas of what's right.  At the other end of the costuming range are 
published costume scholars, "costume Laurels", and folks who write long 
posts on h-costume.  So as far as most of the SCA in concerned, anything 
that looks "Medieval", including some of the products of recent commercial 
patterns, and Ren. Faire garments, will be fine.


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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] medieval dress
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>I wish she could have consulted with me before ever starting this project 
>but since she already has the fabric, I'm not sure what to advise her now.

Advise her that you need to know what she wants or you can't sew it, and 
when she tells you then you can come up with an estimate.  But make her be 
specific, not just "I want something 'authentic'".  Pin her down to one 
historical image or one existing (=in her hand) pattern.

If she keeps waffling, you may not get this job.  No comfort, sorry.  But 
it won't be your fault, it will be her fault, and you'll be out from under 
this project.

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

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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] RE: Early construction (was: Bliauts)
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Depends when I was younger My Mama Made a princess outfir for me out of 125 yr old silk Kimono and  Lace from Her Great Great Great Grandmothers Wedding dress.. circa 1880 or so......  None of us could use thesse Items and they were Beautifully stored.... and why yes it is NOT the norm... Just saying......Its a possibility. Itams were handed down and Reused.... why do you think Gores in some dresswere of a different color... they generally wer not planned that way, Just what was on hand..... 
 
 
Satine....
 

Marc Carlson <marccarlson20@hotmail.com> wrote:
From: Hope Greenberg 
>>There are even bogfinds (Skjoldehamn) which have been dated to the 14th 
>>century "judging by the type of clothing" where C14 dating has revealed an 
>>actual date of 1000-1100.....
>I've always wondered about those. Does anyone specify whether they think 
>the clothing might be 14th century but the fabric from an earlier time 
>period. I mean that the 14th cent. article might have been 
>constructed/reconstructed from older fabric. Or is it just assumed that 
>fabric age=construction age?

This is occasionally suggested, yes.

How many people are going to make daily wear clothes out of 3-400 year old 
wool?

Marc


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Katie Lewis <katie_lewis@lycos.com> wrote:

I think it depends on what your goals are. If your goal is to have clothing that is constructed in a manner that was used in Europe prior to 1600, then princess seams are, to the best of my knowledge, right out. If your goal is to have clothing that looks like "an attempt at pre-17th century clothing" and is thus socially acceptable for use in the SCA then princess seams are not a problem. 

True. allI knew was Princess seams are not period they were used post period  but never the why. or more details. 

AND I never use this kind of a seam so It never crossed my mind to check it out more. ....
 
> I would use Grommets and not Eyelets because 
> eyelets pull out easier than Grommets.

Out of curiosity, has this been your experience, or is this something that you have heard? I have *never* seen or heard of a handsewn eyelet ripping out, while grommets seem to go all the time. As for covering a grommet with thread, that just seems like too much work to me :)


Yes this has been my experience.... Eyelets have been awlful for me Due to the second part of them splitting they act like shears and cut the fabric. I was advised many eons ago for added support to sew arround them and they should  not do that.......  

 while Grommets have never split on me  when the two pieces are Banged on withthe mallet They have held up really, really well by themselves and with me hand sewing arround them to "hide the shiny thing".. Very time consuming.. I only do it on my gowns when the mood strikes me... ie. Boredom.     

>... I have Heard that Hook 
> and Eyes are period... I am lookng into that.....

Janet Arnold has several examples in _Patterns of Fashion vol.I_, I don't remember when exactly hooks and eyes were introduced, but I think it was in the late 15th or 16th century. 

This is in no way directed at you, but pet peeve of mine is people claiming that "x is period" or "y is not period" without saying where and when. In my experience "X is period" is used to mean "X was invented in Albania in 1598" just as often as it is used to mean "X has been common as dirt for most of human history". Ditto for "y is not period".
> 

See my First reply. as to this! .... Very Democraticaly put! !  Not taken personally It happens here A LOT!!!!!! Then perople get fussy when too many questions are asked~! 

> Under arrm sleves v. towards the back....I would check it out further...

Again, sleeve placement depends a great deal on where/when.

Depends on Which  "Period Police" you ask! At least in my neck of the woods... 


 I have a dozen reasons I do not like that pattern it looks costumey 
> to me even with amazing fabric

That may be because it *is* a costume, and intended to be such :)  

LOL!!!!!!!  too true..... 

 



my two cents,  Me thinks you were short changed there......

 

Satine

 


Katie

Buffy: And what are we if not women up to a challenge? 
Willow: Exactly! I mean, did we not put the 'grr' in girl?





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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Fwd: Medieval gowns
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Cynthia wrote:

> > This message brought to you by the Robin Netherton Fan Club.

I wrote:

> > !!!

Cynthia replied:

> Hope I didn't annoy you, but I wanted to attribute the ideas properly 
> and with a little humor.

I am honored. It's always a pleasure to be quoted correctly, too.

> > The earliest
> > of those particular bust-supporting seams I've seen is about 1450 for
> > Western Europe.
> 
> Y'know, somehow I never really internalized this so efficiently.  "No 
> prince seams before 1450" is fairly easy to remember, though.

For certain definitions of "princess seams," as noted earlier, and for
Western Europe. 1450 is the date of the portrait of the Madonna played by
Agnes Sorel. I do see some clues in the 1440s of constructions that use
shaping seams positioned between center and sides, typically in fitted
dresses that also have waist seams and so are a very different matter
altogether from the "princess-line dress" as modernly conceived.

> Although of course that Museum of London book illustration of the cote
> with princess-like seaming is going to be in the brains of everyone
> for a long, long time; I think I remember your lecture addressed it as
> a poor drawing of reality?

Your memory is correct. That picture is an artist's conception of the
Greenland H. 41 garment, which (1) is almost certainly a man's gown and
(2) bears little resemblance to that picture in proportions or drape. You
may remember my mockup and the photos of the young man and lady wearing it
(in sequence, not simultaneously).

--Robin

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Subject: Re: [h-cost] Hooks and eyes
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----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
> I'd like to think they go back earlier, but I have no way to prove it.

They go back at least as far as 1442, where they're shown in a portrait of 
the court jester Gonella by Jean Fouquet:
http://www.formfunction.org/temp3/buch2-12.jpg

I've also seen pictures (or maybe just diagrams? can't remember clearly; 
allergies or possibly a cold have destroyed my brain) of extant Roman 'hooks 
and eyes' which to me, frankly didn't look too much like hooks and eyes. 
Basically, though I think there's some sort of armorial fastening that works 
on the hook-and-eye principle that does go back much further.

-E House 

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] MC&T Journal
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On Wed, 6 Apr 2005, Catherine Kinsey wrote:

>  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
> <snip>
> Robin
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> Maybe we want to help be sure there is a second volume :).

For this I am very grateful :-)

I can state with authority that you folks made a heck of an impression on
my publisher. Now I have to hope we live up to the expectations!

--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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> This has probably come up in discussion before, but are there any 
> standards that those of you know of who are in the SCA?

One word of caution here: that can be a touchy subject. I know on this list 
we're usually okay with those kinds of discussions, but I've seen weird 
things happen on other lists when talking about those subjects.

No. There is no standard in the SCA. The Corpora states "reasonable attempt 
at pre-17th century" garb and that's it. You'll find that the level of 
authenticity varies wildly between events. Even if elves and gnomes are 
usually not well received, we fraternize with a number of other groups who 
don't have the same goals we have. I'm thinking of the Tuchux at Pennsic, 
for example. There's people who're in the SCA only for fighting, or cooking, 
or any other activity, and couldn't care less about clothing: they'll throw 
a quick T-thing over black jeans and biker boots, and sitting around the 
same campfire you'll have cabaret-style belly-dancers, as well as full 
Elizabethan and authentic early T-tunic-type garb. That's the paradox of the 
SCA, the eternal joy of not having the pressure of being authentic, and the 
eternal frustration that everything is so modern. The "no standard" policy 
has many advantages and as many disadvantages, but I think it helped the SCA 
spread and grow the way it has: it's all-inclusive, and doesn't require a 
heavy involvment, which facilitates greatly the creation of groups and the 
welcoming of new members. 
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Hi, I'm putting together a proposal with costings to put together an 
exhibition of women's clothing in Australia from 1788 - 1901. I'm 
looking to display both the day and evening gowns and their 
underpinnings and supports. I've only just started putting together the 
proposal, so would love any hints or suggestions that I should 
consider. I will the one making the garments - I'm looking at finding 
paintings of Australian women in this time-frame and copying the 
garments featured in them, that way they could be displayed with the 
painting and be more of a research project. I'm also hoping to put 
together a book detailing the progress of making all the garments.
Warmest Regards, Aylwen

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On Wednesday 06 April 2005 7:36 pm, Robin Netherton wrote:
> On Wed, 6 Apr 2005, Catherine Kinsey wrote:
> >  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
> > <snip>
> > Robin
> >
> > Maybe we want to help be sure there is a second volume :).
>
> For this I am very grateful :-)
>
> I can state with authority that you folks made a heck of an impression on
> my publisher. Now I have to hope we live up to the expectations!

I think MC&T will.

I know, Robin, that you've been concerned that people will buy MC&T, expecting 
it to be a how-to or a costume survey, instead of a journal of scholarly 
essays on a variety of costume-related issues (some of which, I'm sure, may 
be relatively unrelated to costume re-creation or construction).   But 
speaking for myself, I would rather have to wade through a "scholarly" work 
for information that really will enhance my knowledge of historic costume, 
than read a dozen well-meaning "surveys" repeating the same things "everyone" 
knows, and that are in many instances, flat-out wrong.

Good luck!

-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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Lady Satine wrote:

> Out of curiosity, has this been your experience, or is this something
> 
that you have heard? I have *never* seen or heard of a handsewn eyelet
ripping out, while grommets seem to go all the time. As for covering a
grommet with thread, that just seems like too much work to me :)
> 
> 
> Yes this has been my experience.... Eyelets have been awlful for me
Due to the second part of them splitting they act like shears and cut
the fabric. I was advised many eons ago for added support to sew arround
them and they should not do that.......
> 
> while Grommets have never split on me when the two pieces are Banged
on withthe mallet

I think we're seeing a "definitions" problem here, and resulting disconnect.

Most of the time, people on this list use the term "eyelet" to refer to 
a hole poked in the fabric and button-hole-stitched around the hole to 
keep it open.  No metal is involved.  Grommets would be the sort that 
you whap with a mallet, in two pieces, which cut the threads as it is 
attached.

How do you use the terms, Satine?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The World Health Organization is campaigning to reduce the numbers of 
women and babies who die during pregnancy and childbirth.  Each year, 
half a million women die in pregnancy and four million newborns do not 
survive more than a month.
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Date: Thu, 07 Apr 2005 12:55:48 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: Eyelets vs. grommets Re: [h-cost] Fwd: Medieval gowns
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Cynthia Virtue wrote:

> Most of the time, people on this list use the term "eyelet" to refer 
> to a hole poked in the fabric and button-hole-stitched around the hole 
> to keep it open.  No metal is involved.  Grommets would be the sort 
> that you whap with a mallet, in two pieces, which cut the threads as 
> it is attached.


Personally, I tend to specify:

Handsewn eyelet = just that
Metal eyelet = one piece metal eyelet pressed into place with an eyelet 
press tool through a pre-made awl hole.  I always thoroughly oversew mine.
Grommets = two piece metal eye, often large.  I never use these.


-- 
Adele de Maisieres

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

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From: "Katie Lewis" <katie_lewis@lycos.com>
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Subject: Re: [h-cost] Fwd: Medieval gowns
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I apologize to the list for this SCA specific post.  I would like to note that I think that what I have to say about SCA garb is true of people who do other time periods as well.
Sylrog wrote:
>   This 
> has probably come up in discussion before, but are there any 
> standards that those of you know of who are in the SCA?

The only offical standard is "A reasonable attempt at Pre-17th century clothing", with no definition of what "A reasonable attempt" means.  In my area there are four easily identifiable levels.

1) absolute minimum is a cotton T-tunic worn over modern underwear, with modern hair.  

2)Middle of the road (which it sounds like your client falls) is wearing clothing that can be identified as belonging to a particular era, made out of fabric that dosen't look glaringly modern, ie no safety orange lyrca, will use modern undergarments if the garment provides no support, may cover the head.  

3)A slightly higher level of middle of the road is a honest (although not always successful) attempt to replicate the construction methods used in garments of that period, and will use as close to appropriate fabric as is possible. Will probobly use machine stiching where it dosen't show, may do visible stiching by hand.  Head will be covered if appropriate to persona.

4) Highest commonly found level of authenticity is pretty much like #3, will generally do all of their sewing by hand, makes slightly more effort to find appropriate fabric and materials (dreams of hand woven, hand spun fabric), will not be caught dead without a hat.

Many people, especially if they are new to the SCA, or have just decided that they want to have better looking garb are hard to pin down about where they want their garb to fall on this rough spectrum.  You might want to flatly ask the client "How authentic do you want this dress to be?"

my two pence,
Katie

Buffy: And what are we if not women up to a challenge? 
Willow: Exactly!  I mean, did we not put the 'grr' in girl?





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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: medieval gown
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On Mon, 4 Apr 2005, Sylvia Rognstad wrote:

> 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 don't know if this was ever answered.

These are simple round wire rings. Soldered jump rings work well. (You can
get them from jewelry suppliers, but don't get the unsoldered ones!) Sew
them down at one side of the ring to the edge of the garment, or just
inside the edge, leaving the rest of the ring unattached. Run your lace
through them. They are like freestanding holes.

--Robin
suddenly flashing on the sea of freestanding holes in "Yellow Submarine"

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Lady Satine wrote:


> Yes this has been my experience.... Eyelets have been awlful for me 
> Due to the second part of them splitting they act like shears and 
> cut the fabric. I was advised many eons ago for added support to 
> sew arround them and they should  not do that.......

How are you making your eyelets?  

-Katie

Buffy: And what are we if not women up to a challenge? 
Willow: Exactly!  I mean, did we not put the 'grr' in girl?





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Subject: Re: [h-cost] Re: medieval gown
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> --Robin
> suddenly flashing on the sea of freestanding holes in "Yellow Submarine"
> 


Oh great. Now THAT will be stuck in my head all night!!

Though there are worse things than the Beatles..

Dianne
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Message-ID: <00b501c53b1c$483875f0$0301010a@michaela>
From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] lacing rings was: medieval gown
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> > 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 don't know if this was ever answered.
>
> These are simple round wire rings. Soldered jump rings work well. (You can
> get them from jewelry suppliers, but don't get the unsoldered ones!) Sew
> them down at one side of the ring to the edge of the garment, or just
> inside the edge, leaving the rest of the ring unattached. Run your lace
> through them. They are like freestanding holes.

I use either brass curtain rings (especially useful for obvious lacing rings
like those seen in the open laced Burgundian styles or Saxon court gowns) or
solid brass rig rings from the fishing shop. They can be hard to find or
explain as you'll often get jump rings instead. They can be bought over the
internet, though I've mostly found non-brass rig rings.

I also tend to sew them down at least half way if they are to be hidden to
prevent the rings being wiggled so they start to show due to stress from the
lacing. Often to 3/4 way around to also make less room for the lacing to
roam about.

They can also be sewn to the outside as one of the Weyden figures show. They
can then be used decoratively.

I don't think I've got any images of the rig rings on my site... but you can
see the large curtain rings on my Burgundian:
http://costumes.glittersweet.com/sca/burgundian.htm


I also have used the eyes of hooks and eyes for a closer fit on my big
yellow flemish dress, they are also easier to sew in as you sew them like
normal.

regards,
michaela



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Subject: Re: [h-cost] Hooks and eyes
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I have seen a Durer painting of an old man, c. 1475 that clearly shows  hooks 
and eyes.
 
Kathleen Norvell
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Subject: Re: Eyelets vs. grommets Re: [h-cost] Fwd: Medieval gowns
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I'd add the further distinction that with grommets, one of the two 
pieces generally has "teeth" that go through the fabric and help prevent 
it from spinning around in the hole.  The matching half, on good quality 
grommets, will have a rolled rim that holds the teeth, when you have 
finished smashing them together (highly technical term, I know....)
--sue, who can't begin to count the 1000s of grommets she put into tents 
over the years (we used a several-pound brass mallet thingy, wrapped in 
rawhide...boyohboy do you get arm muscles after a while!)

Adele de Maisieres wrote:

> Cynthia Virtue wrote:
> 
>> Most of the time, people on this list use the term "eyelet" to refer 
>> to a hole poked in the fabric and button-hole-stitched around the hole 
>> to keep it open.  No metal is involved.  Grommets would be the sort 
>> that you whap with a mallet, in two pieces, which cut the threads as 
>> it is attached.
> 
> 
> 
> Personally, I tend to specify:
> 
> Handsewn eyelet = just that
> Metal eyelet = one piece metal eyelet pressed into place with an eyelet 
> press tool through a pre-made awl hole.  I always thoroughly oversew mine.
> Grommets = two piece metal eye, often large.  I never use these.
> 
> 

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In the town
where I was born
lived a man
who sailed to sea....
--sue, who actually has "Yellow Submarine" on LP <g> (oh good lord, I've 
had that album for 30 years!)

Dianne & Greg Stucki wrote:

> 
>> --Robin
>> suddenly flashing on the sea of freestanding holes in "Yellow Submarine"
>>
> 
> 
> Oh great. Now THAT will be stuck in my head all night!!
> 
> Though there are worse things than the Beatles..
> 
> Dianne


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: medieval gown
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On Wed, 6 Apr 2005, Sue Clemenger wrote:

> In the town
> where I was born
> lived a man
> who sailed to sea....
> --sue, who actually has "Yellow Submarine" on LP <g> (oh good lord, I've 
> had that album for 30 years!)

Saw the movie in its first release.

--Robin

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Subject: [h-cost] OT:Yellow Submarine was: medieval gown
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Hi all,
My daughter wants to sing the yellow Submarine in a talent contest at 
school.  I have been trying to find it on line at one of the legal 
download sites.  I will admit that I haven't done an exhaustive search. 
  Does anyone by any chance have an mpg of this song?  Thanks!  And now 
back to your regularly schedule fascinating talk of textiles n'stuff...

Althea

On Wednesday, April 6, 2005, at 09:11 PM, Sue Clemenger wrote:

> In the town
> where I was born
> lived a man
> who sailed to sea....
> --sue, who actually has "Yellow Submarine" on LP <g> (oh good lord, 
> I've had that album for 30 years!)
>
> Dianne & Greg Stucki wrote:
>
>>> --Robin
>>> suddenly flashing on the sea of freestanding holes in "Yellow 
>>> Submarine"
>>>
>> Oh great. Now THAT will be stuck in my head all night!!
>> Though there are worse things than the Beatles..
>> Dianne
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

It is proof of a base and low mind for one to wish to think with the 
masses or majority, merely because the majority is the majority. Truth 
does not change because it is, or is not, believed by a majority of the 
people.
- Giordano Bruno

Oh, good. Symbols on the floor. That always goes well.
- Gunn

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Subject: Re: [h-cost] A silk garment filched by a monk?
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Carolyn Kayta Barrows wrote:

>
>> I have no intention of publishing St. Martin's story; this material 
>> has already been published as part of a hagiography. I'm an atheist 
>> besides.  I'm just wondering about the mystery garment.
>
>
>>> Fran, I love this.  Do you have an illustrator in mind?  Great 
>>> children's
>>> book!!
>>
>
> I don't think this is Fantasy enough to sell as a children's book, 
> besides being too Catholic to keep the objectionable sort of Fundies 
> happy.  It's a good enough story for me, complete with a historical 
> garment central to the plot, but not, I think, the kind of thing most 
> modern children would like.
>
unless you could come up with some sort of way cool, si-fi or fantasy 
magic ending as to what happened and what the garment was.   go off into 
fiction rather.   Kitty

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Fwd: Medieval gowns
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>I apologize to the list for this SCA specific post.  I would like to note 
>that I think that what I have to say about SCA garb is true of people who 
>do other time periods as well.

Like museum docents.  I agree.


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

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] A silk garment filched by a monk?
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Kitty Felton writes, in a message sent 12:41 AM 4/7/2005 -0400:
>Carolyn Kayta Barrows wrote:
>
>>
>>>I have no intention of publishing St. Martin's story; this material has 
>>>already been published as part of a hagiography. I'm an atheist 
>>>besides.  I'm just wondering about the mystery garment.
>>
>>
>>>>Fran, I love this.  Do you have an illustrator in mind?  Great children's
>>>>book!!
>>
>>I don't think this is Fantasy enough to sell as a children's book, 
>>besides being too Catholic to keep the objectionable sort of Fundies 
>>happy.  It's a good enough story for me, complete with a historical 
>>garment central to the plot, but not, I think, the kind of thing most 
>>modern children would like.
>unless you could come up with some sort of way cool, si-fi or fantasy 
>magic ending as to what happened and what the garment was.   go off into 
>fiction rather.   Kitty

Historical fantasy - that could work.


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

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From: "Tonkin, Rebecca (PIRSA-SARDI)" <tonkin.rebecca@saugov.sa.gov.au>
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Subject: [h-cost] RE: medieval dress
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Hi Sylvia:

> Sylvia Rognstad wrote:
> 
> > I passed on the conclusion I came to with all your help in 
> regard to 
> > the Butterick pattern and its lack of historical accuracy to my 
> > customer, thinking she would want to go ahead anyhow, but 
> it appears 
> > she may want to try something else that is more period accurate.

That's positive. :)
  
> > Unfortunately, the fabric she has already purchased is not anything 
> > found in the Middle Ages.  She's already bought a lot of it 
> and it is 
> > lovely fabric.    Do I tell her or just ignore that and 
> proceed with 
> > whatever we both decide to make? 

If it was me, it would depend on how period-like it is. Many people go by
the "10-yard rule" (or some variation thereof) which essentially is, "if it
looks ok from a distance, it'll do". If you go this route, leopard-prints
and cabbage roses are bad, but plain materials, although not necessarily
period fibres, will pass. If it's a patterned brocade, if it looks ok from a
distance, then for a newcomer it should be fine. Acanthus leaves, for
example (twirly swirly regular pattern like acanthus leaves found in
manuscripts) are commonly used in brocades around here. Also small regular
shapes like diamonds or suns or fleur-de-lis, and various vine/flower
combinations that have a regular repeat. Also stylised pineapples and/or
pomegranates. These may not be indisputably 100% "period", but they all give
a good look, and are the closest we can get for reasonable prices.

 She is thinking now of 
> using McCalls 
> > 2806, which can be found here:
> > http://www.reddawn.net/costume/mccalls.htm
> 
Have a look at this site:
http://polaris.umuc.edu/~jthies/mcitalrennotes.html
and
http://homepages.wmich.edu/~rowen/renbk/rendressbook.html
which may give you some more ideas about how renaissance garb goes.
Those sites give dresses which look very similar to the ones your client
liked, and may help you figure out how to make the pattern more authentic if
you choose to use it.
HTH
Rebecca
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To: Historical Costume <h-costume@indra.com>
From: "J.E. Marshall" <jemarshall@fuse.net>
Subject: Re: [h-cost] Fwd: Medieval gowns
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I think that this is a very good and correct sentiment regarding the 
SCA.  I have always told people that have shown slight interest in joining 
or hearing about but are reluctant because they don't have a lot of 
time/money to do much that you will get out of it what you put in.  If your 
goal is to make friends and learn things, then by all means be comfortable.

Jennifer

At 07:35 PM 4/6/05 -0400, you wrote:

>>This has probably come up in discussion before, but are there any 
>>standards that those of you know of who are in the SCA?
>
>One word of caution here: that can be a touchy subject. I know on this 
>list we're usually okay with those kinds of discussions, but I've seen 
>weird things happen on other lists when talking about those subjects.
>
>No. There is no standard in the SCA. The Corpora states "reasonable 
>attempt at pre-17th century" garb and that's it. You'll find that the 
>level of authenticity varies wildly between events. Even if elves and 
>gnomes are usually not well received, we fraternize with a number of other 
>groups who don't have the same goals we have. I'm thinking of the Tuchux 
>at Pennsic, for example. There's people who're in the SCA only for 
>fighting, or cooking, or any other activity, and couldn't care less about 
>clothing: they'll throw a quick T-thing over black jeans and biker boots, 
>and sitting around the same campfire you'll have cabaret-style 
>belly-dancers, as well as full Elizabethan and authentic early 
>T-tunic-type garb. That's the paradox of the SCA, the eternal joy of not 
>having the pressure of being authentic, and the eternal frustration that 
>everything is so modern. The "no standard" policy has many advantages and 
>as many disadvantages, but I think it helped the SCA spread and grow the 
>way it has: it's all-inclusive, and doesn't require a heavy involvment, 
>which facilitates greatly the creation of groups and the welcoming of new 
>members. _______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
>--
>No virus found in this incoming message.
>Checked by AVG Anti-Virus.
>Version: 7.0.308 / Virus Database: 266.9.4 - Release Date: 4/6/05


what would you attempt to do if you knew you could not fail?  Anon.


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Subject: RE: [h-cost] Fwd: Medieval gowns
Date: Thu, 7 Apr 2005 02:34:58 -0500
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http://www.wga.hu/index1.html
Go to:
 "G"
then to:
Giottino (Giotto di Stefano)
Pieta of San Remigio
Note the young woman kneeling on the left with the bishop's hand on her
head.
Go to:
Giovanni da Milano
Birth of the Virgin
Note the lady on the left. This is a gown that has been debated as to
whether the red in a gown in an of itself or a red panel with red gores.
So the McCalls 3552 without train and narrow straight sleeves could be
adapted to look somewhat like these.

De


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: RE: [h-cost] Fwd: Medieval gowns and sleeve seams?
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At 02:34 07/04/2005 -0500, you wrote:
>http://www.wga.hu/index1.html
>Go to:
>  "G"
>then to:
>Giottino (Giotto di Stefano)
>Pieta of San Remigio
>Note the young woman kneeling on the left with the bishop's hand on her
>head.
>Go to:
>Giovanni da Milano
>Birth of the Virgin
>Note the lady on the left. This is a gown that has been debated as to
>whether the red in a gown in an of itself or a red panel with red gores.


The two "Birth of the Virgin" ladies have decoration on the outside of 
their sleeves. Referring back to a previous discussion, could these be 
covering seams? The one on the far left appears to have a seam, but it 
could be the way the decoration is painted.

Great images De - thanks

Suzi


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Subject: Re: [h-cost] A silk garment filched by a monk?
Date: Thu, 7 Apr 2005 07:40:07 -0400
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Ah Kitty!  You saw in the "Life of..." what I was thinking of...a gentle fun
poking at an improbable tale from a pre history era. And it was I and not
Kayta, who started this bent.  I earlier suggested that this tale smacks of
the fantasy that the "Emperor's New Clothes" has, to me.

Kathleen
----- Original Message ----- 
From: "Kitty Felton" <basyefelton@floodcity.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 07, 2005 12:41 AM
Subject: Re: [h-cost] A silk garment filched by a monk?


> Carolyn Kayta Barrows wrote:
>
> >
> >> I have no intention of publishing St. Martin's story; this material
> >> has already been published as part of a hagiography. I'm an atheist
> >> besides.  I'm just wondering about the mystery garment.
> >
> >
> >>> Fran, I love this.  Do you have an illustrator in mind?  Great
> >>> children's
> >>> book!!
> >>
> >
> > I don't think this is Fantasy enough to sell as a children's book,
> > besides being too Catholic to keep the objectionable sort of Fundies
> > happy.  It's a good enough story for me, complete with a historical
> > garment central to the plot, but not, I think, the kind of thing most
> > modern children would like.
> >
> unless you could come up with some sort of way cool, si-fi or fantasy
> magic ending as to what happened and what the garment was.   go off into
> fiction rather.   Kitty
>
> _______________________________________________
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I have been thinking about buying a sewing machine to do the seems and bits
that you don't see in things like shirts, slops and sailors jackets.

Most of what I would be sewing will be linen (a lot of the old handwoven
stuff) thick wools and maybe silk now and again.

I am leaning towards an older Pfaff 230 or 260 machine for around $100 (or
55 Pounds sterling, 60 Euros whatever)

Or would my money be better spent on a newer Pfaff from the hobby line $300
(or other suggestion?)

I don't really need all the fancy heart shaped stitches and stuff.

Greg


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 Hi Greg  :)
 
I believe that you would be well served in purchasing an older model machine that is of good quality.  You will make out a lot better than buying a newer model that has a lot more plastic in it, in my opinion.  I have an Elna that I purchased 21 years ago, and I would not trade it for anything.  Other than occasional trips to the shop for a lube job and thorough cleaning, I have never had any problems with it and the little jewel sews like a charm.  We have been through leather, denim, silk chiffon and entirely too much satin, and it has never missed a stitch.
 
:)
~Kimberley
 
-----Original Message-----
From: dgandh <dgandh@t-online.de>
To: 'Historical Costume' <h-costume@indra.com>
Sent: Thu, 7 Apr 2005 15:28:46 +0200
Subject: [h-cost] Thinking about a buying a sewing machine....


I have been thinking about buying a sewing machine to do the seems and bits
that you don't see in things like shirts, slops and sailors jackets.

Most of what I would be sewing will be linen (a lot of the old handwoven
stuff) thick wools and maybe silk now and again.

I am leaning towards an older Pfaff 230 or 260 machine for around $100 (or
55 Pounds sterling, 60 Euros whatever)

Or would my money be better spent on a newer Pfaff from the hobby line $300
(or other suggestion?)

I don't really need all the fancy heart shaped stitches and stuff.

Greg


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Subject: [h-cost] Painted floor cloths 1880's
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I know this is not costume, but you folks are so knowledgeable I thought 
someone would know where to point me.  I'm looking for images of what would 
have been painted on floors or oilcloth or canvas around the 1880's.
Thanks in advance.
Kate 


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Subject: Re: [h-cost] Hooks and eyes
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>
> I've also seen pictures (or maybe just diagrams? can't remember clearly; 
> allergies or possibly a cold have destroyed my brain) of extant Roman 
> 'hooks > and eyes' which to me, frankly didn't look too much like hooks 
> and eyes. Basically, though I think there's some sort of armorial 
> fastening that works on the hook-and-eye principle that does go back much 
> further.

The Art Museum at Princeton University has some of these.

Kate 


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Sorry, no mpg's in this house. <g> Just a few lp's and waaay too many cd's.
Obligatory Costume Content: I had the song running through my head while 
I was looking at my book on Viking Age Headcoverings from 
Dublin....Geez, but there's some interesting weaving going on with them. 
  I definitely need to be practicing my spinning more, if I intend to 
spin yarn for making a few.....average thread diameter on one piece was 
0.15 mm!
--sue

Althea Turner wrote:
> Hi all,
> My daughter wants to sing the yellow Submarine in a talent contest at 
> school.  I have been trying to find it on line at one of the legal 
> download sites.  I will admit that I haven't done an exhaustive search. 
>  Does anyone by any chance have an mpg of this song?  Thanks!  And now 
> back to your regularly schedule fascinating talk of textiles n'stuff...
> 
> Althea
> 
> On Wednesday, April 6, 2005, at 09:11 PM, Sue Clemenger wrote:
> 
>> In the town
>> where I was born
>> lived a man
>> who sailed to sea....
>> --sue, who actually has "Yellow Submarine" on LP <g> (oh good lord, 
>> I've had that album for 30 years!)
>>
>> Dianne & Greg Stucki wrote:
>>
>>>> --Robin
>>>> suddenly flashing on the sea of freestanding holes in "Yellow 
>>>> Submarine"
>>>>
>>> Oh great. Now THAT will be stuck in my head all night!!
>>> Though there are worse things than the Beatles..
>>> Dianne

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I saw it in '75.  Was that when the movie actually came out? That was 
the summer we went back east for a family reunion, and the airlines lost 
our luggage AND went on strike....Rhode Island in August with only your 
"plane clothes" is *icky!* (reference to heat and humidity, only ;o)
--sue

Robin Netherton wrote:

> On Wed, 6 Apr 2005, Sue Clemenger wrote:
> 
> 
>>In the town
>>where I was born
>>lived a man
>>who sailed to sea....
>>--sue, who actually has "Yellow Submarine" on LP <g> (oh good lord, I've 
>>had that album for 30 years!)
> 
> 
> Saw the movie in its first release.
> 
> --Robin


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http://www.newyorker.com/fact/content/articles/050411fa_fact


This is a facinating article. My apologies if it's been posted already. 
It's very interesting just on it's own, but the implications for costumers 
might come about if/when the photos are published.

The gist of the article is that during restoration, the back side of the 
Unicorn tapestries was revealed, disclosing much more vivid colors than on 
the front.  Awareness of these un-faded colors would be helpful in accurate 
costume color choices.  (Why this came as a surprise to anyone is a mystery 
to me.)

But don't read it just for the textile content--it's really interesting how 
they are using math and computing to do work like this.

Denise in Iowa 

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] medieval tapestries
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At 09:51 07/04/2005 -0500, you wrote:
>http://www.newyorker.com/fact/content/articles/050411fa_fact
>
>
>This is a facinating article. My apologies if it's been posted already. 
>It's very interesting just on it's own, but the implications for costumers 
>might come about if/when the photos are published.
>
>The gist of the article is that during restoration, the back side of the 
>Unicorn tapestries was revealed, disclosing much more vivid colors than on 
>the front.  Awareness of these un-faded colors would be helpful in 
>accurate costume color choices.  (Why this came as a surprise to anyone is 
>a mystery to me.)
>
>But don't read it just for the textile content--it's really interesting 
>how they are using math and computing to do work like this.
>
>Denise in Iowa


Thank you for that - quite fascinating.

In Angers, France there are maybe 40 huge tapestries on display in a vast 
specially built room. They are 13th century, from what I remember. Some of 
them have wooden battens, and are on huge hinges at the top, so you can 
swing them a small way out from the wall and look at the backs. The backs 
are way more vivid than the fronts, and are fascinating to look at. You can 
see exactly how the weave is done as they are not behind glass. It does 
surprise me that the team didn't expect the backs to be brighter - or maybe 
that was a bit of journalistic licence? I was told by the staff at the V. 
and A. years ago that the Hunting Tapestries had faded, and have assumed 
ever since that *all* tapestries fade. In many French "Stately homes" or 
chateaux, there are Gobelin tapestries from many periods hung by windows, 
in the open air, with no protection, and most of the leaves have turned 
blue because of exposure. I was horrified!

Suzi
. 


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Subject: RE: [h-cost] Fwd: Medieval gowns and sleeve seams?
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I have always assume that the decorative bands were reinforcing seams but I
could be wrong in the assumption. :\

De

-----Original Message-----
The two "Birth of the Virgin" ladies have decoration on the outside of
their sleeves. Referring back to a previous discussion, could these be
covering seams? The one on the far left appears to have a seam, but it
could be the way the decoration is painted.

Great images De - thanks

Suzi


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Land of Oz wrote:

> http://www.newyorker.com/fact/content/articles/050411fa_fact

Oh, yeah, that's a great article!

Another list I'm on was discussing the tapestry thing, and fading; 
here's an image from the Devonshire Hunting Tapestries showing front and 
back sides:

http://www.virtue.to/articles/images/tapestry_comparison.jpg

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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On Thu, 7 Apr 2005, Sue Clemenger wrote:

> I saw it in '75.  Was that when the movie actually came out?

It came out in 1968. I remember my teenage brother arguing that he
shouldn't have to be dragged with the family to see a cartoon. My parents
prevailed, and he was later glad of that.

Costume content: At the Chicago CostumeCon a couple of years ago, a group
entry in the costume contest (from some St. Louis costumers, possibly one
or more on this list) was "Dr. Pepper's Lonely Hearts Club Band." All the
close details on the suits were soda-related (e.g. the epaulets were
shaped like soda can pull-tabs). At the end of their "performance," they
turned around and you saw the logos for Orange Crush, Dr. Pepper, 7-Up,
and something else I forget, and you realized that each out fit was the
correct matching color. Even the instruments were costume props, and
beautifully made.

I think styles more than 30 years old count as "historic" ;-)

--Robin

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Subject: Re: [h-cost] medieval tapestries
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Fascinating New Yorker article!

Suzi wrote:
> It does surprise me that the team didn't expect the backs to be brighter

I understand what you mean, Suzi.  And yet I, too, have been surprised by 
how bright traditional dyes can be.  When I did some dyeing experiments with 
cochineal on silk (roughly following some 17th-century formulas) I expected 
to get a fairly bright red.  But the red I actually got was much more vivid 
than I could have imagined -- almost a neon red.  I finally understood why 
observers said that the dye "dazzled the eye."

If anyone wants to see photos of my dyeing results, you can find them here:

http://www.amybutlergreenfield.com/Amusements_Dyeing.html


Amy

Amy Butler Greenfield
cochineal@comcast.net 

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Subject: Re: [h-cost] medieval tapestries
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On Thu, 7 Apr 2005, Amy Butler Greenfield wrote:

> Fascinating New Yorker article!

Yes indeed, and for anyone interested in computers, photography, and/or
botany as well as medieval art or weaving.

I loved the description about the thread loops breathing and moving.

--Robin

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OK, I've almost finished a mockup of my summer project (the Folkwear
Beach Pajamas pattern), and have figured out how much to enlarge the
pattern.

I'm planning to order silk noil for the "serious" outfit.  (Thread
detour: it looks like the Bonnie's Bailiwick site is going through a
complete redo.  Anyone heard if their prices/selection has changed?  End
thread detour.)  I'm also planning to prewash; even though I work for a
dry cleaners and would get 50% off cleaning it, the stains I expect to
pick up wearing this to a gaming convention would all be water-based, so
perc wouldn't be the best cleaning choice.  I've never worked with silk
noil before, though.  How much shrinkage should I allow for when I place
the order?  Would an extra yard be enough?

Leah
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Date: Fri, 08 Apr 2005 09:16:10 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Re: medieval gown
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Yup... actually, when I fly long-haul, I usually have at lest a partial 
change of clothes in my hand luggage (ie clean shoes, underwear and socks).

> I saw it in '75.  Was that when the movie actually came out? That was 
> the summer we went back east for a family reunion, and the airlines 
> lost our luggage AND went on strike....Rhode Island in August with 
> only your "plane clothes" is *icky!* (reference to heat and humidity, 
> only ;o)
> --sue



-- 
Adele de Maisieres

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

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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Shrinkage question
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Leah L Watts wrote:

>OK, I've almost finished a mockup of my summer project (the Folkwear
>Beach Pajamas pattern), and have figured out how much to enlarge the
>pattern.
>
>I'm planning to order silk noil for the "serious" outfit.  (Thread
>detour: it looks like the Bonnie's Bailiwick site is going through a
>complete redo.  Anyone heard if their prices/selection has changed?  End
>thread detour.)  I'm also planning to prewash; even though I work for a
>dry cleaners and would get 50% off cleaning it, the stains I expect to
>pick up wearing this to a gaming convention would all be water-based, so
>perc wouldn't be the best cleaning choice.  I've never worked with silk
>noil before, though.  How much shrinkage should I allow for when I place
>the order?  Would an extra yard be enough?
>
>  
>

When I've made things from noil and washed them, they haven't actually 
shurunk a hell of a lot, but it's probably best to assume 10% or so, and 
order the extra yard.

-- 
Adele de Maisieres

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

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Subject: [h-cost] Dyeing
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I'm about to dye and decorate some T-shirts and other things for 
spring.  I bought some T-shirts at Dharma Trading, as well as the 
necessary chemicals.  Also some copier transfer paper so I can copy some 
antique fashion plates onto them. However, I'd like to see some more 
styles of knit tops suitable for dyeing.  Does anyone know any other 
companies that sell clothing "blanks"?  I saw some lingerie at the Thai 
Silks stie, but most of it is on backorder.

BTW, has anyone ever tried ombre dyeing by spraying the dye onto the item?

Fran
Lavolta Press
http://www.lavoltapress.com
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Date: Fri, 08 Apr 2005 09:37:51 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Re: medieval gown
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Adele de Maisieres wrote:

Hrm... that was a freudian slip... I meant to say "clean shirt", but I 
was thinking about how las time I flew into S. Francisco my feet had 
swelled to the size of footballs and I could barely walk to the domestic 
terminal...

> Yup... actually, when I fly long-haul, I usually have at lest a 
> partial change of clothes in my hand luggage (ie clean shoes, 
> underwear and socks).
>
>> I saw it in '75.  Was that when the movie actually came out? That was 
>> the summer we went back east for a family reunion, and the airlines 
>> lost our luggage AND went on strike....Rhode Island in August with 
>> only your "plane clothes" is *icky!* (reference to heat and humidity, 
>> only ;o)
>> --sue
>
>
>
>


-- 
Adele de Maisieres

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

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Subject: [h-cost] Agnes Sorel
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Here is an intresting news story  about Agnes Sorel.  it turns out that 
she was recently unearthed and had some chemical analysis was done on 
her.  But the articule does not mention the m ost important part---which 
is of course "did they find any fabric on her"?


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Subject: Re: [h-cost] Shrinkage question
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> How much shrinkage should I allow for when I place
> the order?  Would an extra yard be enough?

It varies depending on the batches. But mine shrank about what I'd expect 
cotton to shrink. You were thinking a yard over how much? Unless you're 
going to buy over 10 yards, I think one extra yard would be enough. 
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Subject: RE: [h-cost] Martha McCain Patterns
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Thanks Martha for the news on the upcoming 19th century bodices and
sleeve variation patterns. I know it is a lot of work to research
costumes and make patterns--I love to do the research, but
pattern-making is not my forte, even for dolls. And trying to keep
things accurate in cut while keeping the home sewer and mass-market
pattern companies happy, must be, at the very least, difficult

The new Butterick "Early Summer" pattern catalog is out and there are
two new "historic" patterns. I don't know if I wrote down the numbers
accurately, but 4539 is for a man's 17th century king's musketeer outfit
and the other 4540 is a woman's Victorian gown(Civil War era)The bodice
is lined, interlined and boned, but I don't know how accurate the cut is
and the envelope illustration seems to have done some front skirt
applied trim and frankly too-modern looking drapery fringe around the
middle of the upper arm sleeves that looks awkward to my eyes. Any one
with more expertise with 1850-1860's women's dress want to  have a look
at this pattern and comment?

And I won't even say how appalling I found Butterick's French court lady
of the 18th century(Marie Antoinette) pattern. At first glimpse, my
reaction was "Oh, how pretty" but it seems to be cut for the modern
sewer, even though there is a pattern for a pretty accurate set of stays
and pocket hoops. The neckline and sleeves are just all wrong, but a
$1.99 sale would, I suppose make it worth it to use with Arnold, Waugh,
or Hunnisett as a guide to recut sleeves, neckline and seams to a more
accurate line. I have done this--using two or even three historic
mass-market patterns bought super-cheap, altering the pieces I'm using
to fit me, and then recutting the pieces and adding sew-in interfacing
when needed, to get a pattern I want.

Cindy Abel

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 A clean blouse or shirt would be a blessing. you can wear just about 
any pair of pants or skirt for more than one day, but most blouses need 
washed especially in Summer.  

Adele de Maisieres wrote:

> Yup... actually, when I fly long-haul, I usually have at lest a 
> partial change of clothes in my hand luggage (ie clean shoes, 
> underwear and socks).
>
>> I saw it in '75.  Was that when the movie actually came out? That was 
>> the summer we went back east for a family reunion, and the airlines 
>> lost our luggage AND went on strike....Rhode Island in August with 
>> only your "plane clothes" is *icky!* (reference to heat and humidity, 
>> only ;o)
>> --sue
>
>
>
>


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Did you mean this one?

http://209.157.64.200/focus/f-news/1377951/posts 
Surely we should ask!

J Schueller wrote:

> Here is an intresting news story  about Agnes Sorel.  it turns out 
> that she was recently unearthed and had some chemical analysis was 
> done on her.  But the articule does not mention the m ost important 
> part---which is of course "did they find any fabric on her"?
>
>
> _______________________________________________
> 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] medieval tapestries
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Those are some pretty cool greens! Woot!
--sue, who likes green....

Cynthia Virtue wrote:

> Land of Oz wrote:
> 
>> http://www.newyorker.com/fact/content/articles/050411fa_fact
> 
> 
> Oh, yeah, that's a great article!
> 
> Another list I'm on was discussing the tapestry thing, and fading; 
> here's an image from the Devonshire Hunting Tapestries showing front and 
> back sides:
> 
> http://www.virtue.to/articles/images/tapestry_comparison.jpg
> 

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I've gotten lovely reds and pinks with madder, and the most amazing 
bright, tangerine orange! (on wool...less impressive on silk)
I'm thinking of using the orange wool to knit myself some 16th c 
stockings.....
--sue

Amy Butler Greenfield wrote:

> Fascinating New Yorker article!
> 
> Suzi wrote:
> 
>> It does surprise me that the team didn't expect the backs to be brighter
> 
> 
> I understand what you mean, Suzi.  And yet I, too, have been surprised 
> by how bright traditional dyes can be.  When I did some dyeing 
> experiments with cochineal on silk (roughly following some 17th-century 
> formulas) I expected to get a fairly bright red.  But the red I actually 
> got was much more vivid than I could have imagined -- almost a neon 
> red.  I finally understood why observers said that the dye "dazzled the 
> eye."


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From: J Schueller <jaurbik@optonline.net>
Subject: Re: [h-cost] Agnes Sorel
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OOPS! I guess I forgot to add the the url i guess.  sorry.
That is indeed the story, though this was the line I was looking at... 
http://www.iol.co.za/index.php?set_id=14&click_id=117&art_id=qw1112613663615F652

Wicked Frau wrote:

> Did you mean this one?
>
> http://209.157.64.200/focus/f-news/1377951/posts Surely we should ask!
>
> J Schueller wrote:
>
>> Here is an intresting news story  about Agnes Sorel.  it turns out 
>> that she was recently unearthed and had some chemical analysis was 
>> done on her.  But the articule does not mention the m ost important 
>> part---which is of course "did they find any fabric on her"?
>>
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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>


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I second Kimberly's opinion.  I have a fancy Viking that I hate.  I love 
my 1969ish Kenmore and my two very old singers.   They sew beutifully.  
The latter two sew are able to sew such tiny little stitches, that I 
needn't back stitch to secure a seam....love that!

Sg

chindora@aol.com wrote:

> Hi Greg  :)
> 
>I believe that you would be well served in purchasing an older model machine that is of good quality.  You will make out a lot better than buying a newer model that has a lot more plastic in it, in my opinion.  I have an Elna that I purchased 21 years ago, and I would not trade it for anything.  Other than occasional trips to the shop for a lube job and thorough cleaning, I have never had any problems with it and the little jewel sews like a charm.  We have been through leather, denim, silk chiffon and entirely too much satin, and it has never missed a stitch.
> 
>:)
>~Kimberley
> 
>-----Original Message-----
>From: dgandh <dgandh@t-online.de>
>To: 'Historical Costume' <h-costume@indra.com>
>Sent: Thu, 7 Apr 2005 15:28:46 +0200
>Subject: [h-cost] Thinking about a buying a sewing machine....
>
>
>I have been thinking about buying a sewing machine to do the seems and bits
>that you don't see in things like shirts, slops and sailors jackets.
>
>Most of what I would be sewing will be linen (a lot of the old handwoven
>stuff) thick wools and maybe silk now and again.
>
>I am leaning towards an older Pfaff 230 or 260 machine for around $100 (or
>55 Pounds sterling, 60 Euros whatever)
>
>Or would my money be better spent on a newer Pfaff from the hobby line $300
>(or other suggestion?)
>
>I don't really need all the fancy heart shaped stitches and stuff.
>
>Greg
>
>
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>  
>
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From h-costume-bounces@indra.com  Fri Apr  8 01:34:48 2005
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From: Lady Satine <seamuslady@yahoo.com>
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Subject: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
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Cynthia
 
Yup sounds like a failure to Communicate to me. 
 
 
How I know the terms ...... Grommets are metal ringsFind these in tandy leather catalogs of various sizes or Great Big ones near Eyelets in Fabric stores like Joannes, Fields Fabrics, Habdcock Fabrics, Fabricland......  usually the two pieces that ya bang with a mallet  can be used in Various projects From Leather to Cotton and several ladies from my former group use them in their 11th(?) Century Coatehardies and Kirtles (Laces in the back not front of garment....From what I have been told anyway.  
 
Eyelets are a weaker version of these sold in Fabric Stores. Split really easily when hit witha mallet  They are called Eyelets.... many colors and usually small sizes...  they can also be used in Scrapbooking.. or at least I have seen them also sold in that section of craft stores. like Michaels.  
 
I think my deifinitions are  more modern use for these Items.... 
 
Kirtles are also some Kind of Elizabethan Garment, Unudergarment of some kind as well I think...I have hears mentioned in Reference to elizabethan here a while back..... Any elizabethan ladies care to comment on that ??? did I get the Term right...  
 
So Cynthia did I confuse you even more?????? I am glad you asked, I could not stamd being yelled at for being a NOVICE and NOT an experienced sewer anymore and the pet peeves....
 
I am a novice about this costiiming stuff Most of my 10 years in SCa have been spent doing A& S stuff like Beading, Wirework, Brewing, Singing, Embroidery,  and taching these carious thing s I know to others. Its time I move onto something different. Hence why I am here! 
 
AS for the petty pet peeve stuff.......Is this list usually so cliquey with new membersw or is everyone having a bad time right now???? It appears that Novices are not wanted and will not be tollerated by some of the old guard.   Just asking! 
! 
 
Satine 

		
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From h-costume-bounces@indra.com  Fri Apr  8 02:04:38 2005
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From: Lady Satine <seamuslady@yahoo.com>
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What was labelled her in windsor as silk noile we bought for our ladies in waiting Viking apron dresses Label said it was 100% silk  We machine washed it.  Pilled not too badly and was kind of stretchy.. Not severely but a little.. Extremely comfortable to wear.. However I do know that sometimes items are labeled differently on both sides of the Border....Does anyone else want to comment on this???? what is it like on the US side  at Fabric stores?????  I have never bought it stateside. only here in Canada. 
 
Thanks 
Satine 

Leah L Watts <llwatts@juno.com> wrote:
OK, I've almost finished a mockup of my summer project (the Folkwear
Beach Pajamas pattern), and have figured out how much to enlarge the
pattern.

I'm planning to order silk noil for the "serious" outfit. (Thread
detour: it looks like the Bonnie's Bailiwick site is going through a
complete redo. Anyone heard if their prices/selection has changed? End
thread detour.) I'm also planning to prewash; even though I work for a
dry cleaners and would get 50% off cleaning it, the stains I expect to
pick up wearing this to a gaming convention would all be water-based, so
perc wouldn't be the best cleaning choice. I've never worked with silk
noil before, though. How much shrinkage should I allow for when I place
the order? Would an extra yard be enough?

Leah
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From h-costume-bounces@indra.com  Fri Apr  8 02:30:41 2005
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Kathleen,

I am glad you enjoyed the Catholic Encyclopedia.  I reference it a lot and 
use it for personal use.  I have not checked to see who publishes it, but it 
is a wonderful online resource.

I wanted to start putting my first communion photo collection online this 
year for the Easter season.  Doesn't look like it will happen this year 
since I am recovering from my slipped disks.  I look forward to seeing your 
first communion photo collection too!

We, too, love the internet for reference material.  That's why I start my 
website.  I got tired of running all over town to libraries with someone 
taking me into a vault to read antique costume books or magazine. The 
library workers would put on white gloves and turn the publication pages for 
me.  No pencils or notebooks were allowed in the vaults. Gees, my memory 
isn't that good, not even ten years ago!  I thought there had to be an 
easier way to have access to these materials.

The first five years of my business I spent every penny I made, purchasing 
books, magazines, and photographs to put in my online Library.  I didn't 
want others to go to such lengths as you and I did by running all over the 
place to study fashion history.  Hard to believe that June 30 is my 
Library's ninth anniversary on the web.

BTW, last night we started putting online in our Library your 1911 Women and 
Labor book.  Nikki, our typist for the book, is really enjoying reading the 
book as she types.  Your book comes to life again today!  Many thanks to you 
for sharing.  Previously, only a few people could read the book. Now 
thousands will be able to learn from it.

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


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> http://www.newyorker.com/fact/content/articles/050411fa_fact
>
> The gist of the article is that during restoration, the back side of the 
> Unicorn tapestries was revealed, disclosing much more vivid colors than on 
> the front.  Awareness of these un-faded colors would be helpful in accurate 
> costume color choices.  (Why this came as a surprise to anyone is a mystery 
> to me.)

I have a book that shows a couple of photos of the back of a small part. 
Unfortunately, those pictures are in black and white and the text doesn't 
give any details about the conservation work done prior to that time. 
However, the book was copyrighted by the Met in 1974 so I agree with you 
that it's a bit puzzling that they were surprised, since the backs have
been seen by previous museum people within the last 30 years or so.

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Subject: [h-cost] Re: Re: medieval tapestries 
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The differences in colors due to fading were remarked on at length, along 
with other details about tapestry-making, in Thomas P. Campbell's _Tapestry 
in the Renaissance: Art and Magnificence (collection catalogue of the 
exhibit showing March 12 - June 19, 2002)_ , published by The Metropolitan 
Museum of Art/Yale University Press, New York, 2002 ISBN 0-300-09370-5.



Brenda
webwarren@earthlink.net


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Subject: [h-cost] Camel suit
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At the beginning of the nightly news service, the anchor mentioned that one
man had been arrested and another three were being questioned after the
theft of a camel suit from luggage at Sydney (Australia) airport.

On hearing the headline, I assumed it was some version of suit to match
fairly common camel hair coats.

Nope.

An advertising executive was transporting a camel mascot costume from Sydney
to Melbourne and was shocked to look out a window to see someone wearing the
costume on the tarmac. It appears that baggage handlers had opened the
luggage and helped themselves to a bit of fun.

-C.

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Subject: Re: [h-cost] vestment question(s)
Date: Fri, 8 Apr 2005 07:52:58 -0400
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You are very welcome for the material I have been able to help put out
there.  There is another one on somewhat the same subject, "What Can A Woman
Do", 1878.  This one includes the proverbial "Egg Money". I sometimes think
of it as alternatives to Prostitution. OT How to make ends meet...

Kathleen
----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 08, 2005 2:29 AM
Subject: Re: [h-cost] vestment question(s)


> Kathleen,
>
> I am glad you enjoyed the Catholic Encyclopedia.  I reference it a lot and
> use it for personal use.  I have not checked to see who publishes it, but
it
> is a wonderful online resource.
>
> I wanted to start putting my first communion photo collection online this
> year for the Easter season.  Doesn't look like it will happen this year
> since I am recovering from my slipped disks.  I look forward to seeing
your
> first communion photo collection too!
>
> We, too, love the internet for reference material.  That's why I start my
> website.  I got tired of running all over town to libraries with someone
> taking me into a vault to read antique costume books or magazine. The
> library workers would put on white gloves and turn the publication pages
for
> me.  No pencils or notebooks were allowed in the vaults. Gees, my memory
> isn't that good, not even ten years ago!  I thought there had to be an
> easier way to have access to these materials.
>
> The first five years of my business I spent every penny I made, purchasing
> books, magazines, and photographs to put in my online Library.  I didn't
> want others to go to such lengths as you and I did by running all over the
> place to study fashion history.  Hard to believe that June 30 is my
> Library's ninth anniversary on the web.
>
> BTW, last night we started putting online in our Library your 1911 Women
and
> Labor book.  Nikki, our typist for the book, is really enjoying reading
the
> book as she types.  Your book comes to life again today!  Many thanks to
you
> for sharing.  Previously, only a few people could read the book. Now
> thousands will be able to learn from it.
>
> Penny Ladnier, owner
> The Costume Gallery, www.costumegallery.com
> Costume Research Library, www.costumelibrary.com
> Costume Classroom, www.costumeclassroom.com
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <maggie.gene@justinanimator.com>
Subject: Re: [h-cost] pet peeves..... 
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>
>I am a novice about this costiiming stuff Most of my 10 years in SCa have 
>been spent doing A& S stuff like Beading, Wirework, Brewing, Singing, 
>Embroidery,  and taching these carious thing s I know to others. Its time 
>I move onto something different. Hence why I am here!
>
>AS for the petty pet peeve stuff.......Is this list usually so cliquey 
>with new membersw or is everyone having a bad time right now???? It 
>appears that Novices are not wanted and will not be tollerated by some of 
>the old guard.   Just asking!
>!
>
Actually, I think that the comments usually come by subject.  I usually 
lurk, and have had some of my questions answered very quickly and 
sensitively, and others ignored.  I think that some questions hit some 
other people's pet peeves. GRIN

One suggestion, if you ask a specific question (ensure that you are as 
clear as you can be), you should get a great answer, if it's way too 
general, you'll get either crickets or a request to look at the archives.

Genie, who has been on this list for long enough to really love it.

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From: Bonnie Booker <aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
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> >
> >I am a novice about this costiiming stuff Most of my 10 years in SCa have
> >been spent doing A& S stuff like Beading, Wirework, Brewing, Singing,
> >Embroidery,  and taching these carious thing s I know to others. Its time
> >I move onto something different. Hence why I am here!
> >
> >AS for the petty pet peeve stuff.......Is this list usually so cliquey
> >with new membersw or is everyone having a bad time right now???? It
> >appears that Novices are not wanted and will not be tollerated by some of
> >the old guard.   Just asking!

I guess I'm one of the "old guard."  I have been in the SCA for over
20 years.  A lot of people on this list know a lot more than I do
about costuming.  Yes I'm also a member of the Robin Netherton fan
club.  I wait to see if someone answers a question.  If they ask it a
second time because they got no reply, then I will try to answer it. 
You might also want to try the SCA Garb yahoo group.  They answer more
basic questions.  I ask on this list when I can't find the answer
there.

-- 
Aspasia Moonwind
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] pet peeves.....
To: Historical Costume <h-costume@indra.com>
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Geee- I guess  that makes me --*really * Old Guard!!! SCA for 33 years---as well as 'Cameo Appearences ' playing with Faire and Friends of the English Regency:) I've delved into a lot of different cultures and time periods---and tried stuff I might not have --often thru the expertise  and encouragement of folks on this list(MANY thanks to you all!) and certainly feel like I'm never going to 'learn everything'. But one *should* keep re-inventing oneself, yes???
Albra/ Kathryn

Bonnie Booker <aspasia1@gmail.com> wrote:
> >
> >I am a novice about this costiiming stuff Most of my 10 years in SCa have
> >been spent doing A& S stuff like Beading, Wirework, Brewing, Singing,
> >Embroidery, and taching these carious thing s I know to others. Its time
> >I move onto something different. Hence why I am here!
> >
> >AS for the petty pet peeve stuff.......Is this list usually so cliquey
> >with new membersw or is everyone having a bad time right now???? It
> >appears that Novices are not wanted and will not be tollerated by some of
> >the old guard. Just asking!

I guess I'm one of the "old guard." I have been in the SCA for over
20 years. A lot of people on this list know a lot more than I do
about costuming. Yes I'm also a member of the Robin Netherton fan
club. I wait to see if someone answers a question. If they ask it a
second time because they got no reply, then I will try to answer it. 
You might also want to try the SCA Garb yahoo group. They answer more
basic questions. I ask on this list when I can't find the answer
there.

-- 
Aspasia Moonwind
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
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On Thu, 7 Apr 2005, Lady Satine wrote:

> AS for the petty pet peeve stuff.......Is this list usually so cliquey
> with new membersw or is everyone having a bad time right now???? It
> appears that Novices are not wanted and will not be tollerated by some
> of the old guard.  Just asking!  !

I didn't see any cliquishness myself, but then I'm used to the ebb and
flow of the list postings. Very general questions can be very hard to
answer; many of us have specialties and will generally answer questions
only in our "comfort zone." I don't have a whole lot of time for posts,
and when I do write, it tends to be on the long side, so I stay out of a
lot of topics unless they're in my specialty area and I have something to
add that no one else has mentioned.

It's also assumed (unless you state otherwise that you have a different
goal) that if you ask how something is done, you want to know the historic
method. And it's also assumed that you know and are using the correct
terms for things unless you indicate you're not sure. It also helps to
remember that a large number of people here are not in the SCA, and the
list covers all periods, not just medieval.

In other words, people will answer based on what they believe your
question to be, which many not be what you meant if you didn't provide
sufficient detail on your project or if you used terms in a way that
aren't generally known.

Sometimes we get a question like "Is cotton OK for a gown?" On an
SCA-based list, where everyone knows your goals, that might be answerable.
Here, if you get anything at all, it will be a bunch of other questions
trying to delineate what you need -- what period? what place? what do you
mean by gown? how authentic do you want to be? where will the costume be
worn? and so on. That's not meant as criticism or crankiness; it's that
there's SO many possible answers we can't help you till we know what you
want.

And truly, if people point you to the archives for something, it's because
we've had long and fruitful discussions over the topic. Something like
"Are princess seams period?" may sound to you like it could be answered in
a word, but it's a surprisingly complicated topic, and people here have
written volumes ... and are not particularly eager to hash it all out
again.

There are some people who don't find this list to their taste because they
don't enjoy the complicated answers and broader historical outlook. If
that's the case, then you might be happier with one of the two SCA-Garb
lists or one of the many period-specific lists. Each serves a different
purpose, and not all will be useful to everyone. If you do stay here,
though, I can guarantee you'll learn things you won't learn elsewhere.

--Robin

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
Date: Fri, 8 Apr 2005 12:20:38 -0600
To: Historical Costume <h-costume@indra.com>
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I, for one, am very pleased that so many of you took your time to 
answer my questions recently about medieval dresses.  I don't very 
often do costumes that have to be terribly historically accurate, since 
I am primarily a theatrical costume designer, but when I do, it's great 
to be on this email list.

In case anyone is interested my continuing saga with the SCA customer, 
she has decided now that she needs something less dressy for an 
upcoming event, so she has chosen McCalls 2806, which you have informed 
me is Italian renaissance.  She is making it out of blue linen and 
without the gold trim so it doesn't look as formal as it does on the 
pattern.  I realize it's still not that historically accurate but I 
just want to get a project done for her.  We're going to go with hook 
and eye tape instead of the zipper on the back on the underdress.  If 
anyone cares to provide any other suggestions, I'd be happy to hear 
them.

Sylrog

On Apr 8, 2005, at 12:05 PM, Robin Netherton wrote:

>
> On Thu, 7 Apr 2005, Lady Satine wrote:
> I didn't see any cliquishness myself, but then I'm used to the ebb and
> flow of the list postings. Very general questions can be very hard to
> answer; many of us have specialties and will generally answer questions
> only in our "comfort zone." I don't have a whole lot of time for posts,
> and when I do write, it tends to be on the long side, so I stay out of 
> a
> lot of topics unless they're in my specialty area and I have something 
> to
> add that no one else has mentioned.
>
> It's also assumed (unless you state otherwise that you have a different
> goal) that if you ask how something is done, you want to know the 
> historic
> method. And it's also assumed that you know and are using the correct
> terms for things unless you indicate you're not sure. It also helps to
> remember that a large number of people here are not in the SCA, and the
> list covers all periods, not just medieval.
>
> In other words, people will answer based on what they believe your
> question to be, which many not be what you meant if you didn't provide
> sufficient detail on your project or if you used terms in a way that
> aren't generally known.
>
> Sometimes we get a question like "Is cotton OK for a gown?" On an
> SCA-based list, where everyone knows your goals, that might be 
> answerable.
> Here, if you get anything at all, it will be a bunch of other questions
> trying to delineate what you need -- what period? what place? what do 
> you
> mean by gown? how authentic do you want to be? where will the costume 
> be
> worn? and so on. That's not meant as criticism or crankiness; it's that
> there's SO many possible answers we can't help you till we know what 
> you
> want.
>
> And truly, if people point you to the archives for something, it's 
> because
> we've had long and fruitful discussions over the topic. Something like
> "Are princess seams period?" may sound to you like it could be 
> answered in
> a word, but it's a surprisingly complicated topic, and people here have
> written volumes ... and are not particularly eager to hash it all out
> again.
>
> There are some people who don't find this list to their taste because 
> they
> don't enjoy the complicated answers and broader historical outlook. If
> that's the case, then you might be happier with one of the two SCA-Garb
> lists or one of the many period-specific lists. Each serves a different
> purpose, and not all will be useful to everyone. If you do stay here,
> though, I can guarantee you'll learn things you won't learn elsewhere.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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	Fri, 08 Apr 2005 12:07:25 PDT
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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] pet peeves..... 
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Status: RO

I have been asking how to get to the archives arround here I am unable to do so as of yet....Would you be able to guide me on how to get to the archives?????  I do make and attempt to be specific I just do not know all the Jargin.. I am very willing to learn I want to be good learner......
 
I do not mean to offend anyone or pick fights that is not my intent not in the least!  For I am a novice who has not been arround here long enough to figure people out yet...The bluntness and honesty while good can be a little overwhelming...... that is something I am not used to in the least.  In just reading the little I have from being here I have learned a lot..... I do recomend this site to others as well. because I feel all the knowledgable people here are a great resource! 
 
Thank you Genie for the insight. I will keep what you said in mind and do my best to be more specific. 
 
Satine
 


Genie Barrett <maggie.gene@justinanimator.com> wrote:

>
>I am a novice about this costiiming stuff Most of my 10 years in SCa have 
>been spent doing A& S stuff like Beading, Wirework, Brewing, Singing, 
>Embroidery, and taching these carious thing s I know to others. Its time 
>I move onto something different. Hence why I am here!
>
>AS for the petty pet peeve stuff.......Is this list usually so cliquey 
>with new membersw or is everyone having a bad time right now???? It 
>appears that Novices are not wanted and will not be tollerated by some of 
>the old guard. Just asking!
>!
>
Actually, I think that the comments usually come by subject. I usually 
lurk, and have had some of my questions answered very quickly and 
sensitively, and others ignored. I think that some questions hit some 
other people's pet peeves. GRIN

One suggestion, if you ask a specific question (ensure that you are as 
clear as you can be), you should get a great answer, if it's way too 
general, you'll get either crickets or a request to look at the archives.

Genie, who has been on this list for long enough to really love it.

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Aspasia, 
 
Did not know that site existed, When I asked a friennd about elizabethan I was referred here.... and told this is teh best site for help with that subject. I will check them out too Thank you,  for the suggestion! Who is Robin Netherton???? 
 
Satine

		
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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] pet peeves.....
Date: Fri, 8 Apr 2005 14:30:12 -0500
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Well for one this list is not SCA. Reasons for getting the cricket chorus
would be because we don't know the answer, don't know the answer and are
searching (with the possibility that the info is at another location), we
know something but will let someone else who might know more and that might
know more person unknowingly is off line for a few days.....etc
Sometimes there will be venting and almost always strong opinions on a
subject.

De

-----Original Message-----
>I am a novice about this costiiming stuff Most of my 10 years in SCa have
> >been spent doing A& S stuff like Beading, Wirework, Brewing, Singing,
> >Embroidery,  and taching these carious thing s I know to others. Its time
> >I move onto something different. Hence why I am here!
> >
> >AS for the petty pet peeve stuff.......Is this list usually so cliquey
> >with new membersw or is everyone having a bad time right now???? It
> >appears that Novices are not wanted and will not be tollerated by some of
> >the old guard.   Just asking!



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Subject: [h-cost] Quick Dyeing question
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I need to dye some of those silk scarves from Dharma trading company. 
Could someone who has done this before drop me an email?  I'm wondering
if I can just use Rit dye.

Thanks,
Catherine
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From: Lady Satine <seamuslady@yahoo.com>
Subject: RE: [h-cost] pet peeves.....
To: Historical Costume <h-costume@indra.com>
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I was given the Misladen Impression by the person that referred me here originally that it was Very SCA centered!  Yes this list does have teh reputation for being a SCA site to many... SCAdians.... Just a FYI....... 
 
I figured out quickly by reading the same posts several times sent to me...  that it was not completely SCA centered....Opinions are a good thing...Keeps people on their toes. Since stron opinions are apparently welcome here.... thought I would voice mine as welll.... 
 
Its friday.... Sunny and WARM...... Have a great weekend everyone! 
 
Satine

otsisto <otsisto@socket.net> wrote:
Well for one this list is not SCA. Reasons for getting the cricket chorus
would be because we don't know the answer, don't know the answer and are
searching (with the possibility that the info is at another location), we
know something but will let someone else who might know more and that might
know more person unknowingly is off line for a few days.....etc
Sometimes there will be venting and almost always strong opinions on a
subject.

De

-----Original Message-----
>I am a novice about this costiiming stuff Most of my 10 years in SCa have
> >been spent doing A& S stuff like Beading, Wirework, Brewing, Singing,
> >Embroidery, and taching these carious thing s I know to others. Its time
> >I move onto something different. Hence why I am here!
> >
> >AS for the petty pet peeve stuff.......Is this list usually so cliquey
> >with new membersw or is everyone having a bad time right now???? It
> >appears that Novices are not wanted and will not be tollerated by some of
> >the old guard. Just asking!



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From: "otsisto" <otsisto@socket.net>
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Subject: RE: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
Date: Fri, 8 Apr 2005 15:00:30 -0500
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A small note, SCA covers pre - dark ages to Renaissance. But yes the list
covers periods beyond 1600. So though there is a large number of people
listed, not all are pre 1601 experts. :)
De
-----Original Message-----
 It also helps to
remember that a large number of people here are not in the SCA, and the
list covers all periods, not just medieval.



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Subject: [h-cost] How to find the Archives for searching
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Lady Satine wrote:

> I have been asking how to get to the archives arround here I am
> unable
to do so as of yet....Would you be able to guide me on how to get to the
archives?????

I wonder if your message asking about the archives got eaten by the 
server, as it does sometimes?

They're at: http://sca.uwaterloo.ca/Fashion/

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Date: Fri, 8 Apr 2005 17:07:17 -0500
Subject: Re: [h-cost] Shrinkage question
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> > How much shrinkage should I allow for when I place
> > the order?  Would an extra yard be enough?
> 
> It varies depending on the batches. But mine shrank about what I'd 
> expect 
> cotton to shrink. You were thinking a yard over how much? Unless 
> you're 
> going to buy over 10 yards, I think one extra yard would be enough. 

It looks like 7 yards of usable fabric will make up the outfit if I sew
the sash out of something else for contrast.  I still haven't decided if
I want to do that, though.  The pattern envelope says a yard for the
sash, so if I go with a matching sash I'd need 8 yards of post-prewash
fabric.

Leah
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From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] pet peeves.....
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>
>
>>
>>
>> AS for the petty pet peeve stuff.......Is this list usually so 
>> cliquey with new membersw or is everyone having a bad time right 
>> now???? It appears that Novices are not wanted and will not be 
>> tollerated by some of the old guard.   Just asking!
>> !
>


Ummm... I've been on this list less than six months and I didn't even 
notice cliqueyness.


Adele
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I have been on this list since 1995 and was an older college student then. 
I have never noticed clicks, but I never noticed them in school either. 
What some may perceive as a click may be really good friends on the lists. 
Several members have know other members for a very long time and feel free 
to discuss more openly.  I sometimes like to joke with members I have known 
a long time.  If it seems like an inside comment, I don't mean it to be. 
Members who have known me for a long time, know that I like to joke around. 
But I am very passionate about costumes of any type.

There are several mentors on this list and have been for years.  Some are 
role models/mentors and do not even know it they are one.  Several of my 
first role models or mentors in this industry I met on this email list.

The wonderful thing about the list members are some have spent their life 
studying one area or period of costuming.   They are such a valuable 
resource.  If that is the clicks that are being referred to, please look at 
it in a different manner.  These people are a jewel in h-costume's crown.  I 
am a floater on the list.  I like about any topic or period.  I study a 
given period or topic for a year and more on to another.  My hat is off to 
those who devote themselves to one period or topic.  I can say out of the 
past ten years, I have never been bored!

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


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Subject: Re: [h-cost] How to find the Archives for searching
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Yes, I wonder too because I answered it myself, but then again, I can 
tell I am not getting all messages. You should be getting a periodic 
reminder about how to use the list, which will include a link to here: 
http://mail.indra.com/mailman/listinfo/h-costume How to get to the 
archives is towards the bottom with some explanatory stuff as well.

Sg

Cynthia Virtue wrote:

> Lady Satine wrote:
>
>> I have been asking how to get to the archives arround here I am
>> unable
>
> to do so as of yet....Would you be able to guide me on how to get to the
> archives?????
>
> I wonder if your message asking about the archives got eaten by the 
> server, as it does sometimes?
>
> They're at: http://sca.uwaterloo.ca/Fashion/
>
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>> Awareness of these un-faded colors would be helpful in accurate costume 
>> color choices.  (Why this came as a surprise to anyone is a mystery to 
>> me.)
>
> However, the book was copyrighted by the Met in 1974 so I agree with you 
> that it's a bit puzzling that they were surprised, since the backs have
> been seen by previous museum people within the last 30 years or so.

I think they would have expected the backs to be more vivid than the front, 
but they probably were surprised at how MUCH more vivid they were. Heck, I'm 
fully aware we  can produce neon pinks and such with natural dyes, but I'm 
surprised every time I see it! 
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Subject: Re: [h-cost] Hooks and eyes
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A friend of mine told me that in her research she found in wills, and 
household inventories hook and eyes were listed, according to her because they were 
metal and expensive they were used and reused, then even were passed to the 
next generation.  I personally have not read this but then I'm into the sewing 
not thed research.
theresa
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Subject: [h-cost] Clothing Breakdance ?
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Can anyone point me in the direction of any studies on the clothes 
culturally associated with break dancing please ?

In particular their origins, ie historic precedents.

Thanks

Mel
This e-mail, and any attachment, is confidential. If you have received
it in error, please delete it from your system, do not use or disclose
the information in any way, and notify me immediately. The contents of
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Company, unless specifically stated. You should not copy, forward or
otherwise disclose the contents of this e-mail or any of its attachments
without express consent


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>Can anyone point me in the direction of any studies on the clothes 
>culturally associated with break dancing please ?
>
>In particular their origins, ie historic precedents.

I'd look up Hip-Hop music groups, or Rap music groups, and see what they're 
wearing.  Or I'd go to a high school in East San Jose or East Los Angeles 
and look around, if I lived near enough.


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

              //// \\\
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                )   ((((((
           /----\   /---\))

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To: Historical Costume <h-costume@indra.com>
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Hi folks... sorry for the clutter.  Just trying to see if my post makes it 
through.  I've got a suspiscion that my emails are hitting ether.  I have 
some theories as to "why"  but I'll save those for the list admin - if this 
doesn't make it through.
Mari /  Bridgette

Webmaster@vet.cornell.edu

Mari Stewart
College of Veterinary Medicine
Cornell University 


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OK... the test made it through... but my thoughtful, inspriational, funny, 
and filled with common sense reply to Satine didn't.  Grrrr.  So on the 
"pet peeves" thread... all I can add at this late date is ... 'yeah - what 
they said.'

Hang in there... I got my fingers smacked the first time I posted to this 
list.  Can't remember by whom and that really doesn't matter, point is I 
stayed with it and have learned alot.

Mari / Bridgette

Webmaster@vet.cornell.edu

Mari Stewart
College of Veterinary Medicine
Cornell University 


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Leah L Watts wrote:
>>>How much shrinkage should I allow for when I place
>>>the order?  Would an extra yard be enough?
>>
>>It varies depending on the batches. But mine shrank about what I'd 
>>expect 
>>cotton to shrink. You were thinking a yard over how much? Unless 
>>you're 
>>going to buy over 10 yards, I think one extra yard would be enough. 
> 
> 
> It looks like 7 yards of usable fabric will make up the outfit if I sew
> the sash out of something else for contrast.  I still haven't decided if
> I want to do that, though.  The pattern envelope says a yard for the
> sash, so if I go with a matching sash I'd need 8 yards of post-prewash
> fabric.

I have that pattern, and in my opinion, it would look better with a 
matching sash. Would not cut you in two visually.

liz young


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Subject: Re: [h-cost] medieval tapestries
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Sue Clemenger wrote:  
> I've gotten lovely reds and pinks with madder, and the most amazing 
> bright, tangerine orange! (on wool...less impressive on silk)
> I'm thinking of using the orange wool to knit myself some 16th c 
> stockings.....

I'd love to see pictures if you ever have them!

Amy

Amy Butler Greenfield
http://www.aperfectred.com
cochineal@comcast.net

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Subject: Re: [h-cost] Dylon dye stripper - effective!
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> Crumbs!  I'm just using Dylon machine dye-stripper on a length of linen I 
> dyed before but now want a different colour.  You put the fabric in the 
> machine, start the cycle, leave it 15 minutes and then mix up the dye 
> stripper and pour it in the soap dispenser.  By the time I had finished 
> rinsing the noxious stuff out of the mixing jug, I glanced in the machine 
> and the colour had gone completely!  Now that's effective!

Pretty cool, isn't it? Unfortunately, it doesn't work on most industrial 
dyes, i.e. if you bought the fabric already dyed, most of the times it won't 
do much more than make it a slightly lighter shade. 
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Subject: Re: [h-cost] Re: A silk garment filched by a monk?
Date: Wed, 6 Apr 2005 16:42:34 -0400
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Aha!!  The "Emperor's New Clothes"!
Kathleen

----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 06, 2005 1:59 PM
Subject: Re: [h-cost] Re: A silk garment filched by a monk?


> As I said earlier, the account was written by:
>
> 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.)
>
> and as I said in my second message, this took place in Gaul.
>
> What do you think the garment was?  Enough people examined it in enough
> detail that I doubt it was imaginary, though I also doubt it was
> miraculous.  As for "brightness," the term could mean shininess, it
> could perhaps mean intensity/saturation of color, it could perhaps mean
> both.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.som
>
> tearoses@aol.com wrote:
>
> >I would have thought monks would be familiar with silk. What's the date
and location of this story?
> >
> >And what would they have meant by "marvelous brightness?" They state the
color in the next phrase, so brightness must mean something else. Did they
mean it was shiny?
> >
> >not-a-historian Tea Rose
> >
> >
> >
> >
> _______________________________________________
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Subject: Re: [h-cost] medieval dress
Date: Wed, 6 Apr 2005 14:53:10 -0600
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Yes, that's the right one.  My concern is not with how easy it is to 
make, but how authentic it is.  However, I've since talked to my 
customer who has decided she now whats something entirely different.  I 
will find out tomorrow and then I will probably have more questions.

Sylrog

On Apr 6, 2005, at 11:59 AM, JAMES OGILVIE wrote:

> Do we have the right number (2806)?  That dress is Italian Renaissance 
> rather than Elizabethan and actually might be easier to make up than 
> the earlier pattern, not to mention it is more athentic.  Just try to 
> keep her away fram the all too common practice of having a dress like 
> the red one that splits down the front and wearing only a chemise 
> under it.
>
> Janet
> _______________________________________________
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Subject: Re: [h-cost] well that's frustrating
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Mari, I am having the same problem.  Have you spoken to Liz?  I have 
not, but since several of us are having the same problem, I think we should.

Sg

Mari Stewart wrote:

>
>
> OK... the test made it through... but my thoughtful, inspriational, 
> funny, and filled with common sense reply to Satine didn't.  Grrrr.  
> So on the "pet peeves" thread... all I can add at this late date is 
> ... 'yeah - what they said.'
>
> Hang in there... I got my fingers smacked the first time I posted to 
> this list.  Can't remember by whom and that really doesn't matter, 
> point is I stayed with it and have learned alot.
>
> Mari / Bridgette
>
> Webmaster@vet.cornell.edu
>
> Mari Stewart
> College of Veterinary Medicine
> Cornell University
>
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Date: Thu, 07 Apr 2005 09:24:04 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Fwd: Medieval gowns
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Lady Satine wrote:

>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?????
>  
>
For some value of "OK".  Once again, there are no set standards.  No one 
is going to ask someone to leave an event because their seams aren't 
right.  It boils down to how devoted you are to period construction 
methods.  My personal feeling is that by and large, princess seams are a 
waste of time and fabric, since they aren't a period method, don't give 
a period look, consume more fabric than period methods, and require 
additional sewing (a few garb styles excepted, of course). And I don't 
even enter A & S competitions. But I'm not going to stop _you_, and 
nether is anyone else, so you just need to decide what you're happiest 
with.

> 
>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.....
>  
>
Essentially correct.  Actually, my eyelet covering is about 1/3 
motivated by a desire to cover the shiny thing, and about 2/3 by a 
desire to stop the shiny thing pulling out.  Large grommets are just naff.


>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..... 
>  
>

I heartily concur.

-- 
Adele de Maisieres

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

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To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Fwd: Medieval gowns
Date: Wed, 6 Apr 2005 16:31:38 -0500
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In the SCA Handbook it says something about making an attempt at ? - 1600
garments (not a direct quote).
Like here, you will have debates on period construction, color and styles
but among the Laurels (persons who have achieved recognition for their
expertise in the area of historic Art or Science) and future Laurels. Note
there are still Laurels going around and saying that pink is not period. Not
everyone gets updated to new info at the same time.
There is a common belief that if you are going to make garb you make it as
period as possible.
If this is her first garb, you may just make it to her whim, within reason.
Within reason meaning that if she wants something and you are not skilled
enough for it, then don't do it, just make the dress to your skill level.
By the way, You will find in late 1300s -early 1400s "Italian", a square
neckline with a different color front panel. At least the fresco and
painting looks that way. My hardcopy files are in a disarray and I am not
very good with computers to keep a url of the pictures. So if I get the
chance I will try to look these up so that you can see what I am talking
about.
If she has not bought a pattern yet, might I direct you to this site.
http://www.reconstructinghistory.com/
also,
http://www.gbacg.org/Patterns/costumeconnection.htm
http://www.5rivers.org/en-gb/dept_8.html
http://www.mediaevalmisc.com/patterns.htm
Though for most woman that are DD. I hear that Elizabethan is good because
the "corset" helps support the bust and back.
IF this sounds feasible, perhaps you might be interested in,
http://www.margospatterns.com/mainframe.htm

I wish you well in you sewing and hope that I have not made some confusion
here.

De


-----Original Message-----
I keep trying to figure out just how much authenticity my customer
wants to go for and I am finding it very difficult to pin her down.  I
am not a member of the SCA myself and I gather that there are very wide
variations in authenticity within the organization.  This has probably
come up in discussion before, but are there any standards that those of
you know of who are in the SCA?

Sylrog
'


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Date: Thu, 07 Apr 2005 09:33:26 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] medieval dress
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Sylvia Rognstad wrote:

> I passed on the conclusion I came to with all your help in regard to 
> the Butterick pattern and its lack of historical accuracy to my 
> customer, thinking she would want to go ahead anyhow, but it appears 
> she may want to try something else that is more period accurate.  
> Unfortunately, the fabric she has already purchased is not anything 
> found in the Middle Ages.  She's already bought a lot of it and it is 
> lovely fabric.    Do I tell her or just ignore that and proceed with 
> whatever we both decide to make?  She is thinking now of using McCalls 
> 2806, which can be found here:
> http://www.reddawn.net/costume/mccalls.htm

Depends-- what kind of fabric is it.  Is it actually nasty, or just a 
bit off?

>
> It is a discontinued Elizabethan pattern.  I thought the SCA was 
> supposed to be medieval.  Isn't this too late for the SCA?  Not to 
> mention that the pattern in discontinued.  Plus if I have to make a 
> pattern the dress will end up costing her another $100 or so.  I wish 
> she could have consulted with me before ever starting this project but 
> since she already has the fabric, I'm not sure what to advise her now.
>
The SCA covers the years up to 1600, so Elizabethan/Renaissance is 
fine.  Try Googling the pattern name and number for a start-- sometimes 
you can pick up discontinued patterns here and there.

-- 
Adele de Maisieres

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

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Subject: Re: [h-cost] medieval dress/McCall's 2806
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I am too having some msg issues I am getting repeats from last week and the past few days . This is the first time it has happened in a while...... 
 
I agree with Cynthia it is a Italian ren Pattern.. Circa 1450-1510 ish.. emphasis on ish!. My Primary time period....At this point there is not much you can tell her for this outfit... Just remind her she is supposed to look "Fat" or Pregnant it If she really wants to be period she should wear the three layers the Chemise/Camicia, the under dress.. which would be teh Metallicy looking material on teh pattern, adn teh outer Dress/tabbard the red layer.... 
 
 
Just guide her through things for her next outfit... I know cringe.... but with newbies... we were all there at one time or another........Good luck!
 
Satine


 

		
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References: <Pine.LNX.4.10.10504061811570.15670-100000@shell.nightowl.net>
Subject: Re: [h-cost] Fwd: Medieval gowns
Date: Wed, 6 Apr 2005 19:40:34 -0400
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> You
> may remember my mockup and the photos of the young man and lady wearing it
> (in sequence, not simultaneously).
>
> --Robin

Robin, that was WEIRD... Now I'm imagining the man and lady trying to both 
fit in the gown at the same time... must be that cold I got... brain fuzzy 
think funny... 
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bliauts
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On Wed, 6 Apr 2005, Adele de Maisieres 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.

Actually, the style that is under discussion here is probably regional in
itself. But this depends on what you mean by "bliaut." The term has a much
more widespread usage than the style that most people think of when they
hear that word.

The term "bliaut" is a French word for some form of overgown. We can get
some clues about its characteristics from literature -- for instance, it
is often described as being worn by nobility and royalty, and in such
cases is made of rich cloth. It has side lacings in at least some cases,
to pull it closer to the torso. However, there's not nearly enough to go
on to match up the word with a particular garment seen in visual sources.

The style seen on certain statutes, such as those at Chartres -- the one
most often characterized by horizontal texturing on a tight bodice,
vertical lines on the skirt, a seeming division or line between bodice and
skirt, a certain belt arrangement, droopy ripply sleeves, etc. -- appears
in a very limited context. It shows up only in a certain region of France
for a short stretch of time (I forget the exact decades), almost always in
sculpture (I can't think of any non-sculptural examples, in fact), and
virtually always on allegorical or royal figures. This style was the one
identified by certain 19th century authors as being the "bliaut," and that
is the name that has been associated with those garments ever since, but
there is no way to know whether this is the same gown that is referred to
by that name in writing.

Other art works from this period, such as manuscript illuminations, show a
far less curious style -- same close body and full skirt, often with
droopy sleeve ends and even visible side lacings, but not the more
problematic details of texture, lines, and body/skirt division seen in the
statues. It's certainly a reasonable hypothesis that the style depicted in
the manuscripts was the "bliaut" of literature, but that can't be certain
either.  However, its characeristics do pretty much match up to the
written descriptions of the "bliaut."

So if the question is "How do you make a bliaut?" then the answer is
another question: "What do you mean by 'bliaut'?" Because the construction
of the garment in the illuminations doesn't pose any significant or
unusual problems, whereas the garment of the statues is essentially
unsolvable; there are many theories, and every single one has flaws.

That, in a nutshell, is the "bliaut problem."

I personally think that the limited context for the sculptural version,
along with the obvious construction problems and the disconnect with the
fashions of the preceding and following periods, raise a strong
possibility that the images do not represent a normal fashionable garment.
They might be a complete invention, for instance the result of a certain
artistic school of decorative techniques in sculpture, or a deliberately
fanciful image used as artistic code for "royalty/saint/allegorical
figure." Or they might represent a particularly unusual short-lived style
worn by the French queen or court, perhaps as a result of a small, finite
quantity of exotic fabrics or garments brought back from Crusade, and thus
became recognizable visual style for "queen" in that period. I think
either of these theories makes more sense than assuming that this was the
"bliaut" that literary references suggest was commonly worn by nobility
over a large area of Europe for a significant period.

But that's just me.

--Robin
one of those "folks who write long posts on h-costume"

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From: "michaela" <thebruce@ihug.co.nz>
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Subject: Re: Eyelets vs. grommets Re: [h-cost] Fwd: Medieval gowns
Date: Thu, 7 Apr 2005 14:57:30 +1200
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> Personally, I tend to specify:
>
> Handsewn eyelet = just that
> Metal eyelet = one piece metal eyelet pressed into place with an eyelet
> press tool through a pre-made awl hole.  I always thoroughly oversew mine.
> Grommets = two piece metal eye, often large.  I never use these.

I've seen the opposite said of metal eyelets and grommets as well;)

I call all the metal things "grommets" as a grommet really is a small tube.
There are ear grommets used to treat glue ear, and they are little
plastic/rubber tubes. Grommet and washer  for the two part. It usually saves
a lot of confusion. Grommet's without washers are just pointless. Unless you
do something else to them;)

I also only ever make a hole for grommets by a pointy thing rather than
cutting the fabric. Even rather large holes, I wind up wiggling a large
knitting needle. It makes them much safer from popping. Of course it also
makes them much harder to remove due to all the tension around the hole....
Now if I could get my hands on a proper awl rather than those glorified
nails sold in the local shops.....

My Oxford dictionary isn't terribly usedful in explaining when one term came
to be used over the other. But I'm sure the actual Oxford dictionary would
have all the references;)

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



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Date: Thu, 07 Apr 2005 16:13:01 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Re: medieval gown
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Sue Clemenger wrote:

> In the town
> where I was born
> lived a man
> who sailed to sea....


Sky of blue and sea of green...

-- 
Adele de Maisieres

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

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Subject: Re: [h-cost] MC&T Journal
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I'm chiming in, agreeing with Catherine here.  The people I know of 
(locally) who are most likely to buy this sort of publication may not 
always be dead serious about costuming or textiles, per se, but they are 
*quite* serious about doing good research.  We're kind of like 
borderline-academics, I guess, and some of us have amazing collections.
As an illo....my biggest "finds" on my Europe trip a few years ago were 
all scholarly texts--I have the first 3 volumes of a series on Medieval 
Dublin, and the book from the York Archaeological Trust on the the 
Textiles, Cordage, etc. from the Coppergate digs.
My best purchase last year (with my tax refund, god bless it) was almost 
300 euro' worth of books from the Royal Irish Academy.  Some 
single-topic books, some collections of monographs.
This year, my finds are _Woven into the Earth, the Anglo-saxon dress 
book by Gale Owen-Crocker, and the MC&T journal.  Fascinating, all of 
it....the sheer variety (everything from textiles to Viking ship 
graffiti) is the closest I can get to scholastic heaven, I think, short 
of winning a lottery and being able to spend the rest of my living days 
in formal scholarly pursuits. ;-)
They're all treasures, even for an amateur like me.  So I don't think 
you've got anything to worry about with this journal, Robin! I'm already 
drooling, thinking of volume 2.
--sue, certified bibliophile....

Catherine Olanich Raymond wrote:


> I know, Robin, that you've been concerned that people will buy MC&T, expecting 
> it to be a how-to or a costume survey, instead of a journal of scholarly 
> essays on a variety of costume-related issues (some of which, I'm sure, may 
> be relatively unrelated to costume re-creation or construction).   But 
> speaking for myself, I would rather have to wade through a "scholarly" work 
> for information that really will enhance my knowledge of historic costume, 
> than read a dozen well-meaning "surveys" repeating the same things "everyone" 
> knows, and that are in many instances, flat-out wrong.
> 
> Good luck!
> 

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: Eyelets vs. grommets Re: [h-cost] Fwd: Medieval gowns
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At 12:55 07/04/2005 +1200, you wrote:
>Cynthia Virtue wrote:
>
>>Most of the time, people on this list use the term "eyelet" to refer to a 
>>hole poked in the fabric and button-hole-stitched around the hole to keep 
>>it open.  No metal is involved.  Grommets would be the sort that you whap 
>>with a mallet, in two pieces, which cut the threads as it is attached.
>
>
>Personally, I tend to specify:
>
>Handsewn eyelet = just that
>Metal eyelet = one piece metal eyelet pressed into place with an eyelet 
>press tool through a pre-made awl hole.  I always thoroughly oversew mine.
>Grommets = two piece metal eye, often large.  I never use these.


Just to confuse you still further, here in England, we don't have grommets, 
except as things that go in people's ears when they have glue ear, or as 
items at a hardware store. My DH tells me they are usually made of rubber, 
two sided and are used to protect holes in wood, steel etc. Eyelets have 
two pieces, an eyelet and a washer, and are usually put in using a tool of 
some kind, although you can wack 'em with a hammer. I have a hand worked 
machine (not hand held) with a "die" that sets them for me - I can buy 
different dies for different size eyelets. Also hand made of course.

Suzi


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To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Clothing Breakdance 
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Hi!

My memory was mostly correct, Breakdance started in New York sometime in the
60's. I did a quick google search out of curiosity and here's what I came up
with:

http://www.ic.sunysb.edu/Stu/jmgutier/webquest.html

http://www.globaldarkness.com/articles/history%20of%20breaking.htm

http://www.jahsonic.com/Breakdance.html (this one makes mention of clothes)


Interestingly, most of the articles I looked at credit James Brown as being
the originator of breakdancing!?

Curiosity piqued and mostly satisfied,

Sheridan


******************************************************
On nights such as this, witches are abroad.

Well, not actually abroad. They don't like the food
and you can't trust the water and the shamans
always hog the deckchairs.

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Subject: Re: [h-cost] Clothing Breakdance ?
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>Or I'd go to a high school in East San Jose or East Los Angeles 
and look around, if I lived near enough.


I'm in England so definatly not near enough ;)

Mel

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> This is a great picture - it shows several points I've been trying to 
document
.  What and where is it?

Ok.  I scanned this image from a book titled Romanesque and gothic France: 
Architecture and sculputre by Minne-Seve and Kergall (tr. Hawkes).

the figure is from "St. Loup de Naud" where-ever that is!

> ----  <h-costume@indra.com> wrote:
> > Try this .....
> >
> > http://tinyurl.com/6qse5

the things that I find intriguing about this image is that you can see a 
finely
pleated garment of some sort at the neckline "disappearing behind" the heavily
ornamented neckband of "an outer garment."  If you scroll down to the waist,
you can see the wrap belt (presumably criss-crossing on her back) because you
can see the tassels below the upper part of the belt.  What caught *my* eye, 
was that if you look between the upper and lower parts of the belt, you see
another "ornamented band" not as deeply ornamented as around the neckline or
the belt -- and below that band (and above the knot of her belt) the fine
pleats of the "'under'garment" show up again.

As I say, to *my* eyes, this looks like a different garment over a finely 
pleated *something*

Jerusha

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

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Thanks I found those, better sites seem to turn up with the term b-boying , 
which I found mention of on one site :)) Still not much clothing specific 
though

Mel

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From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Thinking about a buying a sewing machine....
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I agree - if it is an older model in good condition grab it.  I have a fifty year old Singer that I love that (like me) never gives up.  I have a newer New Home that I have to tinker with constantly because it is such a wimp.  The old ones weigh a ton but are so much sturdier.

Lalah, Never give up, Never surrender


--- "dgandh" <dgandh@t-online.de> wrote:

From: "dgandh" <dgandh@t-online.de>
Date: Thu, 7 Apr 2005 15:28:46 +0200
To: "'Historical Costume'" <h-costume@indra.com>
Subject: [h-cost] Thinking about a buying a sewing machine....

I have been thinking about buying a sewing machine to do the seems and bits
that you don't see in things like shirts, slops and sailors jackets.

Most of what I would be sewing will be linen (a lot of the old handwoven
stuff) thick wools and maybe silk now and again.

I am leaning towards an older Pfaff 230 or 260 machine for around $100 (or
55 Pounds sterling, 60 Euros whatever)

Or would my money be better spent on a newer Pfaff from the hobby line $300
(or other suggestion?)

I don't really need all the fancy heart shaped stitches and stuff.

Greg


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From: "Diane Maynard" <camelothorse@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Thinking about a buying a sewing machine....
Date: Thu, 7 Apr 2005 13:06:31 -0500
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I am going to jump in here and add my two cents worth.  I have a pfaff 130
machine that my Mother gave to me.  She bought this machine "USED" when I
was 5 yrs. old and I am well-----let's just say the machine has been in my
family for over forty five years and it was bought used.  The tension was
giving me a little trouble and I took the machine in to our local shop to
see if it was worth repairing.   The man looked at the machine---cleaned it
( I know it had not ever been into a shop for maintenance in it's life )
----and said " do not sell this machine because NOTHING on the market now is
built as well".   He also told me that I did not need to get a new
industrial machine to sew clothing weight leather.  All of the gears in the
old Phaff are steel and it IS a heavy duty machine compared to the new ones.
These guys are worth their weight in gold (and they weigh a ton !).  By the
way, I do own a light weight White for lugging around and a Janome for the
fancy embroidery work.  They are both excellent machines for what they are
used for but, my work horse is the Phaff.

Good luck,
Diane  


<I am leaning towards an older Pfaff 230 or 260 machine for around $100 (or
55 Pounds sterling, 60 Euros whatever)

Or would my money be better spent on a newer Pfaff from the hobby line $300
(or other suggestion?)>



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Early Anglo-Saxon wrist clasps ?  I'm sure I've seen some, (somewhere), that
looked just like hooks and eyes.

Linda Walton,
(in High Wycombe, Buckinghamshire, U.K.).

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] medieval tapestries
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Dear Amy,

As an instructor of writing, I just have to say that your webpage on cochineal dying was not only fascinating but also a LOVELY piece of writing! I'd love to show it to my students as an example of a "process essay" that beautifully melds instruction and literature.

--Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----
From: Amy Butler Greenfield <osmanthus@comcast.net>
Sent: Apr 7, 2005 3:29 PM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] medieval tapestries

Fascinating New Yorker article!

Suzi wrote:
> It does surprise me that the team didn't expect the backs to be brighter

I understand what you mean, Suzi.  And yet I, too, have been surprised by 
how bright traditional dyes can be.  When I did some dyeing experiments with 
cochineal on silk (roughly following some 17th-century formulas) I expected 
to get a fairly bright red.  But the red I actually got was much more vivid 
than I could have imagined -- almost a neon red.  I finally understood why 
observers said that the dye "dazzled the eye."

If anyone wants to see photos of my dyeing results, you can find them here:

http://www.amybutlergreenfield.com/Amusements_Dyeing.html


Amy

Amy Butler Greenfield
cochineal@comcast.net 

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Subject: RE: [h-cost] Thinking about a buying a sewing machine....
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I would agree completely with getting an older machine.  I am very fond of
vintage straight stitch machines.  They do a wonderful stitch, and it is
almost impossible to kill them.  They will also sew tents and the like.  By
vintage I mean machines from at the latest around 1965- the older black
Singer 201, 15, the Pfaff 130 in particular is in demand by some quilters,
etc, etc.  Where are you?  I've been collecting machines for years and have
quite a collection and could show you some if you are in the DC area. Most
will not do zig-zag, so if you need that you need a slightly newer machine,
but the more metal in it, the better off you are.
-Megan




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Subject: Re: [h-cost] Agnes Sorel
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In a message dated 4/7/2005 6:03:04 P.M. Eastern Standard Time,  
jaurbik@optonline.net writes:

Here is  an intresting news story  about Agnes Sorel.  it turns out that  
she was recently unearthed and had some chemical analysis was done on  
her.  But the articule does not mention the m ost important  part---which 
is of course "did they find any fabric on  her"?




Is there a link to the story?
 
Ann Wass
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] MC&T Journal-missing part  of the conversation
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I am only getting a portion of all the posts, so I missed out on the 
original.  What is the full name of the journal please, so I can further 
help impress Robin's publisher?
Sg

Robin Netherton wrote:

>On Wed, 6 Apr 2005, Catherine Kinsey wrote:
>
>  
>
>> 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
>><snip>
>>Robin
>>    
>>
>>Maybe we want to help be sure there is a second volume :).
>>    
>>
>
>For this I am very grateful :-)
>
>I can state with authority that you folks made a heck of an impression on
>my publisher. Now I have to hope we live up to the expectations!
>
>--Robin
>
>
>  
>
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Subject: Re: [h-cost] exhibition project
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----- Original Message ----- 
From: "Aylwen & John" <garden@earthlydelights.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 07, 2005 10:21 AM
Subject: [h-cost] exhibition project


> Hi, I'm putting together a proposal with costings to put together an
> exhibition of women's clothing in Australia from 1788 - 1901. I'm
> looking to display both the day and evening gowns and their
> underpinnings and supports. I've only just started putting together the
> proposal, so would love any hints or suggestions that I should
> consider. I will the one making the garments - I'm looking at finding
> paintings of Australian women in this time-frame and copying the
> garments featured in them, that way they could be displayed with the
> painting and be more of a research project. I'm also hoping to put
> together a book detailing the progress of making all the garments.
> Warmest Regards, Aylwen

Hi Aylwen,
I'd contact the National Library to have a look at their photo collections
and probably their newspapers as well (IIRC they have a few pre 20th century
newspapers the state libraries might have more but they're not local).
You'll probably find more photos and prints/drawings than paintings as they
were more accessible to people. If you want paintings you could try the
national gallery and/or the state galleries (I've been told the state
gallery of Victoria is particularly good). If all else fails you can assume
that most fashions were imported from England but would have been behind due
to the speed of communication.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole@iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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Subject: Re: Re: [h-cost] Re: A silk garment filched by a monk?
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Fran inquired:

>What do you think the garment was?  Enough people examined it in enough 
>detail that I doubt it was imaginary, though I also doubt it was 
>miraculous.  As for "brightness," the term could mean shininess, it could 
>perhaps mean intensity/saturation of color, it could perhaps mean both.

What it sounds like to me is a purple silk robe of some sort, possibly in a 
satin weave, and possibly in a style not common to that area of the world. 
It could have been brought in by anyone having contact with Anatolius... 
including, possibly, the true source of the "voices" to which he had been 
speaking when nobody else from the monastery was present.


Cynically,


Brenda
webwarren@earthlink.net


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Lady Satine wrote:

> I think my deifinitions are more modern use for these Items.

That's ok, now that we know what each other mean.

> Kirtles are also some Kind of Elizabethan Garment, Unudergarment of
some kind as well I think.

"Kirtle" is one of those frustrating terms; it's like "dress."  What 
sort of kirtle depends on what era you're talking of, but within that 
era, there are some things you can rely on about it.

> So Cynthia did I confuse you even more?????? I am glad you asked, I
could not stamd being yelled at for being a NOVICE and NOT an
experienced sewer anymore and the pet peeves....

I must have missed any yelling or pet peeves, but I've been skimming the 
list rather than taking a lot of time to read it.  Could you give an 
example?

> It
appears that Novices are not wanted and will not be tollerated by some
of the old guard.

That hasn't been my experience in watching new folks come on the list. 
Has someone sent something nasty to you in private email?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The World Health Organization is campaigning to reduce the numbers of 
women and babies who die during pregnancy and childbirth.  Each year, 
half a million women die in pregnancy and four million newborns do not 
survive more than a month.
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
Date: Fri, 8 Apr 2005 21:06:19 +1200
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> Kirtles are also some Kind of Elizabethan Garment, Unudergarment of some
kind as well I think...I have hears mentioned in Reference to elizabethan
here a while back..... Any elizabethan ladies care to comment on that ???
did I get the Term right...

Hehehe, it all depends on what era;) I know the word kirtle refers to a
different type of garment in the 14thC, but I'll leave those with more
knowelege of the various terms then to explain what it is. I have a feeling
it's a long sleeved garment...

Anyway, kirtle is also a bit of a generic term for supportive garments that
have different names in other countries. A vasquina in Spain is a petticote,
a cuerpo baxo y vasquina is a bodiced petticoat and would be similar in
effect to a supportive underlayer in Flemish, English, French and German
dress of the late 16thC. Though of course all cut differently. Also a kirtle
is used (most likely) under Burgundian dress and we have images of women in
kirtles from that time as well. I haven't studied texts of the Lowlands to
find out what the actual term is.

Kirtles are mentioned in the inventories of the Privy Purse from around
1500, and as kirtles I believe.

So it depends on if one is using the term in a generic way (late
15th-late16thC) or specific, and who around you uses the terms.

> So Cynthia did I confuse you even more?????? I am glad you asked, I could
not stamd being yelled at for being a NOVICE and NOT an experienced sewer
anymore and the pet peeves....

Hey, I think a lot of people forget we were all newbie at this at some
stage. And it behooves newbies and oldbies alike to give slack;)

> I am a novice about this costiiming stuff Most of my 10 years in SCa have
been spent doing A& S stuff like Beading, Wirework, Brewing, Singing,
Embroidery,  and taching these carious thing s I know to others. Its time I
move onto something different. Hence why I am here!

Hey, you have a head start there most likely:) You will have your head in
the same sort of space when you look at art work and for references etc.

> AS for the petty pet peeve stuff.......Is this list usually so cliquey
with new membersw or is everyone having a bad time right now???? It appears
that Novices are not wanted and will not be tollerated by some of the old
guard.   Just asking!


I haven't noticed that, but then I've been deleting with extreme prejudice
any mail that looks like a touchy subject;)

And hey, some of us who have been around for ages have also been treated not
so great at all times either. I've learnt to pick and choose what I reply to
and what I don't. It's a hard one, and occasionally easy to forget the
lessons previously learnt;)

michaela de bruce
http://glittersweet.com



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Yep: 
http://www.reuters.co.uk/newsArticle.jhtml;?type=oddlyEnoughNews&storyID=8122024

I was working as office staff at a large hotel in Boston in the late 
80s, when The California Raisins stayed there, and one of their costumes 
was stolen from inside a hotel room.  I recall that they were very 
expensive.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The World Health Organization is campaigning to reduce the numbers of 
women and babies who die during pregnancy and childbirth.  Each year, 
half a million women die in pregnancy and four million newborns do not 
survive more than a month.
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Subject: Re: [h-cost] Thinking about a buying a sewing machine....
Date: Fri, 8 Apr 2005 07:43:53 -0400
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And I just found a Kenmore in almost unused condition at a thrift store
for$20.  It is a duplicate of my beloved of thirty years that is showing her
mileage!  I used to say that it would sew everything, including balsa wood!!
In trying to find a new instruction book, I saw many on one of the vintage
sewing sites on the web.
----- Original Message ----- 
From: "Wicked Frau" <wickedfrau@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 07, 2005 11:34 PM
Subject: Re: [h-cost] Thinking about a buying a sewing machine....


> I second Kimberly's opinion.  I have a fancy Viking that I hate.  I love
> my 1969ish Kenmore and my two very old singers.   They sew beutifully.
> The latter two sew are able to sew such tiny little stitches, that I
> needn't back stitch to secure a seam....love that!
>
> Sg
>
> chindora@aol.com wrote:
>
> > Hi Greg  :)
> >
> >I believe that you would be well served in purchasing an older model
machine that is of good quality.  You will make out a lot better than buying
a newer model that has a lot more plastic in it, in my opinion.  I have an
Elna that I purchased 21 years ago, and I would not trade it for anything.
Other than occasional trips to the shop for a lube job and thorough
cleaning, I have never had any problems with it and the little jewel sews
like a charm.  We have been through leather, denim, silk chiffon and
entirely too much satin, and it has never missed a stitch.
> >
> >:)
> >~Kimberley
> >
> >-----Original Message-----
> >From: dgandh <dgandh@t-online.de>
> >To: 'Historical Costume' <h-costume@indra.com>
> >Sent: Thu, 7 Apr 2005 15:28:46 +0200
> >Subject: [h-cost] Thinking about a buying a sewing machine....
> >
> >
> >I have been thinking about buying a sewing machine to do the seems and
bits
> >that you don't see in things like shirts, slops and sailors jackets.
> >
> >Most of what I would be sewing will be linen (a lot of the old handwoven
> >stuff) thick wools and maybe silk now and again.
> >
> >I am leaning towards an older Pfaff 230 or 260 machine for around $100
(or
> >55 Pounds sterling, 60 Euros whatever)
> >
> >Or would my money be better spent on a newer Pfaff from the hobby line
$300
> >(or other suggestion?)
> >
> >I don't really need all the fancy heart shaped stitches and stuff.
> >
> >Greg
> >
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
> _______________________________________________
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>

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>AS for the petty pet peeve stuff.......Is this list usually so cliquey 
>with new membersw or is everyone having a bad time right now???? It 
>appears that Novices are not wanted and will not be tollerated by some of 
>the old guard.   Just asking!
>!

Hey Satine...   <chuckle> Well yes,  and no.

This list is for historical costumers, any and all.  Many of the folks on 
this list are professional costumers or trying to become such. The list 
isn't just SCA - although quite a few of us are or were active at some 
point.   You'll hear more about crinolines and Civil War era at some 
times... and others it's all 12th century. Then there are the confections 
that Bjarne creates - always worth an "ooooh pretty" - but very not SCA.

And there is a "language" to the list, just like you'll find in any 
community.  Don't take a question or a clarification as a rejection or as a 
dismissal... We're just trying to communicate.  And part of that is 
learning how each other uses specific terms.

I got my fingers smacked the first time I posted - can't remember by 
whom... it doesn't matter. What does matter is that these folks are a great 
source of information and experience.  So I came back for more.  And have 
since then learned, and maybe contributed a bit.

There are some very strong personalities on the list, but not a one that I 
would call "seeking to crush newcomers" - so be welcome.   Pull up a chair.

Mari     (aka Bridgette)

Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Subject: [h-cost] Dye remover question
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Someone recently wrote in about the wonders of dye remover... I am
wondering if I could pick her brain, or anyone else with experience in
this arena.

Due to an unfortunate combination of fabrics during my attempt to
pre-shrink some yardage, I now have four yards of faintly pink linen.
Pink is not my color, and I'd really rather have my white linen back. Do
you think that dye remover could restore it to its pristine condition?
Or should I just give up and try to over-dye it some other color
entirely?

-Sandra

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] MC&T Journal-missing part  of the conversation
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On Thu, 7 Apr 2005, Wicked Frau wrote:

> I am only getting a portion of all the posts, so I missed out on the
> original.  What is the full name of the journal please, so I can
> further help impress Robin's publisher?

I just got the above with today's massive dump of delayed posts. Here's
the short answer:

Medieval Clothing & Textiles
Publisher: Boydell & Brewer
Publisher web page with contents of Vol. 1 listed:
	http://www.boydell.co.uk/43831236.HTM
Also available through Amazon and Barnes & Noble.

This is an annual academic journal containing highly specialized papers
ranging in time focus from early Medieval to Renaissance, and representing
such disciplines as art history, archaeology, literature, economics/trade,
history of technology, social history, and experimental reconstruction of
techniques. Some papers will be of interest to re-enactors and costumers
from particular periods; others will have more limited application.

If you'd like a direct discount through me, e-mail me directly (reduced
price to $37.50 plus $4 shipping, from the publisher). That's for my
h-cost buddies ONLY, so do NOT pass this offer on to any other lists,
please, but you can pass on everything above this paragraph.

--Robin



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Date: Fri, 8 Apr 2005 12:24:10 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
To: Historical Costume <h-costume@indra.com>
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I really appreciate that I have been pointed to the archives however thus far my attempts to get there have been unsucessfull.  When I first logged on and was suggested I go there I tried.. but my computer keeps wither not finding the right areas/pages or times out before it can load.... any suggestion would be greatly appreciated! I do hate to bug people about menial, simple stuff....
 
Thanks 
Satine
 
 

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

On Thu, 7 Apr 2005, Lady Satine wrote:

> AS for the petty pet peeve stuff.......Is this list usually so cliquey
> with new membersw or is everyone having a bad time right now???? It
> appears that Novices are not wanted and will not be tollerated by some
> of the old guard. Just asking! !

I didn't see any cliquishness myself, but then I'm used to the ebb and
flow of the list postings. Very general questions can be very hard to
answer; many of us have specialties and will generally answer questions
only in our "comfort zone." I don't have a whole lot of time for posts,
and when I do write, it tends to be on the long side, so I stay out of a
lot of topics unless they're in my specialty area and I have something to
add that no one else has mentioned.

It's also assumed (unless you state otherwise that you have a different
goal) that if you ask how something is done, you want to know the historic
method. And it's also assumed that you know and are using the correct
terms for things unless you indicate you're not sure. It also helps to
remember that a large number of people here are not in the SCA, and the
list covers all periods, not just medieval.

In other words, people will answer based on what they believe your
question to be, which many not be what you meant if you didn't provide
sufficient detail on your project or if you used terms in a way that
aren't generally known.

Sometimes we get a question like "Is cotton OK for a gown?" On an
SCA-based list, where everyone knows your goals, that might be answerable.
Here, if you get anything at all, it will be a bunch of other questions
trying to delineate what you need -- what period? what place? what do you
mean by gown? how authentic do you want to be? where will the costume be
worn? and so on. That's not meant as criticism or crankiness; it's that
there's SO many possible answers we can't help you till we know what you
want.

And truly, if people point you to the archives for something, it's because
we've had long and fruitful discussions over the topic. Something like
"Are princess seams period?" may sound to you like it could be answered in
a word, but it's a surprisingly complicated topic, and people here have
written volumes ... and are not particularly eager to hash it all out
again.

There are some people who don't find this list to their taste because they
don't enjoy the complicated answers and broader historical outlook. If
that's the case, then you might be happier with one of the two SCA-Garb
lists or one of the many period-specific lists. Each serves a different
purpose, and not all will be useful to everyone. If you do stay here,
though, I can guarantee you'll learn things you won't learn elsewhere.

--Robin

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On Fri, 8 Apr 2005, Lady Satine wrote:

> I have been asking how to get to the archives arround here I am unable
> to do so as of yet.

The archives are kept by a volunteer in monthly units, and tend to be some
weeks behind. You'll find directions to the archive site on the main info
page for the list (which is noted at the bottom of all posts):
	http://mail.indra.com/mailman/listinfo/h-costume

> I do not mean to offend anyone or pick fights that is not my intent
> not in the least!

I can't imagine anyone thought that was the case. Don't worry.

> Did not know that site existed, When I asked a friennd about
> elizabethan I was referred here.... and told this is teh best site for
> help with that subject. I will check them out too Thank you, for the
> suggestion!

There are two SCA-Garb lists; the younger larger one is at yahoo, and the
older but now smaller one is on an independent server. There are also, I
think, several yahoo groups for Elizabethan SCA costume. Try searching at
yahoo groups to find them -- http://groups.yahoo.com 

> Who is Robin Netherton????

That would be me. I post a lot here. I didn't know I had a fan club till
this week, though ;-) 

--Robin



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SCA-Garb@yahoogroups.com
http://groups.yahoo.com/group/SCA_Elizabethan/
http://groups.yahoo.com/group/Elizabethan-Garb/
calontir-late@yahoogroups.com

Usually, if you go to the "find a group" spot on the yahoo groups page and
type in you will get several groups. Not all SCA related but informative.

De

-----Original Message-----
Aspasia,

Did not know that site existed, When I asked a friennd about elizabethan I
was referred here.... and told this is teh best site for help with that
subject. I will check them out too Thank you,  for the suggestion! Who is
Robin Netherton????

Satine



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Same here and you do the same! :)

De

-----Original Message-----
Its friday.... Sunny and WARM...... Have a great weekend everyone! 
 
Satine



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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Quick Dyeing question
Date: Fri, 8 Apr 2005 14:16:18 -0600
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You can use Rit.  It works very well on silk.

Sylrog

On Apr 8, 2005, at 1:34 PM, Catherine Kinsey wrote:

> I need to dye some of those silk scarves from Dharma trading company.
> Could someone who has done this before drop me an email?  I'm wondering
> if I can just use Rit dye.
>
> Thanks,
> Catherine
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Robin Netherton wrote:

>>Who is Robin Netherton????
> 
> That would be me. I post a lot here. I didn't know I had a fan club till
> this week, though ;-) 

Shows what you know!

I promise I won't make any clever T-shirts that say "Robin Netherton Fan 
Club" at CafePress, though.  ;)

Satine, the quick answer is that she has lots of good thoughts about 
medieval clothing, plus she sometimes lectures for re-enactors and 
interested people around the US, so some of us have spent a day in a 
classroom listening to her, as well as on this list.  For costume 
junkies, it's a great experience.

cv
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Date: Fri, 8 Apr 2005 15:42:17 -0500 (CDT)
Subject: Re: [h-cost] How to find the Archives for searching
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If you want the zipped files of the early ones that are UNEDITED you
can get them here.

ftp://io.com/pub/usr/ches/

<quote who="Cynthia Virtue">
> Lady Satine wrote:
>
>> I have been asking how to get to the archives arround here I am
>> unable
> to do so as of yet....Would you be able to guide me on how to get to
> the
> archives?????
>
> I wonder if your message asking about the archives got eaten by the
> server, as it does sometimes?
>
> They're at: http://sca.uwaterloo.ca/Fashion/
>
> --
> Cynthia Virtue and/or Cynthia du Pre Argent
> _______________________________________________
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> h-costume@mail.indra.com
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>




Franchesca Havas
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Date: Fri, 8 Apr 2005 14:31:52 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: RE: [h-cost] Re: Eyelets vs. grommets and pet peeves..... 
To: Historical Costume <h-costume@indra.com>
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As Stated Before I was Initially misinformed!  By reading I figures that out! I have learned a ton of Not SCA stuff here! and that is great too! 
 


otsisto <otsisto@socket.net> wrote:
A small note, SCA covers pre - dark ages to Renaissance. But yes the list
covers periods beyond 1600. So though there is a large number of people
listed, not all are pre 1601 experts. :)
De
-----Original Message-----
It also helps to
remember that a large number of people here are not in the SCA, and the
list covers all periods, not just medieval.



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Hmmm... never thought this list was focused too much on SCA.  I remember 
years ago in the introduction to the list or summary was that this list was 
not geared toward any certain group.  Is that intro still out there?  Its 
been a long time since I joined.

The topics and periods seem to float around.  That's what I love about 
h-costume!  It is very diverse.

As for lack of answers... this list is not as active as it was years ago. 
But I have noticed this on all costume/fashion history lists that I am a 
member.  A lot of the chatter email lists is slowing down.  This list used 
to have around 700-800 members.  I think the last time Eliza said it was a 
lot lower number.  Years ago, people left the list because of the vast 
amount of emails a day.  Haven't heard that complaint in the past few 
years... except for our beloved Teddy. But that is not his fault... the boss 
doesn't like the volume of mail.  I also think the lower membership is 
because when this list started it was one of the only costume related email 
lists.  Now there is an email list for about every topic in costuming.

Some people lurk instead of asking questions.  And some people are 
intimidated to ask a question.  OR someone is quick to answer a question 
before others.  Once in a blue moon we used to have a Lurker's Day on the 
list.  This was when all the lurkers came out on the list and talked while 
all the regulars were quiet.  We have meet a lot of wonderful people that 
way.

I have noticed over the years quiet seasons on the list... summers some 
members are busy re-enacting or vacations, costume-con time,  August is 
generally slow, the week before and after Halloween, December holidays.  I 
have noticed during the Northern Hemisphere cold months, Jan-Mar. are the 
most active.  Hey, what else do we have to do when it is cold!

I do think there needs to be some sort of protocol on how to ask a question. 
It is very hard to answer a vague or very general question. Then ten people 
ask for the question to be more specific.  And sometimes list members just 
don't know the answer... believe it or not!  It doesn't mean that we aren't 
interested.  I, too, have asked questions and didn't receive an answer.

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


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Subject: Re: [h-cost] Thinking about a buying a sewing machine....
Date: Fri, 8 Apr 2005 19:29:02 -0400
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>I second Kimberly's opinion.  I have a fancy Viking that I hate.  I love my 
>1969ish Kenmore and my two very old singers.   They sew beutifully.  The 
>latter two sew are able to sew such tiny little stitches, that I needn't 
>back stitch to secure a seam....love that!

And I have a fancy Viking that I'm totally in love with. (It's a Lily 555) 
Stronger than my mom's old Pfaff (and that was a good machine), precise, not 
fussy. Can take any kind of thread and sew through thick stuff. I haven't 
had a problem with it yet.

For the price the original poster was willing to pay though, she's better 
off with a non-electronic machine. A good quality used one would be perfect, 
I think. 
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Subject: [h-cost] Interesting pics
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http://virtualart.admin.tomsk.ru/altdorfe/p-altdorf2.htm
http://virtualart.admin.tomsk.ru/altdorfe/p-altdorf5.htm
http://virtualart.admin.tomsk.ru/altdorfe/p-altdor12.htm

http://virtualart.admin.tomsk.ru/altdorfe/p-altdor13.htm
Is the red an apron or a skirt? The right side of her bodice, is that a
seam?

http://virtualart.admin.tomsk.ru/bruegel1/p-brue1-14.htm
Far right, cream outfit shows side sleeve seams

http://virtualart.admin.tomsk.ru/c/p-campin5.htm
Someone was asking about veils and pins.

http://virtualart.admin.tomsk.ru/caravagg/p-carava13.htm
The woman on the right looks like the dress is made of leather.

http://virtualart.admin.tomsk.ru/caravagg/p-carava24.htm
the old woman has a great expression.

http://virtualart.admin.tomsk.ru/carpaccio/p-carpaccio5.htm
http://virtualart.admin.tomsk.ru/cranach1/p-cran1-12.htm
http://virtualart.admin.tomsk.ru/cranach1/p-cran1-30.htm

Lyse


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Ruth Anne wrote:
>>> As an instructor of writing, I just have to say that your webpage on
cochineal dying was not only fascinating but also a LOVELY piece of writing!
I'd love to show it to my students as an example of a "process essay" that
beautifully melds instruction and literature.


<*blush!*>  Ruth Anne, thanks so much for your kind words!  I wanted the
essay to convey the experience and pleasure of dyeing as well as the
technical details about the process, so I couldn't be more pleased by your
praise.  Please feel free to show the essay to your students.  I'm delighted
you enjoyed it.

Amy

Amy Butler Greenfield
http://www.aperfectred.com
cochineal@comcast.net



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On Sat, 9 Apr 2005, Mari Stewart wrote:

> OK... the test made it through... but my thoughtful, inspriational,
> funny, and filled with common sense reply to Satine didn't.  Grrrr.  
> So on the "pet peeves" thread... all I can add at this late date is
> ... 'yeah - what they said.'

I believe I saw it today, with the dump of delayed messages.

Clearly something is going on at the list-server end. Possibly a
screwed-up address or two somewhere in the sequence that's making the
server cough.

--Robin

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>The two "Birth of the Virgin" ladies have decoration
>on the outside of their sleeves. Referring back to a
>previous discussion, could these be covering seams?
>The one on the far left appears to have a seam, but
>it could be the way the decoration is painted.

>Suzi

Hi Suzi - I personally read the 'bands' on the crossed
arms of the lady in the darker dress as buttons
running along from wrist to elbow...  It's an amazing
dress though - I've only seen this one like it and the
decoration's beautiful.

Just my own guess,
Susan

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From: Bonnie Booker <aspasia1@gmail.com>
To: Historical Costume <h-costume@indra.com>
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> 
> Did not know that site existed, When I asked a friennd about elizabethan I was referred here.... and told this is teh best site for help with that subject. I will check them out too Thank you,  for the suggestion! Who is Robin Netherton????
> 
A charming lady who studies, writes articles, and teaches about
costume.  I sat in on several of her 15th c. classes at the Known
World Art/Sci Symposium in Orlando, FL.  She doesn't just say
something is so, she shows you examples and explains why.
-- 
Aspasia Moonwind
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: several messages
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On Sat, 9 Apr 2005, Cynthia Virtue wrote:

> > That would be me. I post a lot here. I didn't know I had a fan club till
> > this week, though ;-) 
> 
> Shows what you know!
> 
> I promise I won't make any clever T-shirts that say "Robin Netherton Fan 
> Club" at CafePress, though.  ;)

Whew!

Though I admit to a rather loud peal of laughter at reading that...

(I will cherish the sentiment, and that's quite enough of an ego boost.
I'm sure that if anyone *did* wear such a thing, someone would claim I'd
put them up to it.)

--Robin

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Dharma seems to have some of their silk dyes on Quick sale...No, I have not
tried to dye mine yet, with silk dye or Rit. Waiting to get inspired...

Kathleen
----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Friday, April 08, 2005 3:34 PM
Subject: [h-cost] Quick Dyeing question


> I need to dye some of those silk scarves from Dharma trading company.
> Could someone who has done this before drop me an email?  I'm wondering
> if I can just use Rit dye.
>
> Thanks,
> Catherine
> _______________________________________________
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Audrey Bergeron-Morin wrote:
> Pretty cool, isn't it? Unfortunately, it doesn't work on most industrial 
> dyes, i.e. if you bought the fabric already dyed, most of the times it 
> won't do much more than make it a slightly lighter shade. 

I didn't know that -- but I used it on some army-green cotton uphostery 
fabric which had a great fleur-de-lys woven pattern, and it turned 
antique gold.  I was very pleased.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent

The World Health Organization is campaigning to reduce the numbers of 
women and babies who die during pregnancy and childbirth.  Each year, 
half a million women die in pregnancy and four million newborns do not 
survive more than a month.
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Subject: Re: [h-cost] Clothing Breakdance ?
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> >Can anyone point me in the direction of any studies on the clothes
> >culturally associated with break dancing please ?
> >
> >In particular their origins, ie historic precedents.


Breakdance first showed up in the 1980's amongst the street kids of New York
(if my faulty memory is correct) I would search out fashions from that time,
old rap and hip hop groups (Run DMC comes to mind), and news articles from
the 80's.

Just my two bits..

Sheridan


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Sandra Olsen wrote:

> I now have four yards of faintly pink linen.

Have you washed it again, just in case?

I'd probably try either a "dye magnet" sheet or the dye remover. 
Neither will take much effort or cost, and then you'll know if you 
really need to try bleach (rougher on the fiber) or overdye.

cv
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Lady Satine wrote:

> I really appreciate that I have been pointed to the archives however
> thus far my attempts to get there have been unsucessfull.  When I
> first logged on and was suggested I go there I tried.. but my
> computer keeps wither not finding the right areas/pages or times out
> before it can load.... 

That's a puzzle.  The page is all text, so it should not take long to load.

Are you using an odd browser or operating system?  What are the specific 
error messages that you are getting?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: several messages
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BTW, Cynthia, what's your cafepress URL? I haven't looked at it in a while
and can't find it now.

(Maybe I should make up t-shirts that say "I survived Robin Netherton's
lectures" for the people who make it through one of my marathons...)

--Robin


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Robin Netherton wrote:

> (Maybe I should make up t-shirts that say "I survived Robin Netherton's
> lectures" for the people who make it through one of my marathons...)

http://www.cafeshops.com/virtueventures

For those of you who are not aware of it, anyone with a digital photo or 
image that isn't under someone else's copyright can make mugs, t-shirts, 
clocks, etc. via CafePress.  It's fun.  You can also do just text or 
slogans.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Thats what I need Guidance and explanations so I am better armed and do not get people whose pet peeves I do not know about ruffled! 

Bonnie Booker <aspasia1@gmail.com> wrote:> 
> Did not know that site existed, When I asked a friennd about elizabethan I was referred here.... and told this is teh best site for help with that subject. I will check them out too Thank you, for the suggestion! Who is Robin Netherton????
> 
A charming lady who studies, writes articles, and teaches about
costume. I sat in on several of her 15th c. classes at the Known
World Art/Sci Symposium in Orlando, FL. She doesn't just say
something is so, she shows you examples and explains why.
-- 
Aspasia Moonwind
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My email reply on Medieval gowns that I sent Thurs., showed up today (Sat.) 

De


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	Sat, 09 Apr 2005 13:17:20 PDT
Date: Sat, 9 Apr 2005 13:17:20 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] pet peeves..... 
To: Historical Costume <h-costume@indra.com>
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I do appreciate everybodys input to my asking about crankiness and pet peeves...... As stated in a previous e-mail... That many may or may not have gotten yet. or may get again...LOL... I have been gtting my nose out of joint and trying ot ask why. the only way I know how to be blunt and not sugar coat things! 
 
I thank the ladies that gave me the right way to get to the Archives. I can get through and have gone back to the begining to read them and get answers there . I am also waiting  on teh SCA garb site for apprpval so thank you (Forgetting names this week) I apologize. 
 
As stated in another wayward post. I was told by someone in sca this was the best SCA site for help with garn espeially elizabethan ( I was obviously misinformed)  on the part that this is a sca site. I do undertand it is for all levels of costuming/recreating /re-enacting Did I miss anyone??) I was just ill advised and had pre concieved notions myself as what to expect! 
 
I want to thank everyone who has helped explain the Dynamic of this board. I appreciate it! 
I would rather ask, open myself up and discuss what goes and wht does not thatn just leave the board when it is such a wonderful resource about so many things! 
 
Thanks Again Everyone! 
Satine, 
 

M Stewart <ms154@cornell.edu> wrote:

>AS for the petty pet peeve stuff.......Is this list usually so cliquey 
>with new membersw or is everyone having a bad time right now???? It 
>appears that Novices are not wanted and will not be tollerated by some of 
>the old guard. Just asking!
>!

Hey Satine... Well yes, and no.

This list is for historical costumers, any and all. Many of the folks on 
this list are professional costumers or trying to become such. The list 
isn't just SCA - although quite a few of us are or were active at some 
point. You'll hear more about crinolines and Civil War era at some 
times... and others it's all 12th century. Then there are the confections 
that Bjarne creates - always worth an "ooooh pretty" - but very not SCA.

And there is a "language" to the list, just like you'll find in any 
community. Don't take a question or a clarification as a rejection or as a 
dismissal... We're just trying to communicate. And part of that is 
learning how each other uses specific terms.

I got my fingers smacked the first time I posted - can't remember by 
whom... it doesn't matter. What does matter is that these folks are a great 
source of information and experience. So I came back for more. And have 
since then learned, and maybe contributed a bit.

There are some very strong personalities on the list, but not a one that I 
would call "seeking to crush newcomers" - so be welcome. Pull up a chair.

Mari (aka Bridgette)

Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Fwd: Medieval gowns
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Well the old group I was appart of for 8 years, have goten better.. the do criticize and Fondle and tear appart any attempt of a newbies garb.... They have gotten better and I have gone to Visit that old group now I am able to laugh at them. It has taken a long time. but ther ya have a chunk of satines experiences......
 
 


Adele de Maisieres <ladyadele@paradise.net.nz> wrote:
Lady Satine wrote:

>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?????
> 
>
For some value of "OK". Once again, there are no set standards. No one 
is going to ask someone to leave an event because their seams aren't 
right. It boils down to how devoted you are to period construction 
methods. My personal feeling is that by and large, princess seams are a 
waste of time and fabric, since they aren't a period method, don't give 
a period look, consume more fabric than period methods, and require 
additional sewing (a few garb styles excepted, of course). And I don't 
even enter A & S competitions. But I'm not going to stop _you_, and 
nether is anyone else, so you just need to decide what you're happiest 
with.

> 
>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.....
> 
>
Essentially correct. Actually, my eyelet covering is about 1/3 
motivated by a desire to cover the shiny thing, and about 2/3 by a 
desire to stop the shiny thing pulling out. Large grommets are just naff.


>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..... 
> 
>

I heartily concur.

-- 
Adele de Maisieres

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

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	Sat, 09 Apr 2005 13:28:42 PDT
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From: Lady Satine <seamuslady@yahoo.com>
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Before yougave me ten link I was getting  time out error... Like teh page takes to long to load.. but all is okay now! Thank you! 
 
Satine


Lady Satine wrote:

> I really appreciate that I have been pointed to the archives however
> thus far my attempts to get there have been unsucessfull. When I
> first logged on and was suggested I go there I tried.. but my
> computer keeps wither not finding the right areas/pages or times out
> before it can load.... 

That's a puzzle. The page is all text, so it should not take long to load.

Are you using an odd browser or operating system? What are the specific 
error messages that you are getting?

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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From: "Sandra Olsen" <sandraleigh@abraxis.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Dye remover question
Date: Sat, 9 Apr 2005 16:32:26 -0400
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What is a dye magnet sheet? I've never heard of such a thing. How do I
find one?

-Sandra

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Cynthia Virtue
Sent: Saturday, April 09, 2005 2:10 PM
To: Historical Costume
Subject: Re: [h-cost] Dye remover question

Sandra Olsen wrote:

> I now have four yards of faintly pink linen.

Have you washed it again, just in case?

I'd probably try either a "dye magnet" sheet or the dye remover. 
Neither will take much effort or cost, and then you'll know if you 
really need to try bleach (rougher on the fiber) or overdye.

cv
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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Clothing Breakdance ?
To: Historical Costume <h-costume@indra.com>
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I do not know of any studies doen on the subject but the movies Breakin' and Krush Grovin. are movies about break dancing and quasi Cult classics of teh 1980's also if you can find old album covers for early reap groups liek Whodini, Run DMS, Fat Boys, Kurtis Bow, anyhing what woudl be considered "Old School" pre "Gansta garbage" or possibly the Ghetto Music, movement in the 1980's I suggest the 1980's because that is when it was the most popular. I woudl look at the movies first the are B grade at best and VERY  1980's 
 
Hope This helps
 
Satine. 


Can anyone point me in the direction of any studies on the clothes 
culturally associated with break dancing please ?

In particular their origins, ie historic precedents.

Thanks

Mel
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From: Lady Satine <seamuslady@yahoo.com>
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I will be waiting for that reply
 
Satine

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

On Sat, 9 Apr 2005, Mari Stewart wrote:

> OK... the test made it through... but my thoughtful, inspriational,
> funny, and filled with common sense reply to Satine didn't. Grrrr. 
> So on the "pet peeves" thread... all I can add at this late date is
> ... 'yeah - what they said.'

I believe I saw it today, with the dump of delayed messages.

Clearly something is going on at the list-server end. Possibly a
screwed-up address or two somewhere in the sequence that's making the
server cough.

--Robin

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Sandra Olsen wrote:

> What is a dye magnet sheet? I've never heard of such a thing. How do I
> find one?

I wrote that email, but I haven't used them.  They're by Woolite.

I have a friend who says they're great.  However, this consumer spot 
says they're no use:

http://www.kcbd.com/Global/story.asp?S=826442

I have a subscription to Consumer Reports online, but they don't review 
them.

cv
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OH wow, I have wondered for years what the origin of the term Cotton 
wool was and as in "wrapped up in cotton wool"?  I am so grateful to 
finally have that question answered.

 thanks,  Kitty

glendarob@exemail.com.au wrote:

> 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 



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> Due to an unfortunate combination of fabrics during my attempt to
> pre-shrink some yardage, I now have four yards of faintly pink linen.
> Pink is not my color, and I'd really rather have my white linen back. Do
> you think that dye remover could restore it to its pristine condition?
> Or should I just give up and try to over-dye it some other color
> entirely?

>From your post, I understand that the linen was white to start with? And you 
put it with red fabric?

Sometimes, just washing it again will work... but linen takes stains pretty 
well so that would likely not be enough. I'd try with colour remover. Also, 
you could try with some bleach, it shouldn't damage the fabric if you don't 
put too much of it. 
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I've never used the Woolite brand dye magnet sheet, but I use the Shout
brand sheets all of the time and they work like a charm. They're especially
effective the first time you wash new clothing or new fabric. However, these
sheets are designed to remove excess dye that precipitates into the wash
water. I don't think they'll work for the situation you described.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006





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From h-costume-bounces@indra.com  Sat Apr  9 17:32:52 2005
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From: "Sandra Olsen" <sandraleigh@abraxis.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Dye remover question
Date: Sat, 9 Apr 2005 17:31:13 -0400
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Yes, the linen used to be white, and I washed it with some rust-colored
wool. I know now that this is a very stupid thing to do, but after
making a habit of washing solid-colored silk this way (successfully) I
figured wool wouldn't be a problem either. Sigh. At least I didn't ruin
the wool as well. It's kind of... fuzzy, now, but still good. 

Oh well, chalk it up to furthering my education.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Audrey Bergeron-Morin
Sent: Saturday, April 09, 2005 5:16 PM
To: Historical Costume
Subject: Re: [h-cost] Dye remover question

> Due to an unfortunate combination of fabrics during my attempt to
> pre-shrink some yardage, I now have four yards of faintly pink linen.
> Pink is not my color, and I'd really rather have my white linen back.
Do
> you think that dye remover could restore it to its pristine condition?
> Or should I just give up and try to over-dye it some other color
> entirely?

>From your post, I understand that the linen was white to start with?
And you 
put it with red fabric?

Sometimes, just washing it again will work... but linen takes stains
pretty 
well so that would likely not be enough. I'd try with colour remover.
Also, 
you could try with some bleach, it shouldn't damage the fabric if you
don't 
put too much of it. 
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	<00c101c53b1d$89d5aea0$0301010a@michaela>
Subject: Re: Eyelets vs. grommets Re: [h-cost] Fwd: Medieval gowns
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michaela wrote:
> Now if I could get my hands on a proper awl rather than those glorified
> nails sold in the local shops.....
>

Try a bookbinder's awl.  You can get one from any dealer selling binder's 
tools.  This link will take you to the appropriate page at Talas, so you can 
see what they look like:   http://nt.bnt.com/talas/menu.html?keywords=awl
You can also try a hardware store with a good tool selection; ones very 
similar to the yellow-handled one are usually by the screwdrivers and 
chisels.
                 -Helen/Aidan 

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Subject: Re: [h-cost] Dye remover question
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I used the Rit color remover after a red rug turned some white cotton throw 
rugs a mid-range pink.  The rugs ended up brilliant white, since it also 
took out some older mud stains.  I think it's designed mostly for that 
purpose or to remove enough color for re-dyeing.  I'd try it on a sample, 
and see what it does.
                -Helen/Aidan 

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Date: Sat, 09 Apr 2005 15:36:20 -0700
To: h-costume@indra.com
From: Carolyn Kayta Barrows <kayta@frys.com>
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Subject: [h-cost] Elizabethan shirt question (long-ish)
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Tudor/Elizabethan stand-up collar shirts were cut in a similar manner to 
subsequent folk shirts all over Europe.  The whole garment was made of 
rectangles and trapezoids, with gussets under the armpits and maybe gussets 
down the sides.  This is known from surviving examples of both Elizabethan 
shirts and European folk shirts.  In the following portrait
http://www.tudor-portraits.com/UnknownChild7.jpg , an example of this cut 
can be seen on a body.  Notice how the decoration goes straight over the 
shoulders, how flat the garment lies on the wearer, and how there is no 
gathering at the neck seam.  The decoration on this shirt does just what 
the decoration does on surviving examples of Elizabethan shirts.

I believe there was an alternate cut for Tudor/Elizabethan stand-up collar 
shirts, an example of which I believe is shown at 
http://www.tudor-portraits.com/Henry7.jpg.  This was discussed in the 
'pleatwork' thread recently.  I believe that this alternate shirt is cut in 
a similar "rectangles and trapezoids" manner, and the sleeves are attached 
to the sides in a similar manner but much lower down the seams.  I believe 
that all the neck shaping is done by pleatwork, and that the portion of the 
side seam which was above the sleeve when it was attached becomes the 
shoulder and side-neck seam after the pleatwork is done.  I believe that 
the un-pleated part at the top of the neck becomes the little ruffle seen 
at the top.

Contrast the amount of gathering at the neck seams in both 
examples.  Notice also the little decorated V-shape at the shoulder of the 
Henry example.  I believe this is the top of the sleeve, pulled into the 
neckline by the pleatwork at the neck.

Another thing this "pleatwork" cut does is make any decoration originally 
at the top of the body piece go around the neck instead of flatly over the 
shoulders.  In the following example this can be 
seen:  http://www.tudor-portraits.com/HelenaSnakeborg.jpg .  Notice also 
the amount of gathering at the neck of her shirt.  I believe her shirt was 
constructed using the "pleatwork" cut, and a straight neck band was added 
instead of using the pleating to make the neck, making it perhaps a 
transition garment between the two cuts.

I made little mock-up shirts of the "pleatwork" cut and of the "rectangles 
and trapezoids" cut, out of striped fabric so the grain would be visible, 
and both show just what I expected the two different cuts to do.  The 
stripes in the "pleatwork" one go around the neck.  It has gathers around 
the neck seam and it has a little V-shape at the shoulders.  The stripes in 
the "rectangles and trapezoids" one go flatly over the shoulders, and there 
are no gathers at the neck seam.

I'd like an opinion here.  Does anyone else think my "pleatwork" cut could 
be an accurate one for Tudor/Elizabethan England?  The costume approval 
person for the courtiers at my local Ren. Faire still hasn't made up her 
mind yet (and she still has my two mock-up shirts, so I can't scan them to 
show you), but at least she agrees that the "pleatwork" cut does what I say 
it does.

What might I say to convince her that the "pleatwork" cut is accurate 
enough that I can wear a shirt cut that way?  Neither she nor I can find 
any extant Ren. examples of the "pleatwork" cut, and the Janet Arnold book 
covering Ren. shirts is not scheduled to be published any time soon (and 
may not contain an example of this cut anyway).

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

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From: Sue Clemenger <mooncat@in-tch.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] medieval tapestries
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I haven't taken many pictures, although I've got the capacity (digital 
camera & computer).  Mostly, I don't have a place to post them--I'd like 
to set up a web page for this sort of thing (and maybe even try a dress 
diary or two...I find reading them very addictive! <g>), but it hasn't 
happened yet. ;-(
If I ever do, though, I'd be glad to post something about it to the list.
--sue

Amy Butler Greenfield wrote:

> Sue Clemenger wrote:  
> 
>>I've gotten lovely reds and pinks with madder, and the most amazing 
>>bright, tangerine orange! (on wool...less impressive on silk)
>>I'm thinking of using the orange wool to knit myself some 16th c 
>>stockings.....
> 
> 
> I'd love to see pictures if you ever have them!
> 
> Amy
> 
> Amy Butler Greenfield
> http://www.aperfectred.com
> cochineal@comcast.net
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Oooh! What a great idea! bwahahahahahaaaaa.....
--sue, feeling whimsical....

Cynthia Virtue wrote:


> I promise I won't make any clever T-shirts that say "Robin Netherton Fan 
> Club" at CafePress, though.  ;)
> 
> Satine, the quick answer is that she has lots of good thoughts about 
> medieval clothing, plus she sometimes lectures for re-enactors and 
> interested people around the US, so some of us have spent a day in a 
> classroom listening to her, as well as on this list.  For costume 
> junkies, it's a great experience.


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much snippage of Robin Netherton's commentary on bliauts.

Thanks, Robin.  I had often wondered how you viewed the thing ...

Susan

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

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On Sat, 9 Apr 2005, Susan Farmer wrote:

> much snippage of Robin Netherton's commentary on bliauts.
> 
> Thanks, Robin.  I had often wondered how you viewed the thing ...

I try to avoid expressing my opinion on this topic, because it seems
anyone with a pet bliaut construction theory will get annoyed at me. But I
frankly believe the "bliaut problem" is fundamentally unsolvable given the
existing evidence, and that however you read them, the statues aren't
going to tell us a whole lot about actual fashionable clothing.

Every couple of years, someone proposes yet another bliaut theory (as in,
how to make the style of gown seen on the statues) for our sessions at the
Medieval Congress at Kalamazoo. We accepted such a paper some years ago,
and ultimately the presenter -- a fine researcher with extensive costume
construction experience -- could only conclude that we don't have a good
answer and aren't likely to get one. There doesn't seem to be much to say
about it after that, so I don't anticipate we'll have any more papers on
the topic unless someone digs up a surviving garment with intact seams.

That's not much help to the people who want to wear the stuff, of course.
For my money, though, the best way to re-create *normal* 12th century
clothing is to set aside the Chartres-style statues as unreliable evidence
and focus on what the manuscripts and writings tell us. You get a much
simpler, more coherent picture that points toward a gored tunic
construction modified by side-lacing -- quite easily consistent with the
styles preceding and following, and none of the problems posed by those
enigmatic bands and lines and layers on the statues.

--Robin


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Subject: Re: [h-cost] Thinking about a buying a sewing machine....
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In a message dated 4/9/2005 2:42:21 P.M. Eastern Standard Time,  
audreybmorin2@hotmail.com writes:

And I  have a fancy Viking that I'm totally in love with. (It's a Lily 555)  
Stronger than my mom's old Pfaff (and that was a good machine), precise,  not 
fussy. Can take any kind of thread and sew through thick stuff. I  haven't 
had a problem with it yet.



I have to weigh in on the sewing machine discussion.  The first  machine I 
used was my mom's old White Rotary, I think circa 1930s.  Yes, it  was a 
workhorse.  I still have it, but I need to have the cord repaired, so  it is in 
storage.  Did straight stitching only, and would probably sew just  about anything. 
 My next machine was a 1973 Kenmore.  This is mostly  metal, and fine for 
what it does, but it didn't have a free arm.  Then I  used my husband's mid-1970s 
Singer for years.  It does  have  a free arm, but it finally got to where it 
would not form a decent  stitch, and even sending it back to the factory did 
not help it.  I now  have a Bernina 160.  I absolutely LOVE it, and I bless it 
every time I sit  down to sew.  I did have to delay this purchase several 
years,  though.
 
The only problem I have with it, which I'm sure all the newer precision  
machines share, is that it will go wonky without much warning--it seems it is  
usually a very small piece of thread caught somewhere in the thread  channel.  
Unfortunately, my dealer is about 30 minutes away, but they will  sometimes work 
on it while I wait.  I've found, though, that SOMETIMES a  blast of canned 
air will clear the problem and I don't have to take it in.   It makes sense that 
a precision machine will have narrower tolerances, so to  speak.
 
One great thing in Bernina's favor--they make great buttonholes.  And  mine 
has the optical buttonholer which will make all succeeding buttonholes  exactly 
like the first one.
 
If you can only have one machine, I'm not sure what to suggest.  I  think, if 
you have $1500 or so to spend, I would go with one of the new  precision 
machines.  But if your funds are limited, I think an older,  sturdier machine is 
probably a better bet than a new, but not well-made,  one.
 
Ann Wass
 
 
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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Interesting pics
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> http://virtualart.admin.tomsk.ru/altdorfe/p-altdor13.htm
> Is the red an apron or a skirt? The right side of her bodice, is that a
> seam?

Apron. I *finally* found a couple of images of these wraparound aprons from
the back and side. The one from the side shows a true wraparound, the opeing
was down the left side. I know when I first saw the images I thought they
were different coloured skirts. And I have since found a great scan of
Thisbe showing the fine pleats of her apron. I was most pleased.

http://img.photobucket.com/albums/v609/glittersweet/frau/pyrimmusandthisbe2.jpg
http://img.photobucket.com/albums/v609/glittersweet/frau/pyrimusandthisbe.jpg
http://img.photobucket.com/albums/v609/glittersweet/frau/pyrimusandthisbe3.jpg
Thisbe full length, waist and hem details.

http://img.photobucket.com/albums/v609/glittersweet/frau/virginandoldman.jpg
Apron from the back

http://img.photobucket.com/albums/v609/glittersweet/frau/altdorferchristonthecrossbetweentwotheives.jpg
this I believe shows a fitted gollar and apron over a blue gown, as this is
a Swiss/German artist. This style of gollar can be seen at least by the
1520s.
http://myra.hem.nu/costume/Documentation/Artist/DiversArtist.htm
2nd to last image of Anna Durer aged 22. As well at the b/w image before her
of Magdalena Neudorfer. Anna is also wearing a wide belt and apron, though
not wrap around.
I've seen references to coloured aprons before, I just can't recall who had
the information. Ahh:
http://www.bellomarisco.com/smockingapron.php
I'm holding off on the seam until I see a really good extremely clear scan
of this painting. it could be a crack in the panel. It coudl be al sorts of
things. Seams other than side seams in German art (of this time) is very
rare. Even back seams are. I've been trying to work out a time frame for the
disappearance and reappearance of some seams. It also seems to be a regional
issue depending on how close to other countries you go.

At least until the latter part of the 16thC.

michaela de bruce
http://frazzledfrau.glittersweet.com
http://costumes.glittersweet.com



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Cynthia Virtue wrote:

> Sandra Olsen wrote:
>
>> What is a dye magnet sheet? I've never heard of such a thing. How do I
>> find one?
>
>
> I wrote that email, but I haven't used them.  They're by Woolite.
>
> I have a friend who says they're great.  However, this consumer spot 
> says they're no use:
>
> http://www.kcbd.com/Global/story.asp?S=826442

Shout also makes one, and they work pretty well.  My daughters uses them 
religiously in her baby's wash because she worries about the new things 
spoilng each other.   She wants to be able to pass them on, or yardsale 
them and recoop a bit of the cost.   Anyway, sometimes the sheets come 
out saturated with color and sometimes they are clean.  but the babies 
clothes have never had a dye run on them.

 However, When we tried them on clothes which had already picked up a 
dye run from before she got them, (hand me downs) the dye magnet sheet 
didn't work, the dye stayed in the clothes.  

Hope this helps,  Kitty

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Subject: Re: [h-cost] Thinking about a buying a sewing machine....
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Lloyd Mitchell wrote:
> And I just found a Kenmore in almost unused condition at a thrift store
> for$20.  It is a duplicate of my beloved of thirty years that is showing 
> her
> mileage!  I used to say that it would sew everything, including balsa 
> wood!!
> In trying to find a new instruction book, I saw many on one of the vintage
> sewing sites on the web.

I must have one of the same Kenmores- I got mine in 1973 and bought it 
because the salesman sewed through a wooden yardstick in front of me when 
demoing the machine.  I sewed several pavilions and about a dozen canopies 
on it, and it outlasted two wooden cabinets which collapsed from abuse.  I 
also have a mid-80's electronic Kenmore and a three-year old mid-range 
Kenmore which I use for regular sewing.  The old one is my workhorse for 
anything heavy-duty, since it is metal and can take all the abuse I choose 
to give it.  Noisy as hell, but very useful- it still has the best 
buttonholer of all three machines.
                   -Helen/Aidan

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Sandra wrote:
> What is a dye magnet sheet? I've never heard of such a thing. How do I
> find one?
>

Bounce makes one called "Color Catcher".  Look in the laundry aisle by 
either the dryer sheets or the stain removers.  This is more of a 
preventative measure, though; you toss it in with the wash, and it will 
attract dye being released from one item and keep it from coloring the other 
items, at least for something that's not releasing a tremendous amount of 
dye.  The color remover is more for after the accident.
            -Helen/Aidan 

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I have contacted Liz.  She will probably respond to the list, so watch 
for her message. 


Wicked Frau wrote: Hi Liz, it would seem that several of us on the list 
are experiencing trouble.  Messages not getting to the list at all, or 
showing up days later.  I can tell I am not getting all  messages 
because I seem to come in on conversations of interest and have missed 
several initial posts.  Could you address the list perhaps and give us 
an idea of what might be wrong and if there is anything we can do about it?
Thanks,

Sg


Lady Satine wrote:

>I will be waiting for that reply
> 
>Satine
>
>Robin Netherton <robin@shell.nightowl.net> wrote:
>
>On Sat, 9 Apr 2005, Mari Stewart wrote:
>
>  
>
>>OK... the test made it through... but my thoughtful, inspriational,
>>funny, and filled with common sense reply to Satine didn't. Grrrr. 
>>So on the "pet peeves" thread... all I can add at this late date is
>>... 'yeah - what they said.'
>>    
>>
>
>I believe I saw it today, with the dump of delayed messages.
>
>Clearly something is going on at the list-server end. Possibly a
>screwed-up address or two somewhere in the sequence that's making the
>server cough.
>
>--Robin
>
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>		
>---------------------------------
>Do you Yahoo!?
> Make Yahoo! your home page   
>_______________________________________________
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>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] pet peeves..... 
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>As stated in another wayward post. I was told by someone in sca this was 
>the best SCA site for help with garn espeially elizabethan

I seem to have missed your original Elizabethan costume question.  What was 
it?  I'm in the middle of doing an Elizabethan for myself, that I can wear 
both for Ren. Faire and for SCA.  (I joined the SCA in 1971, and do other 
periods besides.)


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

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Hi -

In any mailing list system, you will see some message delays.
Sometimes this has to do with the mail hosts talking to each other and
passing email; because mailing list messages are treated as
third-class "bulk" email, they're handled on a lower priority than
non-mailing list mail.  Also, shorter messages can be passed faster
than longer ones.  You will frequently see things come in just a bit
out of order.

But there's another reason you might see more serious message delays,
and that has to do with spam, or more precisely, the fact that you
don't get any here.

Checking to see if a message is spam can take .3 seconds to 60 seconds
per message.  If you have good spam filters on your mail, you might
not be aware that approximately 75-90% of mail traffic these days is
spam.

The Mailman mailing list software checks every message sent to every
mailing list hosted here to see whether or not the posting is supposed
to be resent to the list.  In addition to spam checks, it checks to
see what the rules are for that list, whether or not the sender is
subscribed, whether or not the address is allowed to post anyway even
if not subscribed, whether the message contains anything dangerous in
an attachment, strips the HTML, etc.  For all the work it does, it
does it in a reasonably speedy fashion.

However, in the volume of all the mail it examines, Mailman has a
problem when it comes across Asian characters in the Subject line.  We
just discovered this about two weeks ago.  Mailman has a system of
four "queue runners" which process the messages, and this bug causes
one of the four runners to fail.  Any messages that runner process was
working on then get stalled, while the other three processes keep
running and moving other mail.  Unfortunately, this bug doesn't yet
seem to have a fix - the only solution at this time is to completely
stop all of the Mailman processes on the system and then restart them.
My system administrator has set me up so I am able to handle this
myself rather than waiting for him to do it, so you should be seeing
smaller delays.  In general, I'm finding I need to restart the runners
about once per day, and it's probably time to ask my admin to automate
this.  If you do see a problem for more than a day, please let me know
and I will check the system to see if it's Mailman or some other
reason.

Thanks,
						...eliz


-- 
Children are made up of genetics, blind luck, and the stories you tell them.
 - The Flying Ks

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Hi -

In any mailing list system, you will see some message delays.
Sometimes this has to do with the mail hosts talking to each other and
passing email; because mailing list messages are treated as
third-class "bulk" email, they're handled on a lower priority than
non-mailing list mail.  Also, shorter messages can be passed faster
than longer ones.  You will frequently see things come in just a bit
out of order.

But there's another reason you might see more serious message delays,
and that has to do with spam, or more precisely, the fact that you
don't get any here.

Checking to see if a message is spam can take .3 seconds to 60 seconds
per message.  If you have good spam filters on your mail, you might
not be aware that approximately 75-90% of mail traffic these days is
spam.

The Mailman mailing list software checks every message sent to every
mailing list hosted here to see whether or not the posting is supposed
to be resent to the list.  In addition to spam checks, it checks to
see what the rules are for that list, whether or not the sender is
subscribed, whether or not the address is allowed to post anyway even
if not subscribed, whether the message contains anything dangerous in
an attachment, strips the HTML, etc.  For all the work it does, it
does it in a reasonably speedy fashion.

However, in the volume of all the mail it examines, Mailman has a
problem when it comes across Asian characters in the Subject line.  We
just discovered this about two weeks ago.  Mailman has a system of
four "queue runners" which process the messages, and this bug causes
one of the four runners to fail.  Any messages that runner process was
working on then get stalled, while the other three processes keep
running and moving other mail.  Unfortunately, this bug doesn't yet
seem to have a fix - the only solution at this time is to completely
stop all of the Mailman processes on the system and then restart them.
My system administrator has set me up so I am able to handle this
myself rather than waiting for him to do it, so you should be seeing
smaller delays.  In general, I'm finding I need to restart the runners
about once per day, and it's probably time to ask my admin to automate
this.  If you do see a problem for more than a day, please let me know
and I will check the system to see if it's Mailman or some other
reason.

Thanks,
						...eliz


-- 
Children are made up of genetics, blind luck, and the stories you tell them.
 - The Flying Ks

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Interesting pics-Aprons
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Status: RO

Hi Michaela!  I must appologize; I am not getting all posts, so I don't 
know what the rest of the original question was, but this particular 
image has been asked about before (I think if the querier searches at 
either Frazzled Frau or GermanRen (both Yahoo groups) they will find 
some more info).  I have a very high resolution scan of the first 
picture and you can also see a little orange under skirt/dress at the 
waist a few inches forward of that back-side "seam".  But it becomes 
inconclusive as you probably can see that there doesn't appear to be any 
differention towards the middle part of the skirts in the back/side. 

Colored aprons...seems like Textiler HausRat refers to these, they were 
restricted to some colors (at least in Nurnburg, but then again, it 
would appear that sumptuary laws were just meant to be broken!)  Green, 
red, black, gold are mentioned in a least one inventory.

I have another wonderful picture of a full length white apron which 
appears to go all the way around.  I can post a high resolution scan of 
the first picture if anyone is interested (and has the band width!)

Sg

michaela wrote:

>>http://virtualart.admin.tomsk.ru/altdorfe/p-altdor13.htm
>>Is the red an apron or a skirt? The right side of her bodice, is that a
>>seam?
>>    
>>
>
>Apron. I *finally* found a couple of images of these wraparound aprons from
>the back and side. The one from the side shows a true wraparound, the opeing
>was down the left side. I know when I first saw the images I thought they
>were different coloured skirts. And I have since found a great scan of
>Thisbe showing the fine pleats of her apron. I was most pleased.
>
>http://img.photobucket.com/albums/v609/glittersweet/frau/pyrimmusandthisbe2.jpg
>http://img.photobucket.com/albums/v609/glittersweet/frau/pyrimusandthisbe.jpg
>http://img.photobucket.com/albums/v609/glittersweet/frau/pyrimusandthisbe3.jpg
>Thisbe full length, waist and hem details.
>
>http://img.photobucket.com/albums/v609/glittersweet/frau/virginandoldman.jpg
>Apron from the back
>
>http://img.photobucket.com/albums/v609/glittersweet/frau/altdorferchristonthecrossbetweentwotheives.jpg
>this I believe shows a fitted gollar and apron over a blue gown, as this is
>a Swiss/German artist. This style of gollar can be seen at least by the
>1520s.
>http://myra.hem.nu/costume/Documentation/Artist/DiversArtist.htm
>2nd to last image of Anna Durer aged 22. As well at the b/w image before her
>of Magdalena Neudorfer. Anna is also wearing a wide belt and apron, though
>not wrap around.
>I've seen references to coloured aprons before, I just can't recall who had
>the information. Ahh:
>http://www.bellomarisco.com/smockingapron.php
>I'm holding off on the seam until I see a really good extremely clear scan
>of this painting. it could be a crack in the panel. It coudl be al sorts of
>things. Seams other than side seams in German art (of this time) is very
>rare. Even back seams are. I've been trying to work out a time frame for the
>disappearance and reappearance of some seams. It also seems to be a regional
>issue depending on how close to other countries you go.
>
>At least until the latter part of the 16thC.
>
>michaela de bruce
>http://frazzledfrau.glittersweet.com
>http://costumes.glittersweet.com
>
>
>
>  
>
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Subject: [h-cost] Hi Liz,
 -what about the ones that just don't seem to show up at all?
 Was: note from the list admin re: delayed messages
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Hi Liz, It may be part of the same problem, but what about messages that 
don't show up at all?  I've seen this happen to my own and also can tell 
I am not getting all of the messages.  This seems odd because others 
are, and are responding to them.  I have checked all my filters and 
don't find any that are getting weeded out. 
I have heard several others complain of the same thing....

Thanks for your support and hard work!

Saragrace.

Elizabeth Lear wrote:
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Subject: Re: [h-cost] Thinking about a buying a sewing machine....
Date: Sun, 10 Apr 2005 09:08:30 -0400
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I guess that this about the age of mine.  It has a free arm, can sit on a
desk or table, and likewise, the best button holer (with cam) that I have
used.  It came with a set of 12 decorative cams. I had to get a new motor
about 8 years ago, and the Sears repair man (home service) had to scour the
nation to find that for me. I have had to replace the tension mechanism
twice in the 30+ years from just plain overuse.  What I loved about it was
the fact I could sew a horse blanket repair and then a silk garment
immediately thereafter with out the (poor) machine taking a hissy fit to
recover from the arduous Work.

I retired it about 6 years ago, buying a Pfaff Jeans and Satin.  For a
slightly lighter weight machine, this one has been very reliable.  Two
things I like about it are the fact that you can wind a bobbin without
unthreading the machine, and the automatic built in double feed.  This
feature is great for slippery fabrics and for most vinyls.

Kathleen
----- Original Message ----- 
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 09, 2005 5:43 PM
Subject: Re: [h-cost] Thinking about a buying a sewing machine....


> Lloyd Mitchell wrote:
> > And I just found a Kenmore in almost unused condition at a thrift store
> > for$20.  It is a duplicate of my beloved of thirty years that is showing
> > her
> > mileage!  I used to say that it would sew everything, including balsa
> > wood!!
> > In trying to find a new instruction book, I saw many on one of the
vintage
> > sewing sites on the web.
>
> I must have one of the same Kenmores- I got mine in 1973 and bought it
> because the salesman sewed through a wooden yardstick in front of me when
> demoing the machine.  I sewed several pavilions and about a dozen canopies
> on it, and it outlasted two wooden cabinets which collapsed from abuse.  I
> also have a mid-80's electronic Kenmore and a three-year old mid-range
> Kenmore which I use for regular sewing.  The old one is my workhorse for
> anything heavy-duty, since it is metal and can take all the abuse I choose
> to give it.  Noisy as hell, but very useful- it still has the best
> buttonholer of all three machines.
>                    -Helen/Aidan
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] Mennonite Dress
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Hi Everyone;

I have a question about Mennonite dress in Pennsylvania and Ontario in the 
1850s. Workers in a museum I'm working with wear very tight and restrictive 
sleeves to their dress. From the research I've done, Mennonites at this time 
were like Quakers - they took the fashion of the day and simplified it. But 
would they have worn clothes so difficult to move in when they were working on 
the farm and in the kitchen all day? Does anyone know anything about this?

Thanks,
Laura


-- 
"As long as hunger exists, peace cannot prevail." Nobel Peace Prize winner 
Willy Brandt -- www.thehungersite.com 





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Oh, definitely.  I may not always like your conclusions but I always respect them and think you're usually right.

Janet
  > Who is Robin Netherton????

  That would be me. I post a lot here. I didn't know I had a fan club till
  this week, though ;-) 

  --Robin



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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Dye remover question
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I was the person who wrote in.  I would think that either dye-stripper 
or colour-run remover would work for you.  Colour-run remover is a 
gentler version which is supposed to remove the leaked colour without 
bleaching the original colour of the garment, so you can return mauve 
back to blue, for example.  But you're lucky if you just want to get 
back to white, on linen, you can be as vicious as  you like.  Bleach it 
if necessary.

(I once washed the red skirt I had worn to the after-show party with all 
my cotton costumes from Carousel.  I ended up with 2 pairs of sugar-pink 
bloomers, a pink-and-brown floral blouse, etc.  Everything was 
successfully returned to its normal colour, except a pair of sleeping 
shorts which were so perfectly dyed I kept them pink for the rest of 
their natural life.)

Jean


Sandra Olsen <sandraleigh@abraxis.com> wrote
>Someone recently wrote in about the wonders of dye remover... I am
>wondering if I could pick her brain, or anyone else with experience in
>this arena.
>
>Due to an unfortunate combination of fabrics during my attempt to
>pre-shrink some yardage, I now have four yards of faintly pink linen.
>Pink is not my color, and I'd really rather have my white linen back. Do
>you think that dye remover could restore it to its pristine condition?
>Or should I just give up and try to over-dye it some other color
>entirely?
>
>-Sandra
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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-- 
Jean Waddie
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] MC&T Journal
Date: Sun, 10 Apr 2005 11:04:49 -0700
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Robin (and all others),

	I have a number of books that are of limited use to the costumer in me, but
necessary for the infoholic.  That's what I'm expecting this volume to be.
Something to add to my knowledge base.  If I can't use it, I'll eventually
meet someone who can.

Regina Romsey

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Sue Clemenger
> Sent: Wednesday, April 06, 2005 9:29 PM
> To: Historical Costume
> Subject: Re: [h-cost] MC&T Journal
>
>
> I'm chiming in, agreeing with Catherine here.  The people I know of
> (locally) who are most likely to buy this sort of publication may not
> always be dead serious about costuming or textiles, per se, but they are
> *quite* serious about doing good research.  We're kind of like
> borderline-academics, I guess, and some of us have amazing collections.
> As an illo....my biggest "finds" on my Europe trip a few years ago were
> all scholarly texts--I have the first 3 volumes of a series on Medieval
> Dublin, and the book from the York Archaeological Trust on the the
> Textiles, Cordage, etc. from the Coppergate digs.
> My best purchase last year (with my tax refund, god bless it) was almost
> 300 euro' worth of books from the Royal Irish Academy.  Some
> single-topic books, some collections of monographs.
> This year, my finds are _Woven into the Earth, the Anglo-saxon dress
> book by Gale Owen-Crocker, and the MC&T journal.  Fascinating, all of
> it....the sheer variety (everything from textiles to Viking ship
> graffiti) is the closest I can get to scholastic heaven, I think, short
> of winning a lottery and being able to spend the rest of my living days
> in formal scholarly pursuits. ;-)
> They're all treasures, even for an amateur like me.  So I don't think
> you've got anything to worry about with this journal, Robin! I'm already
> drooling, thinking of volume 2.
> --sue, certified bibliophile....
>
>

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Date: Sun, 10 Apr 2005 12:55:49 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] Bliauts
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At 8:11 PM -0500 4/6/05, Robin Netherton wrote:

<snippage before and after>

>That, in a nutshell, is the "bliaut problem."

Maybe it's just my own psychological quirks, but every time the topic 
comes up, I get an itch to see a grand compilation of various 
people's analyses from all the data angles, as well as a critical 
analysis of the pros and cons of various proposed reconstructions, 
all put together as a reference volume to which people could be 
pointed.  It reminds me of the "problem names" project that arose out 
of research and discussions by the Academy of St. Gabriel (i.e., 
personal names about which enough people have misconceptions or 
misunderstandings that it was worth creating an article addressing 
the issue to which people could be pointed).

Problem is, Robin, you already _have_ a publishing project to take up 
your "free" time!

For me, it's not so much an interest in the specific question of the 
bliaut itself, but a fascination with how it reflects and illustrates 
all the major issues of sources, interpretation, and methodology.

Heather
-- 
--
Heather Rose Jones
heather.jones@earthlink.net
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Bliauts
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On Sun, 10 Apr 2005, Heather Rose Jones wrote:

> >That, in a nutshell, is the "bliaut problem."
> 
> Maybe it's just my own psychological quirks, but every time the topic 
> comes up, I get an itch to see a grand compilation of various 
> people's analyses from all the data angles, as well as a critical 
> analysis of the pros and cons of various proposed reconstructions, 
> all put together as a reference volume to which people could be 
> pointed. ...
> Problem is, Robin, you already _have_ a publishing project to take up 
> your "free" time!

You bet. And I hate pouring my time into dead ends! I am very skeptical
that we'll see a reasonable solution to the bliaut problem in my lifetime.

Though it would be nice to not have to keep repeating oneself.

And I know you're not volunteering, either, because you have a project too
(or several actually that I know of), of much more constructive use.

> For me, it's not so much an interest in the specific question of the 
> bliaut itself, but a fascination with how it reflects and illustrates 
> all the major issues of sources, interpretation, and methodology.

That it does, and that would make an interesting paper: Defining and
explaining the bliaut problem. So much of it goes back to some of my
favorite areas of study -- the legacy of Victorian costume "scholarship."

On a related note, though, I have kicked around the possibility of working
with a friend who is a French lit expert on doing an annotated revision of
Goddard with an eye to the *practical* meanings of the costume. (For those
who don't know: Eunice Goddard's book summarizes references to costume in
12th century French romances. It was written for other literature scholars
with the assumption that the reader would understand the rhetorical
context of the references, including the fact that many of the costume
descriptions are deliberately unrealistic, fantastical, or symbolic. It is
good at what it does.  However, costumers have picked up this book and
taken it to be a straightforward summary of evidence of *clothing* in that
period, which it most certainly is not. And that gets right back to some
of those issues of sources, interpretation, and methodology Heather was
mentioning.)

--Robin

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Hi all! I need some help. My friends and I are visiting NYC next week, 
and we're interested in good fabric stores. Not high-end, we're talking 
bolt-ends, cut lengths and discontinued in silk, linen and wools. Any 
recommendations are very welcome!

Thanks in advance!

Laurie

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From h-costume-bounces@indra.com  Sun Apr 10 20:07:24 2005
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Subject: Re: [h-cost] Mennonite Dress
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This is a subject of interest to me because I belong to the plainclothing  
group at yahoo groups,  so I searched on some of the past  discussions of 
historic Mennonite clothing and some of the links that were given  in posts.  I 
found these reference works mentioned listed below; if  you can locate some of 
them, they may be of some help to you in your  research.  Although the list 
membership focuses on dressing plainly,  today's plain dressers (Quakers, 
Mennonites, Old Order German Baptists, and  Catholics make up most of the list members) 
tell us little about what their  predecessors wore, and whenever the subject 
comes up on the list to which I  belong, very few people seem to be able to 
add much insight, but the interest is  high in learning about it.  The reasons 
they dress plainly today may or may  not be similar to the reasons their 19th 
c. counterparts did so.  Although  their dress may seem old-fashioned to us, I 
wouldn't make any assumptions as to  what it actually looked like without 
research.
 
You might also try an internet search on the words "Mennonite  dress" + 
"nineteenth century" and see what you come up with.
 
Emerson, Catherine L. West. "Clothing the Pennsylvania Mennonite Woman in  
the Eighteenth Century." Pennsylvania Mennonite Heritage (April 1997),  2-19.
 
Gehret, Ellen J. Rural Pennsylvania Clothing. York, Pa.: George  Shumway, 
1976.

Gingerich, Melvin. "Change and Uniformity in Mennonite  Attire." Mennonite 
Quarterly Review 70 (Oct. 1966),  243-59.

__________. Mennonite Attire Through Four Centuries.  Breinigsville, Pa.: 
Pennsylvania German Society, 1970.

Hershey, Mary Jane. "A Study of the Dress of the Old Mennonites of the  
Franconia Conference, 1700-1953." Pennsylvania Folklife (Summer 1958),  24-47.

Miller, E. Jane. "Origin, Development and Trends of the Dress of the Plain  
People of Lancaster County." Thesis, Cornell U., 1943.
 
Yoder, Don. "The Costumes of the 'Plain People.'" Pennsylvania  Dutchman 
(Aug. 1952), 6-7.

__________. "Folk Costume." Folklore  and Folklife. Ed. Richard M. Dorson. 
Chicago: U. of Chicago Press, 1972.  293-323.

__________. "Men's Costumes Among the Plain People."  Pennsylvania Dutchman 
(Easter 1953), 6-9.

__________. "Sectarian  Costume Research in the United States." Forms Upon 
the Frontier. Ed.  Austin E. Fife. Logan, Ut.: Utah State U. Press, 1969.
 
 
 
 
 
 
Best regards,
Susannah
_www.virginvintage.com_ (http://www.virginvintage.com) 
 
 
 
 
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From h-costume-bounces@indra.com  Sun Apr 10 21:35:27 2005
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From: Kitty Felton <basyefelton@floodcity.net>
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Subject: Re: [h-cost] Hi Liz, -what about the ones that just don't seem to
	show up at all? Was: note from the list admin re: delayed messages
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I had messages which were answers to messages I never recieved, til a 
week later.   it happens.   I can't say for sure which list I had that 
trouble with, but it does happen. Kitty

Wicked Frau wrote:

> Hi Liz, It may be part of the same problem, but what about messages 
> that don't show up at all?  I've seen this happen to my own and also 
> can tell I am not getting all of the messages.  This seems odd because 
> others are, and are responding to them.  I have checked all my filters 
> and don't find any that are getting weeded out. I have heard several 
> others complain of the same thing....
>
> Thanks for your support and hard work!
>
> Saragrace.


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Subject: Re: [h-cost] Interesting pics-Aprons
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----- Original Message ----- 
From: "Wicked Frau" <wickedfrau@earthlink.net>
> I have another wonderful picture of a full length white apron which 
> appears to go all the way around.  I can post a high resolution scan of 
> the first picture if anyone is interested (and has the band width!)

I'm interested!

-E House

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Subject: Re: [h-cost] Re: medieval sleeves etc.
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----- Original Message ----- 
From: "katherine sanders" <katherinejsanders@yahoo.co.uk>
> >The two "Birth of the Virgin" ladies have decoration
>>on the outside of their sleeves. 

I completely missed this discussion--which "Birth of the Virgin" is this?

-E House
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From h-costume-bounces@indra.com  Sun Apr 10 23:06:05 2005
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I once used color remover on a second-hand, but originally very expensive,
toddler dress. I can't remember what was on it, some sort of dye that had
run in the washing machine. But the dress turned from yellow to a bilious,
but perfectly even, light green. I didn't mind much, because the dress was
ruined anyway. But watch out! You may get a different color than EITHER the
original or the "dyed" color.

Gail Finke


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Happened to me, just a few weeks ago, with a rose-colored ItalianRen 
gown.  The sleeves had fake puffs (white cotton) that had picked up a 
nasty, pink tinge from something that had cut loose in a wash load.  I 
used a color remover (the kind specifically meant for use with vagrant 
dyes such as this), and in about 20 seconds had white puffs, and 
yellow-peach sleeves.  Why the remover looked at the dye in the sleeves 
fabric (and lining!) as a stain, I don't know.
*sigh*
It's not exactly a horrible color, just not one I'm ever going to be 
able to wear.  I actually bought more remover, so I can do the same to 
the dress.  I'll give it away to somebody, I guess, but it's annoying, 
as it's one of one 4 outfits I had for SCA wear. ;-(
--sue

Gail & Scott Finke wrote:
> I once used color remover on a second-hand, but originally very expensive,
> toddler dress. I can't remember what was on it, some sort of dye that had
> run in the washing machine. But the dress turned from yellow to a bilious,
> but perfectly even, light green. I didn't mind much, because the dress was
> ruined anyway. But watch out! You may get a different color than EITHER the
> original or the "dyed" color.

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From: "otsisto" <otsisto@socket.net>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Interesting pics-Aprons
Date: Sun, 10 Apr 2005 23:25:04 -0500
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I can see that there is a section on the right back area that is a different
color than the red apron. It could very well be the skirt.

Arian



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Subject: [h-cost] Re: Dr. Pepper's band
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That group was Steve and Cathy Swope, and yours truly (the both of us).  It 
was all Steve's idea.  The fourth costume was Grape Nehi (purple).  Yes, we 
did our best to duplicate the album cover with the soda modifications.

The source of Steve's idea was the fact that originally, the album was 
supposed to be titled "Dr. Pepper's Lonely Hearts Club Band".  Then they 
found out about the soda Dr. Pepper (apparently not available in England at 
the time) and changed the album title to avoid trademark conflicts.

All the instruments were real except for the English Horn.  When we first 
presented the costumes at Archon in St. Louis, we had a real english horn 
also.  Before CC, the owner decided to have the instrument restored and was 
then unwilling to loan it out - so Steve built a prop one.  Unless you 
tried to play it, you couldn't tell it was fake.  Steve got a workmanship 
award for that one.  Strangely enough, I got to carry the instrument that I 
actually play - piccolo.

He also did the pull tab epaulets out of sheet aluminum, and made buttons 
out of original bottle caps for each soda - buying them on Ebay and then 
using epoxy to attach a wire shank to the backs.

It was a fun group to do.

Sandy
At 01:01 PM 4/7/2005, you wrote:
>From: Robin Netherton <robin@shell.nightowl.net>
>
>Costume content: At the Chicago CostumeCon a couple of years ago, a group
>entry in the costume contest (from some St. Louis costumers, possibly one
>or more on this list) was "Dr. Pepper's Lonely Hearts Club Band." All the
>close details on the suits were soda-related (e.g. the epaulets were
>shaped like soda can pull-tabs). At the end of their "performance," they
>turned around and you saw the logos for Orange Crush, Dr. Pepper, 7-Up,
>and something else I forget, and you realized that each out fit was the
>correct matching color. Even the instruments were costume props, and
>beautifully made.
>
>--Robin

"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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Hi guys, anyone know any period names for the butterfly headdresses 
often seen in brass rubbing around the late 15th century?
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Subject: Re: [h-cost] Interesting pics-Aprons
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Okay!  I will post this picture Tuesday....sorry....Monday is a 
lonnnnnng day for me!

E House wrote:

> ----- Original Message ----- From: "Wicked Frau" 
> <wickedfrau@earthlink.net>
>
>> I have another wonderful picture of a full length white apron which 
>> appears to go all the way around.  I can post a high resolution scan 
>> of the first picture if anyone is interested (and has the band width!)
>
>
> I'm interested!
>
> -E House
>
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Subject: RE: [h-cost] Period names for Butterfly Headdress?
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I believe the henin was called the atours in the period..
The Butterfly is simply a wired veil dressing on the henin.

Annette
Back to lurking and reading...

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
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Sent: Monday, April 11, 2005 12:58 AM
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Subject: [h-cost] Period names for Butterfly Headdress?

Hi guys, anyone know any period names for the butterfly headdresses 
often seen in brass rubbing around the late 15th century?
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I have had the 'apparent' problem with a number of contemporary cottons.  If
I use bleach for brightening, or just sometimes detergent, the garment,
(usually white) will turn lavender in the bath but does loose the tinge
after drying.
Kathleen
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 11, 2005 12:26 AM
Subject: Re: [h-cost] Re: color remover


> Happened to me, just a few weeks ago, with a rose-colored ItalianRen
> gown.  The sleeves had fake puffs (white cotton) that had picked up a
> nasty, pink tinge from something that had cut loose in a wash load.  I
> used a color remover (the kind specifically meant for use with vagrant
> dyes such as this), and in about 20 seconds had white puffs, and
> yellow-peach sleeves.  Why the remover looked at the dye in the sleeves
> fabric (and lining!) as a stain, I don't know.
> *sigh*
> It's not exactly a horrible color, just not one I'm ever going to be
> able to wear.  I actually bought more remover, so I can do the same to
> the dress.  I'll give it away to somebody, I guess, but it's annoying,
> as it's one of one 4 outfits I had for SCA wear. ;-(
> --sue
>
> Gail & Scott Finke wrote:
> > I once used color remover on a second-hand, but originally very
expensive,
> > toddler dress. I can't remember what was on it, some sort of dye that
had
> > run in the washing machine. But the dress turned from yellow to a
bilious,
> > but perfectly even, light green. I didn't mind much, because the dress
was
> > ruined anyway. But watch out! You may get a different color than EITHER
the
> > original or the "dyed" color.
>
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Subject: [h-cost] A new twist on the Bliaut "problem"
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Hey there - I'm working off of Robin's reply.

Here's an interesting idea.  Not going to call it anything else.  I might 
just be putting 2 and 2 together and getting 7.

But I have been reading alot about the history of Northern and North 
Western France, and the interruption of settlement in the area that 
occurred in the 11th century.   Yeup... there were Vikings - actually 
Norwegians and Danes going a-Viking in the area.  And using the area as a 
headland for raids into the main body of France using the Loire and the 
(gack) the Rhone?  as transportation highways.

But at some point, the French King (I want to say Dagobert I,  but I know 
that's not right) gave the Danes and the Norwegians the area that they were 
inhabiting,  in return for their "protecting the lands from invaders" - 
i.e. other Danes and Norwegians.  And the settlers were also required to 
convert th Christianity.  Which they did - with gusto.  And started 
building many many elaborate churches.  So here is the question.  Are we 
looking at a French fashion, carved in stone - but first passed through a 
culture that didn't wear it, and which added it's own elements of fine 
dress?  That pleated skirt for instance?

It's an interesting thought... I'm going to go back and check my 
dates.  Because - depending on the dates,  this becomes much more possible.

>I personally think that the limited context for the sculptural version,
>along with the obvious construction problems and the disconnect with the
>fashions of the preceding and following periods, raise a strong
>possibility that the images do not represent a normal fashionable garment.
>They might be a complete invention, for instance the result of a certain
>artistic school of decorative techniques in sculpture, or a deliberately
>fanciful image used as artistic code for "royalty/saint/allegorical
>figure." Or they might represent a particularly unusual short-lived style
>worn by the French queen or court, perhaps as a result of a small, finite
>quantity of exotic fabrics or garments brought back from Crusade, and thus
>became recognizable visual style for "queen" in that period. I think
>either of these theories makes more sense than assuming that this was the
>"bliaut" that literary references suggest was commonly worn by nobility
>over a large area of Europe for a significant period.
>
>But that's just me.
>
>--Robin
>one of those "folks who write long posts on h-costume"
>
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Carolyn,

If I understand your description, it makes sense to me but yes, pics of
the shirts would help.

One argument you might use with your costume approval person as that
wearing a shirt of this cut, and seeing how it works with the rest of
the ensemble, not to mention how it feels, is another way to test it. 
Maybe you could get limited approval to try it out?  It does not sound
like it is going to look radically different from the other shirts that
have more primary sources.  

Catherine
who envies you having a faire so concerned with accuracy in costume
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From: Robin Netherton <robin@shell.nightowl.net>
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I was just pointed to this feature on the Oxbow site because it mentions
our journal, but people here might be interested as there's reference to
several other recent clothing books as well, and one upcoming on ancient
clothing.

http://www.oxbowbooks.com/feature.cfm/FeatureID/187/MID/7802

Oxbow goes by the name David Brown in the US.

BTW, if anyone sees sites or publications that review or mention MC&T,
please drop me a note. Sometimes we're the last to konw.

--Robin

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Gee thanks, Robin.  There goes the food budget for this week.  Just what I needed - more books to tempt me.  Oh well, I wanted to lose weight anyhow.

Lalah, Never give up, Never surrender


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

From: Robin Netherton <robin@shell.nightowl.net>
Date: Mon, 11 Apr 2005 09:33:53 -0500 (CDT)
To: Historic Costume List <h-costume@indra.com>
Subject: [h-cost] Books and more books


I was just pointed to this feature on the Oxbow site because it mentions
our journal, but people here might be interested as there's reference to
several other recent clothing books as well, and one upcoming on ancient
clothing.

http://www.oxbowbooks.com/feature.cfm/FeatureID/187/MID/7802

Oxbow goes by the name David Brown in the US.

BTW, if anyone sees sites or publications that review or mention MC&T,
please drop me a note. Sometimes we're the last to konw.

--Robin

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>If I understand your description, it makes sense to me but yes, pics of
>the shirts would help.

URLs to the period examples I have were included in the original 
message.  And, as I said there, I no longer have the little mock-ups to 
scan in to show you because our costume approval person has them.

>One argument you might use with your costume approval person as that
>wearing a shirt of this cut, and seeing how it works with the rest of
>the ensemble, not to mention how it feels, is another way to test it.
>Maybe you could get limited approval to try it out?  It does not sound
>like it is going to look radically different from the other shirts that
>have more primary sources.

Good suggestion.  She might just go for that.  Thanx.  I'll ask her at 
rehearsal next weekend.

>who envies you having a faire so concerned with accuracy in costume

Don't I wish.  It's not any Faire that's so concerned with accuracy, it's 
my Guild's costume approval person.  I do court at a Northern California 
Ren. Faires, with St. George's Guild, and it's our costume approval person 
I'm talking about.  I get the impression that other Faires' costume 
approval people would probably pass anything she said would go, sight 
unseen.  But our person is a long time acquaintance of mine, and we remain 
on good terms because (a) I'm not insisting that I get to wear this cut of 
shirt, and (b) I put the question to her as one scholar asking another, and 
I gave her models of what I was talking about.  (And (c), I have another 
shirt I can wear and she knows it.)

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

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To: Historical Costume <h-costume@indra.com>
Subject: Re: Eyelets vs. grommets Re: [h-cost] Fwd: Medieval gowns
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Hi. I have used a number of items for doing the job, from an old icepick 
to a sailors fid. The best one that I have is a bodkin that I made from 
bone and copied from an archaeological illustration from the Museum of 
London. It (the illo, that is) was given to me years ago by the 
then-Director of Costuming at Plimoth Plantation. It is a multi-purpose 
tool, and has a point (not too sharp) and a slot at the back so that 
lacing can be threaded into it like a needle and passed through the 
eyelets. It tapers up to about 1/4 inch so that you can make a variety 
of hole sizes.  I suppose that, if you didn't have a bodkin, a knitting 
needle (about a # 2 or 3 I think) suitable tapered and polished, could 
work. You want to push, not tear, the fibers, so working a tapered, 
round item into the hole should do the trick. Mike T.


> michaela wrote:
>
>> Now if I could get my hands on a proper awl rather than those glorified
>> nails sold in the local shops.....
>>
>
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From h-costume-bounces@indra.com  Mon Apr 11 23:54:44 2005
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I use a long porcupine quill --Nancy's Notions used to sell them.  It  has a 
semi-sharp tip that separates the fibers as neatly as you please, the  tapered 
shaft gently forces the hole to get as large as you need it, it's  virtually 
indestructible, and besides, it's a great conversation starter if you  do 
living history...
 
Best regards,
Susannah
 
Susannah Eanes, Mantua Maker and Fine Tailoring
_www.virginvintage.com_ (http://www.virginvintage.com) 
 
"We are only the trustees for those who come after us."  --William  Morris
 
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Date: Mon, 11 Apr 2005 19:41:30 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: [h-cost] Re: Elizabethan shirt question (long-ish)
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At 8:33 AM -0500 4/11/05, Catherine Kinsey wrote:
>If I understand your description, it makes sense to me but yes, pics of
>the shirts would help.
>
>One argument you might use with your costume approval person as that
>wearing a shirt of this cut, and seeing how it works with the rest of
>the ensemble, not to mention how it feels, is another way to test it.
>Maybe you could get limited approval to try it out?  It does not sound
>like it is going to look radically different from the other shirts that
>have more primary sources.

I actually don't think the problem is with the cut, Kayta.

Obviously I haven't heard the whole conversation, but from what I 
_have_ heard, the question is not about how the shirt/smock is cut, 
but about what kind of technique is used to gather the top.

It seems to be clear from a number of examples that plain old 
ordinary gathering is something that certainly was used.

It's much _less_ clear whether anything resembling the "smocking" or 
"pleatwork" that we see in portraits from (for instance) Italy was 
used in England. And if it was in England at all, whether it was used 
on women's shirts/smocks.

I think that may be the sort of evidence you're looking for, and I 
don't know whether you'll find any.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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At 10:26 PM -0600 4/10/05, Sue Clemenger wrote:
>Happened to me, just a few weeks ago, with a rose-colored ItalianRen 
>gown.  The sleeves had fake puffs (white cotton) that had picked up 
>a nasty, pink tinge from something that had cut loose in a wash 
>load.  I used a color remover (the kind specifically meant for use 
>with vagrant dyes such as this), and in about 20 seconds had white 
>puffs, and yellow-peach sleeves.  Why the remover looked at the dye 
>in the sleeves fabric (and lining!) as a stain, I don't know.

If this happens to anybody again, try Synthropol first. Synthropol is 
a very mild detergent (I think it's actually used as horse shampoo :) 
that is particularly good at picking up "loose" dye and removing it. 
This means if the pink underwear (for instance) is discovered before 
it goes through a hot dryer, a second wash with Synthropol will often 
solve the problem. (Pink underwear is the classic case because a lot 
of red dyes are not very stable and will run even when other colors 
don't.)

Synthropol is cheap, it only takes a couple of tablespoons per load, 
and a lot of art supply stores carry it, as does Dharma Trading (no 
connection, just a satisfied customer). It's much cheaper to buy a 
pint bottle of it than to spend $3 each (last I looked) for little 
one-wash packets of something from Rit or wherever.

You can always try the dye remover later, if this doesn't work.

The dye remover is pretty aggressive stuff, as you've discovered, and 
the results aren't always predictable. It does also weaken fabric if 
you use too much of it, which is why it's not advisable for routine 
bleaching.
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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I am dyeing stark white modern T-shirts, camisoles, etc.  If I want a 
peach that is lighter, I know I have to start over with a new shirt.

However, I also want a peach that is less pure and bright.  And, I also 
have some light orange dye that when used as is might well turn out like 
the overly bright peach.  As I mentioned, my taste is towards the rather 
muddy "earth tones," although I don't want to dye everything really 
dark.  If I first dye some white  garments a light ecru, and then dye 
peach or orange over them, will I still have a peach color but one with 
some of the brightness taken off?

Thanks for any info.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] awls for making eyelet holes
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Very Cool!
Here are some places currently offering them....I think I will get one 
myself!
http://www.basketmakers.org/topics/supplies/supquillsindex.htm

Susannah9810@aol.com wrote:

>I use a long porcupine quill --Nancy's Notions used to sell them.  It  has a 
>semi-sharp tip that separates the fibers as neatly as you please, the  tapered 
>shaft gently forces the hole to get as large as you need it, it's  virtually 
>indestructible, and besides, it's a great conversation starter if you  do 
>living history...
> 
>Best regards,
>Susannah
> 
>Susannah Eanes, Mantua Maker and Fine Tailoring
>_www.virginvintage.com_ (http://www.virginvintage.com) 
> 
>"We are only the trustees for those who come after us."  --William  Morris
> 
>_______________________________________________
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>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Another overdyeing question
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Well, it might work.  It all depends upon the exact chemistry of the 
colors.  You can get all sorts of (unexpected) chemical interactions 
between the dyes and may end up with something entirely different than what 
you expect.  You might want to try one item (or a scrap of the same fabric) 
and see what happens.
Joan

At 06:47 AM 4/12/2005 -0700, you wrote:
>I am dyeing stark white modern T-shirts, camisoles, etc.  If I want a 
>peach that is lighter, I know I have to start over with a new shirt.
>
>However, I also want a peach that is less pure and bright.  And, I also 
>have some light orange dye that when used as is might well turn out like 
>the overly bright peach.  As I mentioned, my taste is towards the rather 
>muddy "earth tones," although I don't want to dye everything really 
>dark.  If I first dye some white  garments a light ecru, and then dye 
>peach or orange over them, will I still have a peach color but one with 
>some of the brightness taken off?
>
>Thanks for any info.
>
>Fran
>Lavolta Press Books on Historic Costuming
>http://www.lavoltapress.com

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Date: Tue, 12 Apr 2005 10:03:27 -0400 (EDT)
Subject: Re: [h-cost] awls for making eyelet holes
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     I think Wooded Hamlet has eyelet awls - either antique or repro.  You
can sometimes find them at antique stores, made of bone or ivory. 
About 2 or 3 inches long, a smooth kinda blunt "point" at one end,
and the other end is about 5/16" in diameter, sometimes plain
sometimes decorated with carving or simple bands.

     Unless the point is broken, they are worn in perfectly and work
exactly right for making eyelets.  Almost like they were made for it!

    -Carol
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Date: Tue, 12 Apr 2005 07:52:29 -0700 (PDT)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Clothing Breakdance ?
To: Historical Costume <h-costume@indra.com>
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I know a bit late here, but there were several
breakdancing themed movies in the 1980's as well. 
"Breakin'" was one of them, can't remember most of the
rest. (My SO would shoot me, he LOVES breakdancing, I
was only a fringy at the time.)


Wolfcat / Angharad

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> 
> >Can anyone point me in the direction of any studies
> on the clothes 
> >culturally associated with break dancing please ?
> >
> >In particular their origins, ie historic
> precedents.
>


		
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Subject: [h-cost] costume in Nice, Chateau d'If & environs
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Gentles,
I'm off to Nice, France in a few days and wondered if any of you knew
of costume collections in the area.  Collections in our area of
interest are hardly ever listed in travel guides unless it's an
amazing costume collection.  In particular, I'm interested in civil
attire anywhere between 15th to 19th c.  Also grateful for pointers to
fine arts museums, tapestries, spiffy castles & chateaux.
Thanks, y'all!
--cin
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Subject: Re: [h-cost] Another overdyeing question
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Thanks.

This may be a dumb question but:  If I've dyed the garment, fixed the 
dye, and rinsed out all the excess, I can still get chmical reactions 
from mixing dyes?  I could see it if I mixed a pinch of brown into the 
peach to begin with, but shouldn't a previous dye process be chemically 
inert?

Fran
Lavolta Press
http://www.lavoltapress.com

Joan Jurancich wrote:

> Well, it might work.  It all depends upon the exact chemistry of the 
> colors.  You can get all sorts of (unexpected) chemical interactions 
> between the dyes and may end up with something entirely different than 
> what you expect.  You might want to try one item (or a scrap of the 
> same fabric) and see what happens.
> Joan
>
> At 06:47 AM 4/12/2005 -0700, you wrote:
>
>> I am dyeing stark white modern T-shirts, camisoles, etc.  If I want a 
>> peach that is lighter, I know I have to start over with a new shirt.
>>
>> However, I also want a peach that is less pure and bright.  And, I 
>> also have some light orange dye that when used as is might well turn 
>> out like the overly bright peach.  As I mentioned, my taste is 
>> towards the rather muddy "earth tones," although I don't want to dye 
>> everything really dark.  If I first dye some white  garments a light 
>> ecru, and then dye peach or orange over them, will I still have a 
>> peach color but one with some of the brightness taken off?
>>
>> Thanks for any info.
>>
>> Fran
>> Lavolta Press Books on Historic Costuming
>> http://www.lavoltapress.com
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
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From h-costume-bounces@indra.com  Tue Apr 12 11:16:32 2005
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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Another overdyeing question
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Maybe. But you'd need to test it.  Even with a "fixed" dye, there can be 
chemical reactions (as per the earlier discussions about dye 
removal).  That's what makes dyeing so interesting.
Joan

At 08:10 AM 4/12/2005 -0700, you wrote:
>Thanks.
>
>This may be a dumb question but:  If I've dyed the garment, fixed the dye, 
>and rinsed out all the excess, I can still get chmical reactions from 
>mixing dyes?  I could see it if I mixed a pinch of brown into the peach to 
>begin with, but shouldn't a previous dye process be chemically inert?
>
>Fran
>Lavolta Press
>http://www.lavoltapress.com
>
>Joan Jurancich wrote:
>
>>Well, it might work.  It all depends upon the exact chemistry of the 
>>colors.  You can get all sorts of (unexpected) chemical interactions 
>>between the dyes and may end up with something entirely different than 
>>what you expect.  You might want to try one item (or a scrap of the same 
>>fabric) and see what happens.
>>Joan
>>
>>At 06:47 AM 4/12/2005 -0700, you wrote:
>>
>>>I am dyeing stark white modern T-shirts, camisoles, etc.  If I want a 
>>>peach that is lighter, I know I have to start over with a new shirt.
>>>
>>>However, I also want a peach that is less pure and bright.  And, I also 
>>>have some light orange dye that when used as is might well turn out like 
>>>the overly bright peach.  As I mentioned, my taste is towards the rather 
>>>muddy "earth tones," although I don't want to dye everything really 
>>>dark.  If I first dye some white  garments a light ecru, and then dye 
>>>peach or orange over them, will I still have a peach color but one with 
>>>some of the brightness taken off?
>>>
>>>Thanks for any info.
>>>
>>>Fran
>>>Lavolta Press Books on Historic Costuming
>>>http://www.lavoltapress.com

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From h-costume-bounces@indra.com  Tue Apr 12 11:31:01 2005
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If you will be going to Grasse (the center of the perfume industry in
Provence, historically) there is a small costume museum with the traditional
clothing of Provence. I would say most of the items are late 19th or early
20th C.  There are some nice printed cottons and quilted petticoats that I
remember.   It was not expensive (perhaps free) to enter the museum and it
was near the Fragonard museum of perfume (also interesting).  There is
another museum in the town that is one of the homes the painter Fragonard
lived in, it was not as interesting and had no costumes, and very few
paintings.  The town itself is walkable and interesting.

I don't recall any other costume collections in the area but there are many
great art museums and medieval towns (Saint Paul de Vence, for instance).

Bonne Vacances!

> Message: 13
> Date: Tue, 12 Apr 2005 08:04:27 -0700
> From: Cin <cinbarnes@gmail.com>
> Subject: [h-cost] costume in Nice, Chateau d'If & environs
> To: h-cost <h-costume@indra.com>
> Message-ID: <edcaf02205041208043f46f257@mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Gentles,
> I'm off to Nice, France in a few days and wondered if any of you knew
> of costume collections in the area.  Collections in our area of
> interest are hardly ever listed in travel guides unless it's an
> amazing costume collection.  In particular, I'm interested in civil
> attire anywhere between 15th to 19th c.  Also grateful for pointers to
> fine arts museums, tapestries, spiffy castles & chateaux.
> Thanks, y'all!
> --cin
>
>

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From h-costume-bounces@indra.com  Tue Apr 12 12:31:37 2005
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If going to Nice... it's worth a side trip by train to Avignon.  The Petit 
Palace and the Palace du Papes are there - great for imbibing of the 
Medieval atmosphere.  Check their dates of operation... IIRC the Petit 
Palace is closed on Mondays...
Mari

Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Subject: Re: [h-cost] Another overdyeing question
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Dyeing is sometimes too interesting for my taste, which is why I haven't 
tried it for years.  At least a cheap T-shirt that I can replace with an 
identical T-shirt (if I want to continue experimenting) is expendable.  
(Although I hate to throw anything out.) I used to dye vintage clothes, 
and also did vat dyeing during which I often could not agitate the 
garment well enough to get even results.  A washer is way better, though 
of course not suitable for fragile garments.

I never saw my first question posted, about whether a rust or chocolate 
brown would cover the peach completely.  Did it ever appear, or any 
responses?

Fran
Lavolta Press
http://www.lavoltapress.com


Joan Jurancich wrote:

> Maybe. But you'd need to test it.  Even with a "fixed" dye, there can 
> be chemical reactions (as per the earlier discussions about dye 
> removal).  That's what makes dyeing so interesting.
> Joan
>
> At 08:10 AM 4/12/2005 -0700, you wrote:
>
>> Thanks.
>>
>> This may be a dumb question but:  If I've dyed the garment, fixed the 
>> dye, and rinsed out all the excess, I can still get chmical reactions 
>> from mixing dyes?  I could see it if I mixed a pinch of brown into 
>> the peach to begin with, but shouldn't a previous dye process be 
>> chemically inert?
>>
>> Fran
>> Lavolta Press
>> http://www.lavoltapress.com
>>
>
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From: Katy Bishop <vintage@shore.net>
To: Laura Morlock <lbmorloc@artsmail.uwaterloo.ca>
Subject: Re: [h-cost] Mennonite Dress
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On Sun, 10 Apr 2005, Laura Morlock wrote:

>I have a question about Mennonite dress in Pennsylvania and Ontario in the
>1850s. Workers in a museum I'm working with wear very tight and restrictive
>sleeves to their dress. From the research I've done, Mennonites at this time
>were like Quakers - they took the fashion of the day and simplified it. But
>would they have worn clothes so difficult to move in when they were working on
>the farm and in the kitchen all day? Does anyone know anything about this?

I know that in the 1840's and early 1850's sleeves that were quite tight
would be cut on the bias, and have small gathers at the elbow, which
allows better stretch and freedom of movement.  Even the leg o' mutton
sleeves of the 1820's and 30's were on the bias so the lower sleeve
could fit tightly but allow stretch with movement.  Janet Arnold's
Patterns of Fashion I has a pattern for an 1840's dress with bias
sleeves.

Are their repro. sleeves cut on the straight grain?  I would suspect
those would be difficult to work in.

Hope this helps.

Katy

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Subject: [h-cost] Overdyeing Procion Dyes
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I recently bought a bunch of knit tops and Procion MX dyes from Dharma 
Trading.  I dyed four tops  in the washer with their "Peach" dye. I 
followed someone else's instructions on the net about doubling the dye 
amount for washer dyeing (in 15 gallons of water).  The result is 
beautifully even, but too vivid and too orange for my taste. I don't 
know if this is a result of increasing the dye, or just that this is 
supposed to be a brighter color than I expected.  It's hard to tell from 
the dye chart.

Anyway, I can't stand the color. I like "earth" tones (rust, moss green 
and other dark warm greens, browns, golden brown).  Is there another 
color I can overdye a bright peach with to tone it down?  How do you get 
a nice muddy color as opposed to trendy brights?

Failing that, if I overdye with Dharma's "Rust Brown" or their 
"Chocolate Brown," will it cover the peach completely? 

I know I can get a color remover, not to mention chlorine bleach, but 
would rather overdye what I have without taking an extra step.

Does anyone know if using the recommended dye amount (on some of the 
other tops) yields a soft peach as opposed to one that almost glows in 
the dark? 

Fran
Lavolta Press
http://www.lavoltapress.com

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Date: Tue, 12 Apr 2005 00:06:39 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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>I actually don't think the problem is with the cut, Kayta.

I'm talking about a mid- to late-16th century English woman's shirt/smock 
with a stand up collar.  My original contention was that there were two 
different cuts used, with distinctly different looks, and Shelley (the St. 
George Guild costume person) countered that she didn't know if the visual 
evidence represented two different cuts or not.  At the moment the question 
between us is how the cut relates to those gathers at the base of the neck.

>It seems to be clear from a number of examples that plain old ordinary 
>gathering is something that certainly was used.

Plain old gathering is fine with me, and takes less time if you're going to 
have a separate fabric neckband anyway.  When Shelley wanted me to stop 
using the word 'smocking', because she wasn't sure that's what technique we 
were seeing, I stopped using that word.  But I maintain that only my 
proposed cut produces enough gathers at the neck seam, the distinctive 
V-shape at the shoulders, and the concentric rings of grain or embroidery 
at the neck, and the other cut doesn't.

Shelley does believe that the little mock-up I made, and lent her, produces 
the same results as I mentioned above, and as seen in the ones in the 
images I posted to this list.  She just says she doesn't have any evidence 
that the cut I proposed is the actual cut of these garments, which means 
she won't let me make shirts/smocks that way.  I need to make a second 
shirt/smock for this year, and I want to make it using this alternate cut.

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

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Hi Robin (and others)

Got my copy today! (I'm in the UK) Looks awesome and I wish it was evening 
already and I could go home. Got a quick glimpse during the lunchbreak, but 
can't wait to get really into it... Thanks!

Caithlinn


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From: Laura Morlock <lbmorloc@artsmail.uwaterloo.ca>
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Subject: Re: [h-cost] Mennonite Dress
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Thank you so much, Susannah and Katy! Your information has been a lot of help! 
I'm at the library right now researching those titles you gave me, Susannah. I 
attend a Mennonite college, so they have quite a few of those works.

Katy, you mentioned there are gathers at the elbows, but what about at the 
armpit and shoulder? That's where they're finding the most restriction in their 
movement.

Any more information will always be appreciated.

Thanks again!
Laura

-- 
"As long as hunger exists, peace cannot prevail." Nobel Peace Prize winner 
Willy Brandt -- www.thehungersite.com 





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Kayta:

I'm not sure I understand. Your costume guru agrees that the cut you
proposed creates the look you see in the pictures, but she won't let you use
it because she doesn't have any evidence that that particular cut was used?

Isn't the fact that it creates the look you see in the pictures AND no
documented cut does considered evidence? (Again, I'm not sure I understand
you correctly -- no other cut does give that look, right?)

We're not talking bliauts here, we're talking very detailed, accurate
potraiture. To me, if it's a plausible cut and the results look just like
the portrait, then that's good enough.

If you had pictures of bellbottom jeans but the only extant jeans were
straight-legged, then you'd have to go by the photos and extrapolate the
cut, right?

I understand the importance of good costume control. But we don't have
extant examples of everything. To me it seems silly to stick only to the
same 10 documented shirts, or whatever the number is, when your whole goal
is to get a different look than the ones produced by the existing extant
ones.

But that's just me.

Gail Finke


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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Mennonite Dress
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I have made many a dress for 1846 with the narrow sleeves cut on the 
bias.  I have cooked, baked, and done all sorts of work without any 
trouble.  It sounds as if they did cut the sleeves on the straight, 
possibly not realizing that a close-fitting sleeve must not be cut on the 
straight if you want to be able to move your arms.  It takes a bit more 
fabric to cut the sleeves on the bias (or close to the bias), but I just 
use the scraps from cutting the sleeves to make the self-piping I need for 
the dress.
Joan Jurancich, Docent
Sutter's Fort, Sacramento, CA

At 08:09 AM 4/11/2005 -0400, you wrote:
>On Sun, 10 Apr 2005, Laura Morlock wrote:
>
> >I have a question about Mennonite dress in Pennsylvania and Ontario in the
> >1850s. Workers in a museum I'm working with wear very tight and restrictive
> >sleeves to their dress. From the research I've done, Mennonites at this time
> >were like Quakers - they took the fashion of the day and simplified it. But
> >would they have worn clothes so difficult to move in when they were 
> working on
> >the farm and in the kitchen all day? Does anyone know anything about this?
>
>I know that in the 1840's and early 1850's sleeves that were quite tight
>would be cut on the bias, and have small gathers at the elbow, which
>allows better stretch and freedom of movement.  Even the leg o' mutton
>sleeves of the 1820's and 30's were on the bias so the lower sleeve
>could fit tightly but allow stretch with movement.  Janet Arnold's
>Patterns of Fashion I has a pattern for an 1840's dress with bias
>sleeves.
>
>Are their repro. sleeves cut on the straight grain?  I would suspect
>those would be difficult to work in.
>
>Hope this helps.
>
>Katy
>
>Katy Bishop, Vintage Victorian
>vintage@shore.net                www.VintageVictorian.com
>      Custom reproduction gowns of the Victorian Era.
>       Publisher of the Vintage Dress Series books.

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] MC&T Journal -got mine!
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On Tue, 12 Apr 2005, C M wrote:

> Got my copy today! (I'm in the UK) Looks awesome and I wish it was
> evening already and I could go home. Got a quick glimpse during the
> lunchbreak, but can't wait to get really into it... Thanks!

And thank you! This seems to be the day for delivery in England. I had a
call a few hours ago from one of the authors I'm editing for Vol. 2 (a
comparison of descriptions of early Irish costume in literature to art and
archaeological sources -- with more than 200 footnotes!). She said, "Oh,
by the way, the first volume just came, looks very nice." I'm jealous! I
had two different packages from the publisher last week and each time
thought that must be it, but no. As of yesterday the US branch was still
waiting for the delivery.

--Robin
on pins and needles

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Date: Tue, 12 Apr 2005 11:09:17 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Mennonite Dress
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The sleeves should be slightly (1 to 2 inches) dropped off the shoulder and 
the shoulder seam somewhat (1 to 2 inches) to the back instead of right on 
the shoulder.  And the armhole should not be too big (paradoxical, I know) 
or arm movement will be very restricted.
Joan
At 01:18 PM 4/12/2005 -0400, you wrote:
>Thank you so much, Susannah and Katy! Your information has been a lot of 
>help!
>I'm at the library right now researching those titles you gave me, 
>Susannah. I
>attend a Mennonite college, so they have quite a few of those works.
>
>Katy, you mentioned there are gathers at the elbows, but what about at the
>armpit and shoulder? That's where they're finding the most restriction in 
>their
>movement.
>
>Any more information will always be appreciated.
>
>Thanks again!
>Laura

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And cutting on the bias won't take any more fabric than cutting on the straight 
grain if you're willing to use period piecing techniques, including carefully 
matching the pattern so that the piecing is almost invisible.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2 -5, 2006


On Tue Apr 12 12:43 , Joan Jurancich <joanmj@surewest.net> sent:

>I have made many a dress for 1846 with the narrow sleeves cut on the 
>bias.  I have cooked, baked, and done all sorts of work without any 
>trouble.  It sounds as if they did cut the sleeves on the straight, 
>possibly not realizing that a close-fitting sleeve must not be cut on the 
>straight if you want to be able to move your arms.  It takes a bit more 
>fabric to cut the sleeves on the bias (or close to the bias), but I just 
>use the scraps from cutting the sleeves to make the self-piping I need for 
>the dress.


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From: "Kate Pinner" <pinner@mccc.edu>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Mennonite Dress
Date: Tue, 12 Apr 2005 15:10:26 -0400
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You need to have a pretty tight armseye (?) to have a tight sleeve --
the armhole has to come up right to the armpit.

Kate

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Laura Morlock
Sent: Tuesday, April 12, 2005 1:18 PM
To: Historical Costume
Subject: Re: [h-cost] Mennonite Dress

Thank you so much, Susannah and Katy! Your information has been a lot of
help! 
I'm at the library right now researching those titles you gave me,
Susannah. I 
attend a Mennonite college, so they have quite a few of those works.

Katy, you mentioned there are gathers at the elbows, but what about at
the 
armpit and shoulder? That's where they're finding the most restriction
in their 
movement.

Any more information will always be appreciated.

Thanks again!
Laura

-- 
"As long as hunger exists, peace cannot prevail." Nobel Peace Prize
winner 
Willy Brandt -- www.thehungersite.com 





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Subject: [h-cost] 15th century shirt edging
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I give up...

Does somebody know how to achieve the almost invisible hem (or whatever it 
is) on the neckhole and cuffs of (mostly) flemish 15th century men's shirts? 
I would like to embroider the neckline and cuffs with whitework (as seen on 
the shepherd in the Bladelin triptych by Rogier van der Weyden, 
http://gallery.euroweb.hu/html/w/weyden/rogier/07bladel/3bladel.html) and I 
need to finish the raw edge first. In some blackwork from almost the same 
time, one can see some very fine edging to secure the edge.... but how 
exactly was that done? It doesn't look like simple buttonhole stich.... Does 
someone know? I'd be grateful for any ideas.....

Thanks,

Caithlinn


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: elizabethan shirt
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>I'm not sure I understand. Your costume guru agrees that the cut you
>proposed creates the look you see in the pictures, but she won't let you use
>it because she doesn't have any evidence that that particular cut was used?

I think that's the situation.  Now that I think of it, I don't remember if 
I've actually asked her if I can use my cut.  But I'd rather not spend the 
linen making one if she's just going to refuse to let me wear it.  I don't 
know - at this point it would seem like bugging her if I asked her before 
she made up her mind.

>Isn't the fact that it creates the look you see in the pictures AND no
>documented cut does considered evidence? (Again, I'm not sure I understand
>you correctly -- no other cut does give that look, right?)

I don't know if any other cut gives the same look, and I hadn't thought to 
look for another one.  But paper's cheap, and I guess I could play around 
with it and try to find another possible cut that would produce the same 
results.  If I can make one in paper, I can sew one in striped fabric, to 
double check my theory.  Thanx for the suggestion.

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

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From: Susan Farmer <sfarmer@utk.edu>
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Subject: [h-cost] Odd Roman Numeral Question (OT sortof ...)
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I have a question on the use of roman numerals in the 18th century -- y'all 
know about *lots* of stuff, so I'm hoping that someone can answer -- or at 
least point me in the proper direction.

I'm looking at a date that I *know* is 1762 and the Roman Numeral for that 
date is
as follows -- NOTE, I'm using square brackets for the "C" because I can't make 
a backwards "C" .....  --

[ I ] I ] [ [ L X I I

I assume that the CCLXII translates into 262, but how do I get 1500 out of 
that bizarre combination of forward Cs, *backwards* Cs, and Is ?!?!?!?

Inquiring minds and all that,
Susan

-----
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sfarmer@goldsword.com
Department of Ecology and Evolutionary Biology
University of Tennessee
http://epee.goldsword.com/sfarmer/Trillium/index.html

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Odd Roman Numeral Question (OT sortof ...)
Date: Tue, 12 Apr 2005 15:48:21 -0400
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Well CI) is an alternative to M or 1000  and and I) is "half" of the symbol
for 1000 or 500.

Try doing a google search for reversed c, you should get a bunch of hits.

Cheers,

Joanna

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan Farmer
Sent: Tuesday, April 12, 2005 3:37 PM
To: h-costume@indra.com
Subject: [h-cost] Odd Roman Numeral Question (OT sortof ...)


I have a question on the use of roman numerals in the 18th century -- y'all 
know about *lots* of stuff, so I'm hoping that someone can answer -- or at 
least point me in the proper direction.

I'm looking at a date that I *know* is 1762 and the Roman Numeral for that 
date is
as follows -- NOTE, I'm using square brackets for the "C" because I can't
make 
a backwards "C" .....  --

[ I ] I ] [ [ L X I I

I assume that the CCLXII translates into 262, but how do I get 1500 out of 
that bizarre combination of forward Cs, *backwards* Cs, and Is ?!?!?!?

Inquiring minds and all that,
Susan

-----
Susan Farmer
sfarmer@goldsword.com
Department of Ecology and Evolutionary Biology
University of Tennessee
http://epee.goldsword.com/sfarmer/Trillium/index.html

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From h-costume-bounces@indra.com  Tue Apr 12 16:02:19 2005
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From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Odd Roman Numeral Question (OT sortof ...)
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Sounds like the typeface is a bit exotic.  1762 in Roman numerals is 
MDCCLXII (M=1000, D=500, the others you know).
Joan

At 03:36 PM 4/12/2005 -0400, you wrote:
>I have a question on the use of roman numerals in the 18th century -- y'all
>know about *lots* of stuff, so I'm hoping that someone can answer -- or at
>least point me in the proper direction.
>
>I'm looking at a date that I *know* is 1762 and the Roman Numeral for that
>date is
>as follows -- NOTE, I'm using square brackets for the "C" because I can't 
>make
>a backwards "C" .....  --
>
>[ I ] I ] [ [ L X I I
>
>I assume that the CCLXII translates into 262, but how do I get 1500 out of
>that bizarre combination of forward Cs, *backwards* Cs, and Is ?!?!?!?
>
>Inquiring minds and all that,
>Susan
>
>-----
>Susan Farmer
>sfarmer@goldsword.com
>Department of Ecology and Evolutionary Biology
>University of Tennessee
>http://epee.goldsword.com/sfarmer/Trillium/index.html

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Carolyn Kayta Barrows stepped close to the microphone and whispered:

>Shelley does believe that the little mock-up I made, and lent her, 
>produces the same results as I mentioned above, and as seen in the ones in 
>the images I posted to this list.  She just says she doesn't have any 
>evidence that the cut I proposed is the actual cut of these garments, 
>which means she won't let me make shirts/smocks that way.  I need to make 
>a second shirt/smock for this year, and I want to make it using this 
>alternate cut.

Carolyn,
Could you show us the pattern you are proposing looks like?  I seem to have 
missed the original post with your cutting diagram.  I did see the pictures 
of the girl from 1569 and am interested in how you think that shirt was made.

Thanks
Genie

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Subject: [h-cost] Venice next week
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Dear H-Costume,

An amazing whirlwind of luck has resulted in a sudden trip to Venice 
next week as a lady's companion. (Hubby is even staying home with the 
twins!)

I've got all the guidebooks, I know about the weekly tourist booklet 
thing, all of that -- is there anything costume or history related that 
any of you have found out about in Venice that might not be in the 
regular sources?  I'll be there for 8 days, in the city.

-- 
Cynthia Virtue and/or Cynthia du Pre Argent
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Subject: Re: [h-cost] Venice next week
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Hi Cynthia,

     You know those tall chopines you see in various costume history
books?  I saw them in the flesh in a museum in Venice!

     I was only there for a day (took oe of those bus tours of Italy), but
I saw so much there.  Venice is not very big, so it was one of their
main museums that had the chopines.

     If you're interested in masks, they are all over the place!

     Enjoy!
     -Carol


> Dear H-Costume,
>
> An amazing whirlwind of luck has resulted in a sudden trip to Venice
> next week as a lady's companion. (Hubby is even staying home with the
> twins!)
>
> I've got all the guidebooks, I know about the weekly tourist booklet
> thing, all of that -- is there anything costume or history related that
> any of you have found out about in Venice that might not be in the
> regular sources?  I'll be there for 8 days, in the city.
>
> --
> Cynthia Virtue and/or Cynthia du Pre Argent

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The best thing about Venice is getting lost, ducking into a coffee shop 
to avoid a sudden thunderstorm and listening to the lady sing Ave Maria 
in the church square while the thunder sang base.  :D  We only had 3 
days there and did all the usual touristy things.  But the best thing 
about Venice is the getting lost part, just wander around.  We found 
the best things that way.   At least you won't have to deal with the 
heat.

I'm jealous!!  Does the lady's companion need a companion?  :D

Althea

On Tuesday, April 12, 2005, at 01:36 PM, Cynthia Virtue wrote:

> Dear H-Costume,
>
> An amazing whirlwind of luck has resulted in a sudden trip to Venice 
> next week as a lady's companion. (Hubby is even staying home with the 
> twins!)
>
> I've got all the guidebooks, I know about the weekly tourist booklet 
> thing, all of that -- is there anything costume or history related 
> that any of you have found out about in Venice that might not be in 
> the regular sources?  I'll be there for 8 days, in the city.
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Reunite Pangea!

It is proof of a base and low mind for one to wish to think with the 
masses or majority, merely because the majority is the majority. Truth 
does not change because it is, or is not, believed by a majority of the 
people.
- Giordano Bruno

Oh, good. Symbols on the floor. That always goes well.
- Gunn

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Date: Wed, 13 Apr 2005 09:31:38 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Odd Roman Numeral Question (OT sortof ...)
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Susan Farmer wrote:

>I'm looking at a date that I *know* is 1762 and the Roman Numeral for that 
>date is
>as follows -- NOTE, I'm using square brackets for the "C" because I can't make 
>a backwards "C" .....  --
>
>[ I ] I ] [ [ L X I I
>
>I assume that the CCLXII translates into 262, but how do I get 1500 out of 
>that bizarre combination of forward Cs, *backwards* Cs, and Is ?!?!?!?
>  
>

I suspect that what you're looking at is known tecnhically as "unclear 
type".

I think what you're looking at should read M D C C L X I I,

-- 
Adele de Maisieres

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

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Venice next week
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At 17:02 12/04/2005 -0400, you wrote:
>Hi Cynthia,


There was a wonderful exhibition of clothing textiles and stuff in London 
some years ago at the Accademia Italiana. I have a catalogue 
........somewhere, and will go and find out where they came from. It was 
the courtesan's drawers that took my fancy!!

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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>Kayta,
>Could you show us the pattern you are proposing looks like?  I seem to 
>have missed the original post with your cutting diagram.  I did see the 
>pictures of the girl from 1569 and am interested in how you think that 
>shirt was made.

(My costume lady informs me that if a man wears such a garment, it's called 
a shirt, while if a woman wears one, it's called a 'partlet' or a 'smock' 
instead.  I'm using the term 'shirt' as a generic word for all those 
shirt-like items of body linen.

We know the pattern for the shirts we have surviving examples of.  Take 
that pattern, and instead of adding the sleeves right at the top of the 
body pieces, add them maybe 6" down the side seams from the top.  Then sew 
up the side seams above them, making a large tube of the body pieces, open 
at the top.  Now gather the open top of the body pieces into a hole the 
size of the neck.  That's it.

This causes the grain of the body pieces to run in concentric circles 
around the neck seam, taking any embroidery along with it, as seen in the 
"girl from 1569" portrait I cited.  This hauls the tops of the sleeves 
right into a wide neckline, as seen in the Henry VIII portrait I 
cited.  This makes lots of gathering right at the bottom of the neck 
band.  And it does all this simply, without any extra calculation, pattern 
pieces, or fussing.

Modern smocking would account for all this, so 'smocking' is the word that 
first came to my mind to describe it.  My costume approval lady says I 
should call the contemporary technique 'pleatwork', so that's what I call 
it now.  My shirts would have the body fullness gathered or pleated into a 
separate neck band with a ruff added to the top of it, because our group 
does 1575.  Chris Laning pointed out that plain old gathering would do 
instead of any more complicated technique, and I can go for simpler.

I think earlier shirts using my proposed cut had the necks themselves 
formed by some fancy gathering technique which caused the top of the 
body-piece tube to become the stand-up neck band, leaving a little ruffle 
at the very top (like modern smocking can do).  I think this leftover 
ruffle was the origin of the ruff as we know it from later, and we can see 
it in the Henry VIII portrait I cited.  I think later shirts using my 
proposed cut had separate neck bands and ruff pieces added to a gathered 
neck hole, as in the "girl from 1569" portrait.  We see this added ruff 
piece the most clearly in later portraits of Mary Queen of 
Scots.  Eventually, we know, the ruff got huge and became a separate piece.

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

              //// \\\
             ////-@@\\\
            ((((   7 )))
             (((  <> ))))
                )   ((((((
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At 15:13 12/04/2005 -0700, you wrote:

>>Kayta,
>>Could you show us the pattern you are proposing looks like?  I seem to 
>>have missed the original post with your cutting diagram.  I did see the 
>>pictures of the girl from 1569 and am interested in how you think that 
>>shirt was made.
>
>(My costume lady informs me that if a man wears such a garment, it's 
>called a shirt, while if a woman wears one, it's called a 'partlet' or a 
>'smock' instead.  I'm using the term 'shirt' as a generic word for all 
>those shirt-like items of body linen.
>
>We know the pattern for the shirts we have surviving examples of.  Take 
>that pattern, and instead of adding the sleeves right at the top of the 
>body pieces, add them maybe 6" down the side seams from the top.  Then sew 
>up the side seams above them, making a large tube of the body pieces, open 
>at the top.  Now gather the open top of the body pieces into a hole the 
>size of the neck.  That's it.


Does the 17th century Italian smock/shift/shirt/chemise cited in "Cut My 
Cote" by Dorothy Burnham resemble your pattern? It sounds as if it might. 
It is certainly very full, although maybe, I'm thinking, more Titian, 
Rubens style.

Suzi


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Date: Wed, 13 Apr 2005 09:47:05 +1000 (EST)
From: Bella <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Venice next week
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Status: RO

Cynthia you are SO lucky! Right now I envy your luck immensely. I hope
you have a great time! :-)

Here are a few places that are costume-related that you might like to
visit....

Ca' Rezzonico - Museum of 18th-Century Art:
"As far as possible these pieces are chosen to illustrate how the
changes in fashion reflected the changes in overall taste, with
parallels and analogies being drawn between the colours, design and
decorative motifs of clothing and those to be seen in the furnishings
of the period.
The clothing and accessories are mainly of Venetian origin and are in
elaborately-worked fabrics embellished with embroidery and lace. They
illustrate the high degree of skill in such crafts as weaving,
tailoring, lace-making, embroidery, etc. which was the very basis of
the elegant refinement and luxury for which the Venetian aristocrats of
the day were renowned"


Palazzo Mocenigo:
"In 1985 the overall project of the Civic Museums designated Palazzo
Mocenigo as the seat of the Museum and Study Centre of the History of
Fabrics and Costumes: it contains the rich collections of ancient
textiles and costumes mostly from the Correr, Guggenheim and Cini
collections and the suppressed Centre of Palazzo Grassi. 
Palazzo Mocenigo also contains a well-stocked library specialising in
the history of fabrics, costumes and fashion."


Lace Museum:
"t contains many valuable pieces of the School's rich collection,
together with important examples of Venetian products from the
sixteenth to the twentieth century.
Incorporated in 1995 into the Venetian Civic Museums, this building
today offers not only items of great value, but also the chance to
observe lace-makers at work, keeping up the traditions of the island.
It is also possible to consult the archives, an important source of
historical and artistic documentation, with drawings, photographs and
other iconographic testimony."

"Laid out on the first floor of the Museum, the collection comprises
more than two hundred rare and precious pieces that chart the
development of lacemaking in Venice from the sixteenth to the twentieth
century."


This and more info at:
<http://www.museiciviciveneziani.it/>




Donna Bella Lucia da Verona - Innilgard, Lochac
©Any intellectual material in this message is copyright Anabella Wake (Bella Lucia da Verona)
 ***The APRIL Italian Showcase is now online!*** http://realmofvenus.renaissancewoman.net/yourgarb/showcase.htm

Find local movie times and trailers on Yahoo! Movies.
http://au.movies.yahoo.com
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Another overdyeing question
Date: Tue, 12 Apr 2005 18:10:25 -0600
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It will be chemically inert once the dye is fixed.


On Apr 12, 2005, at 9:15 AM, Joan Jurancich wrote:

> Maybe. But you'd need to test it.  Even with a "fixed" dye, there can 
> be chemical reactions (as per the earlier discussions about dye 
> removal).  That's what makes dyeing so interesting.
> Joan
>
> At 08:10 AM 4/12/2005 -0700, you wrote:
>> Thanks.
>>
>> This may be a dumb question but:  If I've dyed the garment, fixed the 
>> dye, and rinsed out all the excess, I can still get chmical reactions 
>> from mixing dyes?  I could see it if I mixed a pinch of brown into 
>> the peach to begin with, but shouldn't a previous dye process be 
>> chemically inert?
>>
>> Fran
>> Lavolta Press
>> http://www.lavoltapress.com
>>
>> Joan Jurancich wrote:
>>
>>> Well, it might work.  It all depends upon the exact chemistry of the 
>>> colors.  You can get all sorts of (unexpected) chemical interactions 
>>> between the dyes and may end up with something entirely different 
>>> than what you expect.  You might want to try one item (or a scrap of 
>>> the same fabric) and see what happens.
>>> Joan
>>>
>>> At 06:47 AM 4/12/2005 -0700, you wrote:
>>>
>>>> I am dyeing stark white modern T-shirts, camisoles, etc.  If I want 
>>>> a peach that is lighter, I know I have to start over with a new 
>>>> shirt.
>>>>
>>>> However, I also want a peach that is less pure and bright.  And, I 
>>>> also have some light orange dye that when used as is might well 
>>>> turn out like the overly bright peach.  As I mentioned, my taste is 
>>>> towards the rather muddy "earth tones," although I don't want to 
>>>> dye everything really dark.  If I first dye some white  garments a 
>>>> light ecru, and then dye peach or orange over them, will I still 
>>>> have a peach color but one with some of the brightness taken off?
>>>>
>>>> Thanks for any info.
>>>>
>>>> Fran
>>>> Lavolta Press Books on Historic Costuming
>>>> http://www.lavoltapress.com
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] MC&T Journal -got mine!
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On Tuesday 12 April 2005 9:35 am, C M wrote:
> Hi Robin (and others)
>
> Got my copy today! (I'm in the UK) Looks awesome and I wish it was evening
> already and I could go home. Got a quick glimpse during the lunchbreak, but
> can't wait to get really into it... Thanks!

Barnes & Noble tells me expected ship date is May 1 (I'm in the States).  
However, they may be lying so that I'll be happier when I get it early.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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The link doesn't give me a shepherd, just the 3 Kings, so I don't know 
your specific reference, but most likely, it's either a plain narrow hem 
(really narrow), or something similar, but with a simple embroidery 
holding the hem in place (like plain buttonhole stitch, or one of 
several variants).  I've seen both treatments in extant shirts/shifts 
from the 16th century.
Hope that helps...
--sue, who wants to know about your whitework <g>

C M wrote:

> I give up...
> 
> Does somebody know how to achieve the almost invisible hem (or whatever 
> it is) on the neckhole and cuffs of (mostly) flemish 15th century men's 
> shirts? I would like to embroider the neckline and cuffs with whitework 
> (as seen on the shepherd in the Bladelin triptych by Rogier van der 
> Weyden, 
> http://gallery.euroweb.hu/html/w/weyden/rogier/07bladel/3bladel.html) 
> and I need to finish the raw edge first. In some blackwork from almost 
> the same time, one can see some very fine edging to secure the edge.... 
> but how exactly was that done? It doesn't look like simple buttonhole 
> stich.... Does someone know? I'd be grateful for any ideas.....
> 
> Thanks,
> 
> Caithlinn
> 

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Interesting...B&N told me, my expected shipping date is next week (April 
16th-ish).
--sue, also in the US

Catherine Olanich Raymond wrote:


> Barnes & Noble tells me expected ship date is May 1 (I'm in the States).  
> However, they may be lying so that I'll be happier when I get it early.  :-)
> 
> 

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That's what I thought.  The dyed garments have been run through the 
fixing process (soda ash), rinsed, and then washed again with detergent 
in hot water and dried in a dryer.

At least I am dyeing a known fiber (100% cotton), brand new, with no 
finishes I know of (I also washed the garments in hot water and 
detergent before dyeing).  And I know the same type of dye (Procion MX) 
was used before.  Years ago, when I experimented with overdyeing vintage 
clothes, I was usually not entirely sure of the fiber content and 
definitely unsure what types of dyes and finishes had previously been 
used.  I remember one time a dress turned out to have sleeves of a 
different fiber (though the same color, texture, etc.); so the body of 
the dress came out wine color as planned--but the sleeves were bright 
purple.

Fran
Lavolta Press
http://www.lavoltapress.com

Sylvia Rognstad wrote:

> It will be chemically inert once the dye is fixed.
>
>
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Subject: Re: [h-cost] Overdyeing Procion Dyes
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In a message dated 4/12/2005 1:26:25 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

How do  you get 
a nice muddy color as opposed to trendy  brights?



To "kill" any color, mix it with it's compliment....the color opposite it  on 
a color wheel.
 
Since peach is a type of orange, it's compliment is in the blue area  [orange 
and blue are complimentary colors....orange being a mix of red and  yellow, 
blue is what's left out.] I would try a tint of robin's egg blue or like  a sea 
foam color. You should get a subtle, delicate brown....maybe a cinnamon if  
there's a lot of red in the peach.
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: color remover
Date: Tue, 12 Apr 2005 19:44:18 -0600
To: Historical Costume <h-costume@indra.com>
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Status: RO

Synthrapol will not remove the vagrant dye.  Retayne, or a dye magnet,  
will do so if you use it before any of the dye has run.  Once it has 
run, you're out of luck.

Sylrog

On Apr 11, 2005, at 10:07 PM, Chris Laning wrote:

> At 10:26 PM -0600 4/10/05, Sue Clemenger wrote:
>> Happened to me, just a few weeks ago, with a rose-colored ItalianRen 
>> gown.  The sleeves had fake puffs (white cotton) that had picked up a 
>> nasty, pink tinge from something that had cut loose in a wash load.  
>> I used a color remover (the kind specifically meant for use with 
>> vagrant dyes such as this), and in about 20 seconds had white puffs, 
>> and yellow-peach sleeves.  Why the remover looked at the dye in the 
>> sleeves fabric (and lining!) as a stain, I don't know.
>
> If this happens to anybody again, try Synthropol first. Synthropol is 
> a very mild detergent (I think it's actually used as horse shampoo :) 
> that is particularly good at picking up "loose" dye and removing it. 
> This means if the pink underwear (for instance) is discovered before 
> it goes through a hot dryer, a second wash with Synthropol will often 
> solve the problem. (Pink underwear is the classic case because a lot 
> of red dyes are not very stable and will run even when other colors 
> don't.)
>
> Synthropol is cheap, it only takes a couple of tablespoons per load, 
> and a lot of art supply stores carry it, as does Dharma Trading (no 
> connection, just a satisfied customer). It's much cheaper to buy a 
> pint bottle of it than to spend $3 each (last I looked) for little 
> one-wash packets of something from Rit or wherever.
>
> You can always try the dye remover later, if this doesn't work.
>
> The dye remover is pretty aggressive stuff, as you've discovered, and 
> the results aren't always predictable. It does also weaken fabric if 
> you use too much of it, which is why it's not advisable for routine 
> bleaching.
> -- 
> ____________________________________________________________
>
> O    Chris Laning <claning@igc.org>  -   Davis, California
> +     http://paternoster-row.org - http://paternosters.blogspot.com
> ____________________________________________________________
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Re: color remover
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And, actually, the mild detergent is not Synthrapol.  It is Orvis, and it 
is used as horse shampoo.  The label on my 7.5 lb jar gives the "USES: 
Effective in a wide range of cleaning tasks, such as cleaning rugs and 
upholstery, hand washing delicate fabrics, and washing livestock."  It also 
works nicely for washing fleeces (just wool without the sheep).  I have not 
tried it for vagrant dye removal.  I have used Synthrapol when washing 
colored items for the first time to help remove excess dye (the Synthrapol 
helps hold the excess dye in suspension so it can be washed away).
Joan


At 07:44 PM 4/12/2005 -0600, you wrote:
>Synthrapol will not remove the vagrant dye.  Retayne, or a dye magnet,
>will do so if you use it before any of the dye has run.  Once it has run, 
>you're out of luck.
>
>Sylrog
>
>On Apr 11, 2005, at 10:07 PM, Chris Laning wrote:
>
>>At 10:26 PM -0600 4/10/05, Sue Clemenger wrote:
>>>Happened to me, just a few weeks ago, with a rose-colored ItalianRen 
>>>gown.  The sleeves had fake puffs (white cotton) that had picked up a 
>>>nasty, pink tinge from something that had cut loose in a wash load.
>>>I used a color remover (the kind specifically meant for use with vagrant 
>>>dyes such as this), and in about 20 seconds had white puffs, and 
>>>yellow-peach sleeves.  Why the remover looked at the dye in the sleeves 
>>>fabric (and lining!) as a stain, I don't know.
>>
>>If this happens to anybody again, try Synthropol first. Synthropol is a 
>>very mild detergent (I think it's actually used as horse shampoo :) that 
>>is particularly good at picking up "loose" dye and removing it. This 
>>means if the pink underwear (for instance) is discovered before it goes 
>>through a hot dryer, a second wash with Synthropol will often solve the 
>>problem. (Pink underwear is the classic case because a lot of red dyes 
>>are not very stable and will run even when other colors don't.)
>>
>>Synthropol is cheap, it only takes a couple of tablespoons per load, and 
>>a lot of art supply stores carry it, as does Dharma Trading (no 
>>connection, just a satisfied customer). It's much cheaper to buy a pint 
>>bottle of it than to spend $3 each (last I looked) for little one-wash 
>>packets of something from Rit or wherever.
>>
>>You can always try the dye remover later, if this doesn't work.
>>
>>The dye remover is pretty aggressive stuff, as you've discovered, and the 
>>results aren't always predictable. It does also weaken fabric if you use 
>>too much of it, which is why it's not advisable for routine bleaching.
>>--
>>____________________________________________________________
>>
>>O    Chris Laning <claning@igc.org>  -   Davis, California
>>+     http://paternoster-row.org - http://paternosters.blogspot.com
>>____________________________________________________________
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
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I've found this bonnet online. Can others help me identify what time 
periods it could be worn in for historical re-enactments?
front - http://www.hatsupply.com/images/Bonnet.jpg
back - http://www.hatsupply.com/images/bonnetback.jpg

Warmest Regards,
Aylwen Garden

------------------------------------------------------------------
~ custom made historical reproduction clothing ~
http://www.earthlydelights.com.au/costume.htm
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ooops - I sent this message on the wrong subject heading.Aylwen


I've found this bonnet online. Can others help me identify what time 
periods it could be worn in for historical re-enactments?
front - http://www.hatsupply.com/images/Bonnet.jpg
back - http://www.hatsupply.com/images/bonnetback.jpg

Warmest Regards,
Aylwen Garden

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Subject: [h-cost] Spannish 1770
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Hi All,
Recently I met a lady that was looking for someone who could make
costumes, and since I did 16th century and earlier she inquired if I
could make a colonial costume, based upon the information from the
Colonial Williamsburg site.  I prepared a quote that detail how to do
the costume right, from the skin out.  She's passed the information
along to a friend that would like something Spannish from the same time
period.  Since I normally do 16th century and earlier, I don't have a
clue where to start with Spannish from this era.  Any suggestions?

and any suggestions on general clothing construction from this era as
well?  I haven't delved to deeply yet, until I have a firm contract,
but so far it sounds like I will have it soon.

thanks
Alexandria
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From: Joannah Hansen <Joannah@sluggy.net>
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Subject: Re: [h-cost] Inch graph paper
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Dear Jordana,

No, you're not too late. ( I'm even more backed up on my email than you are! :-} ) Thank-you for that info, I'll have to look into it.

Joannah.

--- jaurbik@optonline.net wrote:

From: jaurbik@optonline.net
Date: Sat, 05 Mar 2005 18:48:29 -0500
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Inch graph paper

In response to an old thread ( I have been out of comission for a while) you CAN get rolls of 1/2 inch grid paper-the rolls are about 3 feet wide and are about 200 ft long.  each roll is 26$ dollars plus whatever shippiing is to whereever you are.  I order mine from a company called Nasco, their web site is 
www.enasco.com and the item number is 9712672.  Their catalog is a pain if you do not have the item number.  

hope this is not to late to be helpful. 

jordana


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In a message dated 4/12/2005 11:25:40 P.M. Eastern Standard Time,  
garden@earthlydelights.com.au writes:

http://www.hatsupply.com/images/Bonnet.jpg



I bought a couple of these for early 19th century, but I don't think  they 
are right for pre-1820--the crown is not tall enough.  The bonnet also  seems 
rather stiff, so I think it would be difficult to get the brim to curve  
properly with ribbon ties from the band or over the crown. 
 
So if anyone else has suggestions for appropriate time period, I would also  
be interested.
 
Ann Wass
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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>Does the 17th century Italian smock/shift/shirt/chemise cited in "Cut My 
>Cote" by Dorothy Burnham resemble your pattern? It sounds as if it might. 
>It is certainly very full, although maybe, I'm thinking, more Titian, 
>Rubens style.

You'd have to slide the sleeves down the side seams till there was some 
side seam above where the sleeves were attached, and then it would resemble 
my pattern.  The neck hole of mine is the entire circumference of the body 
pieces gathered in.  And yes, as it stands you would have a more Titian or 
Rubens style, not an Elizabethan English one.

Interesting how similar shirts 8, 9, and 11 are, although separated by 
continent and century.

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

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Subject: Re: [h-cost] bonnet identification
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I agree with the possible time period.  The curved brim bothers me for that
purpose.  I usually prepare this shape from generic straw,cut a U shape from
the back for the neck fit, and then rebind the whole before wetting and
reblocking.

Kathleen

----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, April 13, 2005 7:06 AM
Subject: Re: [h-cost] bonnet identification


>
> In a message dated 4/12/2005 11:25:40 P.M. Eastern Standard Time,
> garden@earthlydelights.com.au writes:
>
> http://www.hatsupply.com/images/Bonnet.jpg
>
>
>
> I bought a couple of these for early 19th century, but I don't think  they
> are right for pre-1820--the crown is not tall enough.  The bonnet also
seems
> rather stiff, so I think it would be difficult to get the brim to curve
> properly with ribbon ties from the band or over the crown.
>
> So if anyone else has suggestions for appropriate time period, I would
also
> be interested.
>
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Laura Morlock <lbmorloc@artsmail.uwaterloo.ca>
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I have another, more generic question about Mennonite dress in the 1850s. The 
research I've done basically amounts to they dressed the same as everyone else 
at that time, just more simply, without the "superfluous" elements, like lace, 
ribbon, hoops, etc. But these were farm women, and so my questions are:
Did farm women wear corsets?
How many under skirts would they have worn? They didn't wear the hoops, and 
they were about ten years behind in fashion. That would mean the millions of 
thick and heavy skirts, but that would be expensive and rather impractical for 
farm labour.

Thanks,
Laura

-- 
"As long as hunger exists, peace cannot prevail." Nobel Peace Prize winner 
Willy Brandt -- www.thehungersite.com 





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From h-costume-bounces@indra.com  Wed Apr 13 10:11:00 2005
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Subject: Re: [h-cost] practicality of dress
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From: Aylwen & John <garden@earthlydelights.com.au>
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I'm still researching different aspects of the 1850s and 60s and know 
nothing of the Mennonite dress, but if as you say they were behind the 
times, then my guess would be that they may still have been wearing the 
corded stays of the 1820s/30s. These would have been more affordable 
for farm workers, more comfortable and practical.
Warmest Regards,
Aylwen Garden

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On Wednesday, April 13, 2005, at 11:55 PM, Laura Morlock wrote:

>
> I have another, more generic question about Mennonite dress in the 
> 1850s. The
> research I've done basically amounts to they dressed the same as 
> everyone else
> at that time, just more simply, without the "superfluous" elements, 
> like lace,
> ribbon, hoops, etc. But these were farm women, and so my questions are:
> Did farm women wear corsets?
> How many under skirts would they have worn? They didn't wear the 
> hoops, and
> they were about ten years behind in fashion. That would mean the 
> millions of
> thick and heavy skirts, but that would be expensive and rather 
> impractical for
> farm labour.
>
> Thanks,
> Laura
>
> -- 
> "As long as hunger exists, peace cannot prevail." Nobel Peace Prize 
> winner
> Willy Brandt -- www.thehungersite.com
>
>
>
>
>
> ----------------------------------------
> This mail sent through www.mywaterloo.ca
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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From h-costume-bounces@indra.com  Wed Apr 13 10:37:20 2005
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Doh,

Of course, not a shepherd, one of the kings... Too long a day at work and 
too many triptychs I have looked at lately...

But thanks for the suggestions... I will give them a try on a scrap, just to 
see which ones turn out best.

As to the whitework... I haven't completely decided yet, but I was going to 
use a pattern from Bassee's Neues Modelbuch.... it's a bit too late, I know, 
but I reckon a simple one might work. Alternatively I was going to make some 
bobbin lace... not sure yet.

Cheers,

Caithlinn


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From h-costume-bounces@indra.com  Wed Apr 13 10:48:55 2005
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In a message dated 4/13/2005 8:40:17 A.M. Eastern Standard Time,  
rmitchell@washjeff.edu writes:

I  usually prepare this shape from generic straw,cut a U shape from
the back  for the neck fit, and then rebind the whole before wetting  and
reblocking.



That's what I do, too, only I usually re-block before cutting and  binding.
 
Ann Wass
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Wearing a corset is a good thing.  It gives you physical support not only 
for the bosom, but for your back as well.  A working woman's corset is not 
as restrictive as one for fashionable wear.  You lace snuggly, so the 
corset stays in place comfortably.  Tight lacing is only for the 
fashionable rich (and was preached against by doctors of the period, though 
often ignored by fashionable young women).  One to three linen or cotton 
petticoats (I generally wear three, one of them corded) should be sufficient.
Joan
Docent at Sutter's Fort, Sacramento, CA

At 09:55 AM 4/13/2005 -0400, you wrote:

>I have another, more generic question about Mennonite dress in the 1850s. The
>research I've done basically amounts to they dressed the same as everyone 
>else
>at that time, just more simply, without the "superfluous" elements, like 
>lace,
>ribbon, hoops, etc. But these were farm women, and so my questions are:
>Did farm women wear corsets?
>How many under skirts would they have worn? They didn't wear the hoops, and
>they were about ten years behind in fashion. That would mean the millions of
>thick and heavy skirts, but that would be expensive and rather impractical 
>for
>farm labour.
>
>Thanks,
>Laura
>
>--
>"As long as hunger exists, peace cannot prevail." Nobel Peace Prize winner
>Willy Brandt -- www.thehungersite.com

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From: "Cabbage Rose Costumes" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Venice next week
Date: Wed, 13 Apr 2005 11:02:08 -0700
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Just returned from Venice in October, it was magnificent. There is hardly 
anything in the city that isn't costume related, so you will definitely be 
in your element.  Do take a moment to eat the local food. The linguine con 
vongole is amazing at Antiqua Doro by the Rialto.  Walk through the Jewish 
Ghetto and there is a museum there, which may have clothing as well as 
Jewish artifacts (I had the luck to arrive in Venice on Sukkot, so it was 
closed).  It's amazing, and I second the walking bit.

Costume related: do check out all the masks, and shop carefully.  If you 
wish to purchase any, I felt the best were the hand crafted ones, made 
locally, although they do cost a bit more.  All the major sellers will send 
your masks home for you (definitely the way to do it, for about the cost of 
the fees/tax you pay if you take it with you, which they back out when you 
ship home).   I.e., if you choose to ship, it ends up costing about the same 
tax=shipping, and you don't have to worry about breakage.  They are 
exquisite!  Enjoy...

angela
----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1128889780.bf3587@thibault.org>
To: <h-costume@indra.com>
Sent: Tuesday, April 12, 2005 1:36 PM
Subject: [h-cost] Venice next week


> Dear H-Costume,
>
> An amazing whirlwind of luck has resulted in a sudden trip to Venice next 
> week as a lady's companion. (Hubby is even staying home with the twins!)
>
> I've got all the guidebooks, I know about the weekly tourist booklet 
> thing, all of that -- is there anything costume or history related that 
> any of you have found out about in Venice that might not be in the regular 
> sources?  I'll be there for 8 days, in the city.
>
> -- 
> Cynthia Virtue and/or Cynthia du Pre Argent
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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From h-costume-bounces@indra.com  Wed Apr 13 15:06:43 2005
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Subject: Re: [h-cost] 15th century shirt edging
Date: Wed, 13 Apr 2005 14:05:47 -0500
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I have a similar problem on very late 15th and early 16thC square necked 
chemises; a half inch or so of the chemise is supposed to be visible above 
the gown's neckline, but in portraits the hem is  so tiny as to be barely 
visible!  The problem is even more pronounced on the filmy little early flat 
partlets, where there's just no visible hem at all on most of them.

I'm able to make a pretty narrow hem--less than 1/8" wide, either 
finger-pressed or rolled--but I have yet to manage the delicacy seen in 
paintings. Part of the problem may be that I just don't have a fine enough 
linen; I really need to save up enough to buy a bolt or two of that Bishop's 
lawn stuff from Jersey.  Or maybe I just need to resist my neurotic desire 
for mathematical precision, which makes me hate rolled hems--with practice, 
I could probably manage a smaller one!  Or perhaps the paintings and photos 
are just being deceptive--I've never examined an extant chemise.

I've wondered if there is a specific technique used for these types of hems, 
though.  I keep thinking of the 'singling' used on some of the Herjolfsnes 
garments, and wondering if there's some related technique for fine linens. 
But then again, the later chemises almost universally have a teeny tiny 
edging of black or dark embroidery, so maybe that IS the technique.

-E House 

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Subject: Re: [h-cost] practicality of dress
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>
> I have another, more generic question about Mennonite dress in the 1850s.
The
> research I've done basically amounts to they dressed the same as everyone
else
> at that time, just more simply, without the "superfluous" elements, like
lace,
> ribbon, hoops, etc. But these were farm women, and so my questions are:
> Did farm women wear corsets?
> How many under skirts would they have worn? They didn't wear the hoops,
and
> they were about ten years behind in fashion. That would mean the millions
of
> thick and heavy skirts, but that would be expensive and rather impractical
for
> farm labour.
>
> Thanks,
> Laura

Judging by the photos I have seen in museums and archives in Alberta and
Saskatchewan (Canada) the farmers wives still wore their corsets, just not
their 'Sunday best', the dresses tended to be simpler and harder wearing,
and a bit shorter. Perhaps one petticoat for summer, more/heavier ones for
winter.

 Most of the photos you may come accross are not going to be terribly
helpful as to what was worn daily, getting your picture taken was a pretty
big production, you wore your best clothes, which were probably not the
newest fashion as you only wore it occasionally.

You may want to add Saskatchewan to the list of search criteria for
Mennonite clothing, a large portion of the population is Mennonite.

Just my two bits :-)

Sheridan


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Fran, thanks for posting this question. I have the same problem with a length of linen I bought on the Internet. In flourescent light it looks like a vivid peach, which was what I wanted, but in other types of light it turns into construction-worker orange! I have never dyed anything, so I've been hemming and hawing about what to do. Sounds like it would be trial and error even for experienced dyers, so I suppose I'll just get a box of Rit and cross my fingers....
 
Regarding the Mennonite conversation: I think that in the period it was considered scandalous to leave the house without a corset, even for farmers' wives, so I think religious people like Mennonites would have considered it an issue of morality to wear them. This is what my grandmother tells me, so maybe in the early part of the nineteenth century it would have been different, but I doubt it. 
 
::returns to lurking::
Tea Rose
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To me this is one of the  "IT DEPENDS" answers

If you are doing it for the costume, and the look of, early to mid 1800's is probably good.  I'm thinking Dicken's Fairs( is that right?  We don't have them here in Charlotte, NC) and swanning around garb at a Am Civ War renactment.  

If you are doing it for someone who is a bit more into the "authentic" end, it probably would not suffice for anything. ( well maybe pre-1840s, I don't know those shapes as well as 1840s-1860s.)  For the more authentically minded there are better (if probably more expensive alternatives)  

This will probably get something stirred up as the above reply sounds slightly holier than thou, but my personal journey is leading me to the more authentic, rather than the costume.  I love hearing about the costumers among us, and their perspective and learning from the many helpful hints that have gotten ME out of several binds  My decision for myself are leaning to the authentic and progressive (a current Am Civ War term that I find the best definition (to me) means "our clothing , material culture and demenor is progressing to what we hope is a more authentic level.).  

Keep  on will all the good comments.  This is how we learn

Mia in Charlotte


		
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Date: Wed, 13 Apr 2005 15:27:06 -0700
From: Cin <cinbarnes@gmail.com>
To: h-cost <h-costume@indra.com>
Subject: Re: [h-cost] Venice next week
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> The best thing about Venice ...
is that t'aint far from Florence where the Galeria di Costumi in the
Pitti Palace has just reopened.  The burial garments of Eleanor &
Cosimo are rumored to be back on display.  You can pick up the 5+
volumes of "Galeria del Costume" for sale in their wonderful bookshop.
 Sure, it's "far" if you're from Manhattan, but I know you used to
live in Calif and can deal with a Californian's idea of "not far".
--cin
Cynthia Barnes
CinBarnes@gmail.com

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From h-costume-bounces@indra.com  Wed Apr 13 19:42:29 2005
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 15th century shirt edging
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At 14:05 13/04/2005 -0500, you wrote:
>I have a similar problem on very late 15th and early 16thC square necked 
>chemises; a half inch or so of the chemise is supposed to be visible above 
>the gown's neckline, but in portraits the hem is  so tiny as to be barely 
>visible!  The problem is even more pronounced on the filmy little early 
>flat partlets, where there's just no visible hem at all on most of them.
>
>I'm able to make a pretty narrow hem--less than 1/8" wide, either 
>finger-pressed or rolled--but I have yet to manage the delicacy seen in 
>paintings. Part of the problem may be that I just don't have a fine enough 
>linen; I really need to save up enough to buy a bolt or two of that 
>Bishop's lawn stuff from Jersey.  Or maybe I just need to resist my 
>neurotic desire for mathematical precision, which makes me hate rolled 
>hems--with practice, I could probably manage a smaller one!  Or perhaps 
>the paintings and photos are just being deceptive--I've never examined an 
>extant chemise.
>
>I've wondered if there is a specific technique used for these types of 
>hems, though.  I keep thinking of the 'singling' used on some of the 
>Herjolfsnes garments, and wondering if there's some related technique for 
>fine linens. But then again, the later chemises almost universally have a 
>teeny tiny edging of black or dark embroidery, so maybe that IS the technique.


The only chemise I've seen close up is the one from 1615 ish at the Museum 
of London. My notes say 1/8th inch hems, ordinary hem (I guess I mean hem 
stitch, not running stitch, and rolled I think.) The long gussets have 
selvedges, and are whip stitched to the side seams. The other seams, not on 
the straight of the grain, are tiny run and fell seams.The sleeves are 
finished all round, with a seam along the top, The finished edges are then 
joined with a complicated faggoting type stitch, which also joins them to 
the armholes and the square underarm gussets. The linen is not as fine as 
the Bishop's Lawn from Jersey.

I should say that I took the pattern for a project that does not involve 
exact copying and thread counting which is why I do not have detailed 
details, if you see what I mean.

Suzi


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Subject: [h-cost] Elizabethan and Yahoo groups (WAS: Re: Pet peeves)
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Thought I sent this out a few days ago...


At Fri, 8 Apr 2005 12:12:36 -0700 (PDT), Lady Satine <seamuslady@yahoo.com> 
wrote:

>When I asked a friennd about elizabethan I was referred here.... and told 
>this is teh best site for help with that subject.

For Elizabethan specifically, you might also want to check out the 
ElizabethanClothing Yahoo group. Traffic there ebbs and flows, but tends to 
center around trying to re/deconstruct authentic Elizabethan clothing. Most 
of the regulars are involved in SCA or ren faires (patrons, playtrons, 
cast), or are otherwise interesed in constructing garments from scratch.

More 16th-Cent costuming (more-or-less) interest groups include:
RenCostumer -- not always as authenticity-minded, but plays in several 
16th-Century cultures (we've had threads on Bruegel dresses, Margos 
Patterns, Italian Ren, "Ever After", and others)

Courtesan (I've seen you on this one, Lady Satine!)

Italian_Rennaissance_Costuming groups (ditto, I think)

margospatterns -- for folk using, or interested in using Margo Anderson's 
Elizabethan patterns.

Ady Boyd also set up a French Ren Yahoo group, but I forgot its name offhand...


HTH,


Brenda
webwarren@earthlink.net


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Status: RO

Thanks I am already on most of these  sites As you know and the others I will check ut Thank you!!!! 
 
Speaking of things not related to SCA... Does anyone know where I can find a Original Battlestar Galactica  Colonial Warrior Uniform Patterns???? Must be the Original 1977 TV series pattern....If it exists... 
 
 Again..... Thank you to Everyone who helped get to the bottom of the issue and clear up mis-communications! I really appreciate it!
 
Satine! 
 
Ps...What does HTH stand For I have not a clue.. I have seen it before and am really curious.. 
 

		
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>Speaking of things not related to SCA... Does anyone know where I can find 
>a Original Battlestar Galactica  Colonial Warrior Uniform Patterns???? 
>Must be the Original 1977 TV series pattern....If it exists...

1977 - that's historical.


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

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Date: Thu, 14 Apr 2005 03:23:49 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Elizabethan and Yahoo groups (WAS: Re: Pet peeves)
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Another Yahoo group to check out would be europe16thc

Cheers,
Danielle

At 10:37 PM 4/13/2005 -0400, you wrote:
>Thought I sent this out a few days ago...
>
>At Fri, 8 Apr 2005 12:12:36 -0700 (PDT), Lady Satine 
><seamuslady@yahoo.com> wrote:
>
>>When I asked a friennd about elizabethan I was referred here.... and told 
>>this is teh best site for help with that subject.
>
>For Elizabethan specifically, you might also want to check out the 
>ElizabethanClothing Yahoo group. Traffic there ebbs and flows, but tends 
>to center around trying to re/deconstruct authentic Elizabethan clothing. 
>Most of the regulars are involved in SCA or ren faires (patrons, 
>playtrons, cast), or are otherwise interesed in constructing garments from 
>scratch.

<snip>

>HTH,
>
>Brenda
>webwarren@earthlink.net
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From h-costume-bounces@indra.com  Thu Apr 14 06:56:54 2005
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Date: Thu, 14 Apr 2005 03:55:09 -0700 (PDT)
From: Joannah Hansen <Joannah@sluggy.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fabric organization
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I know what you mean about the fun of rediscovering things you'd forgotten you had - I've recently had that fun when we had to sort through and repack many, many boxes of stuff before we moved house, although many of my rediscoveries were of books. ( We now have a storage area approx. 2m x 2m which is packed solid to a height of 2.5m with boxes filled mostly with books! )

Joannah.
  
--- Suzi Clarke <suzi@suziclarke.co.uk> wrote:

From: Suzi Clarke <suzi@suziclarke.co.uk>
Date: Wed, 09 Mar 2005 17:47:16 +0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fabric organization

At 09:00 09/03/2005 -0800, you wrote:
>I know this is probably waaay late, but here it is anyway....
>( I'm not behind with reading my mail, no.....only a month or so!!! )
>
>--- Lynn Downward <lynndownward@gmail.com> wrote:
><i know that someone on the list wrote an excellent paper with
><suggestions  a few years ago. does anyone remember what website
><he put that onto?
><LynnD
>
>I think this may the article you have in mind.
>
>http://www.bitwizards.com/norborough/timetosew.html


It is a great idea, but as a professional costume maker, with drawers and 
boxes full of fabrics from 20 years and more back, I don't have the time to 
do all of that!

Besides, I would miss those wonderful moments that go "I didn't know I had 
that!!" I had occasion to dive into a couple of filing cabinets the other 
day, and found 10 metres of grey drill - I use white drill to line my 
bodices and have no need of grey. This was bought by a customer in bulk for 
a job, and he never took the remains, and of course I have lost touch with him.

But I also found a length of green wool for a skirt, which I vaguely 
remember buying when I was a college (!), a length of green silk, and ditto 
blue striped silk which I shall use *eventually*!! I would miss all of that 
if I was organised!!

Suzi


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
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At 03:55 14/04/2005 -0700, you wrote:
>I know what you mean about the fun of rediscovering things you'd forgotten 
>you had - I've recently had that fun when we had to sort through and 
>repack many, many boxes of stuff before we moved house, although many of 
>my rediscoveries were of books. ( We now have a storage area approx. 2m x 
>2m which is packed solid to a height of 2.5m with boxes filled mostly with 
>books! )
>
>
> ><i know that someone on the list wrote an excellent paper with
> ><suggestions  a few years ago. d
> >I think this may the article you have in mind.
> >
> >http://www.bitwizards.com/norborough/timetosew.html


I just had another read of the article. However, when I got to the line 
"Get your fabric into one area" I had to stop - I was laughing so much. My 
fabric is already in one place - all over my workroom, in boxes, on 
shelves, in cupboards and drawers!! My method would have to be

1) Empty Workroom.

2) Build extension (difficult as I am 2 floors up!)

3) Build acres of shelves

4) Buy hundreds - well a hundred to start - boxes

5) Give up before 1)

The method described would be wonderful if you haven't got much fabric, or 
hadn't been collecting fabric for over 20 years. (Or didn't have fabric for 
customers, who haven't collected it!!) (Or had a week spare to do it!)

Suzi

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From: Irmgart <irmgart@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: overdyeing
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on the other side of dying...I had this olive drab linen that was
supposed to become gores for a gothic fitted dress... but since I'd
fitted the gown oh... about 2 1/2 years ago.... I figured I'd use it
for a new corded corset (sorry Maddalena).

Now, I don't particularly like green, and I really don't like olive
green, so I thought, this needs to get washed again (it smelled musty)
and I'll toss some bleach in for giggles! It's going to be an
undergarment, and it's linen, so it should be ok.

Well, when it came out of the washer it was *brown*! a dark chocolate
brown! Wow. I so did not expect that!

I'm not a huge fan of brown, either, but it's more workable than
olive. I may see about going to get some dylon dye stripper from the
craft store tonight and see what it does. Or, I may just have a brown
corset, or I may use it as guards on the pinkish red dress that I'm
making for hot weather or... something else.

-Irmgart

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I haven't searched the Mennos of Saskatchewan because I've been researching a 
specific family in Waterloo, Ontario. There's a slight difference between the 
Swiss Mennonites, and the Russian Mennonites. But you're right, I will do some 
more research into Manitoba - certainly farm based! And a lot of them did come 
from the States.

Thanks for the suggestion!

Laura


Judging by the photos I have seen in museums and archives in Alberta and
Saskatchewan (Canada) the farmers wives still wore their corsets, just not
their 'Sunday best', the dresses tended to be simpler and harder wearing,
and a bit shorter. Perhaps one petticoat for summer, more/heavier ones for
winter.

 Most of the photos you may come accross are not going to be terribly
helpful as to what was worn daily, getting your picture taken was a pretty
big production, you wore your best clothes, which were probably not the
newest fashion as you only wore it occasionally.

You may want to add Saskatchewan to the list of search criteria for
Mennonite clothing, a large portion of the population is Mennonite.

Just my two bits :-)

Sheridan


-- 
"As long as hunger exists, peace cannot prevail." Nobel Peace Prize winner 
Willy Brandt -- www.thehungersite.com 





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Subject: Re: [h-cost] 15th century shirt edging
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Thank you Suzi, that is helpful--and makes me feel better about my efforts!

I've been looking at the photos I have of extant chemises and shirts with a 
fresh eye, and finding some details I missed before. The Nils Sture shirt, 
for example, had some features that look like they were hemmed with 
techniques similar to the chemises in the paintings, particularly the teeny 
tiny black edging on the collar and cuffs.  A 1540s boy's shirt at the V&A 
(? going on memory here) shown on Nicole Kipar's website has the same tiny 
black edging, and on both (at least from the photos I have) it looks like 
there's no other finish to the fabric edge.  Of course, on both of those, 
the edges in question could be the fabric's selvedge, which wouldn't be 
possible on the sort of square-neck chemise I'm trying to reproduce.

Oh, well. More experimentation is called for!

-E House 

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Any opinions on Naomi Tarrant's "The Development of Costume"?

TIA,
--Charlene

-- 
Macho:  The strutting-and-crowing behavior of men who apparently use 
roosters as role models without ever wondering why there are so few of 
them in relation to hens.  -- Bayan, Rick; The Cynic's Dictionary, 2002
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Mari, Agnes,
Thanks for your kind suggestions.  I'd never heard of the Musee de
Parfumerie (great! and very close to where we'll be) and hadnt
considered a train ride out to Avignon.  Very possible. You've been
great help. A toute a l'heure,
--cin

If you will be going to Grasse (the center of the perfume industry in
Provence, historically) there is a small costume museum with the traditional
clothing of Provence. I would say most of the items are late 19th or early
20th C.  There are some nice printed cottons and quilted petticoats that I
remember.   It was not expensive (perhaps free) to enter the museum and it
was near the Fragonard museum of perfume (also interesting).  There is
another museum in the town that is one of the homes the painter Fragonard
lived in, it was not as interesting and had no costumes, and very few
paintings.  The town itself is walkable and interesting.

I don't recall any other costume collections in the area but there are many
great art museums and medieval towns (Saint Paul de Vence, for instance).

Bonne Vacances!

If going to Nice... it's worth a side trip by train to Avignon.  The Petit
Palace and the Palace du Papes are there - great for imbibing of the
Medieval atmosphere.  Check their dates of operation... IIRC the Petit
Palace is closed on Mondays...
Mari

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Subject: Re: [h-cost] bonnet identification
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With my limited knowledge of this time period, I'd say probably somewhere 
between 1800 and 1860. But I'll let others answer that much, much better :-)

----- Original Message ----- 
From: "Aylwen & John" <garden@earthlydelights.com.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 12, 2005 11:28 PM
Subject: [h-cost] bonnet identification


> ooops - I sent this message on the wrong subject heading.Aylwen
>
>
> I've found this bonnet online. Can others help me identify what time 
> periods it could be worn in for historical re-enactments?
> front - http://www.hatsupply.com/images/Bonnet.jpg
> back - http://www.hatsupply.com/images/bonnetback.jpg
>
> Warmest Regards,
> Aylwen Garden
>
> ------------------------------------------------------------------
> ~ custom made historical reproduction clothing ~
> http://www.earthlydelights.com.au/costume.htm
> ------------------------------------------------------------------
>
> _______________________________________________
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> ooops - I sent this message on the wrong subject heading.Aylwen
>
>
> I've found this bonnet online. Can others help me identify what time
> periods it could be worn in for historical re-enactments?
> front - http://www.hatsupply.com/images/Bonnet.jpg
> back - http://www.hatsupply.com/images/bonnetback.jpg

I'm no expert, but it looks like an early to mid 1800's style to me.  It
would need to be dressed up with ribbons, fabric, and maybe some flowers,
though.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Spannish 1770
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At 23:19 12/04/2005 -0700, you wrote:
>Hi All,
>Recently I met a lady that was looking for someone who could make
>costumes, and since I did 16th century and earlier she inquired if I
>could make a colonial costume, based upon the information from the
>Colonial Williamsburg site.  I prepared a quote that detail how to do
>the costume right, from the skin out.  She's passed the information
>along to a friend that would like something Spannish from the same time
>period.  Since I normally do 16th century and earlier, I don't have a
>clue where to start with Spannish from this era.  Any suggestions?
>
>and any suggestions on general clothing construction from this era as
>well?  I haven't delved to deeply yet, until I have a firm contract,
>but so far it sounds like I will have it soon.


"Costume Close-up" contains pictures, detailed information and patterns 
from the Colonial Williamsburg collection. I suggest you start there.

Spanish fashion was not that different from European in general. However, I 
personally don't have many images. The painter to check out is Goya - but 
from memory he painted either  high status people, or fairly low status - 
not a lot in between.

Suzi


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In a message dated 4/12/2005 12:39:44 P.M. Eastern Standard Time,  
fran@lavoltapress.com writes:

Did it  ever appear, or any 
responses?



I sent one....and saw it posted. I suggested you tint it in a robin's egg  
blue or a sea foam blue-green to "kill" the peach.
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----- Original Message ----- 
From: "Lady Satine" <seamuslady@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, March 10, 2005 12:22 PM
Subject: [h-cost] Re: h-costume Digest, Vol 4, Issue 155


>
> To all the good gentles on this list,
>
> I am Lady Satine De La Courcel, and in seek of guidance regarding Tudor
style clothing.. from the ground up. and I also would love to make  the
Pelican and Phoenix gowns of Queen Elizabeth I. From the ground up. I do
have questions about these two gowns in particular. Other than I will have
some insane beading to so...its what has attracted me to these dresses to
begin with... anyone wanting to take on a challenge via e-mail for wither of
these two subjects? Tudor or Elizabethan Gowns??? please feel free to e-mail
me here or off list.
>
> Thank you.
>
> Lady Satine De La Courcel

I know I'm over a month late with this, I've only been getting to a few of
my emails for the past month or so and I'm trying to clear out the backlog.
I'd suggest you start with Drea Aleed's Elizabethan Costuming page
http://costume.dm.net/ and the Renaissance Tailor
http://www.vertetsable.com/. If you don't know where to start Drea's site is
probably better, for a basic overview of what is involved in an Elizabethan
outfit from the skin out. Then once you've got an idea of exactly what you
want to make the Renaissance tailor has good articles on how to go about
constructing them. I'm afraid I can't point you to anything more specific as
an Elizabethan outfit from the skin out is such a big project it's virtually
impossible to cover the whole thing in one email (I suppose it would be
possible, but why bother when there's websites that do the job better).
HTH
Elizabeth
--------------------------------------------------------------------
Elizabeth Beaumont       |       Elizabeth Walpole
Politarchopolis, Lochac |      Canberra, Australia
                 ewalpole@iimetro.com.au
        http://au.geocities.com/e_walpole/

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From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Mennonite Dress
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Yes, the tighter the armscye the better freedom of movement, especially
with the dropped shoulder.  Cutting on the bias should help the shoulder
and upper arm comfort--no shoulder gathers should be needed.  The
gathers at the elbow are more for ease as the elbow bends.

On a bit of a tangent, I have found that the slight changes of shoulder
line from the 1830's through to the 1860's has progressively less
freedom of movement; I find that I can move better in 1830's than
1860's.  It's not a major change but I find I can dance more freely in
1830's than 1860's, especially if the man insists on turning me under
his arm, something that can cause bruises on the upper arm in '60's but
is ok in '30's.

My pet peeve for current fashions--arm hole fit is something today's
clothing makers the general public don't understand--an arm hole cut
practically down to the waist makes shirts fit horribly and gives you
little freedom of movement.  And once they are cut that way it is
almost impossible to tailor them to fit well.  Glad I can make my own
clothes....

Katy

On Tue, 12 Apr 2005, Kate Pinner wrote:

>You need to have a pretty tight armseye (?) to have a tight sleeve --
>the armhole has to come up right to the armpit.
>
>Kate
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
>On Behalf Of Laura Morlock
>Sent: Tuesday, April 12, 2005 1:18 PM
>To: Historical Costume
>Subject: Re: [h-cost] Mennonite Dress
>
>Thank you so much, Susannah and Katy! Your information has been a lot of
>help!
>I'm at the library right now researching those titles you gave me,
>Susannah. I
>attend a Mennonite college, so they have quite a few of those works.
>
>Katy, you mentioned there are gathers at the elbows, but what about at
>the
>armpit and shoulder? That's where they're finding the most restriction
>in their
>movement.
>
>Any more information will always be appreciated.
>
>Thanks again!
>Laura
>
>--
>"As long as hunger exists, peace cannot prevail." Nobel Peace Prize
>winner
>Willy Brandt -- www.thehungersite.com
>
>
>
>
>
>----------------------------------------
>This mail sent through www.mywaterloo.ca
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>

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Well, I'm looking for some help once again.  I'm doing an Independent 
Study on printed fabric design.  One of my assignments is to do a short 
outline on the history of printed fabric.  I've been going over book 
over book and finding it is hard to find good facts on this subject.  Do 
any of you have any good suggestions of books on this subject.

The other part of my project is that I will be using my inkjet printer 
to print on specially treated fabric.  I know I can use dyes and paints 
to colorize my printed fabrics, but I understand I can use watercolor 
pencils also.  Is there a way to treat the fabric afterwards so the 
colors would not rinse out if the item got wet?

Thanks again for any info.  And by the way, I finally found and bought a 
toy horse pattern.  As soon as I am done with it and it's barding, I 
will post some pictures of it.

Roscelin

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Date: Fri, 15 Apr 2005 11:27:46 +1200
From: Adele de Maisieres <ladyadele@paradise.net.nz>
Subject: Re: [h-cost] Mennonite Dress
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Katy Bishop wrote:

>My pet peeve for current fashions--arm hole fit is something today's
>clothing makers the general public don't understand--an arm hole cut
>practically down to the waist makes shirts fit horribly and gives you
>little freedom of movement.  And once they are cut that way it is
>almost impossible to tailor them to fit well.  Glad I can make my own
>clothes....
>  
>

Even worse if you're plus-sized!

-- 
Adele de Maisieres

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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Fabric printing
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>Well, I'm looking for some help once again.  I'm doing an Independent 
>Study on printed fabric design.  One of my assignments is to do a short 
>outline on the history of printed fabric.  I've been going over book over 
>book and finding it is hard to find good facts on this subject.  Do any of 
>you have any good suggestions of books on this subject.

The 11th Edition of the Encyclopedia Britanica has a nice article, and 
Davenbport's costume book has a few examples.  This is a field I actually 
have books on, and I will dig out some names for you.


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

              //// \\\
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             (((  <> ))))
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From: Beth and Bob Matney <bmatney@alltel.net>
Subject: Re: [h-cost] Venice next week
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What is "Galeria del Costume"? I've been looking for a good Italian costume 
reference..preferably one that isn't in the thousands of dollars.....

On another issue: several of you were very helpful a few months back when I 
was looking for the early NESAT volumes. I thought that I'd post an update. 
I have acquired a copy of NESAT 2, but am still waiting on ILL from the 
local University for NESAT 1 and NESAT 3 (while I continue searching for a 
copy of my own..) The local public library was totally unsuccessful in 
attempting to ILL them. In a few weeks I will begin the scan and image work 
on my copy of NESAT 2. When this is completed, I will send the proof images 
to Lise Bender Jorgensen. The intent is a new electronic edition...

Beth

At 06:05 PM 4/14/2005, you wrote:
>Date: Wed, 13 Apr 2005 15:27:06 -0700
>From: Cin <cinbarnes@gmail.com>
>Subject: Re: [h-cost] Venice next week
>To: h-cost <h-costume@indra.com>
>
> > The best thing about Venice ...
>is that t'aint far from Florence where the Galeria di Costumi in the
>Pitti Palace has just reopened.  The burial garments of Eleanor &
>Cosimo are rumored to be back on display.  You can pick up the 5+
>volumes of "Galeria del Costume" for sale in their wonderful bookshop.
>  Sure, it's "far" if you're from Manhattan, but I know you used to
>live in Calif and can deal with a Californian's idea of "not far".
>--cin
>Cynthia Barnes
>CinBarnes@gmail.com

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Thanks,

Fran

AlbertCat@aol.com wrote:

> 
>In a message dated 4/12/2005 12:39:44 P.M. Eastern Standard Time,  
>fran@lavoltapress.com writes:
>
>Did it  ever appear, or any 
>responses?
>
>
>
>I sent one....and saw it posted. I suggested you tint it in a robin's egg  
>blue or a sea foam blue-green to "kill" the peach.
>_______________________________________________
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Actually, the embroidery on the 1540s shirt is a pretty respectable 
blue.  I've got some wonderful closeups from a couple of embroidery 
texts, and the edge of the collar is clearly oversewn with something 
resembling a buttonhole stitch, with the added bonus of a tiny, matching 
cord being held on the edge of the collar with the same buttonhole stitches.
I've done some minor experimenting on recreating that sort of edging 
(which actually first caught my eye many, many years ago, when I was 
reproducing the blackworked sleeves in Holbein's portrait of Queen 
Jane), and it's really not that difficult, even if you add in the little 
picots that show in a lot of paintings ;o).
I've got a couple of close-ups of sleeves and seams that I'll try to dig 
up in the next couple of days, to see what the authors say about the 
edgings and how they're made.  IIRC, all the ones I've seen close enough 
to actually squint at the edges/seams have been a finished edge.  I'd 
imagine that for a square-necked shift, you'd either do a narrow hem, or 
perhaps some sort of narrow facing.

--sue (certified needlework geek)

E House wrote:
> Thank you Suzi, that is helpful--and makes me feel better about my efforts!
> 
> I've been looking at the photos I have of extant chemises and shirts 
> with a fresh eye, and finding some details I missed before. The Nils 
> Sture shirt, for example, had some features that look like they were 
> hemmed with techniques similar to the chemises in the paintings, 
> particularly the teeny tiny black edging on the collar and cuffs.  A 
> 1540s boy's shirt at the V&A (? going on memory here) shown on Nicole 
> Kipar's website has the same tiny black edging, and on both (at least 
> from the photos I have) it looks like there's no other finish to the 
> fabric edge.  Of course, on both of those, the edges in question could 
> be the fabric's selvedge, which wouldn't be possible on the sort of 
> square-neck chemise I'm trying to reproduce.

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One of my favourite books (although being honest it's years since I've 
actually read it properly).

Particularly good for concise descriptions and explanations, and the large 
bibliography.

It was on my college reading list (costume history module).

Debbie.
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In a message dated 4/14/2005 7:08:36 PM Eastern Standard Time, 
h-costume-request@indra.com writes:
I've never examined an extant chemise
I had the opportunity last year to see a fragment of the shirt of that 
Giuliano di Medici was allegedly wearing when assassinated (Wonders Exhibit - 
Memphis).  The piece was folded so that you could see part of both the front and the 
back.  The fabric was indeed very fine as was the thread that it was sewn 
with.  The gathering threads were still there on the pleats - much finer than the 
thread we're used to using.  Although I looked very hard (I kept turning 
around to go back to look at it again!), I never was able to actually see the 
stitches in the hem at the top of the shirt.

I have been working on a chemise using some of the techniques I saw in the 
shirt, using an extremely fine cotton and cotton thread.  After having done 
rolled hem stitch on both sleeves before doing the neckline I can attest that much 
practice makes a huge difference.  I've managed to reduce the hem by at least 
half - it's done to on average 1.4 mm - and it's barely visible along the top 
edge.  One of the keys was trimming the top edge right before I rolled it so 
that there were no extraneous threads in the hem.

Nancy Stengel Ulmer
aka Maddalena Salutati in the SCA
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From: Lady Satine <seamuslady@yahoo.com>
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I Know!  Mega RLOL!!!!!! 
Satine


Carolyn Kayta Barrows <kayta@frys.com> wrote:

>Speaking of things not related to SCA... Does anyone know where I can find 
>a Original Battlestar Galactica Colonial Warrior Uniform Patterns???? 
>Must be the Original 1977 TV series pattern....If it exists...

1977 - that's historical.


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

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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Elizabethan and Yahoo groups (WAS: Re: Pet peeves)
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Thanks I will check it out! 
 
Satine

Danielle Nunn-Weinberg <dannw@mn.rr.com> wrote:
Another Yahoo group to check out would be europe16thc

Cheers,
Danielle

At 10:37 PM 4/13/2005 -0400, you wrote:
>Thought I sent this out a few days ago...
>
>At Fri, 8 Apr 2005 12:12:36 -0700 (PDT), Lady Satine 
> wrote:
>
>>When I asked a friennd about elizabethan I was referred here.... and told 
>>this is teh best site for help with that subject.
>
>For Elizabethan specifically, you might also want to check out the 
>ElizabethanClothing Yahoo group. Traffic there ebbs and flows, but tends 
>to center around trying to re/deconstruct authentic Elizabethan clothing. 
>Most of the regulars are involved in SCA or ren faires (patrons, 
>playtrons, cast), or are otherwise interesed in constructing garments from 
>scratch.



>HTH,
>
>Brenda
>webwarren@earthlink.net
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I had to ask!!!! I Figured if anyone would have a clue it would be here!..... The  7 year old who wants it for Haloween asked me to make that Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya know the orginal tv thing....... I thought it was cute.. I just had to ask!!!!!! 
 
 
Satine!

Carolyn Kayta Barrows <kayta@frys.com> wrote:

>Speaking of things not related to SCA... Does anyone know where I can find 
>a Original Battlestar Galactica Colonial Warrior Uniform Patterns???? 
>Must be the Original 1977 TV series pattern....If it exists...

1977 - that's historical.


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

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Date: Thu, 14 Apr 2005 21:38:11 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Still lagging memos?????? 
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>I had to ask!!!! I Figured if anyone would have a clue it would be 
>here!..... The  7 year old who wants it for Haloween asked me to make that 
>Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya 
>know the orginal tv thing....... I thought it was cute.. I just had to 
>ask!!!!!!

If you really want to know, get ahold of an episode of it and watch it.  I 
never did watch that show, so I can't be of any help here.


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

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Date: Thu, 14 Apr 2005 21:52:40 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Re: Still lagging memos?????? 
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That was my first thought....I have the series on DVD and a Broked DVD player... Noone I know in this neck of the woods likes the "old" series they are all into the new one on SCI FI Channel.. I will keep looking now back to lurking and looking at teh archives..
 
Satine
 

Carolyn Kayta Barrows <kayta@frys.com> wrote:

>I had to ask!!!! I Figured if anyone would have a clue it would be 
>here!..... The 7 year old who wants it for Haloween asked me to make that 
>Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya 
>know the orginal tv thing....... I thought it was cute.. I just had to 
>ask!!!!!!

If you really want to know, get ahold of an episode of it and watch it. I 
never did watch that show, so I can't be of any help here.


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

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) ((((((
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From h-costume-bounces@indra.com  Fri Apr 15 02:28:46 2005
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Subject: [h-cost] Battlestar was: Still lagging memos?????? 
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Here are some websites...

http://www.kobol.com/costumes/c02.html

well ok, just one, but some good shots of 3 costumes, but not the one 
you want..
Althea

On Thursday, April 14, 2005, at 09:52 PM, Lady Satine wrote:

> That was my first thought....I have the series on DVD and a Broked DVD 
> player... Noone I know in this neck of the woods likes the "old" 
> series they are all into the new one on SCI FI Channel.. I will keep 
> looking now back to lurking and looking at teh archives..
>
> Satine
>
>
> Carolyn Kayta Barrows <kayta@frys.com> wrote:
>
>> I had to ask!!!! I Figured if anyone would have a clue it would be
>> here!..... The 7 year old who wants it for Haloween asked me to make 
>> that
>> Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya
>> know the orginal tv thing....... I thought it was cute.. I just had to
>> ask!!!!!!
>
> If you really want to know, get ahold of an episode of it and watch 
> it. I
> never did watch that show, so I can't be of any help here.
>
>
> CarolynKayta Barrows
> dollmaker, fibre artist, textillian
> www.FunStuft.com
>
> //// \\\
> ////-@@\\\
> (((( 7 )))
> ((( <> ))))
> ) ((((((
> /----\ /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 		
> ---------------------------------
> Do you Yahoo!?
>  Yahoo! Small Business - Try our new resources site!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Reunite Pangea!

It is proof of a base and low mind for one to wish to think with the 
masses or majority, merely because the majority is the majority. Truth 
does not change because it is, or is not, believed by a majority of the 
people.
- Giordano Bruno

Oh, good. Symbols on the floor. That always goes well.
- Gunn

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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Re: Still lagging memos?????? 
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 I have a friend who "did" Battlestar at Cons in the
70's...I'll ask her if she remember how they made
theirs. Or you can contact her directly: Janet at
     Valcho@comcast.net 
put Battlestar Costume on the header so she knows what
it is about.
 Melody

--- Lady Satine <seamuslady@yahoo.com> wrote:
> 
>  Does anyone> know where I can find a Original
Battlestar> Galactica  Colonial Warrior Uniform
Patterns????
> Must be the Original 1977 TV series pattern....If it
> exists... 
>  
>  Satine! 
>  
>  
> 		
> 


		
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What is IS Bishop's lawn from Jersey?

h-costume-request@indra.com wrote:
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] 15th century shirt edging
To: Historical Costume <h-costume@indra.com>


At 14:05 13/04/2005 -0500, you wrote:
>The linen is not as fine as the Bishop's Lawn from Jersey.
Suzi



Send instant messages to your online friends http://uk.messenger.yahoo.com 
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <425EFB1C.6020304@pcez.com>
Subject: Re: [h-cost] Fabric printing
Date: Fri, 15 Apr 2005 07:28:42 -0400
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Two recent books that I have found on this subject:
Toile by Michele Palmer
America's Printed Fabrics 1770-1890 by Barbara Brackman  (This has a list of
all her previous books.)
World Textiles;John Gallow and Byran Sentance
There is also an earlier book (maybe 1950's 60's) that I have that is not on
my shelf at the moment.

Kathleen

----- Original Message ----- 
From: "Rose Amberwulf" <roscelin@pcez.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 14, 2005 7:22 PM
Subject: [h-cost] Fabric printing


> Well, I'm looking for some help once again.  I'm doing an Independent
> Study on printed fabric design.  One of my assignments is to do a short
> outline on the history of printed fabric.  I've been going over book
> over book and finding it is hard to find good facts on this subject.  Do
> any of you have any good suggestions of books on this subject.
>
> The other part of my project is that I will be using my inkjet printer
> to print on specially treated fabric.  I know I can use dyes and paints
> to colorize my printed fabrics, but I understand I can use watercolor
> pencils also.  Is there a way to treat the fabric afterwards so the
> colors would not rinse out if the item got wet?
>
> Thanks again for any info.  And by the way, I finally found and bought a
> toy horse pattern.  As soon as I am done with it and it's barding, I
> will post some pictures of it.
>
> Roscelin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Subject: [h-cost] 1800's Shoulder line (was Mennonite Dress)
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I can see the shoulder line move thru the 1830's to 1860's, but I am looking 
for 1820's (specifically 1820-1822). Does anyone know a good source for 
images from 1810 to 1825 or so? And what does one call this transition 
period ?

Kate Pinner
----- Original Message ----- 
From: "Katy Bishop" <vintage@shore.net>

>
> Yes, the tighter the armscye the better freedom of movement, especially
> with the dropped shoulder.  Cutting on the bias should help the shoulder
> and upper arm comfort--no shoulder gathers should be needed.  The
> gathers at the elbow are more for ease as the elbow bends.
>
> On a bit of a tangent, I have found that the slight changes of shoulder
> line from the 1830's through to the 1860's has progressively less
> freedom of movement; I find that I can move better in 1830's than
> 1860's.  .
>>


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Subject: [h-cost] Film title?
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I am trying to remember the name of a 'period' film , 18thC?.  It begins with R (Restoration, Revolution...)  Any one Know?

Kathleen
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If the movie had Robert Downey Jr and Meg Ryan in it and was set in
1660's England, the movie was Restoration.

Cindy Abel 

-----Original Message-----
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Subject: [h-cost] Film title?

I am trying to remember the name of a 'period' film , 18thC?.  It begins
with R (Restoration, Revolution...)  Any one Know?

Kathleen
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Linda Baumgarten's book "What Clothes Reveal" is predominantly around 1790, but 
there is a section in the back which covers that time. I highly recommend the 
book to anyone interested in historic costume of any time - it's really 
excellent.

Laura

-- 
"As long as hunger exists, peace cannot prevail." Nobel Peace Prize winner 
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Subject: RE: [h-cost] Fabric printing
Date: Fri, 15 Apr 2005 10:14:08 -0500
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Down by the Old Mill Stream, by Linda Welters and Margaret Ordonez has some
very good info on printed fabrics.

Kim in ND

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Rose Amberwulf
Sent: Thursday, April 14, 2005 6:22 PM
To: Historical Costume
Subject: [h-cost] Fabric printing


Well, I'm looking for some help once again.  I'm doing an Independent 
Study on printed fabric design.  One of my assignments is to do a short 
outline on the history of printed fabric.  I've been going over book 
over book and finding it is hard to find good facts on this subject.  Do 
any of you have any good suggestions of books on this subject.

The other part of my project is that I will be using my inkjet printer 
to print on specially treated fabric.  I know I can use dyes and paints 
to colorize my printed fabrics, but I understand I can use watercolor 
pencils also.  Is there a way to treat the fabric afterwards so the 
colors would not rinse out if the item got wet?

Thanks again for any info.  And by the way, I finally found and bought a 
toy horse pattern.  As soon as I am done with it and it's barding, I 
will post some pictures of it.

Roscelin

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From: "Helen  Pinto" <hpinto@mindspring.com>
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References: <009501c541c4$ec4b9920$665183d1@rmitchellras>
Subject: Re: [h-cost] Film title?
Date: Fri, 15 Apr 2005 11:12:58 -0400
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Kathleen wrote:
I am trying to remember the name of a 'period' film , 18thC?.  It begins 
with R (Restoration, Revolution...)  Any one Know?


There was a 17c. movie with Robert Downey Jr, Sam Neill, and Meg Ryan set 
just after Cromwell called "Restoration".
There was an 18c. movie with Al Pacino and Donald Sutherland set during the 
American Revolution called "Revolution".
            -Helen/Aidan

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From: Lalah <lalahcatlady@netscape.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Battlestar was: Still lagging memos??????
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I can't believe anyone who saw the first Battlestar could like this new mess.  These people hate each other and they fight each other more than they do the Cylons.  And females as Starbuck and Boomer (who was never a Cylon in the fist series)?  YUCK!!!

Lalah, Never give up, Never surrender


--- Althea Turner <althea@alfalfapress.com> wrote:

From: Althea Turner <althea@alfalfapress.com>
Date: Thu, 14 Apr 2005 23:29:00 -0700
To: Historical Costume <h-costume@indra.com>
Subject: [h-cost] Battlestar was: Still lagging memos??????

Here are some websites...

http://www.kobol.com/costumes/c02.html

well ok, just one, but some good shots of 3 costumes, but not the one 
you want..
Althea

On Thursday, April 14, 2005, at 09:52 PM, Lady Satine wrote:

> That was my first thought....I have the series on DVD and a Broked DVD 
> player... Noone I know in this neck of the woods likes the "old" 
> series they are all into the new one on SCI FI Channel.. I will keep 
> looking now back to lurking and looking at teh archives..
>
> Satine
>
>
> Carolyn Kayta Barrows <kayta@frys.com> wrote:
>
>> I had to ask!!!! I Figured if anyone would have a clue it would be
>> here!..... The 7 year old who wants it for Haloween asked me to make 
>> that
>> Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya
>> know the orginal tv thing....... I thought it was cute.. I just had to
>> ask!!!!!!
>
> If you really want to know, get ahold of an episode of it and watch 
> it. I
> never did watch that show, so I can't be of any help here.
>
>
> CarolynKayta Barrows
> dollmaker, fibre artist, textillian
> www.FunStuft.com
>
> //// \\\
> ////-@@\\\
> (((( 7 )))
> ((( <> ))))
> ) ((((((
> /----\ /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 		
> ---------------------------------
> Do you Yahoo!?
>  Yahoo! Small Business - Try our new resources site!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Reunite Pangea!

It is proof of a base and low mind for one to wish to think with the 
masses or majority, merely because the majority is the majority. Truth 
does not change because it is, or is not, believed by a majority of the 
people.
- Giordano Bruno

Oh, good. Symbols on the floor. That always goes well.
- Gunn

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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Battlestar was: Still lagging memos??????
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LOL!!!! Be good Be good Be gooddd
 
 
 
TGIF>>>>>>>
 
Satine
Lalah <lalahcatlady@netscape.com> wrote:

I can't believe anyone who saw the first Battlestar could like this new mess. These people hate each other and they fight each other more than they do the Cylons. And females as Starbuck and Boomer (who was never a Cylon in the fist series)? YUCK!!!

Lalah, Never give up, Never surrender


--- Althea Turner wrote:

From: Althea Turner 
Date: Thu, 14 Apr 2005 23:29:00 -0700
To: Historical Costume 
Subject: [h-cost] Battlestar was: Still lagging memos??????

Here are some websites...

http://www.kobol.com/costumes/c02.html

well ok, just one, but some good shots of 3 costumes, but not the one 
you want..
Althea

On Thursday, April 14, 2005, at 09:52 PM, Lady Satine wrote:

> That was my first thought....I have the series on DVD and a Broked DVD 
> player... Noone I know in this neck of the woods likes the "old" 
> series they are all into the new one on SCI FI Channel.. I will keep 
> looking now back to lurking and looking at teh archives..
>
> Satine
>
>
> Carolyn Kayta Barrows wrote:
>
>> I had to ask!!!! I Figured if anyone would have a clue it would be
>> here!..... The 7 year old who wants it for Haloween asked me to make 
>> that
>> Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya
>> know the orginal tv thing....... I thought it was cute.. I just had to
>> ask!!!!!!
>
> If you really want to know, get ahold of an episode of it and watch 
> it. I
> never did watch that show, so I can't be of any help here.
>
>
> CarolynKayta Barrows
> dollmaker, fibre artist, textillian
> www.FunStuft.com
>
> //// \\\
> ////-@@\\\
> (((( 7 )))
> ((( <> ))))
> ) ((((((
> /----\ /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
> 
> ---------------------------------
> Do you Yahoo!?
> Yahoo! Small Business - Try our new resources site!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Reunite Pangea!

It is proof of a base and low mind for one to wish to think with the 
masses or majority, merely because the majority is the majority. Truth 
does not change because it is, or is not, believed by a majority of the 
people.
- Giordano Bruno

Oh, good. Symbols on the floor. That always goes well.
- Gunn

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From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Re: Still lagging memos?????? 
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Thank you!!!!! I will get ahold of her next week... I will be out of town for a few days...
 
Thanks again
 
Satine

Melody Watts <celticredhead2002@yahoo.com> wrote:
I have a friend who "did" Battlestar at Cons in the
70's...I'll ask her if she remember how they made
theirs. Or you can contact her directly: Janet at
Valcho@comcast.net 
put Battlestar Costume on the header so she knows what
it is about.
Melody

--- Lady Satine wrote:
> 
> Does anyone> know where I can find a Original
Battlestar> Galactica Colonial Warrior Uniform
Patterns????
> Must be the Original 1977 TV series pattern....If it
> exists... 
> 
> Satine! 
> 
> 
> 
> 



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Subject: Re: [h-cost] Horse pattern
Date: Fri, 15 Apr 2005 14:58:37 -0400
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Roscelin, Do you still have the child's horse pattern I sent you earlier
this Spring?  My grandson is wanting a horse and you have my tissue pattern
which I sent for your perusal....
Sigh,
Kathleen Mitchell
411 East Chestnut Street
Washington, Pa
15301
----- Original Message ----- 
From: <jaurbik@optonline.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, February 13, 2005 8:35 AM
Subject: Re: [h-cost] Horse pattern


> There is/was a vogue pattern that looked ok(by my standards at least)
>
> Pattern V7603, and you can look at the -picture at
>
http://store.sewingtoday.com/cgi-bin/voguepatterns/shop.cgi?s.item.V7603=x&TI=20016&pageNum=3
>
> jordana
>
> ----- Original Message -----
> From: roscelin <roscelin@pcez.com>
> Date: Sunday, February 13, 2005 2:52 am
> Subject: [h-cost] Horse pattern
>
> >  This is for the doll folks.  I'm looking for a pattern to make a
> > life-like
> > soft schulpture horse.  Not life size, but life like; don't want
> > anything that
> > looks cartoonish.  I'm planning on making barding and possibly
> > armour for it.
> >
> >  I've already looked through the internet; either I'm not using
> > the correct
> > search terms or something but can't locate a pattern for a horse.
> >  Thanks!
> >
> > Roscelin
> >
> > -------------------
> > http://www.pcez.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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> Linda Baumgarten's book "What Clothes Reveal" is predominantly around
> 1790, but
> there is a section in the back which covers that time. I highly recommend
> the
> book to anyone interested in historic costume of any time - it's really
> excellent.

I just bought this book and it is GREAT!  Lots of different things and
lots of great close-up color pictures.  Thumbs up!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: [h-cost] another film
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I am collecting entertainment for the summer...
Thanks much for the Restoration title!
Now I am looking for a film that takes place in Shakespeare's time.  The plot line includes the girl (or women) being trained by a man who usually plays women's roles.  NOT Shakespeare in Love.
I heard this being reviewed on NPR last summer, and of course it will never appear at any theater in my neighborhood!!
Kathleen
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re:the bonnet
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Interesting!  Knowing absolutely nothing about any period with bonnets, 
looking at it I thought, "it's 1950s!"  The way the edge curves inwards 
at the last moment, instead of continuing the flare.  If you had to 
guess who would wear it, it would be Audrey Hepburn.

So, people who suggested dates in the 1800s - is it a "good enough for 
the look" or are there examples with that turned-in edge?

Jean


Mia Dappert <snappylunch_2001@yahoo.com> wrote
>
>To me this is one of the  "IT DEPENDS" answers
>
>If you are doing it for the costume, and the look of, early to mid 
>1800's is probably good.  I'm thinking Dicken's Fairs( is that right? 
>We don't have them here in Charlotte, NC) and swanning around garb at a 
>Am Civ War renactment.
>
>If you are doing it for someone who is a bit more into the "authentic" 
>end, it probably would not suffice for anything. ( well maybe 
>pre-1840s, I don't know those shapes as well as 1840s-1860s.)  For the 
>more authentically minded there are better (if probably more expensive 
>alternatives)
>
>This will probably get something stirred up as the above reply sounds 
>slightly holier than thou, but my personal journey is leading me to the 
>more authentic, rather than the costume.  I love hearing about the 
>costumers among us, and their perspective and learning from the many 
>helpful hints that have gotten ME out of several binds  My decision for 
>myself are leaning to the authentic and progressive (a current Am Civ 
>War term that I find the best definition (to me) means "our clothing , 
>material culture and demenor is progressing to what we hope is a more 
>authentic level.).
>
>Keep  on will all the good comments.  This is how we learn
>
>Mia in Charlotte
>
>
>
>---------------------------------
>Do you Yahoo!?
> Yahoo! Small Business - Try our new resources site!
>_______________________________________________
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-- 
Jean Waddie
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 That was Stage Beauty, with Claire Danes and Billy Crudup.  I enjoyed it, for what that matters.
 
~Kimberley
-----Original Message-----
From: Lloyd Mitchell <rmitchell@washjeff.edu>
To: H-Costume <h-costume@indra.com>
Sent: Fri, 15 Apr 2005 15:09:19 -0400
Subject: [h-cost] another film


I am collecting entertainment for the summer...
Thanks much for the Restoration title!
Now I am looking for a film that takes place in Shakespeare's time.  The plot 
line includes the girl (or women) being trained by a man who usually plays 
women's roles.  NOT Shakespeare in Love.
I heard this being reviewed on NPR last summer, and of course it will never 
appear at any theater in my neighborhood!!
Kathleen
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Subject: [h-cost] vikings + bliaut thinking... 
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Hi folks... I went and did a bit more looking into this area - it's a new 
perspective and thought I would share it.   The dates and the geography do 
make for some interesting thinking as to just what cultural influences 
might have been lurking in the background.

I'm using a 40 year generation as a real dirty sense of time. We can argue 
that validity separately.

First of all a quick time line.
800s  -  the Danes and Norwegians start raiding up the Seine and the Loire 
valleys.  Making it to the foot of Paris in a few instances.

911 - Charles the Bald and Hrolfur (aka Rollo)  Make a treaty with one 
another where the Danes/Norsemen get the area of the Siene, and areas of 
the North West portion of France that they have been using as periodic 
bases for raids since the 850s - as long as they provide protection to the 
area from other Norse, and convert to Christianity.

Among the areas that are ceded to the Norse are Rouen, Le Mans, Angers, 
Dijon, St. Denis, Chartres, Caen, Bayeux
(coincidence that these are also the areas that are pointed to as 
illustrations of the Bliaut?)

950s - a grave dating to this time period.  A female grave in the Christian 
tradition - but the skeleton was wearing Danish oval brooches in 
traditional Norse style.   (one generation from succession)

980s - the word Dux (Duke) is applied to the area now being nown as 
Normandy. (two generations from succession)

1050s - Earliest form of the Bliaut or proto-Bliaut reported by Grace Payne 
in the CA#124 as mid-11th century on the Crucifixion scene from the Gospels 
of Judith of Flanders.   (I would point out that this region was also 
heavily influenced by Norse and Danish trade and custom, as it is just to 
the east of the area surrendered to the Danes by the French and just to the 
South of the Danish homelands.)   (four generations from succession)

1150s - this is the height of the fashion. And the period of sculpture that 
contains most of the sculptural references. (eight generations from succession)

I have some more looking to do... but so far the sculptural school of 
Northern France, at this time, seems to have more in common with the 
Northern non-French tradition than other Southern French 
traditions.  Anyone have more resources to look at... at the moment only 
sculptural resources please.

It's interesting and raises many many more questions.  Undoubtedly there 
was intermarriage, and mingling of the cultures but where did the main body 
of the developing Norman culture look to...   The familiar North of the 
conquering Danes,  or the Southern Frankish culture.

The sculptors of the figures - what was their influence?

Lots of interesting thinking ...




Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Subject: Re: [h-cost] vikings + bliaut thinking... 
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On Fri, 15 Apr 2005, M Stewart wrote:

> It's interesting and raises many many more questions.  Undoubtedly
> there was intermarriage, and mingling of the cultures but where did
> the main body of the developing Norman culture look to...  The
> familiar North of the conquering Danes, or the Southern Frankish
> culture.

This is an interesting line of thought, and one I'd never heard (though I
don't do much work in this area).

Still, I have to wonder how "familiar" the north seemed to a population
that had emigrated more than 200 years before.

I think I'd need to see some clear lines of influence in other cultural
areas -- e.g. language, literature, or other traditions -- before I'd be
willing to think that an otherwise anomalous fashion had its roots in that
direction. E.g. do Norse literary traditions or storylines have any
presence in French courtly romance?

(The influence of a finite quantity of fabrics brought back from Crusade
on French court garments seems like it would have a more immediate impact,
so as theories go, you'd have to beat that.)

--Robin

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Subject: Re: [h-cost] another film
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Kathleen wrote:
Now I am looking for a film that takes place in Shakespeare's time.  The 
plot line includes the girl (or women) being trained by a man who usually 
plays women's roles.  NOT Shakespeare in Love.
I heard this being reviewed on NPR last summer, and of course it will never 
appear at any theater in my neighborhood!!


You're probably thinking of "Stage Beauty" with Billy Crudup, Claire Danes, 
and Rupert Everett, which came out last year.  It's set in the same time 
period as "Restoration", not Shakespeare, although some of his plays are 
referenced.  Charles II was the monarch who changed the rules and allowed 
women to act on stage.
                        -Helen/Aidan 

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Subject: Re: [h-cost] Re:the bonnet
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I would say "No".  That is the part that needs to be reblocked for the
early1800s.  And 1950's? Not at all.  large hats of that period were On the
head and not around it.  The tapered brim is attempting to "do" for the mid
19thC, I'd say.

Kathleen
----- Original Message ----- 
From: "Jean Waddie" <anne@montgomerie.demon.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 15, 2005 3:02 PM
Subject: Re: [h-cost] Re:the bonnet


> Interesting!  Knowing absolutely nothing about any period with bonnets,
> looking at it I thought, "it's 1950s!"  The way the edge curves inwards
> at the last moment, instead of continuing the flare.  If you had to
> guess who would wear it, it would be Audrey Hepburn.
>
> So, people who suggested dates in the 1800s - is it a "good enough for
> the look" or are there examples with that turned-in edge?
>
> Jean
>
>
> Mia Dappert <snappylunch_2001@yahoo.com> wrote
> >
> >To me this is one of the  "IT DEPENDS" answers
> >
> >If you are doing it for the costume, and the look of, early to mid
> >1800's is probably good.  I'm thinking Dicken's Fairs( is that right?
> >We don't have them here in Charlotte, NC) and swanning around garb at a
> >Am Civ War renactment.
> >
> >If you are doing it for someone who is a bit more into the "authentic"
> >end, it probably would not suffice for anything. ( well maybe
> >pre-1840s, I don't know those shapes as well as 1840s-1860s.)  For the
> >more authentically minded there are better (if probably more expensive
> >alternatives)
> >
> >This will probably get something stirred up as the above reply sounds
> >slightly holier than thou, but my personal journey is leading me to the
> >more authentic, rather than the costume.  I love hearing about the
> >costumers among us, and their perspective and learning from the many
> >helpful hints that have gotten ME out of several binds  My decision for
> >myself are leaning to the authentic and progressive (a current Am Civ
> >War term that I find the best definition (to me) means "our clothing ,
> >material culture and demenor is progressing to what we hope is a more
> >authentic level.).
> >
> >Keep  on will all the good comments.  This is how we learn
> >
> >Mia in Charlotte
> >
> >
> >
> >---------------------------------
> >Do you Yahoo!?
> > Yahoo! Small Business - Try our new resources site!
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
>
> -- 
> Jean Waddie
> _______________________________________________
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Subject: Re: [h-cost] another film
Date: Fri, 15 Apr 2005 16:33:10 -0400
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Mercie!  I kept thinking "Stage Door" and knew that that wasn't it at all
Kathleen
----- Original Message ----- 
From: <chindora@aol.com>
To: <h-costume@indra.com>
Sent: Friday, April 15, 2005 3:17 PM
Subject: Re: [h-cost] another film


>
>  That was Stage Beauty, with Claire Danes and Billy Crudup.  I enjoyed it,
for what that matters.
>
> ~Kimberley
> -----Original Message-----
> From: Lloyd Mitchell <rmitchell@washjeff.edu>
> To: H-Costume <h-costume@indra.com>
> Sent: Fri, 15 Apr 2005 15:09:19 -0400
> Subject: [h-cost] another film
>
>
> I am collecting entertainment for the summer...
> Thanks much for the Restoration title!
> Now I am looking for a film that takes place in Shakespeare's time.  The
plot
> line includes the girl (or women) being trained by a man who usually plays
> women's roles.  NOT Shakespeare in Love.
> I heard this being reviewed on NPR last summer, and of course it will
never
> appear at any theater in my neighborhood!!
> Kathleen
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From h-costume-bounces@indra.com  Fri Apr 15 18:48:06 2005
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Subject: Re: [h-cost] 1800's Shoulder line (was Mennonite Dress)
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I have examined quite a few 1820s gowns in my time.  This is  absolutely my 
favorite period, and very few sites do it in my neck of the  woods.  The 
shoulder is not really that different from the Regency  period.  It is pulled back 
and the back pieces are small.  There is a  great Past Patterns 1820s gown 
pattern called the Lowell Mill Girl dress.   It is typical of work gowns.  And 
yes, they did wear sleeves that  big.
 
However, you asked specifically about 1820 - 1822.  This marked the  
beginning of what is commonly referred to as the "Romantic" period of  dress.  There 
is a rather good book of Ackerman's costume prints that has  been reprinted by 
Dover.  It is cheap and a great source for ideas of the  period 1818 - 1826.  
Search the Dover website or go to Amazon Dry Goods  & try there.  It's 
upstairs and I am just too lazy to go look at the  title, but it's so common I am 
sure you can find it.  It may even have been  scanned & put online by this time.
 
Sturbridge Village has a wonderful collection of beautiful 1820s gowns if  
you can get in to see them.  I saw them about 7 years ago and took  pix.  Many 
of them were just plain cotton calico worn for every day, which  is why they 
were so cool to see.  I couldn't get over the painstaking way  the women 
economized on fabric by myriad piecing to take advantage of every  inch.  There are 
some similar 1820s gowns at the Ohio Historical Society,  too, in fact there is 
one there made of exactly the same cotton print as one at  Sturbridge.  That 
was an exciting find.  The Atlanta History Center  has an 1820s gown of 
handwoven fabric.  It is extremely unusual,  having construction in the bodice 
almost like a late 1790s round gown.  It  is hard to get in to see their stuff but 
worth it if you can do it.  There  are also several at the museum in 
Charleston.
 
Hope this helps,
Best regards,
Susannah
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Subject: Re: [h-cost] fabric organization
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Yes!!  Same here.  However, I was so inspired by the article  that a month 
ago I actually did it.  I emptied the entire room, rented  a storage unit, took 
everything to it, stored everything in a reasonable  order to be able to find 
it quickly.  I purchased two cases of banker  boxes, the long type that can 
hold entire bolts of fabric.  It  really didn't cost that much and I am so glad 
I did it, everything is so simple  to find now.  Then I went back up to the 
room, vaccuumed  severely, re-polished the hardwood floor, and started putting 
things back  in.  I put up a sturdier new cutting table, bought new torchere 
lamps to  put in the corners for more light, cleaned all the furniture, cabinets 
 & shelving and scrutinized it for repairs and how it might best be  used 
before putting it back in the room.  I decided I wanted the room to be  more 
homey and comfortable and double as a guest room so I purchased an antique  
sleigh-type day bed to double as a sofa during the day.  Piled high with  pillows, 
it gives me a comfy place to sit & handstitch.  My kids love  the room now and 
can't stay out of it; one of my youngest daughters was inspired  to learn to 
sew.  It's amazing how much more you can get done and are  inspired to do when 
you just clear out the mess.  And unbelievably, I have  been able to make more 
items in the past month than I have in the past  year.  Being so messy & 
disorganized was really stymiing the creativity  flow.   So, my recommendation is, 
just do it.  You will love it,  and it's REALLY worth it when you're done.  
And surprisingly, it didn't  take nearly as long as I was afraid it would.
 
Take care,
Susannah
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	Fri, 15 Apr 2005 10:45:43 PDT
Date: Fri, 15 Apr 2005 10:45:43 -0700 (PDT)
From: Lady Satine <seamuslady@yahoo.com>
Subject: Re: [h-cost] Battlestar was: Still lagging memos?????? 
To: Historical Costume <h-costume@indra.com>
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Thanks! Going on my quest to check it out!
 
Satine

Althea Turner <althea@alfalfapress.com> wrote:
Here are some websites...

http://www.kobol.com/costumes/c02.html

well ok, just one, but some good shots of 3 costumes, but not the one 
you want..
Althea

On Thursday, April 14, 2005, at 09:52 PM, Lady Satine wrote:

> That was my first thought....I have the series on DVD and a Broked DVD 
> player... Noone I know in this neck of the woods likes the "old" 
> series they are all into the new one on SCI FI Channel.. I will keep 
> looking now back to lurking and looking at teh archives..
>
> Satine
>
>
> Carolyn Kayta Barrows wrote:
>
>> I had to ask!!!! I Figured if anyone would have a clue it would be
>> here!..... The 7 year old who wants it for Haloween asked me to make 
>> that
>> Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya
>> know the orginal tv thing....... I thought it was cute.. I just had to
>> ask!!!!!!
>
> If you really want to know, get ahold of an episode of it and watch 
> it. I
> never did watch that show, so I can't be of any help here.
>
>
> CarolynKayta Barrows
> dollmaker, fibre artist, textillian
> www.FunStuft.com
>
> //// \\\
> ////-@@\\\
> (((( 7 )))
> ((( <> ))))
> ) ((((((
> /----\ /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
> 
> ---------------------------------
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> Yahoo! Small Business - Try our new resources site!
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Reunite Pangea!

It is proof of a base and low mind for one to wish to think with the 
masses or majority, merely because the majority is the majority. Truth 
does not change because it is, or is not, believed by a majority of the 
people.
- Giordano Bruno

Oh, good. Symbols on the floor. That always goes well.
- Gunn

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Subject: [h-cost] Battlestar 
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Here are some new shots of the old series...

(color - Apollo and Starbuck and Serena?)
http://www.poster.de/Battlestar-Galactica/Battlestar-Galactica-Photo-
Battlestar-Galactica-6202161.html

(b/w - Apollo and Starbuck)
http://www.poster.de/Battlestar-Galactica/Battlestar-Galactica-Photo-
Battlestar-Galactica-6203976.html

Lego figures -- hehehe
http://lego.fanspace.com/battlestar_galactica_lego/

Good shot of pectoral necklace
http://1st-sheet-music.com/movies/Battlestar-Galactica.html

BAttlestar Colonial Warrior uniform
http://www.ketzer.com/movie_props/bsg_warrior.html

Replica Jacket
http://www.ketzer.com/prop_replica/BSG_jacket.html

Source for insignia and findings..oooohhhh!!
http://www.kobol.com/sales/

Some more replica pieces
http://www.starfortressproductions.com/galactica.html

Hope these help you.
Althea
Who is gonna get back to studying for her prelims now....

snipped 
> >
> > Carolyn Kayta Barrows <kayta@frys.com> wrote:
> >
> >> I had to ask!!!! I Figured if anyone would have a clue it would be
> >> here!..... The 7 year old who wants it for Haloween asked me to make 
> >>
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Subject: Re: [h-cost] Film title?
Date: Fri, 15 Apr 2005 14:48:40 -0400
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That is the one, indeed!  Thank you,
Kathleen
----- Original Message ----- 
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 15, 2005 11:12 AM
Subject: Re: [h-cost] Film title?


> Kathleen wrote:
> I am trying to remember the name of a 'period' film , 18thC?.  It begins
> with R (Restoration, Revolution...)  Any one Know?
>
>
> There was a 17c. movie with Robert Downey Jr, Sam Neill, and Meg Ryan set
> just after Cromwell called "Restoration".
> There was an 18c. movie with Al Pacino and Donald Sutherland set during
the
> American Revolution called "Revolution".
>             -Helen/Aidan
>
> _______________________________________________
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Subject: [h-cost] Online Costume Classes & Library
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Hello Everyone,

COSTUME CLASSROOM 
www.costumeclassroom.com

We have some new classes starting in April and May.  Two classes are taught by our new instructor, Danielle Nunn-Weinberg.  She is a PhD candidate, specializing in textile & clothing contents in English wills.  Her classes are:

***16th Century English Clothing in Text (She will be covering items that she has discovered in her textile & clothing research in English wills.)  This class started Monday but still has room for more students.  Last day to start this class is Sunday.

***A Fitting Image: Regency Clothing in Fashion Plates: 1800-1830.  Class Start Date: May 16th.

I was going to teach two beginning embroidery classes this year.  But I can't because I slipped two disks in my neck last month.  Another one of our instructors, Dr. Nikki Delaney, is going to teach the classes for me.  Nikki is an excellent needleworker of various skills.  Nikki's first class, "Beginning Embroidery: Techniques Used from 1910 - 1920: Part 1" is for those who knows nothing or very little about how to embroider.   This class starts May 18th.  Her "Embroidery: Part 2" class will start July 11th.  Nikki will be covering techniques from 1910-1920s but will also provide modern adaptations, and techniques prior to this period.  Patterns will be used from our online Library... a 3-month Library subscription is included with this class.  Nikki will also teach how to transfer an embroidery pattern from paper to fabric.

Another class of interest is starting next Monday, April 18, "Drape a Young Woman's Bodice Pattern: 1850 - 1865."  This class is taught by Elizabeth Stewart Clark.  She is well known in the American Civil War circles and for her traveling sewing workshops.  We are very lucky to have her teaching classes online for the Costume Classroom.  If you missed her Jan. 2005 online class,  "Basic Corsetry for Young Women, 1850-1865" it is being taught again on August 1st.

More online classes starting in April or May:

***Elizabethan Glove Making: Make your own pair of gloves
***Propriety, Plain and Fancy: Victorian and Edwardian Fashions from Bustle to Gibson Girl
***Beginning Flat Pattern Making: A Bustle Period Bodice

COSTUME LIBRARY:
www.costumelibrary.com or www.costumegallery.com/research.htm 
LIBRARY UPDATES:
www.costumegallery.com/updates.htm 

Today the Library contains 2,728 webpages and countless images.  Our Library is by subscription only.  You can view the Table of Contents are no charge.  If interested in a subscription, go to: www.costumegallery.com/librarycard.htm 

Two new books have been added to the Library since the beginning of March.  The first is an entire book containing 40 color fashion illustrations of French peasants from the 19th Century.  The peasants are presented by location in the country.  There are plates of men and women.

The second book, was written in 1911, and is called "Women and Labor."  This book was written during a time when women's outlook toward employment was really changing.  These changes were one of the reasons fashions changed so in the rest of the 20th Century.  Currently, the first two chapters are online.

A crinoline pattern has been added to our online collection.  It was originally printed in Peterson's Magazine, May 1871 issue.  We have also added several embroidery patterns from 1871 Peterson's.  Also, sewing and embroidery patterns from 1856 & 1857.


Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com 
Costume Research Library, www.costumelibrary.com 
Costume Classroom, www.costumeclassroom.com
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To: Historical Costume <h-costume@indra.com>
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At 18:56 15/04/2005 -0400, you wrote:
>Yes!!  Same here.  However, I was so inspired by the article  that a month
>ago I actually did it.  I emptied the entire room, rented  a storage unit, 
>took
>everything to it, stored everything in a reasonable  order to be able to find
>it quickly.  I purchased two cases of banker  boxes, the long type that can
>hold entire bolts of fabric.  It  really didn't cost that much and I am so 
>glad
>I did it, everything is so simple  to find now.  Then I went back up to the
>room, vaccuumed  severely, re-polished the hardwood floor, and started 
>putting
>things back  in.  I put up a sturdier new cutting table, bought new torchere
>lamps to  put in the corners for more light, cleaned all the furniture, 
>cabinets
>  & shelving and scrutinized it for repairs and how it might best be  used
>before putting it back in the room.  I decided I wanted the room to be  more
>homey and comfortable and double as a guest room so I purchased an antique
>sleigh-type day bed to double as a sofa during the day.  Piled high 
>with  pillows,
>it gives me a comfy place to sit & handstitch.  My kids love  the room now 
>and
>can't stay out of it; one of my youngest daughters was inspired  to learn to
>sew.  It's amazing how much more you can get done and are  inspired to do 
>when
>you just clear out the mess.  And unbelievably, I have  been able to make 
>more
>items in the past month than I have in the past  year.  Being so messy &
>disorganized was really stymiing the creativity  flow.   So, my 
>recommendation is,
>just do it.  You will love it,  and it's REALLY worth it when you're done.
>And surprisingly, it didn't  take nearly as long as I was afraid it would.


I am very impressed by your hard work.  Not so impressed that I shall do it 
for myself, though! I am past retirement age, although still working full 
time as a costume maker, so cannot afford the time. Also, the thought of 
lugging everything down two flights of stairs, dragging it to a storage 
facility by hand - I can't drive - cleaning up and then lugging it all back 
-  no chance!! It would take far too long, and too much energy!!

Suzi


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Subject: [h-cost] Florence: Galeria del Costume (Was: Venice...)
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La Galeria del Costume is the name of the costume collection in the
Pitti Palace, Florence.  I have heard it's the largest collection in
Italy.  The books "Galeria del Costume" are the biannual (more or
less) catalogs highlighting elements of the colllection. I have issues
3-5.
They are not costume histories of Ital fashion, they have full page,
color pics of mostly 19th c Italian couture garments. Marvelous
examples of other European high-end 18th c garments.  IIRC under 20
euros each?
I dont read Italian, only French & some Spanish, so I just puzzle out
bits.  The Galeria was closed for restoration & remodeling when I was
in Florence 2 yrs ago.  It's supposed to be open again, with the newly
conserved Medici garments on display.  I'm hoping to go in July.
--cin
Cynthia Barnes
CinBarnes@gmail.com

What is "Galeria del Costume"? I've been looking for a good Italian costume
reference..preferably one that isn't in the thousands of dollars.....

Beth

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    The film that features a girl being trained by a man is set in the England of Charles II aand is called Staged Beauty.  It recently came out on DVD.

                             Anna
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Kathleen - although you already have your answer (Restoration) when you
asked for a movie set in the 18th century starting with and "R" I
immediately thought of Ridicule.  It's a fabulous French film set in the
late 17 and early 18th centuries... I really liked it although the first
scene was rather shocking.

Here's the plot summary from Netflix:

Nominated for a 1996 Academy Award for Best Foreign Film, Ridicule stars
Charles Berling as Marquis de Malavoy, a nobleman in Versailles during the
reign of Louis XVI. His village has been invaded by mosquitoes, and he's
begging for the king's help. But his plans are diverted when he's locked in
a love triangle between a scheming countess and her sweet daughter. To
survive Versailles and solve his problem, he must rely on his wit and
smarts.

Starring: Charles Berling, Jean Rochefort, Fanny Ardent
Director: Patrice Leconte
 rated R For graphic nudity, some sexuality and brief violence


You may want to add it to your list for the summer if that is a time period
you enjoy.

Agnes



----- Original Message ----- 
> From: "Helen Pinto" <hpinto@mindspring.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, April 15, 2005 11:12 AM
> Subject: Re: [h-cost] Film title?
>
>
> > Kathleen wrote:
> > I am trying to remember the name of a 'period' film , 18thC?.  It begins
> > with R (Restoration, Revolution...)  Any one Know?
> >
> >
> > There was a 17c. movie with Robert Downey Jr, Sam Neill, and Meg Ryan
set
> > just after Cromwell called "Restoration".
> > There was an 18c. movie with Al Pacino and Donald Sutherland set during
> the
> > American Revolution called "Revolution".
> >             -Helen/Aidan
> >
>> I am collecting entertainment for the summer...
> Thanks much for the Restoration title!
> Now I am looking for a film that takes place in Shakespeare's time.  The
plot line includes the girl (or women) being trained by a man who usually
plays women's roles.  NOT Shakespeare in Love.
> I heard this being reviewed on NPR last summer, and of course it will
never appear at any theater in my neighborhood!!
> Kathleen
>
> ------------------------------
>
> Message: 6
> Date: Fri, 15 Apr 2005 15:17:49 -0400
> From: chindora@aol.com
> Subject: Re: [h-cost] another film
> To: h-costume@indra.com
> Message-ID: <8C71006F2864463-F0-3A7B3@mblk-r18.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
>  That was Stage Beauty, with Claire Danes and Billy Crudup.  I enjoyed it,
for what that matters.
>
> ~Kimberley
> -----Original Message-----
> From: Lloyd Mitchell <rmitchell@washjeff.edu>
> To: H-Costume <h-costume@indra.com>
> Sent: Fri, 15 Apr 2005 15:09:19 -0400
> Subject: [h-cost] another film
>
>
> I am collecting entertainment for the summer...
> Thanks much for the Restoration title!
> Now I am looking for a film that takes place in Shakespeare's time.  The
plot
> line includes the girl (or women) being trained by a man who usually plays
> women's roles.  NOT Shakespeare in Love.
> I heard this being reviewed on NPR last summer, and of course it will
never
> appear at any theater in my neighborhood!!
> Kathleen

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Subject: Re: [h-cost] Florence: Galeria del Costume (Was: Venice...)
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Greetings,
I was at the Pitti this summer and yes indeed the Medici garments are 
on display.  Did you know that Italian museum docents get cranky when 
you sit on the floor in front of the Eleanor dress and stick your nose 
against the glass in order to get a better look?  :D

I can recommend the coffee in the cafe.
Althea


On Friday, April 15, 2005, at 05:34 PM, Cin wrote:

> La Galeria del Costume is the name of the costume collection in the

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My original thought was late 40's

There's something about it that looks wrong about it for 19th C. - can't put 
my finger on what exactly - just not like ones I've seen.  

That said of course, am not an expert on bonnets of any type - only look at 
them when have to make one!!! :-)

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There was a thirties film called 'Stage Door' (although it had another name I 
can't remember), set in a theatrical boarding house, with Kathryn Hepburn and 
Ginger Rogers.


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Althea wrote:
> Did you know that Italian museum docents get cranky when you sit on the 
> floor in front of the Eleanor dress and stick your nose against the glass 
> in order to get a better look?  :D
>

The security people followed Wayne around when we were at the Tower of 
London. He was particularly interested in the designs of the butt end of the 
pikes, so ended up sprawled on his back on the floor taking close-up photos. 
He now has conclusive proof of the style of pike end, and the security 
people had a good story to tell their friends.

Glenda. 

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Jeeze, next they'll be giving them the vote!

-C.

  Charles II was the monarch who changed the rules and allowed 
> women to act on stage.

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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] Re: Bishops Lawn 
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It's not linen, that much I can tell you. It's cotton.
I was working on importing a bolt or two, and just
before hanging up with Mr. Hamon (owner of the shop in
St. Helier's that carries this particular fabric and
very pleasant man to speak with I might add), I had
asked, "this is linen, right?" He said no, it wasn't.
If you're not ultimately picky on your content, it
sounds great. Would make a lovely Edwardian tea dress.


Useless trivia: it's Lawm, not lawn, but both words
are used interchangably.

Kathy

> What is IS Bishop's lawn from Jersey?
> 
> h-costume-request@indra.com wrote:
> From: Suzi Clarke <suzi@suziclarke.co.uk>
> Subject: Re: [h-cost] 15th century shirt edging
> To: Historical Costume <h-costume@indra.com>
> 
> 
> At 14:05 13/04/2005 -0500, you wrote:
> >The linen is not as fine as the Bishop's Lawn from
> Jersey.
> Suzi


"The evil that men do lives after them. The good is oft interred in their bones." Shakespeare, "Julius Caesar"

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Subject: [h-cost] Re: Printing on Fabric
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Try "Bubble Jet Rinse" available from www.clotilde.com
They also have "Bubble Jet Set" which will allow you to print on any fabric 
of your own choice (100% silk, cotton, or acetate).

HTH,

Sandy

At 02:39 AM 4/15/2005, you wrote:

>Date: Thu, 14 Apr 2005 16:22:04 -0700
>From: Rose Amberwulf <roscelin@pcez.com>
>Subject: [h-cost] Fabric printing
>
>The other part of my project is that I will be using my inkjet printer
>to print on specially treated fabric.  I know I can use dyes and paints
>to colorize my printed fabrics, but I understand I can use watercolor
>pencils also.  Is there a way to treat the fabric afterwards so the
>colors would not rinse out if the item got wet?
>
>Roscelin

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

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

Andromeda  


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Subject: Re: [h-cost] vikings + bliaut thinking... 
Date: Fri, 15 Apr 2005 23:56:21 +0100
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>Still, I have to wonder how "familiar" the north seemed to a population
that had emigrated more than 200 years before.

There are a few interesting studies on the mixed culture of the Vikings, 
I've passed refs that are quite fascination. How whilst remaining proud of 
their "other" heritage they also worked hard at blending in . It is quite 
odd, Lombardi refs (further S) might be worth looking at.

200 years, well think of the Anglo Normans, still holding on to their French 
in the 13th C and the jokes the French native speakers made of their poor 
accents. It started to be very much a second language by then, but that is a 
long while to hold out.

> E.g. do Norse literary traditions or storylines have any
presence in French courtly romance?

I'm currently studying some early fairy tales Italian, 15th C. Storylines 
carry through an a lot. Cinderella has a story in many cultures. It might be 
hard to tell. I bet you could find some evidence if you dig deep enough, 
whether it will be enough is another matter.

I keep thinking of a viking picture or carving I think I remember which 
might show similar clothing, but can't for the life of me remember which one 
or where. It might come back :)

Good luck with your quest anyhow Mari ;)

Mel


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Subject: [h-cost] Pepys 1662: Sarcenett pettycoats
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Do you think he really means "printed" as in, with ink, not real lace?

Tuesday 15 April 1662

http://www.pepysdiary.com/archive/1662/04/15/index.php

At the office all the morning. Dined at home. Again at the office in the 
afternoon to despatch letters and so home, and with my wife, by coach, 
to the New Exchange, to buy her some things; where we saw some 
new-fashion pettycoats of sarcenett, with a black broad lace printed 
round the bottom and before, very handsome, and my wife had a mind to 
one of them, but we did not then buy one. But thence to Mr. Bowyer’s, 
thinking to have spoke to them for our Sarah to go to Huntsmore for a 
while to get away her ague, but we had not opportunity to do it, and so 
home and to bed.
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Hello
ahh - so it is fine cotton /lawn/, not linen - this
coudl be very very handy, although I'd love a source
of very fine linen too.

Has anyone used this bishop's lawn? Is it suitable for
machine heirloom embroidery? I have some victorian
underwear and a couple of Edwardian tea-dresses that
need lawn but I'm wary on cost. That was the other
question, how much per metre/yard?  Oh, and I can't
find 'Hamon' on the internet, so a telephone number
would be very helpful.

Thank you very much for any info,
Susan

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
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At 09:36 16/04/2005 +0100, you wrote:
>Hello
>ahh - so it is fine cotton /lawn/, not linen - this
>coudl be very very handy, although I'd love a source
>of very fine linen too.
>
>Has anyone used this bishop's lawn? Is it suitable for
>machine heirloom embroidery? I have some victorian
>underwear and a couple of Edwardian tea-dresses that
>need lawn but I'm wary on cost. That was the other
>question, how much per metre/yard?  Oh, and I can't
>find 'Hamon' on the internet, so a telephone number
>would be very helpful.


Hamon's do not have an internet site, as far as I know. The cotton lawn is 
very fine, like very fine quilting cotton I would say, but its real beauty 
is the price. It is £2.25 per yard, 54" wide. This, for GB, is cheap. They 
were very kind and sent me a sample. Julian, who recommended it, said it is 
a very old-fashioned store, but the people there are very helpful

Hamons Ltd.

37-39 King Street

St. Helier

Jersey

Channel Islands

01534 720 331  (I do not know what the international prefix is - sorry.)

Suzi



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On this thread, to The List
No, Hamon's of St. Helier, Island of Jersey, - do not have an Internet Site - [in fact from the general age-level of the proprietors and staff whom I've spoken to since getting involved with the local medieval-interest  Group, I'd guess that none of them are even likely to own computers [though their grandchildren probably would]. 
In a little Island most of whose "traditional" shops are being rapidly taken-over by "foreign retail Chains" so that  "family shops" are almost a vanishing Class, Hamons' are still a Family-owned business, - and the Hamon Family are recorded on the early Rolls of Jersey Armigers back as far as 1331 - " on a field Azure, a Lion rampart, guardant, reguardant, Or".
 
Ever since I decided to make some Heraldic banners for our group's "Armigers" - (following the advice of "Gerald Ye Herald" on using "Bishop's lawn" if I could get it) - I have been buying fabrics from Hamon's for making Banners, and medieval shirts.
 
The shop is like a "time-warp" back to another age!  It's housed in a late-Georgian "Listed" building, and the shop-front is probably od late-Victorian date and manufacture. 
Inside, there is hardly room to move between the shelves stacked ceiling-high with bolts of cloth, and the lovingly-polished Victorian hard-wood counters. (No tacky modern plastic shop-fittings here!)
 "Hamons' " is unquestionably the best of the few fabric stockists in the Island, and probably, - one of the best of such shops remaining in the whole of the UK; - having very-knowledgable and helpful staff, proprietors who'll help you find any cloth for any project - (even if they don't have it in stock, they'll source a bolt of it for you, and at what my wife tells me are "very reasonable prices"). 
Most of the counter-staff are either close to retirement age or even beyond it (in one case I'd reckon well-beyond it), having worked at Hamons' for decades;  - and  - according to my dear wife, - what Hamon's staff don't know about fabrics is either probably  verging on the abtruse; or not worth knowing. 
To make a visit to Hamon's even more intersting, many of the counterstaff speak English with the inimitable "Jersey" accent, vocabulary, and phrasing (common to hear in the island 40 years ago, but seldom-unheard now, save in the farming community of our rural Parishes),  - and if one is lucky during a visit, one can hear the counterstaff speaking either "Jerriais" ( the Jersey Patois) or Breton  to customers, as well. An experience to enjoy - since it is almost vanished elswhere under the various pressures of "modernity".
 
This week, I've just bought 6 yds of that "Bishops' Lawn"  I told you all about, - intending to create a painted "Commander's Standard" for my principal "Persona" to display this coming Season, - and they charged my wife £13.50GB for it. 
Personally, I know nothing about fabric (beyond the various grades of sailcoth pre- about 1970 - when I was younger I used to make my own racing-dinghy sails) - but I can tell you all that - to me, -  the cloth I'm buying seems as fine as that of my finest linen handkerchiefs - the ones I use for the top pockets of my best formal suits for "office wear".
I hope you'll all find these comments both interesting and helpful.


 


Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
Send instant messages to your online friends http://uk.messenger.yahoo.com 
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Ooops, sorry, everybody, "there's a Nut loose on my keyboard"....
 
"seldom-unheard" should have read "seldom-heard", of course.
 
Note to self, - "proof-read messages more carefully, don't just rely on your spellchecker!"




Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
Send instant messages to your online friends http://uk.messenger.yahoo.com 
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I'm going to be using some fabric that has been treated with Bubble 
Jet.  It's a great product.  What I am curious about is if I can use 
watercolor pencils to do any of my colorizing; is how to use those type 
of pencils and be able to protect the colors afterwards from water.

Roscelin

Pierre & Sandy Pettinger wrote:

> Try "Bubble Jet Rinse" available from www.clotilde.com
> They also have "Bubble Jet Set" which will allow you to print on any 
> fabric of your own choice (100% silk, cotton, or acetate).
>
> HTH,
>
> Sandy
>
>
>


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Subject: Re: [h-cost] another film
Date: Sat, 16 Apr 2005 08:50:32 -0400
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Thank you.  I thought I recalled the NPR interview using the Shakespearean
period as the setting for this film.  However, I found Stage Beauty on
amazon and it is on its way  here for my summer viewing, along with some
other goodies of a costume and history nature.

Kathleen

----- Original Message ----- 
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 15, 2005 4:27 PM
Subject: Re: [h-cost] another film


> Kathleen wrote:
> Now I am looking for a film that takes place in Shakespeare's time.  The
> plot line includes the girl (or women) being trained by a man who usually
> plays women's roles.  NOT Shakespeare in Love.
> I heard this being reviewed on NPR last summer, and of course it will
never
> appear at any theater in my neighborhood!!
>
>
> You're probably thinking of "Stage Beauty" with Billy Crudup, Claire
Danes,
> and Rupert Everett, which came out last year.  It's set in the same time
> period as "Restoration", not Shakespeare, although some of his plays are
> referenced.  Charles II was the monarch who changed the rules and allowed
> women to act on stage.
>                         -Helen/Aidan
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Another film
Date: Sat, 16 Apr 2005 09:01:14 -0400
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Ah!  This is indeed another one that has appeared on this list !  Hope I can
find it!!

Kathleen

----- Original Message ----- 
From: "Agnes Gawne" <gawne@mac.com>
To: <h-costume@indra.com>
Sent: Friday, April 15, 2005 8:57 PM
Subject: [h-cost] Another film


> Kathleen - although you already have your answer (Restoration) when you
> asked for a movie set in the 18th century starting with and "R" I
> immediately thought of Ridicule.  It's a fabulous French film set in the
> late 17 and early 18th centuries... I really liked it although the first
> scene was rather shocking.
>
> Here's the plot summary from Netflix:
>
> Nominated for a 1996 Academy Award for Best Foreign Film, Ridicule stars
> Charles Berling as Marquis de Malavoy, a nobleman in Versailles during the
> reign of Louis XVI. His village has been invaded by mosquitoes, and he's
> begging for the king's help. But his plans are diverted when he's locked
in
> a love triangle between a scheming countess and her sweet daughter. To
> survive Versailles and solve his problem, he must rely on his wit and
> smarts.
>
> Starring: Charles Berling, Jean Rochefort, Fanny Ardent
> Director: Patrice Leconte
>  rated R For graphic nudity, some sexuality and brief violence
>
>
> You may want to add it to your list for the summer if that is a time
period
> you enjoy.
>
> Agnes
>
>
>
> ----- Original Message ----- 
> > From: "Helen Pinto" <hpinto@mindspring.com>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Friday, April 15, 2005 11:12 AM
> > Subject: Re: [h-cost] Film title?
> >
> >
> > > Kathleen wrote:
> > > I am trying to remember the name of a 'period' film , 18thC?.  It
begins
> > > with R (Restoration, Revolution...)  Any one Know?
> > >
> > >
> > > There was a 17c. movie with Robert Downey Jr, Sam Neill, and Meg Ryan
> set
> > > just after Cromwell called "Restoration".
> > > There was an 18c. movie with Al Pacino and Donald Sutherland set
during
> > the
> > > American Revolution called "Revolution".
> > >             -Helen/Aidan
> > >
> >> I am collecting entertainment for the summer...
> > Thanks much for the Restoration title!
> > Now I am looking for a film that takes place in Shakespeare's time.  The
> plot line includes the girl (or women) being trained by a man who usually
> plays women's roles.  NOT Shakespeare in Love.
> > I heard this being reviewed on NPR last summer, and of course it will
> never appear at any theater in my neighborhood!!
> > Kathleen
> >
> > ------------------------------
> >
> > Message: 6
> > Date: Fri, 15 Apr 2005 15:17:49 -0400
> > From: chindora@aol.com
> > Subject: Re: [h-cost] another film
> > To: h-costume@indra.com
> > Message-ID: <8C71006F2864463-F0-3A7B3@mblk-r18.sysops.aol.com>
> > Content-Type: text/plain; charset="us-ascii"
> >
> >
> >  That was Stage Beauty, with Claire Danes and Billy Crudup.  I enjoyed
it,
> for what that matters.
> >
> > ~Kimberley
> > -----Original Message-----
> > From: Lloyd Mitchell <rmitchell@washjeff.edu>
> > To: H-Costume <h-costume@indra.com>
> > Sent: Fri, 15 Apr 2005 15:09:19 -0400
> > Subject: [h-cost] another film
> >
> >
> > I am collecting entertainment for the summer...
> > Thanks much for the Restoration title!
> > Now I am looking for a film that takes place in Shakespeare's time.  The
> plot
> > line includes the girl (or women) being trained by a man who usually
plays
> > women's roles.  NOT Shakespeare in Love.
> > I heard this being reviewed on NPR last summer, and of course it will
> never
> > appear at any theater in my neighborhood!!
> > Kathleen
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-bounces@indra.com  Sat Apr 16 09:06:59 2005
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Subject: Re: [h-cost] another film 
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Yes, indeed.  I know this one and that was why I said Not Stage Door.

Kathleen

----- Original Message ----- 
From: <Debloughcostumes@aol.com>
To: <h-costume@indra.com>
Sent: Friday, April 15, 2005 9:46 PM
Subject: Re: [h-cost] another film


> There was a thirties film called 'Stage Door' (although it had another
name I
> can't remember), set in a theatrical boarding house, with Kathryn Hepburn
and
> Ginger Rogers.
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Sat Apr 16 09:36:39 2005
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Subject: RE: [h-cost] fabric organization
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I am very impressed by your hard work.  Not so impressed that I shall do it 
for myself, though! I am past retirement age, although still working full 
time as a costume maker, so cannot afford the time. Also, the thought of 
lugging everything down two flights of stairs, dragging it to a storage 
facility by hand - I can't drive - cleaning up and then lugging it all back 
-  no chance!! It would take far too long, and too much energy!!

Suzi

I am afraid I would have to agree with Suzi.  Once we reach a certain age,
organization does take a back seat to conserving energy for the REALLY
important things in life- friends, sewing, chocolate.  I try to be a bit
organized but I would rather be remembered as a fun friend than a neat
housekeeper.  :)
Anne
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I just checked out Stage Beauty from Blockbuster last week, so I am sure it  
is readily available.  
 
On another note, I am having costuming withdrawals because I am so wrapped  
up in home renovation that I don't have time to get any fabrics out, and if I  
did, they would be covered in plaster dust in short order.
 
~K
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Date: Sat, 16 Apr 2005 08:27:10 -0700 (PDT)
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> Hamon's do not have an internet site, as far as I know. The cotton lawn is
> very fine, like very fine quilting cotton I would say, but its real beauty
> is the price. It is £2.25 per yard, 54" wide.

Dear list,

I apologize if I am speaking out of ignorance because I have not been
following this discussion very well but....

I carry cotton lawn on my website.  I am not sure what the difference is
for "Bishop's Lawn" but the cotton lawn I have is a very fine, thin, soft
cotton.  It is $5.60 per yard and comes in white and cream.  I am willing
to ship anywhere.  Here is a link:

http://www.renaissancefabrics.net/prod_detail.php?int_product_id=172

I have been told that cotton lawn is hard to find and expensive when you
can find it.  I am glad that I can offer it to the list at (what I
consider) a reasonable price :~>

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Sat Apr 16 11:36:38 2005
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Date: Sat, 16 Apr 2005 16:35:27 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
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At 08:27 16/04/2005 -0700, you wrote:

> > Hamon's do not have an internet site, as far as I know. The cotton lawn is
> > very fine, like very fine quilting cotton I would say, but its real beauty
> > is the price. It is £2.25 per yard, 54" wide.
>
>Dear list,
>
>I apologize if I am speaking out of ignorance because I have not been
>following this discussion very well but....
>
>I carry cotton lawn on my website.  I am not sure what the difference is
>for "Bishop's Lawn" but the cotton lawn I have is a very fine, thin, soft
>cotton.  It is $5.60 per yard and comes in white and cream.  I am willing
>to ship anywhere.  Here is a link:
>
>http://www.renaissancefabrics.net/prod_detail.php?int_product_id=172
>
>I have been told that cotton lawn is hard to find and expensive when you
>can find it.  I am glad that I can offer it to the list at (what I
>consider) a reasonable price :~>


I am sure that your cotton lawn is good value, Diana, but not when you have 
to add customs duty to it when shipping from the U.S.

I do not have any difficulty in obtaining cotton lawn in England, and in 
fact it is available in several different places. However, the lawn listed 
at Hamon's is the cheapest I have found in the U.K.

Suzi




















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Date: Sat, 16 Apr 2005 08:41:42 -0700 (PDT)
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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>
> I am sure that your cotton lawn is good value, Diana, but not when you
> have
> to add customs duty to it when shipping from the U.S.
>
> I do not have any difficulty in obtaining cotton lawn in England, and in
> fact it is available in several different places. However, the lawn listed
> at Hamon's is the cheapest I have found in the U.K.

Fair enough.  I didn't realize that they charge customs duty because the
U.S. doesn't.  That's a real bummer!

I am glad that you have several sources for a good price.  It seems like
other fabrics tend to be expensive there.  However a friend of mine found
handkercheif linen in England for $5 US per metre!  Here, if you can find
it *at all* you usually pay $15 or more per yard.

Diana



www.RenaissanceFabrics.net
"Everything for the Costumer"

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
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At 08:41 16/04/2005 -0700, you wrote:

> >
> > I am sure that your cotton lawn is good value, Diana, but not when you
> > have
> > to add customs duty to it when shipping from the U.S.
> >
> > I do not have any difficulty in obtaining cotton lawn in England, and in
> > fact it is available in several different places. However, the lawn listed
> > at Hamon's is the cheapest I have found in the U.K.
>
>Fair enough.  I didn't realize that they charge customs duty because the
>U.S. doesn't.  That's a real bummer!
>
>I am glad that you have several sources for a good price.  It seems like
>other fabrics tend to be expensive there.  However a friend of mine found
>handkercheif linen in England for $5 US per metre!  Here, if you can find
>it *at all* you usually pay $15 or more per yard.


Now that is a different problem. Could you be really, really kind, and see 
if your friend can remember where she got her handkerchief linen from? It 
sometimes turns up at Re-enactor markets, if you're lucky, the wind's in 
the right direction, there's an R in the month and a full moon that night. 
As you see, not easy to find. Heavy linen, shirt weight linen, but not 
handkerchief linen!! (Oh and someone always knows a place where they have 
it, but when you ring, they just sold the last of it, and don't know when 
the next lot will be coming in. They will call you when it arrives - in a 
pig's eye!!)

Oh, and yes, other fabrics are expensive here, (silk especially), but the 
quality is usually excellent. And if course, if we didn't have you helpful 
ladies in the U.S. to chat to, we'd never know how much we are being ripped 
off!

Suzi


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Subject: [h-cost] Cranach the Elder Exhibit
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Hi all,

I'm way behind on my mail, so hopefully this isn't a repeat, but I
just noticed that Cornell U. has an exhibition of 2 Cranach the Elder
paintings.  The exhibit runs until August 14, so if you happen to be
in the Ithica, NY vicinity you may want to check it out.

http://www.museum.cornell.edu/HFJ/currex/exhibits2.html

~Mary
http://www.quite-contrary.org/
(I'll be in NYC the first week of August -- how far away is Ithica??)

"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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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Linen in the US for under $10 
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>
>Fair enough.  I didn't realize that they charge customs duty because the
>U.S. doesn't.  That's a real bummer!
>
>I am glad that you have several sources for a good price.  It seems like
>other fabrics tend to be expensive there.  However a friend of mine found
>handkercheif linen in England for $5 US per metre!  Here, if you can find
>it *at all* you usually pay $15 or more per yard.
>
>Diana
Denver fabrics has handkerchief linen for just under $8.  I have bought 
their linen, and love it.  I made a camica out of it and could live in the 
thing.  It's so light and airy, that even here in Texas it's cool.

http://www.denverfabrics.com/pages/static/linen/white-linen.htm

I've bought the heavier stuff, too.  After the first three washes, it's 
just as soft as you'd ever want it.

Genie 

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] handkerchief linen (  Bishop's Lawn/Lawm?? )
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Suzi Clarke wrote:
>>
>> I am glad that you have several sources for a good price.  It seems like
>> other fabrics tend to be expensive there.  However a friend of mine found
>> handkercheif linen in England for $5 US per metre!  Here, if you can find
>> it *at all* you usually pay $15 or more per yard.
> 


Fabric.com has handkerchief linen at the moment for $7.95 per yard, and 
they're running a 12% off coupon through Wednesday. The colors are all 
pretty dark though.



Dawn


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Linen in the US for under $10 
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At 11:22 16/04/2005 -0500, you wrote:


>>Fair enough.  I didn't realize that they charge customs duty because the
>>U.S. doesn't.  That's a real bummer!
>>
>>I am glad that you have several sources for a good price.  It seems like
>>other fabrics tend to be expensive there.  However a friend of mine found
>>handkercheif linen in England for $5 US per metre!  Here, if you can find
>>it *at all* you usually pay $15 or more per yard.
>>
>>Diana
>Denver fabrics has handkerchief linen for just under $8.  I have bought 
>their linen, and love it.  I made a camica out of it and could live in the 
>thing.  It's so light and airy, that even here in Texas it's cool.
>
>http://www.denverfabrics.com/pages/static/linen/white-linen.htm
>
>I've bought the heavier stuff, too.  After the first three washes, it's 
>just as soft as you'd ever want it.


Genie
I'm sorry but that is no help - British Customs charge me money for 
importing goods from America! And the postage is prohibitive! And I can't 
get a trading company to send it as a gift, which is the only way round this!!

I suppose I could ask someone to get it for me, exchange some money for 
dollars to pay for it (another rip off) and then have it sent as a gift. 
I'm sorry but I am too lazy and mean - I'll manage with what I can get!

Suzi
  


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] handkerchief linen (  Bishop's Lawn/Lawm?? )
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At 11:32 16/04/2005 -0500, you wrote:
>Suzi Clarke wrote:
>>>
>>>I am glad that you have several sources for a good price.  It seems like
>>>other fabrics tend to be expensive there.  However a friend of mine found
>>>handkercheif linen in England for $5 US per metre!  Here, if you can find
>>>it *at all* you usually pay $15 or more per yard.
>
>
>Fabric.com has handkerchief linen at the moment for $7.95 per yard, and 
>they're running a 12% off coupon through Wednesday. The colors are all 
>pretty dark though.


Dawn

See my previous note. Living in England, this is far too much hassle.

Suzi


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On Sat, 16 Apr 2005, Suzi Clarke wrote:

> I'm sorry but that is no help - British Customs charge me money for
> importing goods from America! And the postage is prohibitive! And I
> can't get a trading company to send it as a gift, which is the only
> way round this!!
> 
> I suppose I could ask someone to get it for me, exchange some money
> for dollars to pay for it (another rip off) and then have it sent as a
> gift.  I'm sorry but I am too lazy and mean - I'll manage with what I
> can get!

Something to keep in mind:

I maintain "trading relationships" with several friends in various
countries whom I've met online. We each purchase (on request) particular
items that are available in our home countries and send them overseas as
gifts, and the other returns the favor with something else at some point
later.

I find it very useful to have overseas friends who can pay for certain
overseas journals, memberships, etc. in British pounds in exchange for my
sending them an equivalent amount of books, fabric, or other goods that
they can't get here. My best partner is actually in Norway, but she has a
British bank account and can pay for things in pounds for me ... and she
also collects certain out-of-print English-language books that can't be
found in Norway. She orders from small booksellers through abe,
bookfinder, and alibris and has everything shipped to me, and when the
pile gets big enough I send it all to her in a single box from her.

Money exchange is mostly a nonissue now that you can order with credit
cards.

With the number of people on this list, wherever you happen to be, there's
probably something you have access to that someone else would be happy to
return a favor for.

--Robin

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>> Fabric.com has handkerchief linen at the moment for $7.95 per yard, 
>> and they're running a 12% off coupon through Wednesday. The colors are 
>> all pretty dark though.
> 
> 
> See my previous note. Living in England, this is far too much hassle.
> 
> Suzi


Certainly, shipping overseas is almost never a bargain. But for Diana 
and the others in the US who were looking for something under the "$15 
or more per yard" price it is a very good deal.



Dawn


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
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At 14:54 16/04/2005 -0500, you wrote:

>On Sat, 16 Apr 2005, Suzi Clarke wrote:
>
> > I'm sorry but that is no help - British Customs charge me money for
> > importing goods from America! And the postage is prohibitive! And I
> > can't get a trading company to send it as a gift, which is the only
> > way round this!!
> >
> > I suppose I could ask someone to get it for me, exchange some money
> > for dollars to pay for it (another rip off) and then have it sent as a
> > gift.  I'm sorry but I am too lazy and mean - I'll manage with what I
> > can get!
>
>Something to keep in mind:
>
>I maintain "trading relationships" with several friends in various
>countries whom I've met online. We each purchase (on request) particular
>items that are available in our home countries and send them overseas as
>gifts, and the other returns the favor with something else at some point
>later.


I already do this, but unfortunately, not all my friends are fabric 
aficionados, and I really don't like buying sight unseen and fabric 
unhandled. (Recently acquired Costume Close-up and Fitting and Proper this 
way, and am expecting a video of film I made costumes for, for Hearst 
Castle no less - la-di dah!)

However, I have already had a couple of kind offers, through this list, 
which I have thanked them for, and will see how things go. One small 
problem, which other makers will appreciate, my customers often want 
guidance on fabric types, colours and so on, and for me, it is so easy to 
go to the fabric shops I know, and am known, and make a selection to submit 
to a customer. This would, I think, be more difficult if I had to choose 
fabric on line, in terms of how long it would take to get samples. 
Sometimes I don't know what I want until I see it on a bolt, which makes 
life even more difficult!

I should say that I am very lucky living near the centre of London, with 
all the specialist shops in one area (well, nearly all!) Also I get mail 
order from certain companies, which virtually halves the cost - the mark-up 
in the shops is huge! It is only rare items, such as handkerchief linen, 
that I have difficulty in sourcing, and there are substitutes that are more 
than adequate - I do not have customers who want perfect authenticity thank 
goodness.

Thanks again to everyone for their helpful suggestions. I shall certainly 
bear them in mind for the future.

Suzi



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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] handkerchief linen (  Bishop's Lawn/Lawm?? )
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At 15:19 16/04/2005 -0500, you wrote:
>>>Fabric.com has handkerchief linen at the moment for $7.95 per yard, and 
>>>they're running a 12% off coupon through Wednesday. The colors are all 
>>>pretty dark though.
>>
>>See my previous note. Living in England, this is far too much hassle.
>>Suzi
>
>
>Certainly, shipping overseas is almost never a bargain. But for Diana and 
>the others in the US who were looking for something under the "$15 or more 
>per yard" price it is a very good deal.


There are times when I wish I worked in the U.S. and had access to all the 
costuming facilities that you have. Then I look at the Tower of London and 
St. Paul's Cathedral as I cross the bridge to go shopping, and remember why 
I'm glad I don't.

Suzi


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Subject: [h-cost] Elizabeth Barber Lecture
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Some of the list members expressed an interest in hearing Dr. Elizabeth  
Wayland Barber's keynote address at the Costume Society of America  Symposium.  
You can just come for the lecture without registering for the  symposium.  Cost 
is $20, $10 for students.  Her title is "How We Came  to Dress the Way We Do: 
Tales from a Scholar's Thirty-Year Pursuit of  Origins."  This dynamic talk 
will discuss some of Dr. Barber's favorite  costume chases and the various 
methods she uses when working in eras where data  is scarce.
 
Friday, May 26, 6:30-7:30 p.m., Van Pelt Auditorium of the Philadelphia  
Museum of Art, Philadelphia, PA (USA)
 
Ann Wass
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Greetings all,

I am looking to put together a list of movies for my students from the 
60-80s that shows contemporary fashions.  Does anyone have any 
suggestions for movies that clearly show contemporary dress?  I'm also 
looking for movies that idealized contemporary fashion/ interiors.

Thanks!!

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

Reunite Pangaea!

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Subject: Re: [h-cost] 60s - 70s - 80s movies
Date: Sun, 17 Apr 2005 11:53:22 +1000
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Happy Days (TV series) and Grease are interesting in showing the way
contemporary (1970s) fashion infected the so-called 1950s look. The hair in
Happy Days could be especially odd and Olivia Newton John in Spandex?
Ewww...

There are other examples of this kind of thing in costume, make-up, hair,
scenery and props throughout both,

-C.

> I am looking to put together a list of movies for my students from the
> 60-80s that shows contemporary fashions.  Does anyone have any
> suggestions for movies that clearly show contemporary dress?

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From: Robin Netherton <robin@shell.nightowl.net>
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On Sat, 16 Apr 2005, Althea Turner wrote:

> I am looking to put together a list of movies for my students from the
> 60-80s that shows contemporary fashions.  Does anyone have any
> suggestions for movies that clearly show contemporary dress?  I'm also
> looking for movies that idealized contemporary fashion/ interiors.

The Ice Storm was made in 1997, but it nails 1973 visuals.

Any of the Sean Connery or Roger Moore James Bond movies would show
idealized fashion.

--Robin

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Subject: Re: [h-cost] another film 
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In a message dated 4/15/2005 9:46:52 P.M. Eastern Standard Time,  
Debloughcostumes@aol.com writes:

There  was a thirties film called 'Stage Door' (although it had another name 
I  
can't remember), set in a theatrical boarding house, with Kathryn Hepburn  
and 
Ginger Rogers.





And Lucille Ball, and Olivia DeHavilland....and every other starlet from  the 
30s. All playing poor struggling NY actresses....in designer clothes. Great  
stuff! 
 
"The calla lilies are in bloom......"
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Subject: Re: [h-cost] 60s - 70s - 80s movies
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"What a Way to Go" has Shirley MacLaine in every early 60s silhouette...all  
exaggerated. Any of those jet set crime capers with Audrey Hepburn 
{"Charade"}or  Sophia Loren {"Arabesque"} do it too for the 60s. For realism check out 
the  indies or movies like "Easy Rider" or "Z".
 
In the 70s things tend to get more realistic as independent films become  
more common. Even dance oriented films become real...like "Fame". TV is a good  
place to look here. Y'know "Bradey Bunch"!
 
80's go off the deep end again especially with the "we're having fun  in 
college" or even High School films. And Rap  films.
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I just thought of an exaggerated 70s film: "Can't Stop the Music"...with  the 
Village People....if you can stand to watch the thing.
 
And the awful film Milos Forman made of "Hair" is an interesting 70s view  of 
the 60s.
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I received an email this evening from a lady who has run across a term 
"soles of Joseph" (see 
http://falcon.arts.cornell.edu/prh3/310/texts%5Cfavent.html "History or 
Narration Concerning the Manner and Form of the Miraculous Parliament at 
Westminster in the year 1386, in the tenth year of the reign of King Richard 
the Second after the Conquest, declared by Thomas Favent, Clerk. translated 
by Andrew Galloway"

The phrase was "His tunic was made out of old russet, extending down to 
mid-shin, as if he were an old man, and he had a wiry and thick beard, and 
wore red boots with the soles of Joseph, looking more like a pilgrim or 
beggar than a king’s justice."

Anyone actually know what this refers to?  I'm thinking maybe something 
wooden, but am open to suggestions.

Marc


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From h-costume-bounces@indra.com  Sun Apr 17 04:47:30 2005
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Subject: [h-cost] Re: Bishops Lawn
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Thank you very much, Suzi and Julian, for the info on
contacting Hamon's - I have an irresistible urge to
visit Jersey now, their shop just sounds wonderful and
a sharp contrast to the poor excuses for fabric shops
I have here in Edinburgh (it's gotten so much worse in
the last five years). I've made contact with one or
two shops via the internet (Golden Threads for lovely
braid and thread for goldwork, Whaley's for coutil,
etc.) but without the list I'd never have heard of
this gem.

I will keep an eye out for any handkerchief weight
linen here in the UK and let you know if I stumble
across it - alternatively, a good friend is returning
from the States in july and has offered (the STAR) to
bring some fabric for me...

Thank you once again,
Susan

Send instant messages to your online friends http://uk.messenger.yahoo.com 
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From h-costume-bounces@indra.com  Sun Apr 17 05:16:43 2005
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: Bishops Lawn
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At 09:46 17/04/2005 +0100, you wrote:
>Thank you very much, Suzi and Julian, for the info on
>contacting Hamon's - I have an irresistible urge to
>visit Jersey now, their shop just sounds wonderful and
>a sharp contrast to the poor excuses for fabric shops
>I have here in Edinburgh (it's gotten so much worse in
>the last five years). I've made contact with one or
>two shops via the internet (Golden Threads for lovely
>braid and thread for goldwork, Whaley's for coutil,
>etc.) but without the list I'd never have heard of
>this gem.
>
>I will keep an eye out for any handkerchief weight
>linen here in the UK and let you know if I stumble
>across it - alternatively, a good friend is returning
>from the States in july and has offered (the STAR) to
>bring some fabric for me...


Any handkerchief linen sources will be gratefully received!

Suzi


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Subject: Re: [h-cost] 60s - 70s - 80s movies
Date: Sun, 17 Apr 2005 08:30:17 -0400
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Westside Story, Sabrina(With Audrey Hepburn) Daddy Longlegs,Twiggy films,
Blow Up, Follow the Boys and other Sandra Dee films, Pillow Talk....
Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, April 16, 2005 10:29 PM
Subject: Re: [h-cost] 60s - 70s - 80s movies


> "What a Way to Go" has Shirley MacLaine in every early 60s
silhouette...all
> exaggerated. Any of those jet set crime capers with Audrey Hepburn
> {"Charade"}or  Sophia Loren {"Arabesque"} do it too for the 60s. For
realism check out
> the  indies or movies like "Easy Rider" or "Z".
>
> In the 70s things tend to get more realistic as independent films become
> more common. Even dance oriented films become real...like "Fame". TV is a
good
> place to look here. Y'know "Bradey Bunch"!
>
> 80's go off the deep end again especially with the "we're having fun  in
> college" or even High School films. And Rap  films.
> _______________________________________________
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Might they have been worn through? This would support the scruffy look of a
pilgrim.

Kathleen
----- Original Message ----- 
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Sunday, April 17, 2005 1:28 AM
Subject: [h-cost] terminology question


> I received an email this evening from a lady who has run across a term
> "soles of Joseph" (see
> http://falcon.arts.cornell.edu/prh3/310/texts%5Cfavent.html "History or
> Narration Concerning the Manner and Form of the Miraculous Parliament at
> Westminster in the year 1386, in the tenth year of the reign of King
Richard
> the Second after the Conquest, declared by Thomas Favent, Clerk.
translated
> by Andrew Galloway"
>
> The phrase was "His tunic was made out of old russet, extending down to
> mid-shin, as if he were an old man, and he had a wiry and thick beard, and
> wore red boots with the soles of Joseph, looking more like a pilgrim or
> beggar than a king's justice."
>
> Anyone actually know what this refers to?  I'm thinking maybe something
> wooden, but am open to suggestions.
>
> Marc
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Sun Apr 17 11:54:35 2005
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Subject: [h-cost] Fabric term?  "End on End" 
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This fabric is described as being "end on end"  I have never heard this 
term before.  Does anyone know what it means?  It kinda looks like a 
denim weave.  But the fabric is very light weight.  Nice if you like 
these colors and weave type.

http://www.fashionfabricsclub.com/catalog_itemdetail.cfm?ItmID=846

Sg
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From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Fabric term?  "End on End" 
Date: Sun, 17 Apr 2005 13:18:56 -0500
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In textile terminology, "end" is the same as "warp"--they both refer to the
yarns that form the lengthwise grain of the fabric.

I can't seem to find the term "end on end" used in my textbooks, but it
looks like it's similar to  Oxford cloth, which is woven with colored warp
threads and white weft threads. Perhaps end on end has some colored and some
white warp threads, along with the white weft? Or with a colored weft?

In any case, it does refer to a fabric woven of two different color yarns.
You are right in seeing a resemblance to denim, which has blue warp threads
and white weft. But denim is a twill weave, and the fabric you see at the
URL below is not, it's a plain weave. It's likely to be lighter weight than
denim, a good weight for shirts or boxer shorts.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Wicked Frau
Sent: Sunday, April 17, 2005 10:53 AM
To: h-costume@indra.com
Subject: [h-cost] Fabric term? "End on End" 


This fabric is described as being "end on end"  I have never heard this 
term before.  Does anyone know what it means?  It kinda looks like a 
denim weave.  But the fabric is very light weight.  Nice if you like 
these colors and weave type.

http://www.fashionfabricsclub.com/catalog_itemdetail.cfm?ItmID=846

Sg
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From h-costume-bounces@indra.com  Sun Apr 17 16:06:14 2005
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Hi Everyone!

Are there any tips for sewing on handkerchief weight cotton?  I'm using my 
machine and sewing by hand to make a new shift.  I keep getting pulled 
getting pulled threads.

I thought I was using a new needle but may not have been, I will figure that 
out later today.  I bought a new pack of needles and will use so I can be 
sure that it's super sharp.

If it's not my needle, could it be stitch length?  Any suggestions?

Also, am using the idea discussed a week ago about the rolled hem with the 
button stitch for the sleeves.  I really like the look and it adds a bit of 
weight to the soft, filmy fabric.

Thanks!!!
:)  Primo Lurker, Jessica


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Subject: RE: [h-cost] Handkerchief weight cotton 
Date: Sun, 17 Apr 2005 15:18:49 -0500
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A sharp needle is important. Best would be the kind labelled "Microtex" in a
small size. Use a correspondingly fine thread. If you have a stitch plate
for your machine with a small round hole, instead of the wide opening needed
for zig zag stitching, that would help also.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of jessica stier
Sent: Sunday, April 17, 2005 3:04 PM
To: h-costume@indra.com
Subject: [h-cost] Handkerchief weight cotton 


Hi Everyone!

Are there any tips for sewing on handkerchief weight cotton?  I'm using my 
machine and sewing by hand to make a new shift.  I keep getting pulled 
getting pulled threads.

I thought I was using a new needle but may not have been, I will figure that

out later today.  I bought a new pack of needles and will use so I can be 
sure that it's super sharp.

If it's not my needle, could it be stitch length?  Any suggestions?

Also, am using the idea discussed a week ago about the rolled hem with the 
button stitch for the sleeves.  I really like the look and it adds a bit of 
weight to the soft, filmy fabric.

Thanks!!!
:)  Primo Lurker, Jessica


_______________________________________________
h-costume mailing list
h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume


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From: "Rhonda Donaldson" <rdonalds@wvu.edu>
To: <h-costume@indra.com>
Subject: Re: [h-cost] handkerchief linen (  Bishop's Lawn/Lawm?? )
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Suzi,

I am coming over in about 9 days and would lug some over for you.  Will
be in London May 4th, but will be in Edinburgh from April 27th ...

or if this is too soon or too late, can keep you posted on other trips
to the UK.  I try to go and see my friends once a year or so.  

Rhonda Donalson

Rhonda Donaldson
LTA II
e-Reserves Jr. Guru in Training
Circulation Department
Downtown Campus Library
P O Box 6069
Morgantown, WV
26506
293-4040 x4094
rhonda.donaldson@mail.wvu.edu

"Without change, something sleeps inside us, and seldom
awakens. The sleeper must awaken."
--Frank Herbert


>>> suzi@suziclarke.co.uk 4/16/2005 4:26:12 PM >>>
At 15:19 16/04/2005 -0500, you wrote:
>>>Fabric.com has handkerchief linen at the moment for $7.95 per yard,
and 
>>>they're running a 12% off coupon through Wednesday. The colors are
all 
>>>pretty dark though.
>>
>>See my previous note. Living in England, this is far too much
hassle.
>>Suzi
>
>
>Certainly, shipping overseas is almost never a bargain. But for Diana
and 
>the others in the US who were looking for something under the "$15 or
more 
>per yard" price it is a very good deal.


There are times when I wish I worked in the U.S. and had access to all
the 
costuming facilities that you have. Then I look at the Tower of London
and 
St. Paul's Cathedral as I cross the bridge to go shopping, and remember
why 
I'm glad I don't.

Suzi


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References: <edcaf02205041517345d54cb8@mail.gmail.com>
Subject: Re: [h-cost] Florence: Galeria del Costume (Was: Venice...)
Date: Sun, 17 Apr 2005 18:16:38 -0700
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To anyone who wishes to go to the Galeria del Costume in Florence... it has 
very limited hours.  It's only open until about 2 in the afternoon, and not 
every day. My husband was ill when I was there so I never made it in.  We 
got there at closing on the only day we had time to squeeze it in.   Very 
disappointing, so I suggest you check hours in advance so as not to run into 
the same problem.

angela
----- Original Message ----- 
From: "Cin" <cinbarnes@gmail.com>
To: "h-cost" <h-costume@indra.com>
Sent: Friday, April 15, 2005 5:34 PM
Subject: [h-cost] Florence: Galeria del Costume (Was: Venice...)


> La Galeria del Costume is the name of the costume collection in the
> Pitti Palace, Florence.  I have heard it's the largest collection in
> Italy.  The books "Galeria del Costume" are the biannual (more or
> less) catalogs highlighting elements of the colllection. I have issues
> 3-5.
> They are not costume histories of Ital fashion, they have full page,
> color pics of mostly 19th c Italian couture garments. Marvelous
> examples of other European high-end 18th c garments.  IIRC under 20
> euros each?
> I dont read Italian, only French & some Spanish, so I just puzzle out
> bits.  The Galeria was closed for restoration & remodeling when I was
> in Florence 2 yrs ago.  It's supposed to be open again, with the newly
> conserved Medici garments on display.  I'm hoping to go in July.
> --cin
> Cynthia Barnes
> CinBarnes@gmail.com
>
> What is "Galeria del Costume"? I've been looking for a good Italian 
> costume
> reference..preferably one that isn't in the thousands of dollars.....
>
> Beth
>
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My Husband wants the Lego ones.....LOL!!!
 
Satine

		
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1950's  interesting thought.  What springs immediatedly to my mind is 1950's costuming for historical epics, like Audrey Hepburn in War and Peace...  or little girls at Easter and Christmas ( Although I don't think I ever had one like that, and I was a little 50's girl)

Mia in Charlotte

		
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In a message dated 4/18/2005 9:24:07 A.M. Eastern Standard Time,  
snappylunch_2001@yahoo.com writes:

and I  was a little 50's girl)




Now that you mention it, I think one of my Easter bonnets did look much  like 
that.  I'll have to see if I can find the picture.  It was 1957  or so.
 
Ann Wass
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Subject: Fw: [h-cost] 60s - 70s - 80s movies
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Looks like this hasn't posted yet, sorry if this comes through twice...

Sheridan

> > Greetings all,
> >
> > I am looking to put together a list of movies for my students from the
> > 60-80s that shows contemporary fashions.  Does anyone have any
> > suggestions for movies that clearly show contemporary dress?  I'm also
> > looking for movies that idealized contemporary fashion/ interiors.
> >
> > Thanks!!
> >
> > Althea Turner
>
> Hmm, Flashdance and The Breakfast Club and Pretty in Pink pop into mind
for
> the 80's, or at least that was the clothing we were all trying to
emulate...
> War Games also comes to mind for 'average joe' youth fashion.
>
> How about Close Encounters for early 80's? I second the motion for Easy
> Rider and all of the James Bond flix.
>
> For any range of over the top 80's and 90's fashions, you can get on DVD
the
> TV series Dallas, Falcons Crest, Beverly Hills 90210, or any other evening
> soap.
>
> Just my two bits
>
> Sheridan
>


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Date: Mon, 18 Apr 2005 19:42:58 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: [h-cost] OT Left weave?  was Fabric term?  "End on End" 
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This gives me an opportunity to ask about something that has been 
bugging me.  Gap over here has been running this advertising saying that 
their new jeans are softer because they're woven to the left instead of 
to the right.  This sounds like total pseudoscience to me, about as 
convincing as face cream adverts, but is there anything in it?  If you 
use the same thread, same weave pattern, will it make any difference 
whether your twill goes to the left or to the right?  And if so why?

Jean


Kim Baird <kbaird@cableone.net> wrote
>In textile terminology, "end" is the same as "warp"--they both refer to the
>yarns that form the lengthwise grain of the fabric.
>
>I can't seem to find the term "end on end" used in my textbooks, but it
>looks like it's similar to  Oxford cloth, which is woven with colored warp
>threads and white weft threads. Perhaps end on end has some colored and some
>white warp threads, along with the white weft? Or with a colored weft?
>
>In any case, it does refer to a fabric woven of two different color yarns.
>You are right in seeing a resemblance to denim, which has blue warp threads
>and white weft. But denim is a twill weave, and the fabric you see at the
>URL below is not, it's a plain weave. It's likely to be lighter weight than
>denim, a good weight for shirts or boxer shorts.
>
>Kim
>
>-----Original Message-----
>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>Behalf Of Wicked Frau
>Sent: Sunday, April 17, 2005 10:53 AM
>To: h-costume@indra.com
>Subject: [h-cost] Fabric term? "End on End"
>
>
>This fabric is described as being "end on end"  I have never heard this
>term before.  Does anyone know what it means?  It kinda looks like a
>denim weave.  But the fabric is very light weight.  Nice if you like
>these colors and weave type.
>
>http://www.fashionfabricsclub.com/catalog_itemdetail.cfm?ItmID=846
>
>Sg
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
>
>
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-- 
Jean Waddie
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From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Battlestar was: Still lagging memos?????? 
In-Reply-To: <A7A7E206-AD77-11D9-B23E-000393C0A652@alfalfapress.com>
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I have a friend who made Battlestar costumes years ago, when the series
was current, and they used briefcase (or the like) clasps for the clasps
on the jackets.  The outfits are eerily accurate

Katy

On Thu, 14 Apr 2005, Althea Turner wrote:

>Here are some websites...
>
>http://www.kobol.com/costumes/c02.html
>
>well ok, just one, but some good shots of 3 costumes, but not the one
>you want..
>Althea
>
>On Thursday, April 14, 2005, at 09:52 PM, Lady Satine wrote:
>
>> That was my first thought....I have the series on DVD and a Broked DVD
>> player... Noone I know in this neck of the woods likes the "old"
>> series they are all into the new one on SCI FI Channel.. I will keep
>> looking now back to lurking and looking at teh archives..
>>
>> Satine
>>
>>
>> Carolyn Kayta Barrows <kayta@frys.com> wrote:
>>
>>> I had to ask!!!! I Figured if anyone would have a clue it would be
>>> here!..... The 7 year old who wants it for Haloween asked me to make
>>> that
>>> Battlestar Galatica... (What he said). Pre Star Wars Fighter suit!1 ya
>>> know the orginal tv thing....... I thought it was cute.. I just had to
>>> ask!!!!!!
>>
>> If you really want to know, get ahold of an episode of it and watch
>> it. I
>> never did watch that show, so I can't be of any help here.
>>
>>
>> CarolynKayta Barrows
>> dollmaker, fibre artist, textillian
>> www.FunStuft.com
>>
>> //// \\\
>> ////-@@\\\
>> (((( 7 )))
>> ((( <> ))))
>> ) ((((((
>> /----\ /---\))
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>> ---------------------------------
>> Do you Yahoo!?
>>  Yahoo! Small Business - Try our new resources site!
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>Althea Turner
>*** althea@alfalfapress.com
>*** http://www.alfalfapress.com
>
>Reunite Pangea!
>
>It is proof of a base and low mind for one to wish to think with the
>masses or majority, merely because the majority is the majority. Truth
>does not change because it is, or is not, believed by a majority of the
>people.
>- Giordano Bruno
>
>Oh, good. Symbols on the floor. That always goes well.
>- Gunn
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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	<Fk53fHH5+AYCJwpf@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re:the bonnet
Date: Mon, 18 Apr 2005 15:09:44 -0400
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I think for the 19th C, the brim should flare for the earlier period.  Wet
it and reblock it.  This is quite easy to do.

kathleen
----- Original Message ----- 
From: "Jean Waddie" <anne@montgomerie.demon.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, April 15, 2005 3:02 PM
Subject: Re: [h-cost] Re:the bonnet


> Interesting!  Knowing absolutely nothing about any period with bonnets,
> looking at it I thought, "it's 1950s!"  The way the edge curves inwards
> at the last moment, instead of continuing the flare.  If you had to
> guess who would wear it, it would be Audrey Hepburn.
>
> So, people who suggested dates in the 1800s - is it a "good enough for
> the look" or are there examples with that turned-in edge?
>
> Jean
>
>
> Mia Dappert <snappylunch_2001@yahoo.com> wrote
> >
> >To me this is one of the  "IT DEPENDS" answers
> >
> >If you are doing it for the costume, and the look of, early to mid
> >1800's is probably good.  I'm thinking Dicken's Fairs( is that right?
> >We don't have them here in Charlotte, NC) and swanning around garb at a
> >Am Civ War renactment.
> >
> >If you are doing it for someone who is a bit more into the "authentic"
> >end, it probably would not suffice for anything. ( well maybe
> >pre-1840s, I don't know those shapes as well as 1840s-1860s.)  For the
> >more authentically minded there are better (if probably more expensive
> >alternatives)
> >
> >This will probably get something stirred up as the above reply sounds
> >slightly holier than thou, but my personal journey is leading me to the
> >more authentic, rather than the costume.  I love hearing about the
> >costumers among us, and their perspective and learning from the many
> >helpful hints that have gotten ME out of several binds  My decision for
> >myself are leaning to the authentic and progressive (a current Am Civ
> >War term that I find the best definition (to me) means "our clothing ,
> >material culture and demenor is progressing to what we hope is a more
> >authentic level.).
> >
> >Keep  on will all the good comments.  This is how we learn
> >
> >Mia in Charlotte
> >
> >
> >
> >---------------------------------
> >Do you Yahoo!?
> > Yahoo! Small Business - Try our new resources site!
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
>
> -- 
> Jean Waddie
> _______________________________________________
> 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] 60s - 70s - 80s movies
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Does anyone else keep thinking of that "I Love Lucy" episode where they're 
all in Paris; the women want high fashion clothing, and the men make some 
ridiculous burlap & feedbag outfit?  I know 50s is earlier than you wanted, 
but boy does that episode ever show some exaggerated 50s high fashion 
styles.

I'm not a big Barbra Streisand fan, but some of her movies might be pretty 
good for 70s styles.

-E House 

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Subject: [h-cost] Encyclopedia of clothing and fashion
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Has anyone seen this set? I'm interested in 1650 and earlier and wondering 
if it would be of any use.

Beth Matney

 > This just came out and was very positively reviewed
 > by CHOICE:
 >
 > Encyclopedia of clothing and fashion.  ed. by
 > Valerie Steele.  Scribner,
 > 2005. 3v bibl index afp (1600 pages) ISBN 0-684-31394-4, $395.00  

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From h-costume-bounces@indra.com  Mon Apr 18 19:29:42 2005
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Opinions on a portrait (1485-90 Flanders)?
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A few years ago, in a museum in Spain, I came across a portrait whose
subject is a dead ringer for a certain friend (Don the photographer, for
those who have met him when he travels with me). I sometimes make him
costumes, and he's a 15th-century kinda guy, so I've been kicking around
the idea of kitting him up like the portrait:

http://www.wga.hu/html/m/memling/3mature5/30young.html

Flanders is my preferred region, but 1485-90 is just a smidgen later than
my comfort zone, and so I'm pondering the gold bands over the front and on
the arms. At first I thought they were some sort of smocking attached to
the shirt, but looking at the enlarged version (it's been years since I
saw the original, so I had forgotten) I can clearly see that the
horizontal bands twist independently of the shirt fabric as they come
toward the center, where they tie.  Something similar is happening on the
arms, only more of a latticework, fastened into dark cuffs at the wrist.
That looks like a royal nuisance to fit *and* to wear! But the wrinkling
of the gold bands does suggest they move independently of the shirt.

It appears that the latticework forms a sleeve, and the dark garment has
slit sleeves hanging over that. That would suggest that the band
arrangement in front belongs not to the dark garment, but to a separate
cote/jupon/pourpoint/whatever whose body is completely hidden except for
the bands visible at the front. The black overgarment has a turned-down
fur collar, which you can see the edge of if you look at his right
shoulder (our left). 

Thus, three garments: shirt, band-edged cote with latticed sleeves, black
fur-trimmed (fur-lined?) overcote with slit sleeves.

So, what does that hidden cote look like on the body? Surely it's not
latticework all over. How ... kinky? No, how awkward! I am thinking
instead that the horizontal bands attach to the open front edges of the
cote, and there are just a couple of vertical bands spaced alongside the
cote edge on each side to create the visible latticework. The odd thing at
the side of the neck (our left, sitter's right) could be a small stand-up
collar from the body of the cote; it appears to be the same dark brown as
the cuffs that hold the latticed sleeves, so perhaps reflects the main
body fabric of the hidden cote.

Does this make sense? Alternate readings are welcome.

Also, on that shirt: It looks as though the bulk is gathered into fine
pleating, stabilized between two lines of black stitching to form the
upper edge. Any ideas on the stitching technique that would create a
smooth upper edge? It's not wavy as you'd expect if you edge the fabric
first and then gathered it up; it looks as though the black line is
actually holding the pleating in place. Maybe just overcast to both finish
the edge and secure the pleats at the same time? Maybe the linen is
folded over so you don't have to deal with a raw edge up there, just
the pleating, and the raw edge could be turned under about a half-inch
lower and caught in a second line of stitching to hold the gathers? 

The sleeve edges are different; they appear simply gathered into band
cuffs.

It all feels rather Italian, but there was a lot of artistic interchange
between Italy and Flanders at this time, and this is a common undercurrent
in Memling's work. The sitter is unknown, but presumably is Flemish.
However, Memling did have some Italian clients, so who knows?

In any case, it would look smashing on my friend. For a very old photo
(probably about 20 years old now) of him in something a bit more costumey
but with similar lines, see: http://www.tancos.net/costume/blackred.html
He made that one himself! His wardrobe is a bit more sober now, and I
think black fur and brown velvet and gold bands would suit him.

--Robin

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To: "Historical Costume" <h-costume@indra.com>
References: <4.3.1.2.20050411225109.032f1420@mail.frys.com><s25a367e.001@kumc-smtpout.kumc.edu><s25a367e.001@kumc-smtpout.kumc.edu><4.3.1.2.20050411225109.032f1420@mail.frys.com>
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Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
Date: Tue, 19 Apr 2005 21:32:27 +1000
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<snip>
> We know the pattern for the shirts we have surviving examples of.  Take
> that pattern, and instead of adding the sleeves right at the top of the
> body pieces, add them maybe 6" down the side seams from the top.  Then sew
> up the side seams above them, making a large tube of the body pieces, open
> at the top.  Now gather the open top of the body pieces into a hole the
> size of the neck.  That's it.
>
> This causes the grain of the body pieces to run in concentric circles
> around the neck seam, taking any embroidery along with it, as seen in the
> "girl from 1569" portrait I cited.  This hauls the tops of the sleeves
> right into a wide neckline, as seen in the Henry VIII portrait I
> cited.  This makes lots of gathering right at the bottom of the neck
> band.  And it does all this simply, without any extra calculation, pattern
> pieces, or fussing.
>
<snip>
Although this sounds really good and it seems like a really logical way of
constructing a partlet the portrait of Helena Snakeborg
http://www.tudor-portraits.com/HelenaSnakeborg.jpg you can see that the
flowers all face the same way around her neck the stems really make it
obvious, they are not radiating out from the neckline as they would if the
grain was running around the neck instead of across the shoulders. However,
Queen Elizabeth's Pelican portrait
http://www.tudor-portraits.com/Elizabeth22.jpg does have gold bands
radiating out from the neckline, and they appear to be connected to the
fabric rather than just some form of Jewelery laid on top, so perhaps this
does show your theoretical cut, I'll keep looking for other examples
(hopefully somebody else can find something because I really like your
theory), but so far Helena Snakeborg's portrait doesn't support your theory
and the Pelican Portrait quite possibly does, the other portraits I've seen
don't seem to be conclusive as to whether the grain goes over the shoulder
or around the neck.
Elizabeth
--------------------------------------------------------------------
Elizabeth Beaumont       |       Elizabeth Walpole
Politarchopolis, Lochac |      Canberra, Australia
                 ewalpole@iimetro.com.au
        http://au.geocities.com/e_walpole/

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From: Hope Greenberg <hope.greenberg@uvm.edu>
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Subject: Re: [h-cost] Opinions on a portrait (1485-90 Flanders)?
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Robin Netherton wrote:

>A few years ago, in a museum in Spain, I came across a portrait whose
>
>http://www.wga.hu/html/m/memling/3mature5/30young.html
>  
>
Here are a couple musings. They would be an odd way to construct 
garments so I don't quite believe myself, but they would, perhaps, 
explain the visual evidence.

1) Three layers:
a) white shirt which shows at the chest in center front
b) over that, a fine white garment/cote with gold trim. The garment is 
gathered/pleated and the horizontal bands are attached directly to the 
white fabric. The vertical bands are only attached by a few stitches at 
each point where they cross the horizontal bands. The two vertical bands 
at center front may be lattice work--that is, the first bit of white on 
either side of the center front may be this second layer of garment or 
may be the shirt. If they are lattice, then the center horizontal ties 
are pulling/taking the strain up from the second row of vertical trim 
which is securely attached to the edges of the garment/cote. The sleeves 
are finished with a dark cuff.
c) the napped overgarment

2) Four layers--not unusual, though it seems a bit weird to modern eyes
a) white shirt, only visible at wrists
b) dark tight fitting garment with long sleeves, collar/edge of which 
shows at back left neckline and at wrists (that is, the dark material is 
the bottom of this long sleeved tight garment, not cuffs for lattice 
work garment)
c) white garment of fine material with gold trim constructed as 
described above, pleated/gathered into a narrow piping band at neck. 
This garment is showing in center front, not the body shirt layer. The 
wrist edge is gathered/hemmed to stand alone, not gathered into the dark 
cuffs, with some kind of button/fastening to close them tightly. There 
is enough volume in the front due to the gathering it could simply slip 
over the head, then tie up across the chest. Again, the ties are 
anchored to vertical trim pieced that are affixed to the garment, not 
simply "floating" above it with a few anchor points as are the rest of 
the vertical bands. This garment has that fairly common wide 
neckline--the one that looks like the tailor goofed and didn't drop the 
neckline forward of the shoulder line--very Italian--but would also 
result in a neckline wide enough to slip over the head. That kind of 
neckline construction also usually results in a fair amount of the back 
of the neck showing, in this case allowing the tight fitting darker 
underlayer to show. (See many similar necklines on Italian 
portraits--especially those in profile--the poor guys look like they are 
being choked. Also, my guess, based on facial features common to other 
portraits, is that this guy is Italian, not Flemish.)

The more I think about it the more I like the "four layers" 
method--there just seems to be too much volume in the visible white 
layer for it to be the body/shirt layer.

So, a couple ideas--fun portrait!

- Hope
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Subject: [h-cost] Re:  Opinions on a portrait (1485-90 Flanders)?
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Robin,

Yes, Don will look smashing in this :).  Altho I do miss some of his
more flamboyant days :) :).

I've had a little experience trying lattice work doublets for faire and
suggest you make the back of the doublet, and possibly part of the
sides, out of something solid.  I'm not sure that collar is part of the
latticeworked piece however, it definately is not the fur collar though.
 

These types of clothing must have been the height of fashionably
indolence, they remind me of the fashion for long fingernails in China,
to demonstrate that you were wealthy enough you didn't not have to use
your hands for anything.  It does seem that the latticework over the
forearms is a little closer together, so maybe it would not catch on
things as much.

Good Luck!
Catherine
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Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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At 21:32 19/04/2005 +1000, you wrote:
><snip>
> > We know the pattern for the shirts we have surviving examples of.  Take
> > that pattern, and instead of adding the sleeves right at the top of the
> > body pieces, add them maybe 6" down the side seams from the top.  Then sew
> > up the side seams above them, making a large tube of the body pieces, open
> > at the top.  Now gather the open top of the body pieces into a hole the
> > size of the neck.  That's it.
> >
> > This causes the grain of the body pieces to run in concentric circles
> > around the neck seam, taking any embroidery along with it, as seen in the
> > "girl from 1569" portrait I cited.  This hauls the tops of the sleeves
> > right into a wide neckline, as seen in the Henry VIII portrait I
> > cited.  This makes lots of gathering right at the bottom of the neck
> > band.  And it does all this simply, without any extra calculation, pattern
> > pieces, or fussing.
> >
><snip>
>Although this sounds really good and it seems like a really logical way of
>constructing a partlet the portrait of Helena Snakeborg
>http://www.tudor-portraits.com/HelenaSnakeborg.jpg you can see that the
>flowers all face the same way around her neck the stems really make it
>obvious, they are not radiating out from the neckline as they would if the
>grain was running around the neck instead of across the shoulders. However,
>Queen Elizabeth's Pelican portrait
>http://www.tudor-portraits.com/Elizabeth22.jpg does have gold bands
>radiating out from the neckline, and they appear to be connected to the
>fabric rather than just some form of Jewelery laid on top, so perhaps this
>does show your theoretical cut, I'll keep looking for other examples
>(hopefully somebody else can find something because I really like your
>theory), but so far Helena Snakeborg's portrait doesn't support your theory
>and the Pelican Portrait quite possibly does, the other portraits I've seen
>don't seem to be conclusive as to whether the grain goes over the shoulder
>or around the neck.


Here http://www.abcgallery.com/T/titian/titian37.html is another portrait 
that may (or may not) reinforce the original theory. I made this too - it 
can be seen on my web site. I made it like an ordinary partlet, a la 
Hunnisett. It worked perfectly well, but was puffy, as I used silk organza, 
and although I washed it, I could not get rid of the stiffness!!

Suzi


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 I'm looking for a book, I believe it was perhaps for costume designers
for the stage, but I'm not sure. My public library used to have it, but
it was either discarded or "liberated" some time ago. I recall it had
scaled patterns on a grid, much like Janet Arnold's Patterns of Fashion
books, and was partially or completely dedicated to historic men's and
women's headgear.  I clearly remember that it contained patterns for
English and French hoods and some 17th and 18th century headgear and
mobcaps.

If anyone can id this book, I'd be most grateful and hopefully can get a
copy via Interlibrary Loan, or ideally used for cheap.

Many thanks.

Cindy Abel

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Scaled Tudor(and other)headdress patterns in book
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At 09:21 19/04/2005 -0500, you wrote:
>
>
>  I'm looking for a book, I believe it was perhaps for costume designers
>for the stage, but I'm not sure. My public library used to have it, but
>it was either discarded or "liberated" some time ago. I recall it had
>scaled patterns on a grid, much like Janet Arnold's Patterns of Fashion
>books, and was partially or completely dedicated to historic men's and
>women's headgear.  I clearly remember that it contained patterns for
>English and French hoods and some 17th and 18th century headgear and
>mobcaps.
>
>If anyone can id this book, I'd be most grateful and hopefully can get a
>copy via Interlibrary Loan, or ideally used for cheap.


I think what you are after is called "From the Neck Up" by Denise Dreher, 
published in the U.S. From the pattern point of view I have not yet found 
one of the patterns that I am happy with. I have tried several, and ended 
up making my own patterns instead. Others may feel differently. However, 
the section on techniques and making up is very useful.

Suzi


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Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
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>
> Now that is a different problem. Could you be really, really kind, and see
> if your friend can remember where she got her handkerchief linen from? It
> sometimes turns up at Re-enactor markets, if you're lucky,

Suzi,

I guess that is where she got it--at the Coventry Reenactors Market in
November. Here is the info she sent me:

The company is:

Fabric of Time, Suppliers of Fine Irish Linen.

Laurie & Elaine
01522 595597
laurence@fabricoftime.freeserve.co.uk

All my friend had was an e-mail address and the name but it is a start.  I
hope that you can connect with them.  I think my friend said she paid $5
pounds per metre or something like that.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: Re: [h-cost] Scaled Tudor(and other)headdress patterns in book
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Cindy,
 	Could it have been From the Neck Up:  An Illustrated Guide to 
Hatmaking by Denise Dreher?  It does have gridded patterns for both men 
and women for a range of time periods.

--lisa


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Subject: [h-cost] Re: Hearst Castle (was Linen in the US for under $10)
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> Date: Sat, 16 Apr 2005 21:22:53 +0100
> From: Suzi Clarke <suzi@suziclarke.co.uk>
> Subject: Re: [h-cost] Linen in the US for under $10 
> 
> (Recently acquired Costume Close-up and Fitting and
> Proper this 
> way, and am expecting a video of film I made costumes for, for
> Hearst Castle no less - la-di dah!)
> 

OOOO!  I was just at Hearst Castle.  Did you do the costumes for the
Imax movie the show in the visitor center?  I was admiring them when
I saw the movie.

~Mary

"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: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20050420024055.54270.qmail@web40426.mail.yahoo.com>
Subject: Re: [h-cost] Re: Hearst Castle
Date: Wed, 20 Apr 2005 00:30:30 -0400
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drool.... I  would love to see the Hearst Castle.

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

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: Hearst Castle (was Linen in the US for under
  $10)
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At 19:40 19/04/2005 -0700, you wrote:
> > Date: Sat, 16 Apr 2005 21:22:53 +0100
> > From: Suzi Clarke <suzi@suziclarke.co.uk>
> > Subject: Re: [h-cost] Linen in the US for under $10
> >
> > (Recently acquired Costume Close-up and Fitting and
> > Proper this
> > way, and am expecting a video of film I made costumes for, for
> > Hearst Castle no less - la-di dah!)
> >
>
>OOOO!  I was just at Hearst Castle.  Did you do the costumes for the
>Imax movie the show in the visitor center?  I was admiring them when
>I saw the movie.


I think so, although they may now have a new one. The film I made costumes 
for was made in 1996, and some of the costumes came from the best costume 
house in London (IMHO) Cosprop. However, I made the lady some underwear, 
which she wore throughout, a mix and match purple green and turquoise set 
of clothes (sounds hideous doesn't it?) and a child's sailor suit. When I 
get my video I'll be able to judge - it was made for National Geographic. 
Was the film set in 1873, and involved Hearst as a boy visiting Europe with 
his mother?

Suzi


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Subject: Re: [h-cost] fabric organization
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----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 14, 2005 9:42 PM
Subject: Re: [h-cost] fabric organization


> At 03:55 14/04/2005 -0700, you wrote:
> >I know what you mean about the fun of rediscovering things you'd
forgotten
> >you had - I've recently had that fun when we had to sort through and
> >repack many, many boxes of stuff before we moved house, although many of
> >my rediscoveries were of books. ( We now have a storage area approx. 2m x
> >2m which is packed solid to a height of 2.5m with boxes filled mostly
with
> >books! )
> >
> >
> > ><i know that someone on the list wrote an excellent paper with
> > ><suggestions  a few years ago. d
> > >I think this may the article you have in mind.
> > >
> > >http://www.bitwizards.com/norborough/timetosew.html
>
>
> I just had another read of the article. However, when I got to the line
> "Get your fabric into one area" I had to stop - I was laughing so much. My
> fabric is already in one place - all over my workroom, in boxes, on
> shelves, in cupboards and drawers!! My method would have to be
>
> 1) Empty Workroom.
>
> 2) Build extension (difficult as I am 2 floors up!)
>
> 3) Build acres of shelves
>
> 4) Buy hundreds - well a hundred to start - boxes
>
> 5) Give up before 1)
>
> The method described would be wonderful if you haven't got much fabric, or
> hadn't been collecting fabric for over 20 years. (Or didn't have fabric
for
> customers, who haven't collected it!!) (Or had a week spare to do it!)
>
> Suzi

yeah one room counts as one place so you've achieved step one. Buy the
boxes (clear plastic so you can see what's inside) one or two at a time
(whenever you are near a shop that sells clear plastic boxes stop in and buy
one) and stack them on top of each other with the empty ones on top of the
full ones, decide how to divide up the stash along whatever lines works for
you and whenever you have to move a piece of fabric to get at the other
piece of fabric underneath put it in a box, and make a note. Don't tell me
you don't spend half an hour searching for that piece of fabric you know is
in there somewhere, that would be perfect for XYZ. You don't need a week
spare, just a couple of months worth of half hour blocks or a year's worth
of five minute blocks.
I'm in the process of doing this at the moment I've only got about four
years worth of fabric so it's probably nothing on the scale of yours but so
far I've got a box for brocades and one for canvas as those are the two
types of fabric I've got the most of. The rest is still all over the place,
but I know exactly where to look if I'm doing a project that involves
brocade and canvas ;-) I'm also considering creating a 'project' box for all
the bits involved in what I'm making now. Hopefully it will help me
discipline myself into doing only one project at a time and avoid getting
side-tracked by another project that looks all new and shiny when I go to
pull out the necessary components from my stash.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole@iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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Subject: Re: [h-cost] medieval dress
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----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, April 07, 2005 6:53 AM
Subject: Re: [h-cost] medieval dress


> Yes, that's the right one.  My concern is not with how easy it is to
> make, but how authentic it is.  However, I've since talked to my
> customer who has decided she now whats something entirely different.  I
> will find out tomorrow and then I will probably have more questions.
>
> Sylrog
>
<snip>
Simplicity has something similar (#8735) that will make up a reasonable high
waisted late15th to early 16th century Italian gown, rather like the blue
dress in this McCalls pattern. You might want to point her towards that if
she's interested in this style, I've written a webpage on fixing this
pattern http://au.geocities.com/e_walpole//Ever_After/fixingEA.htm
Simplicity has another pattern #9531 which appears to be a better recreation
of the style than 8735 but doesn't have an overdress.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole@iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] fabric organization
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>
> > >
> > >
> > > ><i know that someone on the list wrote an excellent paper with
> > > ><suggestions  a few years ago. d
> > > >I think this may the article you have in mind.
> > > >
> > > >http://www.bitwizards.com/norborough/timetosew.html
> >
> >
> > I just had another read of the article. However, when I got to the line
> > "Get your fabric into one area" I had to stop - I was laughing so much. My
> > fabric is already in one place - all over my workroom, in boxes, on
> > shelves, in cupboards and drawers!! My method would have to be
> >
> > 1) Empty Workroom.
> >
> > 2) Build extension (difficult as I am 2 floors up!)
> >
> > 3) Build acres of shelves
> >
> > 4) Buy hundreds - well a hundred to start - boxes
> >
> > 5) Give up before 1)
> >
> > The method described would be wonderful if you haven't got much fabric, or
> > hadn't been collecting fabric for over 20 years. (Or didn't have fabric
>for
> > customers, who haven't collected it!!) (Or had a week spare to do it!)
> >
> > Suzi
>
>yeah one room counts as one place so you've achieved step one. Buy the
>boxes (clear plastic so you can see what's inside) one or two at a time
>(whenever you are near a shop that sells clear plastic boxes stop in and buy
>one) and stack them on top of each other with the empty ones on top of the
>full ones, decide how to divide up the stash along whatever lines works for
>you and whenever you have to move a piece of fabric to get at the other
>piece of fabric underneath put it in a box, and make a note. Don't tell me
>you don't spend half an hour searching for that piece of fabric you know is
>in there somewhere, that would be perfect for XYZ. You don't need a week
>spare, just a couple of months worth of half hour blocks or a year's worth
>of five minute blocks.

I already have about 40 boxes, all labelled, two sets of filing drawers and 
two chests of drawers. Not to mention the shelves with fabric on, the 
shelves with cigar boxes on them, also labelled, and the standing rolls of 
fabric.

>I'm in the process of doing this at the moment I've only got about four
>years worth of fabric so it's probably nothing on the scale of yours but so
>far I've got a box for brocades and one for canvas as those are the two
>types of fabric I've got the most of. The rest is still all over the place,
>but I know exactly where to look if I'm doing a project that involves
>brocade and canvas ;-)

Oh, I know where everything is that I am likely to use - linings, 
buttons,  threads, interfacings etc. They are all filed and labelled. It's 
the left overs that are a pain - I cannot throw anything away, in case it 
might come in handy!!

>I'm also considering creating a 'project' box for all
>the bits involved in what I'm making now.

I have a system of transparent carrier bags, kindly provided (with a logo, 
but who cares) by one of the shops I buy from. These contain pattern 
pieces, trimmings, threads etc, and hang on the same hanger as the costume. 
That way I should not have to go looking for anything to do with each 
costume. As I often have to work on clothes for several customers at a 
time, this helps enormously.

I think my problem boils down to the fact that there is just too darn much 
for one business, and I should be strong and throw excess fabric at the 
charity shop, or the local school, anywhere but in to another box!!

Suzi


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>I think my problem boils down to the fact that there is just too darn much 
>for one business, and I should be strong and throw excess fabric at the 
>charity shop, or the local school, anywhere but in to another box!!

>Suzi

But it is so pretty and you just KNOW if you get rid of it you wil need it
the next day.  Besides, what if something gets torn and the customer needs a
repair?

Anne (evil grin)




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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Re: Hearst Castle (was Linen in the US for under  $10)
To: Historical Costume <h-costume@indra.com>
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Status: RO

They were still playing that one about 4 yrs ago when
I went, (remembered the little boy the best)
Melody
--- Suzi Clarke <suzi@suziclarke.co.uk> wrote:
> At 19:40 19/04/2005 -0700, you wrote:
> > > Date: Sat, 16 Apr 2005 21:22:53 +0100
> > > From: Suzi Clarke <suzi@suziclarke.co.uk>
> > > Subject: Re: [h-cost] Linen in the US for under
> $10
> > >
> > > (Recently acquired Costume Close-up and Fitting
> and
> > > Proper this
> > > way, and am expecting a video of film I made
> costumes for, for
> > > Hearst Castle no less - la-di dah!)
> > >
> >
> >OOOO!  I was just at Hearst Castle.  Did you do the
> costumes for the
> >Imax movie the show in the visitor center?  I was
> admiring them when
> >I saw the movie.
> 
> 
> I think so, although they may now have a new one.
> The film I made costumes 
> for was made in 1996, and some of the costumes came
> from the best costume 
> house in London (IMHO) Cosprop. However, I made the
> lady some underwear, 
> which she wore throughout, a mix and match purple
> green and turquoise set 
> of clothes (sounds hideous doesn't it?) and a
> child's sailor suit. When I 
> get my video I'll be able to judge - it was made for
> National Geographic. 
> Was the film set in 1873, and involved Hearst as a
> boy visiting Europe with 
> his mother?
> 
> Suzi
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: [h-cost] Curry Stains
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Greetings All!
 
I need the collected wisdom of the list.  My brand new cotton turtle neck has been stained with curry sauce.  As soon as I realized I had gotten the curry sauce on my sweter, I treated it with Shout wipe (but as I was on vacation I was unable to wash it immedately).  When we got home on Sunday, we immedately washed the sweater.  Then washed it again with a different stain treatment.  And again with another one.  So it has now been washed three times, with different detergents and such.  We have been careful not to dry the sweater.  However, the stain is still there.  Does anyone have any ideas?
 
Thanks, 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
 
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> Date: Wed, 20 Apr 2005 08:46:46 +0100
> From: Suzi Clarke <suzi@suziclarke.co.uk>
> Subject: Re: [h-cost] Re: Hearst Castle 
> 
> At 19:40 19/04/2005 -0700, you wrote:
> > > Date: Sat, 16 Apr 2005 21:22:53 +0100
> > > From: Suzi Clarke <suzi@suziclarke.co.uk>
> > > Subject: Re: [h-cost] Linen in the US for under $10
> > >
> > > (Recently acquired Costume Close-up and Fitting and
> > > Proper this
> > > way, and am expecting a video of film I made costumes for, for
> > > Hearst Castle no less - la-di dah!)
> > >
> >
> >OOOO!  I was just at Hearst Castle.  Did you do the costumes for
> the
> >Imax movie the show in the visitor center?  I was admiring them
> when
> >I saw the movie.
> 
> 
> I think so, although they may now have a new one. The film I made
> costumes 
> for was made in 1996, and some of the costumes came from the best
> costume 
> house in London (IMHO) Cosprop. However, I made the lady some
> underwear, 
> which she wore throughout, a mix and match purple green and
> turquoise set 
> of clothes (sounds hideous doesn't it?) and a child's sailor suit.
> When I 
> get my video I'll be able to judge - it was made for National
> Geographic. 
> Was the film set in 1873, and involved Hearst as a boy visiting
> Europe with 
> his mother?
> 
> Suzi
> 

Yes, that is definitely the same movie.  They show it in the huge
IMAX theatre.  It was all about WR Hearst and how he got his "taste"
for art and architecture, then went on to show how the whole thing
was designed & built.  I thought the gown was gorgeous.  The boy wore
the sailor suit quite a lot, as I recall, but also wore a suit with
short pants when they portrayed him a few years older.  Wow, that is
so cool that you made those costumes!  :-)

San Simeon is really a cool place, I really want to go back.  There
are at least 4 different tours and we only had time for one.  Lots of
beautiful antiques and paintings to look at.  Hearst bought &
installed whole ceilings, etc, from buildings in Europe.  I took tons
of pictures -- thank goodness for digital cameras!

~Mary


"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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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 4, Issue 261
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>
>and am expecting a video of film I made costumes for, for
> > > > Hearst Castle no less - la-di dah!)



>  The film I made
> > costumes
> > for was made in 1996, and some of the costumes came from the best
> > costume
> > house in London (IMHO) Cosprop. However, I made the lady some
> > underwear,
> > which she wore throughout, a mix and match purple green and
> > turquoise set
> > of clothes (sounds hideous doesn't it?) and a child's sailor suit.
> > When I
> > get my video I'll be able to judge - it was made for National
> > Geographic.
> > Was the film set in 1873, and involved Hearst as a boy visiting
> > Europe with
> > his mother?
> >
> > Suzi
> >
>
>Yes, that is definitely the same movie.  They show it in the huge
>IMAX theatre.  It was all about WR Hearst and how he got his "taste"
>for art and architecture, then went on to show how the whole thing
>was designed & built.  I thought the gown was gorgeous.  The boy wore
>the sailor suit quite a lot, as I recall, but also wore a suit with
>short pants when they portrayed him a few years older.  Wow, that is
>so cool that you made those costumes!  :-)
>
>San Simeon is really a cool place, I really want to go back.  There
>are at least 4 different tours and we only had time for one.  Lots of
>beautiful antiques and paintings to look at.  Hearst bought &
>installed whole ceilings, etc, from buildings in Europe.  I took tons
>of pictures -- thank goodness for digital cameras!
>
>~Mary


Wow, fame at last. Well, I never! I am thrilled that it will be seen by so 
many people  - I never did know what happened to it!

Suzi


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From h-costume-bounces@indra.com  Wed Apr 20 16:07:03 2005
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Subject: Re: [h-cost] Curry Stains
Date: Wed, 20 Apr 2005 16:07:45 -0400
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Have you tried 'Aunt Ellen's stain remover'? You can find this at JoAnn's in
the notion area, and I am beginning to see it in hardware stores.  It comes
labeled for white or for colored garments.  I have found this to very good
on set in stains like tablecloths.

Is your shirt 100% cotton?

Kathleen
----- Original Message ----- 
From: <kitsune242@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, April 20, 2005 2:58 PM
Subject: [h-cost] Curry Stains


> Greetings All!
>
> I need the collected wisdom of the list.  My brand new cotton turtle neck
has been stained with curry sauce.  As soon as I realized I had gotten the
curry sauce on my sweter, I treated it with Shout wipe (but as I was on
vacation I was unable to wash it immedately).  When we got home on Sunday,
we immedately washed the sweater.  Then washed it again with a different
stain treatment.  And again with another one.  So it has now been washed
three times, with different detergents and such.  We have been careful not
to dry the sweater.  However, the stain is still there.  Does anyone have
any ideas?
>
> Thanks,
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth Cole
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: [h-cost] Spanish soldiers in the inquisition
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Status: RO

I am preparing to costume Man of La Mancha this summer, and have done to date, minimal research on the soldiers involved in the show. It takes place during Cervantes incarceration in prison at the end of his life, during a portion of the spanish inquisition.  I believe the time frame is roughly 1597-1610.  He was imprisoned twice, and the show sort of blends those together.

If any of you on the list are SCA and this is within your period of expertise, I could use some advice/info on what soldiers would have worn, weapons that would be appropriate. Much of the show is done as a story that takes place in Cervantes' brain as he becomes the character Don Quixote, who is his fictional knight.  The knight's time frame is fictional and so ranges from a loose medieval interpretation to somewhat more literal period clothing from Spain in the same period as Cervantes lived.  Thise knight will need a sword, but that can probably be more of a medieval armament in nature.

So what would the soldiers carry? Knives? Swords?  any info is appreciated.  We're going to be doing some combat scenes and the director/choreographer wants an idea of what he should be working with in advance.

thanks!

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
www.cabbagerosecostumes.com
Theatrical Costume Design

"Love all, trust a few, do wrong to none: 
be able for thine enemy rather in power than use, 
and keep thy friend under thy own life's key: 
be checked for silence, but never taxed for speech..."
W. Shakespeare
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Spanish soldiers in the inquisition
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Status: RO

At 16:11 20/04/2005 -0700, you wrote:
>I am preparing to costume Man of La Mancha this summer, and have done to 
>date, minimal research on the soldiers involved in the show. It takes 
>place during Cervantes incarceration in prison at the end of his life, 
>during a portion of the spanish inquisition.  I believe the time frame is 
>roughly 1597-1610.  He was imprisoned twice, and the show sort of blends 
>those together.
>
>If any of you on the list are SCA and this is within your period of 
>expertise, I could use some advice/info on what soldiers would have worn, 
>weapons that would be appropriate. Much of the show is done as a story 
>that takes place in Cervantes' brain as he becomes the character Don 
>Quixote, who is his fictional knight.  The knight's time frame is 
>fictional and so ranges from a loose medieval interpretation to somewhat 
>more literal period clothing from Spain in the same period as Cervantes 
>lived.  Thise knight will need a sword, but that can probably be more of a 
>medieval armament in nature.
>
>So what would the soldiers carry? Knives? Swords?  any info is 
>appreciated.  We're going to be doing some combat scenes and the 
>director/choreographer wants an idea of what he should be working with in 
>advance.


Any picture links to "The Armada" of 1588 should give you fighting men if 
that period. Spanish soldiers' uniforms didn't change that frequently. The 
thing that says "Spanish" to many people is the particular helmet worn at 
the time of the Armada, the "morion". There was an excellent catalogue put 
out by the Maritime Museum in Greenwich, England, for a huge "Armada" 
exhibition they put on in 1988.

Hope that helps.

Suzi


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Angela F Lazear wrote:

> 
> So what would the soldiers carry? Knives? Swords?  any info is appreciated.  We're going to be doing some combat scenes and the director/choreographer wants an idea of what he should be working with in advance.
> 
> thanks!
> 

Here's one re-enactment group that seems to have figured some of the 
details out, they have a sketch posted on this page (though the 
description in the text is of English soldiers):

http://www.fairfax.org.uk/MAIN/ARTICLES/RESEARCH/vere/english%20brigade.HTM



Dawn


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Date: Mon, 18 Apr 2005 19:02:12 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] OT Left weave?  was Fabric term?  "End on End"
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At 7:42 PM +0100 4/18/05, Jean Waddie wrote:
>This gives me an opportunity to ask about something that has been 
>bugging me.  Gap over here has been running this advertising saying 
>that their new jeans are softer because they're woven to the left 
>instead of to the right.  This sounds like total pseudoscience to 
>me, about as convincing as face cream adverts, but is there anything 
>in it?  If you use the same thread, same weave pattern, will it make 
>any difference whether your twill goes to the left or to the right? 
>And if so why?

I can imagine that it _might_ make a difference if slanting the twill 
one way or the other works with or against the spin-direction (or 
ply-direction) of the thread they're using. A slant that encourages 
the surface bits of thread to untwist slightly (if there is such a 
thing) could be softer than a slant that encourages them to remain 
tightly twisted.

But that's just a guess. I'm not sure any weave structure would, in 
fact, do such a thing. This would, however, be something they could 
conceivably abbreviate to "woven to the left" for advertising 
purposes.

Any ideas from weavers out there?

As for "end on end," I believe (and my somewhat elderly textile 
dictionary backs this up) that it refers to "an arrangement of warp 
yarns with one end of color and one end of white alternately." They 
refer to this as "end AND end" but I've seen it phrased both ways. 
Chambray is sometimes woven this way and sometimes woven with a 
colored warp and white weft (which is what I've mostly seen). 
(Fairchild's Dictionary of Textiles, 6th ed., 1979, bought used for a 
dollar fifty...)
-- 
____________________________________________________________

O    Chris Laning <claning@igc.org>  -   Davis, California
+     http://paternoster-row.org - http://paternosters.blogspot.com
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Curry Stains
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>I need the collected wisdom of the list.  My brand new cotton turtle neck 
>has been stained with curry sauce.  As soon as I realized I had gotten the 
>curry sauce on my sweter, I treated it with Shout wipe (but as I was on 
>vacation I was unable to wash it immedately).  When we got home on Sunday, 
>we immedately washed the sweater.  Then washed it again with a different 
>stain treatment.  And again with another one.  So it has now been washed 
>three times, with different detergents and such.  We have been careful not 
>to dry the sweater.  However, the stain is still there.  Does anyone have 
>any ideas?

Dye the whole thing with the same curry?  Then no one will ever 
suspect...  Actually that's a serious suggestion.  If life has handed you 
curry for a lemon, make figurative lemonade.


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

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Spanish soldiers in the inquisition
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>If any of you on the list are SCA and this is within your period of 
>expertise, I could use some advice/info on what soldiers would have worn, 
>weapons that would be appropriate.

You might search on early California history.  California was "invented" 
shortly after the period you mention, and our early European explorers like 
Cabrillo and Balboa are usually shown (in California history books, anyway) 
in outfits that would work.  Search also for Cortez, conqueror of 
Mexico.  He is earlier, but is usually shown wearing later period 
stuff.  In any case, nothing says late Renaissance Spanish soldier like the 
morions someone mentioned.

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

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From h-costume-bounces@indra.com  Thu Apr 21 00:14:52 2005
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Subject: Re: [h-cost] Spanish soldiers in the inquisition 
To: h-costume@indra.com
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Status: RO

I'd definitely trust the pics on this page.

The guy pictured (whose name I can't remember - sorry) is a member of the 
Fairfax Battalia of ECWS and The Tudor Group (run by The Goodmans - Tudor experts 
- and v. helpful), and the sketch is by Tony Barton, also of the Fairfax, and 
who has possibly *the* best 17th century clothing I've ever seen (and I've 
seen a lot!) - immaculately cut - which he makes himself - passmenterie buttons 
and all.  

(As an aside, Tony also sculpts historically correct wargaming figures, so 
knows other periods, too.)

I don't have e-mail addresses, but am sure the Tudor group have a website, so 
you could ask Mark if he has any sources / links (showed me some fabulous 
shots of a doublet they'd just been restoring recently).

Debbie.
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From: "Beth Chamberlain" <Bchamber@suffolk.lib.ny.us>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Curry Stains
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Kit

Try Oxyclean, in a really high concentration. If that doesn't take it all
out dab it with bleach if the color can take it. Make sure you have ALL of
the oxyclean out before you get bleach near it. I cook with turmeric (the
yellow in curry) constantly and I'm not the neatest cook, this has worked on
everything I've tried so far.

Beth

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of kitsune242@aol.com
Sent: Wednesday, April 20, 2005 1:59 PM
To: h-costume@indra.com
Subject: [h-cost] Curry Stains

Greetings All!
 
I need the collected wisdom of the list.  My brand new cotton turtle neck
has been stained with curry sauce.  As soon as I realized I had gotten the
curry sauce on my sweter, I treated it with Shout wipe (but as I was on
vacation I was unable to wash it immedately).  When we got home on Sunday,
we immedately washed the sweater.  Then washed it again with a different
stain treatment.  And again with another one.  So it has now been washed
three times, with different detergents and such.  We have been careful not
to dry the sweater.  However, the stain is still there.  Does anyone have
any ideas?
 
Thanks, 
Kit
If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth Cole
 
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Subject: [h-cost] Re: French costume films
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Hello - well it depends on what period you're after.

Medieval:

The Hour of the Pig (very very weird trial of a pig in
medieval france!) (oh, and in the US it's called 'The
Advocate'.)

Le Violon Rouge (a day in the life of a violin over 3
centuries - v.v.v. sad and in many languages)

The Return of Martin Guerre 

Les Enfants du Paradis (wartime epic set in 18C -
costumes still capture the essence of that
neoclassical era).

I hope you have fun - these are some of my favourite
films and you can't beat a French weepie, you just
can't...

Happy Viewing,
Susan K.

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Spanish soldiers in the inquisition
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I'm not SCA but have been involved in English Civil War reenactment (a slightly later period) for many years. I, too, thought of morions straight away. 
The soldiers would certainly have swords (simple, fairly short ones), and if they're prison guards would most likely be musketeers. Muskets at that date would be matchlocks (i.e.fired by means of a smouldering fuse) and quite heavy and cumbersome. In battle there would be pikemen as well (before the invention of bayonets, they used 15-18 ft pole-arms to defend the musketeers against cavalry.)

Kate Bunting
Librarian and 17th century reenactor


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Subject: Re: [h-cost] Spanish soldiers in the inquisition
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There is a plastic morion available from a couple of theater supply houses.
I have used these with some success for productions.  I modified the inside
rim with poly rope glued on and then sprayed with silver paint.  This
improves the dimension.

Kathleen
----- Original Message ----- 
From: "Suzi Clarke" <suzi@suziclarke.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 20, 2005 7:33 PM
Subject: Re: [h-cost] Spanish soldiers in the inquisition


> At 16:11 20/04/2005 -0700, you wrote:
> >I am preparing to costume Man of La Mancha this summer, and have done to
> >date, minimal research on the soldiers involved in the show. It takes
> >place during Cervantes incarceration in prison at the end of his life,
> >during a portion of the spanish inquisition.  I believe the time frame is
> >roughly 1597-1610.  He was imprisoned twice, and the show sort of blends
> >those together.
> >
> >If any of you on the list are SCA and this is within your period of
> >expertise, I could use some advice/info on what soldiers would have worn,
> >weapons that would be appropriate. Much of the show is done as a story
> >that takes place in Cervantes' brain as he becomes the character Don
> >Quixote, who is his fictional knight.  The knight's time frame is
> >fictional and so ranges from a loose medieval interpretation to somewhat
> >more literal period clothing from Spain in the same period as Cervantes
> >lived.  Thise knight will need a sword, but that can probably be more of
a
> >medieval armament in nature.
> >
> >So what would the soldiers carry? Knives? Swords?  any info is
> >appreciated.  We're going to be doing some combat scenes and the
> >director/choreographer wants an idea of what he should be working with in
> >advance.
>
>
> Any picture links to "The Armada" of 1588 should give you fighting men if
> that period. Spanish soldiers' uniforms didn't change that frequently. The
> thing that says "Spanish" to many people is the particular helmet worn at
> the time of the Armada, the "morion". There was an excellent catalogue put
> out by the Maritime Museum in Greenwich, England, for a huge "Armada"
> exhibition they put on in 1988.
>
> Hope that helps.
>
> Suzi
>
>
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Subject: [h-cost] Re: Opinions on a portrait (1485-90 Flanders)?
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I am still missing Digest 260, so if what I am about to write now was 
already said, apologies....

Since this is going a bit towards my own current line of thought and 
projects, I am offering the same here. I reckon the lattice work, though 
kinky, is actually one garment and meant to be this way. There is a portrait 
of a  Don Mendoza by Ingles which shows strips of a different colour on a 
doublet (I don't want to go into the "leather or not leather" discussion). 
It's conjectural that the "strips" take on a life of their own later and 
omit the doublet underneath. In your portrait it looks like the dark brown 
band (looks velvety to me....?) around the wrists and the small collar 
visible above his right shoulder and left side of the neck are attached to 
the latticework, actually making it a garment. The lines follow a doublet 
cut (to my eyes), however with the actual doublet fabric omitted. The tying 
of the strips across the front would also indicate a function of the entire 
thing rather than only embellishment.

The shirt looks to me like it has a thin cord of some sorts securing the 
gathering of the shirt. It doesn't look like the gathering is very 
pronouced, though, I can achieve the same look with a shirt that's slightly 
wider than necessary, but it helps to keep the neckline in. I can't really 
see a second dark black line on the very edge of the shirt (to me it looks 
rather more like a shadow/edge view), but that's exactly what I have been 
looking at for the past weeks as well, meaning I just can't work out how 
they achieved this particular feature as well. It's not too hard to get a 
very fine rolled hem on shirtweight linen, but the edge doesn't really look 
like it has one. It also doesn't seem to be a turned down hem, I wouldn't 
expect a double layer of fabric to have those neat little folds..... What I 
could think of is that it is a selvedge and doesn't need any securing. The 
cuffs on the other hand, could have a thin hem, but it's hard to make out 
that particular detail. They, too are a bit wider, noticing the overlap on 
the left arm.

Just some more thoughts.....

Caithlinn


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: French costume films
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On Thu, 21 Apr 2005, katherine sanders wrote:

> Medieval:
> 
> Le Violon Rouge (a day in the life of a violin over 3
> centuries - v.v.v. sad and in many languages)

One of my favorite movies, but neither French nor medieval. The segments
take place in Renaissance Italy, Baroque Austria, Pre-Raphaelite England,
revolutionary China, and modern Montreal.

Still not to be missed, though the music and filmcraft both trump the
costumes.

--Robin

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Subject: Re: [h-cost] Spanish soldiers in the inquisition
To: h-costume@indra.com
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In a message dated 4/20/2005 10:14:29 PM Mountain Daylight Time, 
kayta@frys.com writes:
You might search on early California history.  California was "invented" 
shortly after the period you mention, and our early European explorers like 
Cabrillo and Balboa are usually shown (in California history books, anyway) 
in outfits that would work
Or check in with the Governor's Palace Museum here in Santa Fe, New Mexico.  
They have several sets of armour dating from this period.  The palace was 
built in the very early 1600's.  We predate Plymouth Rock in terms of European 
arrival.  Google "Museum of New Mexico" and click on the Palace of the Governor's 
link.  Cheryl
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To: "Historical Costume" <h-costume@indra.com>
References: <6b.43b05656.2f991974@aol.com>
Subject: Re: [h-cost] Spanish soldiers in the inquisition-THANKS
Date: Thu, 21 Apr 2005 11:25:45 -0700
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Can I just say a huge thank you to all of you who took time to respond to my 
questions on Spanish Soldiers.  I received great info on weaponry, which was 
my biggest ? and can provide the director with some early information for 
his fight choreography as a result.

As a funny aside, many of you wrote suggesting I use Morians as head gear 
for the soldiers.  Ironically enough, I have a huge box of them, having just 
done Pippin last year.  Apparently that is the headgear of choice for the 
soldiers for that show, among others (I purchased a lot of the costumes from 
a local theater, along with designing and making a set of my own) and so I 
have about 15 of them in various shapes & sizes, so all set there.

Again, thank you all so much.  If anyone has more suggestions, I'm open, as 
I am not done with the show, but I wanted to say thank you.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
All's Well That Ends Well 1.1.65-6, Countess to Bertram
W. Shakespeare

http://www.cabbagerosecostumes.com


----- Original Message ----- 
From: <Cheryldee@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, April 21, 2005 7:57 AM
Subject: Re: [h-cost] Spanish soldiers in the inquisition


> In a message dated 4/20/2005 10:14:29 PM Mountain Daylight Time,
> kayta@frys.com writes:
> You might search on early California history.  California was "invented"
> shortly after the period you mention, and our early European explorers 
> like
> Cabrillo and Balboa are usually shown (in California history books, 
> anyway)
> in outfits that would work
> Or check in with the Governor's Palace Museum here in Santa Fe, New 
> Mexico.
> They have several sets of armour dating from this period.  The palace was
> built in the very early 1600's.  We predate Plymouth Rock in terms of 
> European
> arrival.  Google "Museum of New Mexico" and click on the Palace of the 
> Governor's
> link.  Cheryl
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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From h-costume-bounces@indra.com  Thu Apr 21 14:39:14 2005
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Subject: [h-cost] Re: French costume movies
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 >> Le Violon Rouge (a day in the life of a violin
over 3
>> centuries - v.v.v. sad and in many languages)
Robin a dit:
>One of my favorite movies, but neither French nor
>medieval. The segments take place in Renaissance
>Italy, Baroque Austria, Pre-Raphaelite England,
>revolutionary China, and modern Montreal.

I know, I know - that's what i get for just being too
excited about costume movies... :-)  It is still v.
moving - I watched all these films before I really got
into costuming seriously, and haven't had time to
watch them since (so much to sew, so little time).

I seem to also recall a film called "La Reine Margot"
- dead huguenots covered in blood?? - NO idea about
the costumes but it's worth looking up on Rotten
Tomatoes for info before you rent it.

One of my favourite cheesy films, good costume wise,
is "Bram Stoker's Dracula" - big red satin gowns,
walking suit remiscent of elizabethan ladies doublet,
Gary Oldman with long hair.... :-P  time to get the
DVD out again (and mute Keanu's english accent).

Susan Katherine

Send instant messages to your online friends http://uk.messenger.yahoo.com 
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	<02b401c54249$ce9feb80$ce634ed5@Mudfeet>
Subject: Re: [h-cost] vikings + bliaut thinking... 
Date: Sat, 16 Apr 2005 12:12:59 -0500
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This is an interesting line of thought, and reminds me of something I saw 
while doing some (not particularly thorough) research on the cut of Viking 
clothing. The main thing that stuck in my mind, from that research, was a 
study of several extant garments with _shaped_ body seams.  In some, these 
shaped seams were at the sides, and in others they were at the side-front 
and side-back, with either a straight or a false seam at the side.

>From my (admittedly narrow) knowledge of the other clothing of this era, 
this was unusual.  What if the Vikings brought the idea of the shaped 
seam--which is a feature of most conjectural bliaut patterns--to France?

-E House 

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Date: Thu, 21 Apr 2005 20:28:44 +0100
To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: French costume movies
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At 19:38 21/04/2005 +0100, you wrote:
>  >> Le Violon Rouge (a day in the life of a violin
>over 3
> >> centuries - v.v.v. sad and in many languages)
>Robin a dit:
> >One of my favorite movies, but neither French nor
> >medieval. The segments take place in Renaissance
> >Italy, Baroque Austria, Pre-Raphaelite England,
> >revolutionary China, and modern Montreal.
>
>I know, I know - that's what i get for just being too
>excited about costume movies... :-)  It is still v.
>moving - I watched all these films before I really got
>into costuming seriously, and haven't had time to
>watch them since (so much to sew, so little time).
>
>I seem to also recall a film called "La Reine Margot"
>- dead huguenots covered in blood?? - NO idea about
>the costumes but it's worth looking up on Rotten
>Tomatoes for info before you rent it.

"La Reine Margot" - beautiful costumes, not authentic French of the period, 
but beautiful, lots of blood as you say, beautiful people. Great fun, but 
not one for purists!!


>One of my favourite cheesy films, good costume wise,
>is "Bram Stoker's Dracula" - big red satin gowns,
>walking suit remiscent of elizabethan ladies doublet,
>Gary Oldman with long hair.... :-P  time to get the
>DVD out again (and mute Keanu's english accent).


Gerard Depardieu in "Cyrano de Bergerac" - bravura performance - made me 
cry, and my French is not brilliant!!

Suzi


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From: Chris <emeraldepona@yahoo.com>
Subject: Re: [h-cost] Linen in the US for under $10 
To: Historical Costume <h-costume@indra.com>
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Hi,
 
Don't forget www.fabrics-store.com
 
They have 3oz linen for 6-8 dollars a yard and here's a discount code for 5% off: 888linen54.  You can use this code over and over.  I buy all my linen from them
 
Chris G.

Suzi Clarke <suzi@suziclarke.co.uk> wrote:
At 11:22 16/04/2005 -0500, you wrote:


>>Fair enough. I didn't realize that they charge customs duty because the
>>U.S. doesn't. That's a real bummer!
>>
>>I am glad that you have several sources for a good price. It seems like
>>other fabrics tend to be expensive there. However a friend of mine found
>>handkercheif linen in England for $5 US per metre! Here, if you can find
>>it *at all* you usually pay $15 or more per yard.
>>
>>Diana
>Denver fabrics has handkerchief linen for just under $8. I have bought 
>their linen, and love it. I made a camica out of it and could live in the 
>thing. It's so light and airy, that even here in Texas it's cool.
>
>http://www.denverfabrics.com/pages/static/linen/white-linen.htm
>
>I've bought the heavier stuff, too. After the first three washes, it's 
>just as soft as you'd ever want it.



		
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Subject: Re: [h-cost] Re: French costume movies
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> Gerard Depardieu in "Cyrano de Bergerac" - bravura performance - made me 
> cry, and my French is not brilliant!!
> 
> Suzi

The costuming was pretty good in that one, too.

Melusine
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Subject: Re: [h-cost] 60s - 70s - 80s movies
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> Greetings all,
>
> I am looking to put together a list of movies for my students from the
> 60-80s that shows contemporary fashions.  Does anyone have any
> suggestions for movies that clearly show contemporary dress?  I'm also
> looking for movies that idealized contemporary fashion/ interiors.
>
> Thanks!!
>
> Althea Turner

Hmm, Flashdance and The Breakfast Club and Pretty in Pink pop into mind for
the 80's, or at least that was the clothing we were all trying to emulate...
War Games also comes to mind for 'average joe' youth fashion.

How about Close Encounters for early 80's? I second the motion for Easy
Rider and all of the James Bond flix.

For any range of over the top 80's and 90's fashions, you can get on DVD the
TV series Dallas, Falcons Crest, Beverly Hills 90210, or any other evening
soap.

Just my two bits

Sheridan


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Let's not forget 'Annie Hall' which launched the Annie Hall look courtesy of Diane Keaton. For '80's looks, you should check out the John Hughes teen movies (16 Candles, etc) and Miami Vice(TV) also captured/created an very influential look for the era. If we are looking at TV for sources, 'Dynasty' is certainly an all time champ for bringing power-suits with killer shoulder pads back into fashion with a vengance. 


Karen
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Subject: [h-cost] Re: Printing, etc. on fabric
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Another idea you might try, then -- hobby stores that sell model supplies 
(like for model cars, etc.) have a kit for making the water slip decals on 
your printer.  It has the decal paper, and a can of spray for setting the 
ink so it doesn't run when you put the decal in water.  I would guess that 
the spray is available separately.  I don't know how it would react to 
fabric (haven't tried it) but it did work on the decals (I needed to make 
plastic masks with specific images on them - the decals worked 
wonderfully!!)  I don't remember the full name of the product, but the word 
ended in  -cal.

HTH,

Sandy

At 10:50 AM 4/16/2005, you wrote:
>Date: Sat, 16 Apr 2005 03:48:20 -0700
>From: Rose Amberwulf <roscelin@pcez.com>
>Subject: Re: [h-cost] Re: Printing on Fabric
>
>I'm going to be using some fabric that has been treated with Bubble
>Jet.  It's a great product.  What I am curious about is if I can use
>watercolor pencils to do any of my colorizing; is how to use those type
>of pencils and be able to protect the colors afterwards from water.
>
>Roscelin

"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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Miami Vice!  I assume at least some of the series is on DVD - everything else is.  Besides the clothes, the show made a big deal of showing architecture and interiors of that time and place.

Janet
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Subject: Re: [h-cost] 60s - 70s - 80s movies
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In a message dated 4/16/2005 9:45:23 P.M. Eastern Standard Time,  
althea@alfalfapress.com writes:

I am  looking to put together a list of movies for my students from the 
60-80s  that shows contemporary fashions


Late '60s--"The Graduate"
 
"Shampoo"  This was made in 1975, but is set in 1968.  But I  don't remember 
if the clothes are true to 1968 or more 1975.  That might be  a good exercise 
for your students.
 
Of course, many "historical" films made during the period (or our period,  
for that matter) tend to let contemporary elements creep in, especially makeup  
and hairstyles.  Again, this could be a fun exercise for students.  
 
The book, "Hollywood and History," (Thames and Hudson, 1987), accompanying  
the exhibit mounted by the LA County Museum of Art, has a chronology in the  
back, by era the films are set, with critique of each. 
 
This book gives "American Graffiti" and "Shampoo" for the '60s. and  "Sid and 
Nancy" for the 1970s.
 
Ann Wass  
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You might try Faber-Castell ARts & Graphic Polychromos pencils. Arts
Media carries them. They're waterproof and the colors are wonderful. They
won't smudge or fade.

Arlys

On Sat, 16 Apr 2005 03:48:20 -0700 Rose Amberwulf <roscelin@pcez.com>
writes:
> I'm going to be using some fabric that has been treated with Bubble 
> Jet.  It's a great product.  What I am curious about is if I can use 
> 
> watercolor pencils to do any of my colorizing; is how to use those 
> type 
> of pencils and be able to protect the colors afterwards from water.
> 
> Roscelin

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Wicked Frau wrote:

> This fabric is described as being "end on end"  I have never heard this 
> term before.  Does anyone know what it means?  It kinda looks like a 
> denim weave.  But the fabric is very light weight.  Nice if you like 
> these colors and weave type.
> 
> http://www.fashionfabricsclub.com/catalog_itemdetail.cfm?ItmID=846
> 
> Sg

Google is your friend:

 From http://style.polo.com/glossary/default.asp?letter=E :

   	  End-on-end
A plain-woven, typically cotton shirting fabric. End-on-end typically 
describes a shirting fabric in which a colored yarn is woven in one 
direction and a white yarn is woven in the other to produce a chambray 
effect. However, a colored yarn could be woven in one direction to form 
stripes or in two directions to form checks.

--Charlene

-- 
Macho:  The strutting-and-crowing behavior of men who apparently use 
roosters as role models without ever wondering why there are so few of 
them in relation to hens.  -- Bayan, Rick; The Cynic's Dictionary, 2002
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Subject: Re: [h-cost] Handkerchief weight cotton
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> Are there any tips for sewing on handkerchief weight cotton?  I'm using my 
> machine and sewing by hand to make a new shift.  I keep getting pulled 
> getting pulled threads.

The best thing is to use a new, fine needle (the finer the fabric, the finer 
the needle), and IIRC it's the pointy type they recommend for woven stuff, 
and ballpoint for knit?

In any case, the very first thing to do is to get a new needle.

If you're still having trouble, sometimes sewing with tear-away interfacing 
or tissue paper if you don't have any interfacing will help, because it 
keeps the fabric in place a little better.

Good luck! 
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] handkerchief linen (  Bishop's Lawn/Lawm?? )
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At 19:09 17/04/2005 -0400, you wrote:
>Suzi,
>
>I am coming over in about 9 days and would lug some over for you.  Will
>be in London May 4th, but will be in Edinburgh from April 27th ...
>
>or if this is too soon or too late, can keep you posted on other trips
>to the UK.  I try to go and see my friends once a year or so.


Oh, yes please - that would be wonderful. I am contacting you off list.

Suzi


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Date: Mon, 18 Apr 2005 11:54:44 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] OT Left weave?  was Fabric term?  "End on End" 
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I've never heard of any such thing.  Whether the twill diagonal moves up to 
the left or to the right would make no difference in how "soft" the fabric 
is.  The density of weave (ends per inch) would make a difference, but not 
the "direction" of the weave.
Joan

At 07:42 PM 4/18/2005 +0100, you wrote:
>This gives me an opportunity to ask about something that has been bugging 
>me.  Gap over here has been running this advertising saying that their new 
>jeans are softer because they're woven to the left instead of to the 
>right.  This sounds like total pseudoscience to me, about as convincing as 
>face cream adverts, but is there anything in it?  If you use the same 
>thread, same weave pattern, will it make any difference whether your twill 
>goes to the left or to the right?  And if so why?
>
>Jean
>
>
>Kim Baird <kbaird@cableone.net> wrote
>>In textile terminology, "end" is the same as "warp"--they both refer to the
>>yarns that form the lengthwise grain of the fabric.
>>
>>I can't seem to find the term "end on end" used in my textbooks, but it
>>looks like it's similar to  Oxford cloth, which is woven with colored warp
>>threads and white weft threads. Perhaps end on end has some colored and some
>>white warp threads, along with the white weft? Or with a colored weft?
>>
>>In any case, it does refer to a fabric woven of two different color yarns.
>>You are right in seeing a resemblance to denim, which has blue warp threads
>>and white weft. But denim is a twill weave, and the fabric you see at the
>>URL below is not, it's a plain weave. It's likely to be lighter weight than
>>denim, a good weight for shirts or boxer shorts.
>>
>>Kim
>>
>>-----Original Message-----
>>From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
>>Behalf Of Wicked Frau
>>Sent: Sunday, April 17, 2005 10:53 AM
>>To: h-costume@indra.com
>>Subject: [h-cost] Fabric term? "End on End"
>>
>>
>>This fabric is described as being "end on end"  I have never heard this
>>term before.  Does anyone know what it means?  It kinda looks like a
>>denim weave.  But the fabric is very light weight.  Nice if you like
>>these colors and weave type.
>>
>>http://www.fashionfabricsclub.com/catalog_itemdetail.cfm?ItmID=846
>>
>>Sg
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>_______________________________________________
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>
>--
>Jean Waddie
>_______________________________________________
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Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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At 21:32 19/04/2005 +1000, you wrote:
><snip>
> > We know the pattern for the shirts we have surviving examples of.  Take
> > that pattern, and instead of adding the sleeves right at the top of the
> > body pieces, add them maybe 6" down the side seams from the top.  Then sew
> > up the side seams above them, making a large tube of the body pieces, open
> > at the top.  Now gather the open top of the body pieces into a hole the
> > size of the neck.  That's it.
> >
> > This causes the grain of the body pieces to run in concentric circles
> > around the neck seam, taking any embroidery along with it, as seen in the
> > "girl from 1569" portrait I cited.  This hauls the tops of the sleeves
> > right into a wide neckline, as seen in the Henry VIII portrait I
> > cited.  This makes lots of gathering right at the bottom of the neck
> > band.  And it does all this simply, without any extra calculation, pattern
> > pieces, or fussing.
> >
><snip>
>Although this sounds really good and it seems like a really logical way of
>constructing a partlet the portrait of Helena Snakeborg
>http://www.tudor-portraits.com/HelenaSnakeborg.jpg you can see that the
>flowers all face the same way around her neck the stems really make it
>obvious, they are not radiating out from the neckline as they would if the
>grain was running around the neck instead of across the shoulders. However,
>Queen Elizabeth's Pelican portrait
>http://www.tudor-portraits.com/Elizabeth22.jpg does have gold bands
>radiating out from the neckline, and they appear to be connected to the
>fabric rather than just some form of Jewelery laid on top, so perhaps this
>does show your theoretical cut, I'll keep looking for other examples
>(hopefully somebody else can find something because I really like your
>theory), but so far Helena Snakeborg's portrait doesn't support your theory
>and the Pelican Portrait quite possibly does, the other portraits I've seen
>don't seem to be conclusive as to whether the grain goes over the shoulder
>or around the neck.


There is a suggestion in Jean Hunnisett's book "Period Costume for Stage 
and Screen 1500-1800" on how to make the Helena Snakeborg partlet. (The 
painting was called Portrait of a Young Girl/Lady when Jean did the 
research.) It has a separate collar. I have made this up and it does work 
extremely well as patterned.

Suzi


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LOL... I was looking at this last night.  Your summation is right on the 
money.
There are three garments on the torso of the young man.  One is the shirt - 
the second is that incredible funky lattice work piece,  (I only wish we 
could see all of it)  and the third is a furred overgown (again, wish I 
could tell the length - from other examples I would surmise it is below the 
knee)

>It appears that the latticework forms a sleeve, and the dark garment has
>slit sleeves hanging over that. That would suggest that the band
>arrangement in front belongs not to the dark garment, but to a separate
>cote/jupon/pourpoint/whatever whose body is completely hidden except for
>the bands visible at the front. The black overgarment has a turned-down
>fur collar, which you can see the edge of if you look at his right
>shoulder (our left).
>
>Thus, three garments: shirt, band-edged cote with latticed sleeves, black
>fur-trimmed (fur-lined?) overcote with slit sleeves.
>
>So, what does that hidden cote look like on the body? Surely it's not
>latticework all over. How ... kinky? No, how awkward! I am thinking
>instead that the horizontal bands attach to the open front edges of the
>cote, and there are just a couple of vertical bands spaced alongside the
>cote edge on each side to create the visible latticework. The odd thing at
>the side of the neck (our left, sitter's right) could be a small stand-up
>collar from the body of the cote; it appears to be the same dark brown as
>the cuffs that hold the latticed sleeves, so perhaps reflects the main
>body fabric of the hidden cote.

What I will add is this  -  there are two ways to make that lattice 
piece.  As you call it cote.
One is as all lattice work  -  but that option I think is disproven by the 
presence of that short stand up collar.
This is naturally - and usually - an extension of the back panel of the 
cote.  Although this collar isn't acting like those... oooh, perhaps you 
are looking at an applied collar at the top edge.  And that overgown covers 
everything that would help resolve the question.  I think you are up to 
your own devices.  I - personally would try both methods - but hey I like 
experimenting with how cut and construction influence presentation.



>Does this make sense? Alternate readings are welcome.
>
>Also, on that shirt: It looks as though the bulk is gathered into fine
>pleating, stabilized between two lines of black stitching to form the
>upper edge. Any ideas on the stitching technique that would create a
>smooth upper edge? It's not wavy as you'd expect if you edge the fabric
>first and then gathered it up; it looks as though the black line is
>actually holding the pleating in place. Maybe just overcast to both finish
>the edge and secure the pleats at the same time? Maybe the linen is
>folded over so you don't have to deal with a raw edge up there, just
>the pleating, and the raw edge could be turned under about a half-inch
>lower and caught in a second line of stitching to hold the gathers?

It could be either method you mention... or if you gather the pleats - then 
edge them with a narrow fingerloop braid or lace and over cast 
both....  but that's what you meant above isn't it?

I tend to think this influenced by the  Spanish political and cultural 
forces in the area at the time.

Sorry - not  much help on this - except to say - I think you've thought it 
out and come to the same ideas I have.

Mari  /  Bridgette




Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Ok, I've got a question for all you sewing champs out there.  I'm looking 
through
the lastest copy of Threads, and there's this article on bias collars or some
such.  Anyway, on the last page of that article is a photo and the caption 
says
something about an "inseam button-hole like on this sheer fabric."

What's an inseam button hole?

thanks,
Susan

-----
Susan Farmer
sfarmer@goldsword.com
Department of Ecology and Evolutionary Biology
University of Tennessee
http://epee.goldsword.com/sfarmer/Trillium/index.html

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From h-costume-bounces@indra.com  Thu Apr 21 16:18:37 2005
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From: "Jennifer / Guenievre" <generys@blazemail.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Scaled Tudor(and other)headdress patterns in book
Date: Tue, 19 Apr 2005 10:26:52 -0400
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It sounds like "From the Neck Up", which does have some scaled patterns - I
don't have my copy handy, so I don't know if it has those...

Guenièvre 

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
> Behalf Of Abel, Cynthia
> Sent: Tuesday, April 19, 2005 10:22 AM
> To: Historical Costume
> Subject: [h-cost] Scaled Tudor(and other)headdress patterns in book
> 
> 
> 
>  I'm looking for a book, I believe it was perhaps for costume designers
> for the stage, but I'm not sure. My public library used to have it, but
> it was either discarded or "liberated" some time ago. I recall it had
> scaled patterns on a grid, much like Janet Arnold's Patterns of Fashion
> books, and was partially or completely dedicated to historic men's and
> women's headgear.  I clearly remember that it contained patterns for
> English and French hoods and some 17th and 18th century headgear and
> mobcaps.
> 
> If anyone can id this book, I'd be most grateful and hopefully can get a
> copy via Interlibrary Loan, or ideally used for cheap.
> 
> Many thanks.
> 
> Cindy Abel
> 
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Apr 21 16:23:25 2005
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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] sewing question
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It would be a buttonhole in the seam, where you leave a short length of 
seam unsewn.  It means you don't need to cut a slit for the buttonhole.
Joan

At 10:25 AM 4/19/2005 -0400, you wrote:
>Ok, I've got a question for all you sewing champs out there.  I'm looking
>through
>the lastest copy of Threads, and there's this article on bias collars or some
>such.  Anyway, on the last page of that article is a photo and the caption
>says
>something about an "inseam button-hole like on this sheer fabric."
>
>What's an inseam button hole?
>
>thanks,
>Susan
>
>-----
>Susan Farmer
>sfarmer@goldsword.com
>Department of Ecology and Evolutionary Biology
>University of Tennessee
>http://epee.goldsword.com/sfarmer/Trillium/index.html

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
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At 09:20 19/04/2005 -0700, you wrote:
> >
> > Now that is a different problem. Could you be really, really kind, and see
> > if your friend can remember where she got her handkerchief linen from? It
> > sometimes turns up at Re-enactor markets, if you're lucky,
>
>Suzi,
>
>I guess that is where she got it--at the Coventry Reenactors Market in
>November. Here is the info she sent me:
>
>The company is:
>
>Fabric of Time, Suppliers of Fine Irish Linen.
>
>Laurie & Elaine
>01522 595597
>laurence@fabricoftime.freeserve.co.uk
>
>All my friend had was an e-mail address and the name but it is a start.  I
>hope that you can connect with them.  I think my friend said she paid $5
>pounds per metre or something like that.


Thank you Diana - I had heard a vague rumour about these people but when I 
asked for a sample, they hadn't got any in stock. I asked for them to send 
it when they had it, and never heard more. I will try again - thanks. I 
believe they live/work in Lincoln. I'll try the mail, as the Re-enactors 
Market is a long way, (English distances) and I don't drive.

Suzi


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Date: Tue, 19 Apr 2005 09:47:40 -0700 (PDT)
Subject: Re: [h-cost] Bishop's Lawn/Lawm?? Contact and use info please
From: "Diana Habra" <dch@inreach.com>
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>
> Suzi,
>
> I guess that is where she got it--at the Coventry Reenactors Market in
> November. Here is the info she sent me:

Sorry everyone!  That was supposed to be private...

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Is it a buttonhole that is made right at the seamline, in which case, 
it is just an opening in the seam?

On Apr 19, 2005, at 8:25 AM, Susan Farmer wrote:

> Ok, I've got a question for all you sewing champs out there.  I'm 
> looking
> through
> the lastest copy of Threads, and there's this article on bias collars 
> or some
> such.  Anyway, on the last page of that article is a photo and the 
> caption
> says
> something about an "inseam button-hole like on this sheer fabric."
>
> What's an inseam button hole?
>
> thanks,
> Susan
>
> -----
> Susan Farmer
> sfarmer@goldsword.com
> Department of Ecology and Evolutionary Biology
> University of Tennessee
> http://epee.goldsword.com/sfarmer/Trillium/index.html
>
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Subject: RE: [h-cost] Opinions on a portrait (1485-90 Flanders)?
Date: Tue, 19 Apr 2005 15:09:24 -0500
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a bit of rabbling.

http://www.wga.hu/html/m/memling/3mature5/30young.html

First layer is a fine pleated/gathered linen shirt with a "boat" neckline.
Hem/edge of neckline is black. There may be another gathering below it but
it would be covered by the tie/ribbon
not all shirts had the poofiness with the sleeves. In some areas it was a
straight sleeve.
This does not appear to be Handkerchief weight linen.
The black band is what is holding the "ribbon" together at the wrist.
One could get the impression that the lattice work is a part of the black
fur piece. It is not the sleeve that dissuades this but the front near the
waist. The black starts to cover the lattice bodice, where as the sleeves
could be tied on (still can be). Now it is possible that since it is fur
that the covering of the lattice can be achieved and still have the ribbon
lattice a part of the fur garment.
The distancing of the ribbon indicates the feasability of a garment totally
made of the lattice. There is also the questionable piece on his right
shoulder that could be attached to the ribbon and is part of the fur
garment.
Since my monitor makes it hard to tell, the outer "fur" garment maybe of
black fabric with a turned back fur collar and the ribbon lattice and ties
are sew to this garment for closures, with tie on lattice sleeves.
My assessment is that you have either 2 or 3 layers, no more.

De



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Date: Mon, 18 Apr 2005 22:52:08 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <heather.jones@earthlink.net>
Subject: Re: [h-cost] OT Left weave?  was Fabric term?  "End on End"
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At 7:42 PM +0100 4/18/05, Jean Waddie wrote:
>This gives me an opportunity to ask about something that has been 
>bugging me.  Gap over here has been running this advertising saying 
>that their new jeans are softer because they're woven to the left 
>instead of to the right.  This sounds like total pseudoscience to 
>me, about as convincing as face cream adverts, but is there anything 
>in it?  If you use the same thread, same weave pattern, will it make 
>any difference whether your twill goes to the left or to the right? 
>And if so why?

Given thread of the same spin direction, it does make a difference 
which way the twill goes.  It has to do with whether the individual 
fibers end up lying in parallel with the line of the twill or 
cross-wise to it.

Heather
-- 
--
Heather Rose Jones
heather.jones@earthlink.net
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Subject: [h-cost] OT Left weave?  
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Jean--

I can't think of any reason for a left-hand twill to be any different from a
right-hand twill. What would really make a difference is the yarns
themselves--their weight and softness, and how tightly they are woven.

Twill is more comfortable than a plain weave for slacks, as it has more
give, more stretch when you move.

Kim


-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Jean Waddie
Sent: Monday, April 18, 2005 1:43 PM
To: Historical Costume
Subject: [h-cost] OT Left weave? was Fabric term? "End on End" 


This gives me an opportunity to ask about something that has been 
bugging me.  Gap over here has been running this advertising saying that 
their new jeans are softer because they're woven to the left instead of 
to the right.  This sounds like total pseudoscience to me, about as 
convincing as face cream adverts, but is there anything in it?  If you 
use the same thread, same weave pattern, will it make any difference 
whether your twill goes to the left or to the right?  And if so why?

Jean



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Subject: [h-cost] Re: 60s - 70s - 80s movies
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How about "Working Girl" for 80's?  I always loved the big hair and
big shoulder pads!  :-)

~Mary

> Date: Sat, 16 Apr 2005 18:45:59 -0700
> From: Althea Turner <althea@alfalfapress.com>
> Subject: [h-cost] 60s - 70s - 80s movies
> 
> Greetings all,
> 
> I am looking to put together a list of movies for my students from
> the 
> 60-80s that shows contemporary fashions.  Does anyone have any 
> suggestions for movies that clearly show contemporary dress?  I'm
> also 
> looking for movies that idealized contemporary fashion/ interiors.
> 
> Thanks!!
> 
> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
> 
> Reunite Pangaea!
> 


"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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Date: Tue, 19 Apr 2005 20:08:13 -0700
From: Lavolta Press <fran@lavoltapress.com>
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Subject: [h-cost] French costume films
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Can anyone recommend any good costume films in French with English 
subtitles?

Fran
Lavolta Press
http://www.lavoltapress.com
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Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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>http://www.tudor-portraits.com/HelenaSnakeborg.jpg

Remember that there are two sets of threads at right angles to each other, 
the warp and the weft.  If you gather the whole top of the body tube into 
the neck hole then one set of threads goes around the neck in concentric 
circles, like the flowers in the Snakeborg portrait do, and the other set 
of threads radiates from the neck seam, like the Pelican portrait's gold 
lines do.  So the lines of decoration depend on which set of threads they 
follow.

I'm a self-taught costumer, so I use either set of threads as my grain if 
the fabric has no obvious reason to use one particular set of threads 
rather than the other.  (For example, you can do this with muslin, but not 
with a one-way-up print).  You were hanging up on my lack of precision in 
the use of the word "grain" - in most cases I see two "grains" where you 
see one.

>http://www.tudor-portraits.com/Elizabeth22.jpg


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

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Thank you, Sandy.  I will have to check out the product.  If it doesn't 
work on fabric, it will help any of the collages I have plans for.

Roscelin

Pierre & Sandy Pettinger wrote:

> Another idea you might try, then -- hobby stores that sell model 
> supplies (like for model cars, etc.) have a kit for making the water 
> slip decals on your printer.  It has the decal paper, and a can of 
> spray for setting the ink so it doesn't run when you put the decal in 
> water.  I would guess that the spray is available separately.  I don't 
> know how it would react to fabric (haven't tried it) but it did work 
> on the decals (I needed to make plastic masks with specific images on 
> them - the decals worked wonderfully!!)  I don't remember the full 
> name of the product, but the word ended in  -cal.
>
> HTH,
>
> Sandy
>


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Thanks, Arlys.  I'll have to check them out the next time I am downtown 
in that area which is about a couple of times a month.

Roscelin

Cynthia J Ley wrote:

>You might try Faber-Castell ARts & Graphic Polychromos pencils. Arts
>Media carries them. They're waterproof and the colors are wonderful. They
>won't smudge or fade.
>
>Arlys
>
>  
>


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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Re: Hearst Castle A "Strange "place to visit
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 Interesting place,but "weird" too. They shuttle you
on little "pods" everywhere...with 2"hosts"(all of
whom have military haircuts and little radio
wire-thingies hanging out of their ears )bringing up
the front and rear. You sit where you are told, told
what not to touch,"advised" not to cross any
"invisible fencing" (a little boy leaned over the
"line" to look at something and alarms went off-about
10 guys literally appeared out of the walls of the
room, and scared the je-jesues out of the poor kid).
You are like a "polite prisoner" there, probably more
so now since 9-11.
 oh and you don't get to see the entire house,just
your"section".
Melody

--- Penny Ladnier <penny@costumegallery.com> wrote:
> drool.... I  would love to see the Hearst Castle.
> 
>
> 

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You might want to try a dye remover.  All curry is not the same, but most contain saffron which is a very good natural dye (or tumeric which is pretty good too).  There are other ingredients used in some curries that are natural dyes too.  Regular stain remover may not be strong enough to get that stuff out.  Good Luck!

Lalah, Never give up, Never surrender


--- "Lloyd Mitchell" <rmitchell@washjeff.edu> wrote:

From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
Date: Wed, 20 Apr 2005 16:07:45 -0400
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Curry Stains

Have you tried 'Aunt Ellen's stain remover'? You can find this at JoAnn's in
the notion area, and I am beginning to see it in hardware stores.  It comes
labeled for white or for colored garments.  I have found this to very good
on set in stains like tablecloths.

Is your shirt 100% cotton?

Kathleen
----- Original Message ----- 
From: <kitsune242@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, April 20, 2005 2:58 PM
Subject: [h-cost] Curry Stains


> Greetings All!
>
> I need the collected wisdom of the list.  My brand new cotton turtle neck
has been stained with curry sauce.  As soon as I realized I had gotten the
curry sauce on my sweter, I treated it with Shout wipe (but as I was on
vacation I was unable to wash it immedately).  When we got home on Sunday,
we immedately washed the sweater.  Then washed it again with a different
stain treatment.  And again with another one.  So it has now been washed
three times, with different detergents and such.  We have been careful not
to dry the sweater.  However, the stain is still there.  Does anyone have
any ideas?
>
> Thanks,
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth Cole
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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The new patterns for Summer 2005 issue of the Simplicity pattern catalog
are up online, even if they may not have hit your local fabric stores
yet. In my area(Nebraska), the newest pattern catalogs arrive at the
stores very often before the new patterns do.

Pictured online is 4551, a new Civil-War era dress. Hard to tell from
the pic, but may be two bodice and at least two sleeve variations. May
be a Martha McCain pattern--pic doesn't show full front of pattern
envelope or the envelope back.

Cindy Abel,  

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kitsune242@aol.com wrote:

> Greetings All!
>  
> I need the collected wisdom of the list.  My brand new cotton turtle neck has been stained with curry sauce.  As soon as I realized I had gotten the curry sauce on my sweter, I treated it with Shout wipe (but as I was on vacation I was unable to wash it immedately).  When we got home on Sunday, we immedately washed the sweater.  Then washed it again with a different stain treatment.  And again with another one.  So it has now been washed three times, with different detergents and such.  We have been careful not to dry the sweater.  However, the stain is still there.  Does anyone have any ideas?
>  

Turmeric is one of those really tough stains. Two suggestions: hydrogen 
peroxide, or methylated spirits and some time on the line in the sun.



Dawn


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Subject: Re: [h-cost] sewing question
Date: Thu, 21 Apr 2005 17:00:54 -0400
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My guess is that it is a 'slit' in the seam that is wide enough to allow a
button to pass through.

Kathleen
----- Original Message ----- 
From: "Susan Farmer" <sfarmer@utk.edu>
To: "garb" <h-costume@indra.com>
Sent: Tuesday, April 19, 2005 10:25 AM
Subject: [h-cost] sewing question


> Ok, I've got a question for all you sewing champs out there.  I'm looking
> through
> the lastest copy of Threads, and there's this article on bias collars or
some
> such.  Anyway, on the last page of that article is a photo and the caption
> says
> something about an "inseam button-hole like on this sheer fabric."
>
> What's an inseam button hole?
>
> thanks,
> Susan
>
> -----
> Susan Farmer
> sfarmer@goldsword.com
> Department of Ecology and Evolutionary Biology
> University of Tennessee
> http://epee.goldsword.com/sfarmer/Trillium/index.html
>
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Subject: Re: [h-cost] Curry Stains
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Curry is a mix of spices. Some of the spices in it contain at least some
oil.   I would first rub a liquid dish soap or laundry detergent into the
stains.  then use an oxygen bleach on it, either as a paste or as a
concentrated liquid such as the new oxyclean stain spray in a bottle which
works very well.   this should help with the orangy red color, but it
won't come out til you remove the oil.

if that doesn't work, get some ERA which has an enzyme in it and rub it
well into the moistened stain, let it sit for at least a half hour or an
hour and wet it and rub til the stain is loosened, then wash again.   I
use this for grass and mud, as well as blood and it works well.   after I
have used the enzyme on Any stain which might contain protein, I use
Hydrogen Peroxide on the stain, over and over, til it is removed.   pour
it on, allow it to foam up, rinse or squeeze it out, then pour it on
again.

HTH, Kitty in SW Pennsylvania.

> Greetings All!
>
> I need the collected wisdom of the list.  My brand new cotton turtle
> neck has been stained with curry sauce.  As soon as I realized I had
> gotten the curry sauce on my sweter, I treated it with Shout wipe (but
> as I was on vacation I was unable to wash it immedately).  When we got
> home on Sunday, we immedately washed the sweater.  Then washed it again
> with a different stain treatment.  And again with another one.  So it
> has now been washed three times, with different detergents and such.  We
> have been careful not to dry the sweater.  However, the stain is still
> there.  Does anyone have any ideas?
>
> Thanks,
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
> Kenneth Cole
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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References: <72C64B20-AEE2-11D9-B23E-000393C0A652@alfalfapress.com>
	<001601c542fa$7b235ee0$0a02a8c0@nodomainset.bellcanada>
Subject: Re: [h-cost] 60s - 70s - 80s movies
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>> I am looking to put together a list of movies for my students from the
>> 60-80s that shows contemporary fashions.  Does anyone have any
>> suggestions for movies that clearly show contemporary dress?  I'm also
>> looking for movies that idealized contemporary fashion/ interiors.

St. Elmo's Fire.  Shows lots of variance on the trends of the day like 
Preppy and Valley Girl as well as other everyday attire.


Denise in Iowa 

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Susan
   An inseam button hole is where a seam is left open every few inches 
to make a buttonhole.  It is usually a design feature and would not be 
suitable for something that would have some strain on it, but it does 
look very lovely.
Hope this helps.
Carolyn Kelly

Message: 6
Date: Tue, 19 Apr 2005 10:25:37 -0400
From: Susan Farmer <sfarmer@utk.edu>
Subject: [h-cost] sewing question
To: garb <h-costume@indra.com>
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Ok, I've got a question for all you sewing champs out there.  I'm looking
through
the lastest copy of Threads, and there's this article on bias collars or 
some
such.  Anyway, on the last page of that article is a photo and the caption
says
something about an "inseam button-hole like on this sheer fabric."

What's an inseam button hole?

thanks,
Susan

-----
Susan Farmer
sfarmer@goldsword.com
Department of Ecology and Evolutionary Biology
University of Tennessee

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Subject: Re: [h-cost] New Simplicity Pattern 4551
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In a message dated 4/21/2005 4:59:43 P.M. Eastern Standard Time,  
CynthiaAbel@creighton.edu writes:

May
be a Martha McCain pattern


Yes, it is.  Now she is promising to go on to American Rev. War  period.
 
Ann Wass
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Subject: Re: [h-cost] French costume films
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Lavolta Press wrote:

> Can anyone recommend any good costume films in French with English 
> subtitles?

The Horseman on the Roof (1996)


You can also search DVDs by country at Amazon:

http://www.amazon.com/exec/obidos/tg/browse/-/284929/ref=br_lr__4/002-1273198-5299216



Dawn


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Subject: RE: [h-cost] New Simplicity Pattern 4551
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Same dress worn in Anne and the King. I believe in the first day of class
and the croquet game.

De

-----Original Message-----
The new patterns for Summer 2005 issue of the Simplicity pattern catalog
are up online, even if they may not have hit your local fabric stores
yet. In my area(Nebraska), the newest pattern catalogs arrive at the
stores very often before the new patterns do.

Pictured online is 4551, a new Civil-War era dress. Hard to tell from
the pic, but may be two bodice and at least two sleeve variations. May
be a Martha McCain pattern--pic doesn't show full front of pattern
envelope or the envelope back.

Cindy Abel,

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I was thinking about bliaut and their pleats last night and remembered that
years ago I knew a weaver who was working on a special project.  the fabric
was set up so that once it had been woven and washed, the fabric would form
little pleats as the warp (or the weft - can't remember which) would shrink
slightly in the washing.  Has anyone ever seen anything like that?  Is it
possible that the fabric pleats were either woven in or are an accident of
weaving that someone liked and incorporated into a dress that was copied?

One thing I have wanted to check is if there is a middle eastern garment
that has a waist seam that could have turned into a bliaut. I have seen
pictures of men (in medieval india I think) wearing transparent garments
with what could be a waist seam.  What if a crusader brought one home, gave
it his wife, who then wore it to a special function. It wasn't made for a
female body, so it wrinkled oddly, but it still was different and she was
important so it was considered stylish, not wrong.  Someone who saw it
there, copied it, but not knowing about the waist seam, made it slightly
different. She wore it a nearby function, where someone else, who hadn't
seen the first garment, tried to copy the look and made it differently.  And
so on. We know how copies of copies get skewed.  So there might not be one
right way to make these, but a variety of ways depending on how good the
seamstress was and how far she was from the first garment.  Plus the fabric
they are made would vary as not everyone is going to have access to the same
material, so there is another point that changes.

Waist seams for instance are a jump in logic a dressmaker might not make if
she isn't aware that they exist. But she might put darts at the waist to
make the dress fit like one she saw.  Or she may think that the difference
is caused by having another piece of fabric over a dress, first trying
something just on the torso and when that doesn't work well, a whole top.
Or she may make the jump to a waist seam, but noone else follows her so the
innovation is lost. The pleats on the torso could be an accident of not
fitting that became codified into something different as each seamstress
tried to make it look both like the garment they were copying and fit the
person who is going to wear it.

Susan Courney

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Subject: [h-cost] QEW Farthingale Cartoons-better copy anyone?
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Does anyone have a better picture of the cartoon on page 197 of QEW?
Also the ballet dancers on 199?

I know I have seen them somewhere else, but can't find either.   I need 
them for a slide presentation.
So if you would be willing to send them to me, please contact me!

Saragrace
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Subject: RE: [h-cost]  bliaut thinking... 
Date: Thu, 21 Apr 2005 17:07:53 -0500
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Yes I have. I bought at light weight fabric that was smooth and when I
washed it, it looked like broomstick skirt pleating. It ironed out so that I
could cut it but I had to change the pattern to accommodate the "puckering"
when it got washed again.
Fortune'(sp?) had a way of creating that pleated look with his draped
garments. Though I am not sure whether I read that it was an old process
that he had rediscovered or that the process was lost after he died.

De

-----Original Message-----
I was thinking about bliaut and their pleats last night and remembered that
years ago I knew a weaver who was working on a special project.  the fabric
was set up so that once it had been woven and washed, the fabric would form
little pleats as the warp (or the weft - can't remember which) would shrink
slightly in the washing.  Has anyone ever seen anything like that?  Is it
possible that the fabric pleats were either woven in or are an accident of
weaving that someone liked and incorporated into a dress that was copied?

(snip)
Susan Courney


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] sewing question
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On Tue, 19 Apr 2005, Susan Farmer wrote:

> Ok, I've got a question for all you sewing champs out there.  I'm
> looking through the lastest copy of Threads, and there's this article
> on bias collars or some such.  Anyway, on the last page of that
> article is a photo and the caption says something about an "inseam
> button-hole like on this sheer fabric."
> 
> What's an inseam button hole?

Everyone else has suggested a form of buttonhole, but I'm wondering if
they're suggesting using buttonhole stitch to create the inseam. I don't
have the magazine, so of course I have no idea what they're showing...

--Robin

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Subject: Re: [h-cost] Re: Hearst Castle A "Strange "place to visit
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On the other hand, if you take all of the tours you pretty much do see all 
of the place, and the guest houses and gardens, too.  The extra security was 
put into place after someone on one of the tours caused some serious damage 
to one of  the pieces before they could be stopped. I don't have the details 
on that, but I think I remember something about throwing some chemical onto 
one of the textile pieces and almost destroying it.  When the tour guide for 
one of the tours I took realized that I kept lingering behind because I was 
looking at the embroideries, he made sure that he pointed them all out in 
each room, and even turned pieces so I could see the backs of them.

All in all, I enjoyed all of the tours, even if you are quite regimented in 
them.  I have some wonderful pictures, and I'd go again in a heartbeat.

Melusine


> Interesting place,but "weird" too. They shuttle you
> on little "pods" everywhere...with 2"hosts"(all of
> whom have military haircuts and little radio
> wire-thingies hanging out of their ears )bringing up
> the front and rear. You sit where you are told, told
> what not to touch,"advised" not to cross any
> "invisible fencing" (a little boy leaned over the
> "line" to look at something and alarms went off-about
> 10 guys literally appeared out of the walls of the
> room, and scared the je-jesues out of the poor kid).
> You are like a "polite prisoner" there, probably more
> so now since 9-11.
> oh and you don't get to see the entire house,just
> your"section".
> Melody
>
> --- Penny Ladnier <penny@costumegallery.com> wrote:
>> drool.... I  would love to see the Hearst Castle.
>>
>>
>>
>
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On Tue, 19 Apr 2005, Mary wrote:

> How about "Working Girl" for 80's?  I always loved the big hair and
> big shoulder pads!  :-)

Also good visualization of class difference between the female execs and
the secretaries. When Tess decides to masquerade as an executive, she
borrows her boss's clothes and also cuts off her long hair, saying, "If
you want to be taken seriously, you've got to have serious hair."

--Robin
who wears overly sober suits
to balance out her non-serious hair

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] QEW Farthingale Cartoons-better copy anyone?
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On Thu, 21 Apr 2005, Wicked Frau wrote:

> Does anyone have a better picture of the cartoon on page 197 of QEW?
> Also the ballet dancers on 199?
> 
> I know I have seen them somewhere else, but can't find either.

Aren't they in Waugh's Corsets and Crinolines? I believe Arnold was not
the first to show them.

--Robin

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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] QEW Farthingale Cartoons-better copy anyone?
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At 17:38 21/04/2005 -0500, you wrote:

>On Thu, 21 Apr 2005, Wicked Frau wrote:
>
> > Does anyone have a better picture of the cartoon on page 197 of QEW?
> > Also the ballet dancers on 199?
> >
> > I know I have seen them somewhere else, but can't find either.
>
>Aren't they in Waugh's Corsets and Crinolines? I believe Arnold was not
>the first to show them.


I think they are in "Patterns of Fashion 1560-1630" or whatever the dates 
are. I didn't think they were in "Corsets and Crinolines".

Suzi


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I found one...in Textiler Hausrat...I don't have this Waugh book, but 
can get it tomorrow at the Library...
Thanks!

Robin Netherton wrote:

>On Thu, 21 Apr 2005, Wicked Frau wrote:
>
>  
>
>>Does anyone have a better picture of the cartoon on page 197 of QEW?
>>Also the ballet dancers on 199?
>>
>>I know I have seen them somewhere else, but can't find either.
>>    
>>
>
>Aren't they in Waugh's Corsets and Crinolines? I believe Arnold was not
>the first to show them.
>
>--Robin
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>
>  
>
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On Thu, 21 Apr 2005, Suzi Clarke wrote:

> I think they are in "Patterns of Fashion 1560-1630" or whatever the
> dates are. I didn't think they were in "Corsets and Crinolines".

I don't have the book, but I did find a citation I made in a
not-yet-published paper: Waugh describes the sketch of the dancers in
Corsets and Crinolines (1954), p. 22. I believe she also has the picture
to accompany that, and I'm pretty sure the cartoon of the ladies dressing
is there too.

--Robin

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<snip> So what would the soldiers carry? Knives? Swords?  any info is
appreciated.  We're going to be doing some combat scenes and the
director/choreographer wants an idea of what he should be working with in
advance.
>
> thanks!
>
> angela
<snip>

I'd assume their main weapon would be a gun by this time, from my vague
recollections of pictures of English soldiers at roughly the same time a
sword and possibly a dagger would also have been carried, though it depends
to a certain extent on what class these soldiers are, there were pikemen,
cavalry, and other groups (sorry I can't really remember much)  English
Civil War groups might also be another source of information although there
is a 20-30 year time gap, I don't think it's that big.
HTH
Elizabeth

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References: <Pine.LNX.4.10.10504211734470.11550-100000@shell.nightowl.net>
Subject: Re: [h-cost] Re: 60s - 70s - 80s movies
Date: Thu, 21 Apr 2005 20:03:01 -0400
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> 
> Also good visualization of class difference between the female execs and
> the secretaries. When Tess decides to masquerade as an executive, she
> borrows her boss's clothes and also cuts off her long hair, saying, "If
> you want to be taken seriously, you've got to have serious hair."
> 
> --Robin
> who wears overly sober suits
> to balance out her non-serious hair


Hmmm...

daily wardrobe...
fleece pants
T-shirt
long straight hair....
no makeup

No wonder no one takes me seriously!! LOL

Dianne
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From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Thu, 21 Apr 2005 20:09:39 -0500
Subject: Re: [h-cost]  bliaut thinking...
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Susan wrote;
> 
> One thing I have wanted to check is if there is a middle eastern garment
> that has a waist seam that could have turned into a bliaut. I have seen
> pictures of men (in medieval india I think) wearing transparent garments
> with what could be a waist seam. 

Unfortunately, jamas (also called crossover coats) don't come into India until the 13th century.  To the best of my knowledge, jamas that you describe, made out of really sheer fabric with a waist seam, show up first in the Deccan (south-central India) in the 16th century.
So there isn't any way a crusader could have possibly brought one back :)


>What if a crusader brought one home, gave
> it his wife, who then wore it to a special function. It wasn't made for a
> female body, so it wrinkled oddly,

There really isn't a major difference in the way that men and women's coats are made.  Even if a crusader *had* brought back a man's coat for his wife, odds are that it would have fitted pretty well.

-Katie


Buffy: And what are we if not women up to a challenge? 
Willow: Exactly!  I mean, did we not put the 'grr' in girl?





-- 
_______________________________________________
NEW! Lycos Dating Search. The only place to search multiple dating sites at once.
http://datingsearch.lycos.com


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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] QEW Farthingale Cartoons-better copy anyone?
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At 18:21 21/04/2005 -0500, you wrote:

>On Thu, 21 Apr 2005, Suzi Clarke wrote:
>
> > I think they are in "Patterns of Fashion 1560-1630" or whatever the
> > dates are. I didn't think they were in "Corsets and Crinolines".
>
>I don't have the book, but I did find a citation I made in a
>not-yet-published paper: Waugh describes the sketch of the dancers in
>Corsets and Crinolines (1954), p. 22. I believe she also has the picture
>to accompany that, and I'm pretty sure the cartoon of the ladies dressing
>is there too.


Oops, so they are. Sorry.


Suzi


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"Tous les matins du monde" (about the 17th century composer Marin Marais and his teacher). Gerard Depardieu narrates and plays Marais in later life; his son Guillaume plays him as a young man.

Kate Bunting
Librarian and 17th century reenactor


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When you find that strength, send me some!
Kate

> I think my problem boils down to the fact that there is just too darn much 
> for one business, and I should be strong and throw excess fabric at the 
> charity shop, or the local school, anywhere but in to another box!!
>
> Suzi


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Subject: [h-cost] Short-notice Elizabethan gig, anybody? SOUTHERN CONNECTICUT
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Hi, all.

I got this message from a friend who's in an early-music ensemble (Everyman Guild, website www.everymanguild.org). By "Trinity Banquet" she means a medieval-banquet king-and-queen gig John McDonough and I did in January, dressed appropriately for "yore."
Shakespeare on the Sound is an outdoor summer Shakespeare performance, semiprofessional company.

This is a "greeter" job. I noted to Matilda that Henry VIII was dead when Shakespeare was born and so I didn't really understand why they'd want him greeting guests at a Shakespearean event....

I sent her a couple of names yesterday, but she hasn't heard back from them (or from John), and I know none of them, including John, has Elizabethan garb. I have stage-Elizabethan but can't fit into any of those gowns, since they were made for actresses in my company and I am more....heroically....proportioned.

So this morning it occurs to me to put this out to the list. Is there anyone, male or female, in the Southern-Connecticut area with "Shakespearean" garb and the ability to play Shakespeare, Her Majesty Elizabeth R, or some Shakespearean character in a meet-and-greet venue? In a follow-up message Matilda suggested to me that although they ASKED for Shakespeare or Henry VIII they would probably be glad for any appropriate character.

If interested, you can reply to me (ruthanneb@mindspring.com) or to Matilda (matildag@charter.net Mention my name and/or enclose this message) directly, and obviously as soon as possible.

Thanks. --Ruth Anne Baumgartner
scholar gypsy and amateur costumer

-----Original Message-----

> Dear Ruthanne,
>
> I have a job that I need to fill- someone to be Henry VIII OR
> Shakespeare, and be at the Shakespeare on the SOund 10th anniversary
> Gala this Saturday night, and act as a welcomer, greeter, to the
> 200-300 guests coming to the event in Rowayton.  I thought of you, and
> John McDononough, who do such  great job t the Trinity Banquet.  Want
> to come as a team and recreate the roles?   If you are busy (it is
> Passover- what  a bad planning move on their part)  can you give me
> John's  contact information?   This is ridiculously late to find
> someone, but the event coordinators didn't tell us we had the job
> (contact personin hospital) till late.  So, I am still on the hunt.
> Got any ideas?  The pay is pretty good- $200.
>
> Many thanks for any leads.
>
> Matilda
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The new Simplicity is very graceful, very pretty.  It put me in mind of the dresses Suan Sarandon wore in the latest version of Little Women
 
I can't to see the Rev War. things
 
Mia in Charlotte


 
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Hi all :-)

Newbie question here:  Is 5 oz. linen too heavy for use as a lining fabric?
(I have some originally intended for garb, and it's very nice :-)  I've got
some tropical-weight wool and such that are about that weight themselves...
it would seem that anything heavier would be too much for lining, but much
thinner (such as 3.5 oz "hanky" weight) would be too lightweight to do the
job?  Or am I on the wrong track here?  The intended garb is medieval era --
linen kirtles, linen and tropical wool houppelandes, a sideless surcote or
two (please excuse me if my use of the terms is incorrect; so much to learn
and so little brain space left to fill ;-) ...

thanks for any guidance, take care,

Michelle in Stonemarche


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: good weight for linings?
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>Newbie question here:  Is 5 oz. linen too heavy for use as a lining fabric?

I don't know these things by numbers, but I'd go with something the weight 
of a man's shirt.  This is the same weight as the stuff usually sold to 
quilters, or as a nice bedsheet.


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

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: good weight for linings?
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On Fri, 22 Apr 2005, Carolyn Kayta Barrows wrote:

> >Newbie question here:  Is 5 oz. linen too heavy for use as a lining
> fabric?
> 
> I don't know these things by numbers, but I'd go with something the
> weight of a man's shirt.  This is the same weight as the stuff usually
> sold to quilters, or as a nice bedsheet.

If you're looking for a structural lining, e.g. for a fitted 14th-15th c.
dress that molds the figure, I'd go for suit weight rather than shirt
weight. Works fine even under a slightly lighter-weight wool.
 
--Robin


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Subject: Re: [h-cost] Re: good weight for linings?
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I would recommend a lighter fabric for the lining than for the outer 
fabric.  With tropical-weight wool, I *would* use hanky weight linen for 
lining.
Joan in Sacramento, CA (very hot summers <g>)

At 03:19 PM 4/22/2005 -0400, you wrote:
>Hi all :-)
>
>Newbie question here:  Is 5 oz. linen too heavy for use as a lining fabric?
>(I have some originally intended for garb, and it's very nice :-)  I've got
>some tropical-weight wool and such that are about that weight themselves...
>it would seem that anything heavier would be too much for lining, but much
>thinner (such as 3.5 oz "hanky" weight) would be too lightweight to do the
>job?  Or am I on the wrong track here?  The intended garb is medieval era --
>linen kirtles, linen and tropical wool houppelandes, a sideless surcote or
>two (please excuse me if my use of the terms is incorrect; so much to learn
>and so little brain space left to fill ;-) ...
>
>thanks for any guidance, take care,
>
>Michelle in Stonemarche

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: good weight for linings?
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>I would recommend a lighter fabric for the lining than for the outer 
>fabric.  With tropical-weight wool, I *would* use hanky weight linen for 
>lining.
>Joan in Sacramento, CA (very hot summers <g>)

How well does hanky weight lining hold up to heavy wear, like for a Ren. 
Faire?  I found that I wore right thru my hanky weight Ren. shirts after 
like one Faire season of use, and that includes changing shirts each day.

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

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Subject: [h-cost] Re:  French costume dramas
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Thanks for the suggestions for French costume films.  There were some I 
hadn't seen and I ordered them.

I just saw a very powerful Merchant/Ivory film titled "Feast of July."  
It's based on a historical novel, not an actual Victorian novel, but 
takes place in the 1880s.  It's reminiscent of _Tess of the D'urbervilles_.

Fran
Lavolta Press Books on Historic Costuming
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Subject: [h-cost] solesof Jacob?
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Marc Carlson queried    last week as to the "meaning of the soles of Jacob."  My husband just brought  to my attention a postcard on e-bay.  It is a photo of a man in bibical dress, costumed for the role of 'Laban'.  His feet are shod with a peculiar wrapped sandal. Might the phrase describe footwear that was not common in western dress through the past couple of centuries (at least)? It is the wear of desert regions?

Kathleen 
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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] French costume films  //////// My Fav........
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 How's about "Brotherhood of the Wolf"?
 I loved the Coats the 2  main characters wore in the
begining....
And the French "secret Agent Lady's" outfit at the
end, during the fight with the beast, di that crazy
fan!

--- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote:
> "Tous les matins du monde" (about the 17th century
> composer Marin Marais and his teacher). Gerard
> Depardieu narrates and plays Marais in later life;
> his son Guillaume plays him as a young man.
> 
> Kate Bunting
> Librarian and 17th century reenactor
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 

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----- Original Message -----
From: "Melody Watts" <celticredhead2002@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 20, 2005 11:29 AM
Subject: Re: [h-cost] Re: Hearst Castle A "Strange "place to visit


> You are like a "polite prisoner" there,

Oh, I didn't think it was that bad...Of course I didn't try to touch
anything, but they didn't mind that when everyone else was staring at the
ceiling in the dining room, I was down on my knees staring at the fabric on
the chair backs.

I went with a friend who had been there previously with his then girlfriend,
and he was quite amused that I noticed all the same things she did...and
they weren't what the guides were pointing out. :)

Margo

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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re:New Simplicity
Date: Sat, 23 Apr 2005 22:27:30 -0700
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I just loved all the clothing from Anna and the King, as well as the King
and I.  They look *very* heavy to wear.  Does the pattern come with any
underpinnings?

Becky
http://www.sewingcity.com


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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Kinda OT
Date: Sun, 24 Apr 2005 13:16:02 -0600
To: Historical Costume <h-costume@indra.com>
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Julie Taymore is both the director and the costume designer?  Sorry, 
but I never heard of her.

Sylrog

On Apr 24, 2005, at 12:55 PM, AlbertCat@aol.com wrote:

> I went to Julie Taymore's new production of  "Magic Flute"....the  
> Mozart
> opera....at the Met Opera in NYC, last Wed. night. Very yummy.
>
> Anyway, here's the "review" I wrote for my buds on the AOL Classical 
> Music
> board. I DO talk a bit about the costumes so it's not all that OT. But 
> here's
> what I send the music board....if you're interested...
>
> **************************************************
>
>
> OK....here goes....
>
> The production used all of Julie Taymore's vocab. And subtlety is not 
> one  of
> them....but that's OK.
>
> I left my program in the restaurant we had dinner in afterwards so I 
> can't
> remember who sang. I'm sorry. Y'all will have to look it up.
>
> Everyone sounded great to me....but Sarastro was a little grumbly. The 
>  Queen
> of the night was divine! My fave. Her voice was melodic and clear as  a
> ringing bell. Pamina sang well but couldn't act. James Levine 
> conducted with
> energy and the tempi were crisp. [The fugue of the overture FLEW!]
> This is the 1st time I've seen "Flute" live. It seems choppy and 
> disjointed
> ....a little. I think this is the fault of the libretto and is a major 
> hurdle
> the director must overcome....or at least soften.
>
> And now the visuals....GASP!
>
> The set was more successful that the costumes. I can't remember the
> designer's name....but I know who it is. He's done some major works. 
> Julie did  the
> costumes herself and some work, other's suck. Very uneven. There were  
> puppets
> and dancers in amazing stuff [as birds and things] that you can see in 
>  "Lion
> King" too. Also an army of actors in black to work puppets and wings 
> and
> birds....like Japanese theatre. [What are those guys dressed in black 
> and  working
> props called anyway?]
>
> Tamino looked like a hero...from, well, "Hero" or the Middle East, or  
> China,
> or Japan,....a vague exoticism hard to pin down. Pamina's outfit was 
> just
> plain ugly and I don't know where she was coming from. It said more 
> Eastern
> European folk doll than ingenue. Ultramarine blue fading to orange at 
> the above
> ankle hem. YUK! A flat white apron with something painted on it. Huh? 
> Earth to
>  Ms Taymore!
> Papageno was in bright grass green long johns and a cap with a bird 
> beak  for
> a brim....tuned backwards. At one point he puts the magic bells on his
> shoulder like a boom box. There is also a sorta cage over his chest 
> and legs.
> Papagena wears a cage hoop skit. All these cages come off in their 
> duet.
> Sarastro had an interesting chrome yellow robe curiously cut...half 
> circles
> that emerged from each other from head to toe....but his headdress 
> looked like
> a  bicorn. He came across as half Mikado, half Napoleon. Monostatos 
> was a
> chubby  eunuch bat in black and yellow.
>
> The Queen of the Night was beautiful! For her act one aria she was a 
> huge
> white and gold moth ...the enormous wings operated by those guys in 
> black.  Her
> next appearance...her big Act two ditty, was the same costume sans 
> gold, and
> with red streamers from the "antenna", red hands and the hem stained 
> in red,
> like she had been walking ankle deep in blood. The wings flew apart and
> disappeared before the aria started. Her last little scene had her 
> with no  wings
> and all red.
>
>
> The 3 ladies where all black,  like the prop guys, but with white  
> floating
> heads with a wisp of smoke [white silk] trailing. These they plucked  
> off their
> real blacked out heads and operated with their right hand. The three  
> little
> boys rode an enormous bird. They were all white with a 3rd eye and 
> mystic
> symbols drawn on them in black. They had long white beards.
>
>
>
> The sets where the thing! Very cool. It consisted of 3 huge walls of  
> layered
> Plexiglas each with an opening in the center...one a circle, one a  
> triangle
> and one a square. A network of triangles in white neon was sandwiched  
> in the
> Plexiglas as well as a grid of hieroglyphs lit from within. These  
> walls were
> moved about and set up in various formations.
> There were also flat teaser and tormenter curtains in black with the 
> same
> hieroglyphs in white [which became whatever color you lit them] all 
> over them.
> These would fill in the space around the walls and sometimes cover the 
>  whole
> back like a drop of hieroglyphs
>
> The whole thing was very modern and contemporary but not Eurotrashy at 
> all.
> All the stuff emitting its own light was perfect seeing as one main 
> theme of
> the  work has to do with dark and light.
>
> One of my favorite things was this little square platform that keep 
> coming
> into the scene. It was a lit black and white checker board at one 
> point where,
> during the scene where Sarastro and the priests decide the fate of 
> Tamino
> [ends  in Sarastro's aria with the chorus ending each phrase.] and the 
>  priests
> are moving what seem like game pieces....stylized human figures and  
> 3-D
> versions of the hieroglyphs... on it with shuffleboard sticks.
> Later we find Pamina asleep on it...clear now, with Plexiglas roses 
> lit  from
> within in red
> under it, for Monostato's quick tempo aria. Then for Pamina's suicide
> scene...the little stage is alone on stage with a white curtain at the 
> back
> floating on a breeze....the red roses underneath now lit white. She 
> does her
> melodramatic grandstanding on this small stage while the 3 spirits 
> watch.. I  love
> that!
>
> My other favorite stage picture was Papageno's suicide scene. A 
> stylized
> golden tree [that you saw earlier at Papageno's  1st entrance in Act 
> One]  is far
> stage left. There are "hills" of plexi stairs trailing to the right. 
> The
> hieroglyph curtain is a flat back wall now with the symbols lit bright 
> grass
> green, the same as Papageno's costume. Just beautiful!
>
> Though not perfect in every respect, this is a handsome, interesting 
> and
> exciting production that I'm sure will be around for a while. Get to 
> see it in
> the next year or two!
>
> **************************************************************
>
> My advice to the Music Board goes for you H-costume folks too.....GO 
> SEE  IT!
> Even if you think you're not interested. It's not a "difficult" opera. 
> It
> has speaking scenes [albeit in German]. It's great  fun!
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Sylrog,

Her most famous work is the costume designer for Broadway's The Lion King. 
A couple of years ago, there was a traveling exhibit of her costumes from 
various plays that she had designed. I saw the Washington DC exhibit.... 
WOW!!!!!!!!!!  One of my all-time favorite exhibits.  Have you seen the book 
written by Julie called The Lion King?  The play's costumes are shown in 
detail in the book.

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


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Subject: [h-cost] Kinda OT
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Status: RO

I went to Julie Taymore's new production of  "Magic Flute"....the  Mozart 
opera....at the Met Opera in NYC, last Wed. night. Very yummy.
 
Anyway, here's the "review" I wrote for my buds on the AOL Classical Music  
board. I DO talk a bit about the costumes so it's not all that OT. But here's  
what I send the music board....if you're interested...
 
**************************************************
 
 
OK....here goes....
 
The production used all of Julie Taymore's vocab. And subtlety is not one  of 
them....but that's OK.
 
I left my program in the restaurant we had dinner in afterwards so I can't  
remember who sang. I'm sorry. Y'all will have to look it up.
 
Everyone sounded great to me....but Sarastro was a little grumbly. The  Queen 
of the night was divine! My fave. Her voice was melodic and clear as  a 
ringing bell. Pamina sang well but couldn't act. James Levine conducted with  
energy and the tempi were crisp. [The fugue of the overture FLEW!]
This is the 1st time I've seen "Flute" live. It seems choppy and disjointed  
....a little. I think this is the fault of the libretto and is a major hurdle  
the director must overcome....or at least soften.
 
And now the visuals....GASP!
 
The set was more successful that the costumes. I can't remember the  
designer's name....but I know who it is. He's done some major works. Julie did  the 
costumes herself and some work, other's suck. Very uneven. There were  puppets 
and dancers in amazing stuff [as birds and things] that you can see in  "Lion 
King" too. Also an army of actors in black to work puppets and wings and  
birds....like Japanese theatre. [What are those guys dressed in black and  working 
props called anyway?]
 
Tamino looked like a hero...from, well, "Hero" or the Middle East, or  China, 
or Japan,....a vague exoticism hard to pin down. Pamina's outfit was just  
plain ugly and I don't know where she was coming from. It said more Eastern  
European folk doll than ingenue. Ultramarine blue fading to orange at the above  
ankle hem. YUK! A flat white apron with something painted on it. Huh? Earth to 
 Ms Taymore!
Papageno was in bright grass green long johns and a cap with a bird beak  for 
a brim....tuned backwards. At one point he puts the magic bells on his  
shoulder like a boom box. There is also a sorta cage over his chest and legs.  
Papagena wears a cage hoop skit. All these cages come off in their duet.
Sarastro had an interesting chrome yellow robe curiously cut...half circles  
that emerged from each other from head to toe....but his headdress looked like 
a  bicorn. He came across as half Mikado, half Napoleon. Monostatos was a 
chubby  eunuch bat in black and yellow.
 
The Queen of the Night was beautiful! For her act one aria she was a huge  
white and gold moth ...the enormous wings operated by those guys in black.  Her 
next appearance...her big Act two ditty, was the same costume sans gold, and  
with red streamers from the "antenna", red hands and the hem stained in red,  
like she had been walking ankle deep in blood. The wings flew apart and  
disappeared before the aria started. Her last little scene had her with no  wings 
and all red.
 
 
The 3 ladies where all black,  like the prop guys, but with white  floating 
heads with a wisp of smoke [white silk] trailing. These they plucked  off their 
real blacked out heads and operated with their right hand. The three  little 
boys rode an enormous bird. They were all white with a 3rd eye and mystic  
symbols drawn on them in black. They had long white beards.

 
 
The sets where the thing! Very cool. It consisted of 3 huge walls of  layered 
Plexiglas each with an opening in the center...one a circle, one a  triangle 
and one a square. A network of triangles in white neon was sandwiched  in the 
Plexiglas as well as a grid of hieroglyphs lit from within. These  walls were 
moved about and set up in various formations.
There were also flat teaser and tormenter curtains in black with the same  
hieroglyphs in white [which became whatever color you lit them] all over them.  
These would fill in the space around the walls and sometimes cover the  whole 
back like a drop of hieroglyphs 
 
The whole thing was very modern and contemporary but not Eurotrashy at all.  
All the stuff emitting its own light was perfect seeing as one main theme of 
the  work has to do with dark and light.
 
One of my favorite things was this little square platform that keep coming  
into the scene. It was a lit black and white checker board at one point where,  
during the scene where Sarastro and the priests decide the fate of Tamino 
[ends  in Sarastro's aria with the chorus ending each phrase.] and the  priests 
are moving what seem like game pieces....stylized human figures and  3-D 
versions of the hieroglyphs... on it with shuffleboard sticks.
Later we find Pamina asleep on it...clear now, with Plexiglas roses lit  from 
within in red  
under it, for Monostato's quick tempo aria. Then for Pamina's suicide  
scene...the little stage is alone on stage with a white curtain at the back  
floating on a breeze....the red roses underneath now lit white. She does her  
melodramatic grandstanding on this small stage while the 3 spirits watch.. I  love 
that!
 
My other favorite stage picture was Papageno's suicide scene. A stylized  
golden tree [that you saw earlier at Papageno's  1st entrance in Act One]  is far 
stage left. There are "hills" of plexi stairs trailing to the right. The  
hieroglyph curtain is a flat back wall now with the symbols lit bright grass  
green, the same as Papageno's costume. Just beautiful!
 
Though not perfect in every respect, this is a handsome, interesting and  
exciting production that I'm sure will be around for a while. Get to see it in  
the next year or two! 
 
**************************************************************
 
My advice to the Music Board goes for you H-costume folks too.....GO SEE  IT! 
Even if you think you're not interested. It's not a "difficult" opera. It  
has speaking scenes [albeit in German]. It's great  fun!


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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: Julie Taymor
Date: Sun, 24 Apr 2005 13:46:53 -0600
To: Historical Costume <h-costume@indra.com>
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The name did sound familiar and now I recall hearing about her in 
reference to the Lion King.  Did she do the choreography for that?

On Apr 24, 2005, at 1:19 PM, Penny Ladnier wrote:

> Sylrog,
>
> Her most famous work is the costume designer for Broadway's The Lion 
> King. A couple of years ago, there was a traveling exhibit of her 
> costumes from various plays that she had designed. I saw the 
> Washington DC exhibit.... WOW!!!!!!!!!!  One of my all-time favorite 
> exhibits.  Have you seen the book written by Julie called The Lion 
> King?  The play's costumes are shown in detail in the book.
>
> Penny Ladnier, owner
> The Costume Gallery, www.costumegallery.com
> Costume Research Library, www.costumelibrary.com
> Costume Classroom, www.costumeclassroom.com
>
> _______________________________________________
> h-costume mailing list
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I think so. 

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

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Wicked Frau wrote:
> Hi all, sorry for duplicate posts.  I am looking for a better color 
> image of this picture:  
> http://www.vatican.va/roman_curia/swiss_guard/swissguard/divisa_en.htm
> I think I have seen it before in black and white, but am not sure.
> 
> Any ideas?

Skimming the link's text, it appears to be a fresco by Raffaello.

--Charlene

-- 
Macho:  The strutting-and-crowing behavior of men who apparently use 
roosters as role models without ever wondering why there are so few of 
them in relation to hens.  -- Bayan, Rick; The Cynic's Dictionary, 2002
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Hi all, sorry for duplicate posts.  I am looking for a better color 
image of this picture:  
http://www.vatican.va/roman_curia/swiss_guard/swissguard/divisa_en.htm
I think I have seen it before in black and white, but am not sure.

Any ideas?

Thanks, Sg
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Subject: [h-cost] Re: Looking for a picture-by Rapheal?
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This might be a fresco by Rapheal. 

Wicked Frau wrote:

> Hi all, sorry for duplicate posts.  I am looking for a better color 
> image of this picture:  
> http://www.vatican.va/roman_curia/swiss_guard/swissguard/divisa_en.htm
> I think I have seen it before in black and white, but am not sure.
>
> Any ideas?
>
> Thanks, Sg
>
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Date: Sun, 24 Apr 2005 09:57:30 -0400 (EDT)
Subject: RE: [h-cost] Re:New Simplicity
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Carolann Schmitt said,
> While the heavier fabrics may resemble the original fabrics in appearance,
> the heavier weight not only makes them uncomfortable to wear; the garments
> don't have the same drape.

     Also, I think we expect the clothes will be heavy because of the
circumferece of the skirts.  Hoops are also fairly light.  The trick
is to be able to move gracefully in the clothes, so they don't end up
bouncing around, the skirts swinging like a bell, etc.

     Proper movement adds to the "weight" of the look.

     -Carol
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re:New Simplicity
Date: Sun, 24 Apr 2005 09:49:19 -0400
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Simplicity has several Martha McCain patterns for a complete set of
underpinnings, including chemise, drawers, corset, crinoline and petticoats.

While fashions from this era may look very heavy to wear, if they are made
in appropriate weight fabrics they usually are not. Many of the fabrics used
during the period are very lightweight. As part of a presentation, I did a
comparison of the weights of original garments, reproduction garments using
comparable weight fabrics, and reproduction garments using inappropriate
weight fabrics, i.e. drapery or upholstery fabrics. Several original silk
taffeta dresses weighed a little less than a pound; the reproductions using
comparable fabrics and linings weighed within an ounce of the originals;
reproductions using a drapery fabrics weighed from five to eight pounds.

While the heavier fabrics may resemble the original fabrics in appearance,
the heavier weight not only makes them uncomfortable to wear; the garments
don't have the same drape. 

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006 

 


I just loved all the clothing from Anna and the King, as well as the King
and I.  They look *very* heavy to wear.  Does the pattern come with any
underpinnings?

Becky
http://www.sewingcity.com


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Subject: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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----- Original Message ----- 
From: <aquazoo@patriot.net>
>     Also, I think we expect the clothes will be heavy because of the
> circumferece of the skirts.  Hoops are also fairly light.  The trick
> is to be able to move gracefully in the clothes, so they don't end up
> bouncing around, the skirts swinging like a bell, etc.


I can't remember which novel it was--I read it years and years and years 
ago--but in a novel written in the 1880s there was a really interesting bit 
of conversation between a young woman and her older relative.  The younger 
woman was looking at a picture of her older relative in 1850s or 60s 
clothing and exclaimed that it must have been very difficult to get around 
in that huge thing.  The older woman replied that on the contrary, she 
missed those fashions horribly, because they were so airy and light, and she 
could skip along so easily with her legs completely unencumbered.  She went 
on to complain about how horribly restrictive and unhygienic the early 1880s 
fashions were, with their tight skirts and long trains picking up dirt 
everywhere they went.  That conversation stuck in my head so much that for 
years afterwards I'd think about it every time I saw anything from the 
1880s, and that I actually lost a good bit of my interest in recreating 
anything from that era!

Although, on the other side of the argument, here's a story told by Jane Lee 
Smith, born 1853 and interviewed in the late 1930s, which presents a 
situation where hoops definitely would not be comfortable:

"What did we wear in those days? I guess we wore just about all there
was to be found to wear, kitchen stove an' everything. It was worse 'n
the hats the women wear now. Hoops and petticoats, an' corset covers an'
corsets -- great big heavy stiff things -- I don' know how we managed
so many clothes. There was a fleshy lady living down on the Luckiamute
that got caught in a hole in the river on her pony. The Luckiamute was
always a mighty treacherous stream. Every time there was a freshet the
current would change, so one never knew just where to ford the stream.
This lady was with a party and they were all horseback. She was on a
little pony, and she was kinda big and fat. The pony stepped in a hole,
and with her weight on it, it couldn't get out. The lady had hoops on,
and when the men went to help her, her hoops caught on the curved under
horn of the side saddle. They tried to get the hoops out and in doing
so twisted them, and there she was. The pony couldn't budge and they
couldn't get her off, and the pony couldn't get out of the hole as long
as she was on its back, she was so heavy. Finally they gave a big tug
at the hoops and got 'em loose, an' then they managed to lift her up
and hold her till the pony struggled out, an' then they dropped her in
the saddle and she rode the pony on across -- an' was she "red in the
face" as the young folks say nowadays."

(This account is from the Library of Congress website.)

-E House 

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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
Date: Sun, 24 Apr 2005 14:59:19 -0600
To: Historical Costume <h-costume@indra.com>
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For a project in costume construction when I was working on my MFA I 
had to make a complete outfit from a historical period and I chose 
1860.  I actually never quite finished it but I got the corset, hoop 
skirt, petticoat, skirt and bodice made and I remember wondering, when 
I put it all on myself and tried to walk around the costume shop, how 
anyone could have felt comfortable in such clothing.  You can't even 
walk through modern doorways in it and there would have to be lots of 
room between pieces of furniture in one's house from this period.  That 
got me to thinking today with the current topic of discussion, if 
houses from this era did have bigger rooms.  I know that when you go 
into a Victorian house from the late 1800s the rooms are typically 
quite small, but women's clothing had gotten much closer to the body by 
then.  Does anyone know what mid 19th century houses were like?  I 
guess the ones that remain standing in the south would be good 
examples, although they seem to have been built by the wealthy who 
could afford larger houses and larger rooms.  What about those of more 
modest incomes but whose women still would have worn hoops?

Sylrog
'
On Apr 24, 2005, at 2:22 PM, E House wrote:

> ----- Original Message ----- From: <aquazoo@patriot.net>
>>     Also, I think we expect the clothes will be heavy because of the
>> circumferece of the skirts.  Hoops are also fairly light.  The trick
>> is to be able to move gracefully in the clothes, so they don't end up
>> bouncing around, the skirts swinging like a bell, etc.
>
>
> I can't remember which novel it was--I read it years and years and 
> years ago--but in a novel written in the 1880s there was a really 
> interesting bit of conversation between a young woman and her older 
> relative.  The younger woman was looking at a picture of her older 
> relative in 1850s or 60s clothing and exclaimed that it must have been 
> very difficult to get around in that huge thing.  The older woman 
> replied that on the contrary, she missed those fashions horribly, 
> because they were so airy and light, and she could skip along so 
> easily with her legs completely unencumbered.  She went on to complain 
> about how horribly restrictive and unhygienic the early 1880s fashions 
> were, with their tight skirts and long trains picking up dirt 
> everywhere they went.  That conversation stuck in my head so much that 
> for years afterwards I'd think about it every time I saw anything from 
> the 1880s, and that I actually lost a good bit of my interest in 
> recreating anything from that era!
>
> Although, on the other side of the argument, here's a story told by 
> Jane Lee Smith, born 1853 and interviewed in the late 1930s, which 
> presents a situation where hoops definitely would not be comfortable:
>
> "What did we wear in those days? I guess we wore just about all there
> was to be found to wear, kitchen stove an' everything. It was worse 'n
> the hats the women wear now. Hoops and petticoats, an' corset covers 
> an'
> corsets -- great big heavy stiff things -- I don' know how we managed
> so many clothes. There was a fleshy lady living down on the Luckiamute
> that got caught in a hole in the river on her pony. The Luckiamute was
> always a mighty treacherous stream. Every time there was a freshet the
> current would change, so one never knew just where to ford the stream.
> This lady was with a party and they were all horseback. She was on a
> little pony, and she was kinda big and fat. The pony stepped in a hole,
> and with her weight on it, it couldn't get out. The lady had hoops on,
> and when the men went to help her, her hoops caught on the curved under
> horn of the side saddle. They tried to get the hoops out and in doing
> so twisted them, and there she was. The pony couldn't budge and they
> couldn't get her off, and the pony couldn't get out of the hole as long
> as she was on its back, she was so heavy. Finally they gave a big tug
> at the hoops and got 'em loose, an' then they managed to lift her up
> and hold her till the pony struggled out, an' then they dropped her in
> the saddle and she rode the pony on across -- an' was she "red in the
> face" as the young folks say nowadays."
>
> (This account is from the Library of Congress website.)
>
> -E House
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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> She went on to complain about how horribly restrictive and unhygienic 
> the early 1880s fashions were, with their tight skirts and long trains 
> picking up dirt everywhere they went.

Some of the original 1880s clothes are quite heavy, and a cut velvet 
upholstery fabric complete with upholstery fringe looks quite accurate 
for an 1880s dolman (as long as the fiber does not look synthetic).  The 
late 1870s/early 1880s trains are lovely. 

When people compare current fashions to past ones, a big factor is 
whether they feel, in a more general way, whether things were "better" 
in the past versus the present.

The other thing about 19th-century clothes, throughout the century, is:  
People tended to build warmth into the basic garments, as opposed to 
relying mostly on one outer coat the way we do.  That means original 
outdoor walking dresses and even indoor winter dresses can be quite 
thick and heavy. 

Yet a third thing is that modern upholstery (and drapery) fabrics are 
not all heavy by any means.  They tend to be stronger/more durable than 
many clothing weight fabrics, but they are not all thicker and heavier. 

Fran
Lavolta Press
Two new books of 1870s and 1880s clothing patterns!
http://www.lavoltapress.com




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Subject: Re: [h-cost] Re: Hoops and comfort
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I grew up in a famhouse that was built in 1860 and has not been 
remodeled, and knew other people in the area with similar houses. Yes, 
when people had the money and the land, the rooms were bigger and had 
higher ceilings.  Furthermore they were more even in size.  The bedrooms 
in our house were exactly the same size as the parlors, and had exactly 
the same number of closets,  windows, and even access to porches.   Even 
the attic was divided into three identical rooms, which though smaller 
and lower at the sides (roof slant) were by no means poky.

Whereas, today many people decide to have a huge living room and/or a 
huge master bedroom, and then make other rooms smaller.

Fran
Lavolta Press
http://www.lavoltapress.com


> That got me to thinking today with the current topic of discussion, if 
> houses from this era did have bigger rooms.  I know that when you go 
> into a Victorian house from the late 1800s the rooms are typically 
> quite small, but women's clothing had gotten much closer to the body 
> by then.

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    Hi,
                 I saw the new Magic Flute production on April 13. It was very different and technicaly complicated.  I've also seen the previous production which was designed by David Hockney. The qustion that arises is, where does one draw the line in deciding if the surface (costume and sets) of a production is overwhelming the substance (music, singing, acting,story) of a production?

                                           Anna von Argenthal
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Hoops and comfort
Date: Sun, 24 Apr 2005 17:47:06 -0400
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>Some of the original 1880s clothes are quite heavy, and a cut velvet 
>upholstery fabric complete with upholstery fringe looks quite accurate 
>for an 1880s dolman (as long as the fiber does not look synthetic).  The 
>late 1870s/early 1880s trains are lovely. 

That's true. I've noticed that some original clothing from later in the
century is often heavier - whether due to a heavier textile or more
"understructure" in the garment. And there are home decorating fabrics that
are very similar to garment fabrics from this quarter of the century.  The
selection of appropriate home decorating fabrics for use in mid-century
clothing is not quite as large. :-)

>The other thing about 19th-century clothes, throughout the century, is:  
>People tended to build warmth into the basic garments, as opposed to 
>relying mostly on one outer coat the way we do.  That means original 
>outdoor walking dresses and even indoor winter dresses can be quite 
>thick and heavy. 

Generally, most of the winter mid-19thc garments I've found are not that
much heavier. Wool batting is frequently used for quilted garments or those
with quilted linings and it's very lightweight. Most of the wool dresses and
wool petticoats are no heavier than a mid-weight wool flannel. Even the
original outer garments I've looked at are not that heavy. My research on
mid-century dress for cold weather indicates that using several lighter
weight layers of wool was the most common way to stay warm. 

>Yet a third thing is that modern upholstery (and drapery) fabrics are 
>not all heavy by any means.  They tend to be stronger/more durable than 
>many clothing weight fabrics, but they are not all thicker and heavier. 

True, not all of them are. My in-laws were interior designers with their own
workrooms and we had some lovely light weight drapery and upholstery
fabrics. However, most of these lighter fabrics are only available through
better textile and design houses or from wholesale sources. The majority of
the drapery and upholstery fabrics available in the chain fabric houses are
heavier than most period garment fabrics.

I may still be haunted by a reproduction dress I saw a few years ago. Made
of VERY heavy drapery fabric and over-scale trimming, the owner was proudly
stating it weighed 56 pounds and she needed suspenders to hold it up. :-0

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006 






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>However, most of these lighter fabrics are only available through
>better textile and design houses or from wholesale sources. The majority of
>the drapery and upholstery fabrics available in the chain fabric houses are
>heavier than most period garment fabrics.
>  
>

Thankfully, the Internet has released most American sewers from reliance 
on Jo-Ann's and Wal-Mart.  I live in an area with several really great 
brick-and-mortar fabric stores, but I now buy many of my fabrics on the net.

Fran
Lavolta Press
http://www.lavoltapress.com
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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I'm curious - just how big was that hoop? :-)

I wear mid-19th century clothing including a full set of undergarments on a
very regular basis and I have no problems whatsoever with performing daily
tasks. The crinoline I wear most often measures 116" in circumference; for
very physical tasks I'll wear one that measures 90" in circumference. I walk
through doorways, go up and down stairs, do household tasks, drive a car, do
errands, teach classes, and just about anything else that comes to mind. The
doorways in my house are no wider or no narrower than in any of the other
mid-19th century homes in my town (Gettysburg), and my modern home probably
has a lot more clutter than the vast majority of the restored homes of any
socio-economic class that I've been in. The only accommodations I've had to
make is learn to bend my knees rather than just bending over when I pick up
something off the floor and put a pillow behind my back when driving a car
with bucket seats.

I know I was not an example of grace in motion the first time I wore a
crinoline, but it didn't take me long to learn how to move and work in it.
And if I'm honest, I'm much less of a klutz in my period attire than I am in
modern dress.

BTW - You can find the occasional docent at an antebellum home who says "the
doorways are so wide to accommodate the hoop skirts". The only problem is,
most of the houses were built several decades before the advent of the
crinoline and when skirts were much narrower!

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Sylvia Rognstad
Sent: Sunday, April 24, 2005 4:59 PM
To: Historical Costume
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)

For a project in costume construction when I was working on my MFA I 
had to make a complete outfit from a historical period and I chose 
1860.  I actually never quite finished it but I got the corset, hoop 
skirt, petticoat, skirt and bodice made and I remember wondering, when 
I put it all on myself and tried to walk around the costume shop, how 
anyone could have felt comfortable in such clothing.  You can't even 
walk through modern doorways in it and there would have to be lots of 
room between pieces of furniture in one's house from this period.  That 
got me to thinking today with the current topic of discussion, if 
houses from this era did have bigger rooms.  I know that when you go 
into a Victorian house from the late 1800s the rooms are typically 
quite small, but women's clothing had gotten much closer to the body by 
then.  Does anyone know what mid 19th century houses were like?  I 
guess the ones that remain standing in the south would be good 
examples, although they seem to have been built by the wealthy who 
could afford larger houses and larger rooms.  What about those of more 
modest incomes but whose women still would have worn hoops?

Sylrog




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Subject: Re: [h-cost] Re: Julie Taymor - Lion King
Date: Sun, 24 Apr 2005 15:45:02 -0700
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Julie Taymor directed and costumed the Lion King.  Garth Fagan did the 
choreography.  Not that doing the costumes and directing it wasn't an 
astounding feat, but credit where credit is due ;)

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
www.cabbagerosecostumes.com
Theatrical Costume Design

"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare

----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 24, 2005 12:46 PM
Subject: Re: [h-cost] Re: Julie Taymor


> The name did sound familiar and now I recall hearing about her in 
> reference to the Lion King.  Did she do the choreography for that?
>
> On Apr 24, 2005, at 1:19 PM, Penny Ladnier wrote:
>
>> Sylrog,
>>
>> Her most famous work is the costume designer for Broadway's The Lion 
>> King. A couple of years ago, there was a traveling exhibit of her 
>> costumes from various plays that she had designed. I saw the Washington 
>> DC exhibit.... WOW!!!!!!!!!!  One of my all-time favorite exhibits.  Have 
>> you seen the book written by Julie called The Lion King?  The play's 
>> costumes are shown in detail in the book.
>>
>> Penny Ladnier, owner
>> The Costume Gallery, www.costumegallery.com
>> Costume Research Library, www.costumelibrary.com
>> Costume Classroom, www.costumeclassroom.com
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>
> _______________________________________________
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] OT-Magic Flute
Date: Sun, 24 Apr 2005 17:11:15 -0600
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I think you just said it.  When the visuals overwhelm the substance, 
that's where you draw the line.  And it takes good designers and 
directors to figure that out.  Now if the designer in this case, Ms. 
Taymore, is also the director, I can see how the problem arises.

Sylrog

On Apr 24, 2005, at 3:39 PM, Valerie Frank wrote:

>     Hi,
>                  I saw the new Magic Flute production on April 13. It 
> was very different and technicaly complicated.  I've also seen the 
> previous production which was designed by David Hockney. The qustion 
> that arises is, where does one draw the line in deciding if the 
> surface (costume and sets) of a production is overwhelming the 
> substance (music, singing, acting,story) of a production?
>
>                                            Anna von Argenthal
> _______________________________________________
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Date: Sun, 24 Apr 2005 18:53:29 -0400 (EDT)
Subject: Re: [h-cost] Re: Hoops and comfort
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     Also not everyone lived (or lives) in a new house.  While it's easy
to remake a dress (or make a new one), it's more effort to remodel or
build a new house.  I don't think people would knock out a wall or
widen their doorways when the dress silhouette changed.

     Less wealthy people were still fashion conscious, so they would
manage to function in the space they had.

     -Carol


> when people had the money and the land, the rooms were bigger and had
> higher ceilings.
>
>> That got me to thinking today with the current topic of discussion, if
>> houses from this era did have bigger rooms.  I know that when you go
>> into a Victorian house from the late 1800s the rooms are typically
>> quite small, but women's clothing had gotten much closer to the body
>> by then.

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Status: RO

So true!  I struggle with that often.  As a costume designer one must be 
careful to be true to the story.  I tend to like the showier costumes, 
replete with lovely details, but if the choices overwhelm the story or the 
setting, then one has not done the job properly.  The tendency to be too 
big, or to make statements that are too large for the moment must be avoided 
at all costs.  Generally, I consider a job well done if the audience only 
notices the costumes when they should be noticed.  Example, if the lavish 
ballgown on Anna as she dances with the King is delicious, and they comment, 
that is a natural response and flows well both in and out of the story. 
People would comment on a lovely ballgown at a dressy event.

But, conversely, if people are spending too much time looking at all the 
pretty dresses in a moment where they (the costumes) are drawing focus from 
the action in the story, then the costumes are speaking too "loudly" and 
should be appropriately toned down.

It's a balancing act, of course, but ultimately, a good costumer develops a 
gut instinct for it.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
www.cabbagerosecostumes.com
Theatrical Costume Design

"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare


----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 24, 2005 4:11 PM
Subject: Re: [h-cost] OT-Magic Flute


>I think you just said it.  When the visuals overwhelm the substance, that's 
>where you draw the line.  And it takes good designers and directors to 
>figure that out.  Now if the designer in this case, Ms. Taymore, is also 
>the director, I can see how the problem arises.
>
> Sylrog
>
> On Apr 24, 2005, at 3:39 PM, Valerie Frank wrote:
>
>>     Hi,
>>                  I saw the new Magic Flute production on April 13. It was 
>> very different and technicaly complicated.  I've also seen the previous 
>> production which was designed by David Hockney. The qustion that arises 
>> is, where does one draw the line in deciding if the surface (costume and 
>> sets) of a production is overwhelming the substance (music, singing, 
>> acting,story) of a production?
>>
>>                                            Anna von Argenthal
>> _______________________________________________
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>
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Subject: Re: [h-cost] Re: Hoops and comfort
References: <200504240527.j3O5RZS5031388@net.indra.com><000a01c548d4$70a67170$0600a8c0@genteelarts>	<49182.209.249.180.89.1114351050.squirrel@webmail.patriot.net>	<035601c5490b$6bac2980$0400a8c0@compaqub><7c7e542c4a7cdf62e3f6f158240fdbdb@ntw.net>	<426C0D0E.50201@lavoltapress.com>
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I agree that although people did do remodeling, it was not necessarily 
to accomodate their clothes.  However, architectural styles also change. 
Do you find early 19th-century rooms to be smaller than mid-century ones? 

Note that urban versus city living has a strong effect on house size.  
In the country, where land is more available, people tended as a very 
general rule to build bigger houses. 

Fran
Lavolta Press
http://www.lavoltapress.com

>     Also not everyone lived (or lives) in a new house.  While it's easy
>to remake a dress (or make a new one), it's more effort to remodel or
>build a new house.  
>
>  
>
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Subject: Re: [h-cost] OT-Magic Flute
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In a message dated 4/24/2005 8:31:18 P.M. Eastern Standard Time,  
cabbagerose@sbcglobal.net writes:

The  tendency to be too 
big, or to make statements that are too large for the  moment must be avoided 
at all costs.


Oh yeah....no room for that in opera!
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
Date: Sun, 24 Apr 2005 19:05:36 -0600
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I guess it must be an acquired taste.  I just know that I never wanted 
to wear that costume again, unless I could attend a Dickens faire in 
it, which I have yet to do and I doubt I could fit into my outfit 
anymore :-(.

Sylrog

On Apr 24, 2005, at 3:14 PM, Carolann Schmitt wrote:

> I'm curious - just how big was that hoop? :-)
>
> I wear mid-19th century clothing including a full set of undergarments 
> on a
> very regular basis and I have no problems whatsoever with performing 
> daily
> tasks. The crinoline I wear most often measures 116" in circumference; 
> for
> very physical tasks I'll wear one that measures 90" in circumference. 
> I walk
> through doorways, go up and down stairs, do household tasks, drive a 
> car, do
> errands, teach classes, and just about anything else that comes to 
> mind. The
> doorways in my house are no wider or no narrower than in any of the 
> other
> mid-19th century homes in my town (Gettysburg), and my modern home 
> probably
> has a lot more clutter than the vast majority of the restored homes of 
> any
> socio-economic class that I've been in. The only accommodations I've 
> had to
> make is learn to bend my knees rather than just bending over when I 
> pick up
> something off the floor and put a pillow behind my back when driving a 
> car
> with bucket seats.
>
> I know I was not an example of grace in motion the first time I wore a
> crinoline, but it didn't take me long to learn how to move and work in 
> it.
> And if I'm honest, I'm much less of a klutz in my period attire than I 
> am in
> modern dress.
>
> BTW - You can find the occasional docent at an antebellum home who 
> says "the
> doorways are so wide to accommodate the hoop skirts". The only problem 
> is,
> most of the houses were built several decades before the advent of the
> crinoline and when skirts were much narrower!
>
> Carolann Schmitt
> cschmitt@genteelarts.com
> www.genteelarts.com
> Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006
>
>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] 
> On
> Behalf Of Sylvia Rognstad
> Sent: Sunday, April 24, 2005 4:59 PM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
>
> For a project in costume construction when I was working on my MFA I
> had to make a complete outfit from a historical period and I chose
> 1860.  I actually never quite finished it but I got the corset, hoop
> skirt, petticoat, skirt and bodice made and I remember wondering, when
> I put it all on myself and tried to walk around the costume shop, how
> anyone could have felt comfortable in such clothing.  You can't even
> walk through modern doorways in it and there would have to be lots of
> room between pieces of furniture in one's house from this period.  That
> got me to thinking today with the current topic of discussion, if
> houses from this era did have bigger rooms.  I know that when you go
> into a Victorian house from the late 1800s the rooms are typically
> quite small, but women's clothing had gotten much closer to the body by
> then.  Does anyone know what mid 19th century houses were like?  I
> guess the ones that remain standing in the south would be good
> examples, although they seem to have been built by the wealthy who
> could afford larger houses and larger rooms.  What about those of more
> modest incomes but whose women still would have worn hoops?
>
> Sylrog
>
>
>
>
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Subject: Re: [h-cost] Re: Hoops and comfort & houses
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With the exception of the house I grew up in (your basic 1960s  ranch) and 
the first house we purchased (brand new, will never do it  again!), the youngest 
house I have lived in is the one we now own.  It  was built in 1904, in a 
national historic district in a medium-sized southern  town, adjacent to the 
downtown.  Previously, we lived in a house on the  main road of a small town built 
in 1892, but it was in a style dating back  before that at least 10 years, 
called "Folk Victorian."  Previously to  that, we lived in several rented 19th 
c. farmhouses of various ages and styles,  all basically simple and very 
rustic.  In addition, I have volunteered at  dozens of historic house sites dating 
between 1763 and 1918, and my best  friend's home, which I visit often, was 
built in 1752, then underwent a major  remodeling in 1821, again in 1880, and 
another minor addition in 1972.  I  have served on historic district commissions 
in two states and in that capacity  have been educated in architectural styles 
and components, and exposed to  hundreds of homes.  I have seen the good, the 
bad, and the horrible, as far  as restorations go.  Personally, I find that 
the simple, expansive, open  and even arrangement of homes built in the 
nineteenth century, (and those lovely  high ceilings!), makes the most sense for me 
and for my family.
 
>From experiencing and studying all of these lovely homes, the *women's*  
garments are the last thing I would ever consider as affecting the  architecture.  
(Certain pieces of furniture, perhaps, but not the houses  themselves.)  
Rooms were large and laid out according to what made sense at  the time, taking 
things into account such as the needs and the *number* of  people who would 
occupy them, the flow of daily life, the current fashionable  way to build homes 
and/or the practical means available to express it, the local  climate, 
availability and type of fuels, and any number of other  things.  Low doorways, for 
example, hold heat inside a house or room,  and have nothing to do with the 
height of the occupants.  The size of  rooms in many cases has more to do with 
the fact that they were expected to be  multi-functional, than any current 
clothing fashion. It would behoove us to  actually study the social structures, the 
local culture, the habits and  idiosyncracies of the builders, and a bit 
about historical architecture before  making any sort of generalizations as to 
relationships between structures and  their occupants.
 
Blessings,
Susannah
 
Susannah Eanes, Mantua Maker and Fine Tailoring
_www.virginvintage.com_ (http://www.virginvintage.com) 
 
"We are only the trustees for those who come after us."  --William  Morris
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Subject: [h-cost] "real" name for Low lands Pom Pom hat?
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> Does anyone know the "real" name for the raised pom pom hat in this 
> picture?
>
> http://www.louvre.fr/img/photos/collec/peint/grande/rf1977.jpg
>
> Thanks,  Sg
>
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From: Kathy Page <caitlin_oduibhir@yahoo.ca>
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Subject: [h-cost] 1874 Canadian dress
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I have been contacted by a potential client whom has
asked for a woman's day dress, circa 1874, Ontario.
Does any one out there have photographs that give me a
general idea what someone in the rural
(Clifford/Minto) regions of Ontario would have been
wearing at the time? I realise this is rather specific
in locale, but get me in the ball park and I think
she'd be happy. 

Thanks!

Kathy

"The evil that men do lives after them. The good is oft interred in their bones." Shakespeare, "Julius Caesar"

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Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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----- Original Message ----- 
From: "Sylvia Rognstad" <sylvia@ntw.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, April 24, 2005 4:59 PM
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)


> For a project in costume construction when I was working on my MFA I had 
> to make a complete outfit from a historical period and I chose 1860.  I 
> actually never quite finished it but I got the corset, hoop skirt, 
> petticoat, skirt and bodice made and I remember wondering, when I put it 
> all on myself and tried to walk around the costume shop, how anyone could 
> have felt comfortable in such clothing.

On the contrary, one of the reasons I love Elizabethan costuming is the joy 
of wearing a hoop. And yes, I know that Eliz hoops are smaller than 
antebellum, but there is something so utterly feminine and just GIRLY 
feeling about a huge skirt--and it is much, much cooler than something 
closer fitting. I never quite understood the difficulty people have in 
walking or sitting in a hoop, as it always came naturally to me.

YMMV, of course, but my favorite costuming periods Eliz and pre-American 
Civil War.

Dianne 

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On a FleaJaunt yesterday, I found myself killing time while my husband was perusing yet one more pack of postcards.  At hand was a box of 'instant relatives'.  Among the gallery was a photo of a woman dressed in fashionable 1880's fashion...not too unusual until I realized that the trim on her skirt were bands of Raccoon fur.  I was the first time I had seen garments of this period trimmed with fur...unless they were for out of doors, which this one plainly was not! And this fur certainly was not the fashionable sort favored in the '80's.

Kathleen
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From: "michaela" <thebruce@ihug.co.nz>
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Subject: Re: [h-cost] 1874 Canadian dress
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Musee McCord has a brilliant section of photos, and I've been dribbling my
way through them.
http://www.musee-mccord.qc.ca/en/search/

I chose Browse by concept. Then 1880 (watch these they wiggle about) then
portrait then female.
It may take a while, but there are hundreds of pages from the early 1860s on
up.

I am having trouble with it tonight, I may have a poor connection though as
even the regular search form is giving me difficulties.

As there are so many pages, and for a while there are pages and pages for
each year, just click next (really next 10) until you are in the right sort
of date region and then you can click backwards or forward page by page.

Ah, I forgot that the first few pages are fairly random portraits and
etchings.

Pages 71 through 111 are 1870-71, and then there is a big jump to 1876, I
did get one from 1874 though...

Most of them are from Quebec (Montreal specifically) though, rather than
Ontario.

Oh terrific, there are even more after this lot...
A few from 1872 are on page 425. This section is fairly random again.


I'm on to page 487 and have found a bundle of brides, so I'm being side
tracked...

There are also many examples of the jersey costume in the collection as well
(before page 200)

Sorry if it doesn't help, but it's rather rare anyone asks about Canadian
dress at all. Having spent many hours going through the photos I thought I
might share as it's an amazing site due to the sheer number of images for
many years.

michaela de bruce
http://glittersweet.com

> I have been contacted by a potential client whom has
> asked for a woman's day dress, circa 1874, Ontario.
> Does any one out there have photographs that give me a
> general idea what someone in the rural
> (Clifford/Minto) regions of Ontario would have been
> wearing at the time? I realise this is rather specific
> in locale, but get me in the ball park and I think
> she'd be happy.



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Kathy Page wrote:

> I have been contacted by a potential client whom has
> asked for a woman's day dress, circa 1874, Ontario.

Ah, look for a copy of "Women's Costume in Ontario (1867 - 1907)" by 
K.B. Brett and the Royal Ontario Museum/ University of Toronto, 1966. 
It's a 16 page booklet with B&W photos and a text overview. I can't say 
it is specifically rural clothing, but it is Canadian, and there are 
some differences in style from the American of the same period. The 
booklet says Ontario followed the English fashions, but New York and 
Boston styles also caught their eye.


Dawn


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Date: Mon, 25 Apr 2005 10:32:06 -0700
From: Lynn Downward <lynndownward@gmail.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hearst Castle A "Strange "place to visit
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I'll go even farther than Margo and say that when I went in July with
another costumer friend, we tended to lag behind and look as closely
as we could at some of the draperies and furniture. Once our guide
understood our interests, she was more than willing to give us a few
asides after she had given the usual talk on each room. She seemed
enthusiastic and encouraging when we asked polite and to-the-point
questions, and gave us long answers to questions when we walked from
one place to another. We never once felt like prisoners, more like
invited guests. I can't wait go to back!

LynnD

On 4/23/05, lists@margospatterns.com <lists@margospatterns.com> wrote:
> 
> ----- Original Message -----
> From: "Melody Watts" <celticredhead2002@yahoo.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, April 20, 2005 11:29 AM
> Subject: Re: [h-cost] Re: Hearst Castle A "Strange "place to visit
> 
> > You are like a "polite prisoner" there,
> 
> Oh, I didn't think it was that bad...Of course I didn't try to touch
> anything, but they didn't mind that when everyone else was staring at the
> ceiling in the dining room, I was down on my knees staring at the fabric on
> the chair backs.
> 
> I went with a friend who had been there previously with his then girlfriend,
> and he was quite amused that I noticed all the same things she did...and
> they weren't what the guides were pointing out. :)
> 
> Margo
> 
> _______________________________________________
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Subject: Re: [h-cost] Re: Hearst Castle A "Strange "place to visit
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Lucky you .I happened to have the two retired Secret
service guys....not interested in fabric questions at
all....

--- Lynn Downward <lynndownward@gmail.com> wrote:
> I'll go even farther than Margo and say that when I
> went in July with
> another costumer friend, we tended to lag behind and
> look as closely
> as we could at some of the draperies and furniture.
> Once our guide
> understood our interests, she was more than willing
> to give us a few
> asides after she had given the usual talk on each
> room. She seemed
> enthusiastic and encouraging when we asked polite
> and to-the-point
> questions, and gave us long answers to questions
> when we walked from
> one place to another. We never once felt like
> prisoners, more like
> invited guests. I can't wait go to back!
> 
> LynnD
> 
> >

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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] "real" name for Low lands Pom Pom hat?
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 Hmm.... I guess "Silly hat" isn't the term you're
looking for.....:~)
Melody

--- Wicked Frau <wickedfrau@earthlink.net> wrote:
> > Does anyone know the "real" name for the raised
> pom pom hat in this 
> > picture?
> >
> >
>
http://www.louvre.fr/img/photos/collec/peint/grande/rf1977.jpg
> >
> > Thanks,  Sg
> >
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> h-costume@mail.indra.com
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Subject: [h-cost] book
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It's a bit early (due out in early 2006) but I thought that some of you 
might be interested:

Beth

Cloth and Clothing in Anglo-Saxon England, AD 450-700 by Penelope Rogers

This archaeological study of Anglo-Saxon textiles and decoration is based 
on the first exhaustive study of dress evidence from early medieval cemeteries.

The book focuses on both clothing and jewelry and seeks to establish an 
evidence-based re-evaluation of the wider cultural and social significance 
of dress in Anglo-Saxon England. The material brings together the author's 
own primary research and database findings, as well as broader historical 
and archaeological work on textiles, dress fasteners, and craft and 
production evidence from Britain and the Continent.

The book will be fully illustrated with reconstruction drawings and 
detailed finds drawings. 250p, 100 illus. (Council for British Archaeology 
2005)
ISBN 1902771540. Paperback. Not yet published - advance orders taken. 
Publishers price US $39.95, DBBC Price US $32.00 

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 I remember seeing in a book on lady Civil War spies,
one woman's photo showed her wearing a summer frock.
It was made of an airy material, in a plaid like
pattern, it was in fact, so sheer you could see thru
it to the under garments she was wearing. Her toddler
girl was wearing a similar dress.
I didn't imagine them having such light weight
materials available,let alone wearing them....and she
was a "respectable matron" of the community...except
for the spying thing......
 Melody

--- Carolann Schmitt <cschmitt@genteelarts.com> wrote:
>  
> While fashions from this era may look very heavy to
> wear, if they are made in appropriate weight fabrics
they usually are not.
> Many of the fabrics used during the period are very
lightweight. As part of a presentation, I did a
> comparison of the weights of original garments,
> reproduction garments using comparable weight
fabrics, and reproduction garments using inappropriate
> weight fabrics, i.e. drapery or upholstery fabrics.
> Several original silk taffeta dresses weighed a
little less than a pound;
> the reproductions using comparable fabrics and
linings weighed within an ounce of the originals;
> reproductions using a drapery fabrics weighed from
> five to eight pounds.
>  
> Carolann Schmitt
> cschmitt@genteelarts.com
> www.genteelarts.com
> Ladies & Gentlemen of the 1860s Conference, March
> 2-5, 2006 
> 
>  
> 
> 
> 


>


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Subject: [h-cost] 15th c French clothing books
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Someone just asked about the 16th c in France, I'm interested in the
15th, so apropos of nothing, here goes:

I just bought "Brocartes Celestes" at the Petit Palais in Avignon last
Thurs.  It's entire focus is comparing 15th French and Italian
brocade, velvet & damask weaves with their representations in
contemporary painting.  The authors are Ester Moench, conservateur du
Petit Palais and Odile Blanc who works for the Musee de Tissue in
Lyon. Pub'd in 1999, possibly only in French.

The Petit Palais specializes in 13th-15th c French & Italian
paintings.  Sadly there was no complete color catalog of the paintings
in the museum, but there were some nice, if very small postcards.
Terrific exhibit!  Unlike many museums, the works are hung in good
lighting. Helpful staff answers questions!

One of my personal pet peeves in costume recreation for this period is
the use of modern upholstery weights.  This is clearly not in keeping
with the extant materials in collections at the Musee Cluny, Musee de
Tissue in Lyon, Musee de la Mode et du Costume (at the Louvre) or the
Musee de la Mode (at the Union Central des Arts Decoratifs.) Most of
these museums have thorough catalogs of actual materials and some
garments (usually partials, burial garments), some even have catalogs
online.

Somewhat broader in scope, but again connecting material culture (pun
intended) to fine art, "Parades et Parures" by Odile Blanc of Musee de
Tissue fame.

"Se vetir au Moyen Age" by Francoise Piponnier and Perrine Mane is
scholarly, quite thorough and heavily researched detailing the what,
where, when, who and what to wear in 14th & 15th c France and nearby
regions (the nearby regions including those that make up present day
France). I've heard this is also in English, but dont know what the
title is.

If anyone knows of other books, costume colllections, exhibit catalogs
& materials that cover French costume design & construction for
high-end fashions of 15th c in France, I'd love to hear about them.

a toute a l'heure,
--cin
Cynthia Barnes
CinBarnes@gmail.com

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Subject: Re: [h-cost] 15th c French clothing books
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>
>
>"Se vetir au Moyen Age" by Francoise Piponnier and Perrine Mane is
>scholarly, quite thorough and heavily researched detailing the what,
>where, when, who and what to wear in 14th & 15th c France and nearby
>regions (the nearby regions including those that make up present day
>France). I've heard this is also in English, but dont know what the
>title is.


I have this in English. It is a small paperback book, "Dress in the Middle 
Ages". I found it difficult to read and to see the black and white pictures 
as it was small.

Mary Houston wrote a book, which I have but can't find, on clothing in the 
Middle Ages in England and France with loads of manuscript references and a 
few diagrams. Sorry I cannot be more specific. (Originally published by A 
and C Black! - I can remember that but not the title!!) (Medieval Costume 
in England and France?)

Suzi, who is up to her neck in ruffs right now!


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Does anyone know of any good books that deal with sixteenth century 
women's dress style and construction from France and italy?  Not 
England.  I have enough of those already.  I know the similarities, but 
want to get more detail of the differences.

Sylrog

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Mia Dappert wrote:

> The new Simplicity is very graceful, very pretty.  It put me in mind of the dresses Suan Sarandon wore in the latest version of Little Women
>  
> I can't to see the Rev War. things


Speaking of Simplicity... they just discontinued over a dozen of their 
costume patterns, not just the American Civil War ones, either. A lot of 
them were less than a year old. So, when you see new patterns that you 
like, grab them. They may be gone before you realize it.



Dawn


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> > >Newbie question here:  Is 5 oz. linen too heavy for use as a lining
> > fabric?
> >
> > I don't know these things by numbers, but I'd go with something the
> > weight of a man's shirt.  This is the same weight as the stuff usually
> > sold to quilters, or as a nice bedsheet.
>
>If you're looking for a structural lining, e.g. for a fitted 14th-15th c.
>dress that molds the figure, I'd go for suit weight rather than shirt
>weight. Works fine even under a slightly lighter-weight wool.

Is suit weight the same as trousers weight?  Inquiring minds want to know.


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

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Date: Fri, 22 Apr 2005 16:34:01 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Re: good weight for linings?
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 From the description of the intended garments, the lining should hold up 
fine.  She would be wearing a shift under the gown, so the lining would not 
be directly in contact with the skin.
Joan


At 01:47 PM 4/22/2005 -0700, you wrote:

>>I would recommend a lighter fabric for the lining than for the outer 
>>fabric.  With tropical-weight wool, I *would* use hanky weight linen for 
>>lining.
>>Joan in Sacramento, CA (very hot summers <g>)
>
>How well does hanky weight lining hold up to heavy wear, like for a Ren. 
>Faire?  I found that I wore right thru my hanky weight Ren. shirts after 
>like one Faire season of use, and that includes changing shirts each day.
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com

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	<4.3.1.2.20050419213558.035eae70@mail.frys.com>
Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)
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----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 20, 2005 3:14 PM
Subject: Re: [h-cost] Re: Elizabethan shirt question (long-ish)


>
> >http://www.tudor-portraits.com/HelenaSnakeborg.jpg
>
> Remember that there are two sets of threads at right angles to each other,
> the warp and the weft.  If you gather the whole top of the body tube into
> the neck hole then one set of threads goes around the neck in concentric
> circles, like the flowers in the Snakeborg portrait do, and the other set
> of threads radiates from the neck seam, like the Pelican portrait's gold
> lines do.  So the lines of decoration depend on which set of threads they
> follow.

No the angle of the both sets of threads changes as you go around the neck,
 the threads that run parallel to the straight edge that you've gathered
in make a circle therefore at the front and back of the neck they are
running across your body, above your shoulder they are running from front to
back. the threads that are at right angles to the straight edge will radiate
out so they are always at right angles to the neck. Whichever way the
pattern was oriented on the flat piece of fabric the angle of the pattern
would change with the angle of the underlying threads once the straight line
(the edge of the fabric) gets turned into a circle that goes around the
neck.
Does that make sense?
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole@iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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Subject: Re: [h-cost] Re: Julie Taymor
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>Her most famous work is the costume designer for Broadway's The Lion King. 
>A couple of years ago, there was a traveling exhibit of her costumes from 
>various plays that she had designed. I saw the Washington DC exhibit.... 
>WOW!!!!!!!!!!  One of my all-time favorite exhibits.  Have you seen the 
>book written by Julie called The Lion King?  The play's costumes are shown 
>in detail in the book.

I second the WOW!!!!!!!!!!  The book includes many close-ups of things like 
the masks and puppetry involved.  It's amazing stuff, and mostly low tech 
like you could make in your kitchen without ventilation.  Actually there 
are two books, and I have them both.  The other one is a little kiddy book, 
but at kiddy book prices I got it for the few pictures that weren't in the 
big book.

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

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From: "Elizabeth Walpole" <ewalpole@iimetro.com.au>
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Subject: [h-cost] looking for a portrait
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Hi everyone, I've been reading Herbert Norris' Tudor book and I've come
across a description of a portrait that I haven't seen before. I'll quote
the description in case somebody knows where I can find a picture.
"In the Ashmolean Museum, Oxford, is a three-quarter-length portrait said to
be the Princess Mary, attributed to Jean van Cleef, and painted (according
to an expert) in the year 1537. ... [she] is dressed in bodice, sleeves, and
skirt of black velvet... The sleeves are not so large as usual... lined with
crimson satin and edged with a narrow band of ermine. The sleeves are turned
back to just above the elbow level, revealing the false sleeves of gold
brocade."

I've skipped some of the description as I didn't want to, I looked on the
Ashmolean Museum's website and I can't find a portrait matching that
description, does anybody know if parts of their collection were
lost/destroyed during WW2 or something though for a British museum in the
midlands it seems unlikely (or maybe it's been sold to another museum since
1938 when this book was published) I'd just really like to see these satin
lined sleeves that are edged with fur, it sounds odd for this period. A web
search also fails to turn up any mention of a Jean van Cleef as a 16th
century artist. Does anybody have any clue as to what Norris is talking
about?
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole@iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fabric organization
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On Wed, 20 Apr 2005, Suzi Clarke wrote:
>
>Oh, I know where everything is that I am likely to use - linings,
>buttons,  threads, interfacings etc. They are all filed and labelled. It's
>the left overs that are a pain - I cannot throw anything away, in case it
>might come in handy!!

I've come up with a pretty good way of keeping all those scraps and
trims from projects that might be needed in the future for alterations
or repairs.  While working on an item, I keep a 2 1/2 gallon zippered
ziploc bag at the ready, and all scraps get tossed in there, along with
any leftover trims and whatever else goes with the project.  It is great
when years later a customer comes back needing repairs and I can find
(well, with a bit of searching)  the bag with everything in it ready to
go.

The bags are also useful when travelling with a sewing project as
everything can be stuffed in and kept together.

I also use them when travelling with my costumes, say for a week's worth
of costumes, I can have several ziplocs, each with the accessories for
an outfit.  Has saved my life several times when rushing to get ready
for a ball at Newport Dance Week.

I am ready to send out an S.O.S. to all my friends to help me regain my
sewing room (the attic) after 8 years of neglect and use as a junk room
since I moved my sewing downstairs to be near the boys after they were
born.  I really need to empty the room completely and then organize,
can't do it with everything in place, there's no place to move up there.
Ugh.

Katy

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Date: Mon, 25 Apr 2005 08:24:21 -0700 (PDT)
From: Branwyn Maura <jauncourt@yahoo.com>
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Subject: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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Sylvia Rognstad <sylvia@ntw.net> wrote:
>>Does anyone know what mid 19th century houses were
like?

Well, our house was built in or just before 1857, in
the Federal style, and the bedrooms are 20x20 feet,
while the main room's segments (Formerly divisible,
but the folding doors were pulled out in the 1930's -
we still have one) are 20x30 and 20x20, respectively.
The study, which is now my grandmother's bedroom, is
also 20x20, and has its own door to the back garden.
The kitchen is very large, and we know that the summer
kitchen (a seperate building) was about the same size,
with plenty of room to move about in voluminous
skirts. All the doors (and windows, except for a
couple of 'single shutter' narrow ones on the side of
the house) in this house are 4 feet wide, or more, in
the cases fo the main exterior doors. The ceilings are
very high, as well, at about 15 feet. 

In the mid-19th century, most larger homes were still
furnished along the lines of large homes during the
18th century - if not in furniture style, then in
basic plan, with much of the furniture around the
edges of the room.

I've also worked as a costumed interpreter in a
frontier home in California that was built in 1860.
It, while certainly more modest in proportion, still
had rooms large enough to move through in an everyday
1850's/1860's hoop (hoops were rounder and wider in
the late 50's than in the early to mid-60's, when they
were already metamorphosing into the bustle). Its
ceilings were lower, about 10 feet.

Some things to remember:  

Furniture was smaller then, and there were no large,
overstuffed sofas yet. Chairs for ladies and men can
be told apart by whether they have arms (Have you
tried sitting in a chair with arms in a hoop? Doesn't
work!).

If less affluent people had smaller homes, they also
had less furniture, and wore less fashonable clothing
(if a poorer woman widened her skirts, it was more
likely that she wore several petticoats in the old
fashioned - 1830's and 1840's- manner, rather than
hoops). 

I hoep this has answered some of your questions!

Maura

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Has anyone received any emails on the list since 4/18 or is the list really
this quiet ?  

 

Diane

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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] unusual picture....unusual term
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That is so funny! I thought I was the only one who
thought of these old pix as "instant relatives"
I have bought a few,..women,young men in uniforms and
babies...I'd like to set them out in a basket as a
"decor" piece in my (someday) VIctorian inspired
bedroom.
 (I'm going to be sure to mark the backs as "not 
related,decor item only") so when I kick it the kids
won't think these peole are related some how to the
family and confuse them.
  Melody

Snipped
--- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
> On a FleaJaunt yesterday, I found myself killing
> time while my husband was perusing yet one more pack
> of postcards.  At hand was a box of 'instant
> relatives'.  ......
> 
> Kathleen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: [h-cost] New Simplicity Martha McCain pattern
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I just got the newest Simplicity pattern designed by Martha McCain. It's 
pattern number 4551 and is a simple Civil War era dress with a modified fan 
front and three different sleeve treatments, one of which is very 
reminiscent of the1830's in style.

I have a question for anyone who has looked at this pattern - what is the 
model wearing under her skirts? If it's a hoop, it's a pretty small one, 
and definitely NOT either of the hoops in earlier Martha McCain patterns. 
If it's petticoats, how many and what style? While I certainly have enough 
petticoats in my wardrobe to properly support this dress, I'd like to know 
what the designer intended, how she intended the dress to be worn. There's 
nothing referenced anywhere in the pattern instructions about undergarments 
and I didn't see another pattern for petticoats on the Simplicity website

Oh, and one other thing - there's no skirt circumference measurement 
anywhere on the pattern, that I can see, at least. I've emailed 
simplicity.com about this, but in the meantime if anyone knows what that 
measurement is, I'd appreciate the info.

Julie

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I just got my May-June issue of "Piecework" and there are at least two presentations that might be of interest to those who do 16th-17th Centuries. 
One article focuses on a wedding suit for Johann Georg I of Saxony, 1585-1656. .  Another deals with State Bed hangings of Osterley Park House. A third speaks of English wedding knives and their Embroidered Sheaths.  
Enjoy!
Kathleen
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In a message dated 4/24/2005 7:06:52 P.M. Eastern Standard Time,  
sylvia@ntw.net writes:

think  you just said it.  When the visuals overwhelm the substance, 
that's  where you draw the line.  And it takes good designers and 
directors  to figure that out.  Now if the designer in this case, Ms. 
Taymore,  is also the director, I can see how the problem  arises.




But there is no problem here. There is nothing in these designs that are  
gratuitous or over done. Everything arises out of the story and music which is  
about mysticism and dark vs light. But it is, as I said, not subtle. It is new  
and striking.
 
Y'know, the same complaint was ever-present 30 years ago when Ponnelle and  
Zeffirelli did their productions in the 70s & 80s that brought,  like, 
stage...as in plays...drama and action as well as scenery and costume to  the "just 
stand there and sing" world of opera.
 
"Eurotrash"....as it has been called even though it is most certainly not  
exclusive to Europe...arises when you have like midgets jumping on trampolines  
in "Le Nozzi di Figaro" for no apparent reason or Nazis with dogs in "Der  
Rosenkavalier" which is just stretching it too far.
 
None of that is here.
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Subject: [h-cost] Videos of costume dramas for sale
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I've been amassing a big collection of DVDs and videos. There are some I 
don't want to keep; I have way too much stuff around here.  Some I don't 
want to see again, some I replaced with other formats.  Most are costume 
dramas, a few are historical/informational, a few are fantasy.  I don't 
have time to make a list of them all, or list them with details (date, 
actors, etc; but there are places on the net to look up that info). 
There are also a couple books on tape my husband bought to listen to 
while commuting.

I listed the titles and very brief information for a couple of dozen of 
these items in a file.  I can email the file to anyone who requests it. 
Prices will be based on the going used, non-eBay rates for that film in 
that condition (most I bought new and viewed once).

Fran
Lavolta Press
http://www.lavoltapress.com

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Date: Sun, 24 Apr 2005 13:59:28 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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My mother's mother was born in 1880, and sometime in the like late 
1960s-early 1970s she showed me how to walk in a long skirt.  This was when 
Maxi skirts were new.  She said modern women didn't know how to walk in 
long skirts, and walked across the floor kicking an imaginary Maxi skirt 
out of the way.  (She never wore a skirt shorter than mid-calf.)  She said 
one had to glide, "like this" - and she did it so I could see.  The balls 
of her feet touched the floor before her heels did, and she could have 
carried the proverbial book on her head with out it falling off.  She 
didn't bounce at all, but moved around like she was on 
wheels.  Interestingly enough, there's a story about her husband, my 
grandfather, born in like 1864, who didn't realize till he was three that 
his mother had feet under her skirts.

>>     Also, I think we expect the clothes will be heavy because of the
>>circumferece of the skirts.  Hoops are also fairly light.  The trick
>>is to be able to move gracefully in the clothes, so they don't end up
>>bouncing around, the skirts swinging like a bell, etc.
>
>
>I can't remember which novel it was--I read it years and years and years 
>ago--but in a novel written in the 1880s there was a really interesting 
>bit of conversation between a young woman and her older relative.  The 
>younger woman was looking at a picture of her older relative in 1850s or 
>60s clothing and exclaimed that it must have been very difficult to get 
>around in that huge thing.  The older woman replied that on the contrary, 
>she missed those fashions horribly, because they were so airy and light, 
>and she could skip along so easily with her legs completely 
>unencumbered.  She went on to complain about how horribly restrictive and 
>unhygienic the early 1880s fashions were, with their tight skirts and long 
>trains picking up dirt everywhere they went.  That conversation stuck in 
>my head so much that for years afterwards I'd think about it every time I 
>saw anything from the 1880s, and that I actually lost a good bit of my 
>interest in recreating anything from that era!


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

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Subject: Re: [h-cost] Re: Hoops and comfort
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     Also for city living, the homes of the wealthy were large, with large
doorways in the "public" areas - they are the ones who would
entertain.  It's conspicuous consumption, of course, and also when
hosting a formal event you want people to be able to circulate.

     Most museum/historic houses open for tours are those that belonged to
a wealthy person.  I've seen 18thC houses that were made into
museums, and houses with historic markers that are private
residences.  I tend to notice 18thC rather than early 19thC. 
Doorways seem to be normal size in the town houses (the really wide
court panniers were not everyday wear) and the houses existed (and I
assume occupied) through the 19thC.

     I've also been in apartments that are from some earlier era (19thC). 
Usually I notice when the kichen is really tiny, but again hadn't
noticed any particularly wide doors.

     I'll have to keep this more in mind when I'm in houses, too look out
for the sizes of rooms and doorways depending on the era.

     -Carol


> I agree that although people did do remodeling, it was not necessarily
> to accomodate their clothes.  However, architectural styles also change.
> Do you find early 19th-century rooms to be smaller than mid-century ones?
>
> Note that urban versus city living has a strong effect on house size.
> In the country, where land is more available, people tended as a very
> general rule to build bigger houses.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] Re: hoopskirts and comfort
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Sylrog:

I used to be in a historic dance troupe, and one of our periods was the
1860s. I not only wore a chemise, corset, hoop skirt, petticoat, and gown,
but I danced in them quite vigorously. They were very comfortable, in some
ways more comfortable than modern clothes (give me a good corset over a pair
of tight jeans any day). I don't know why you'd think it's impossible to
walk through modern doorways in a hoopskirt. I did it all the time. My gown
was made of light Indian cotton, because it was a test for the pattern and I
never made a "real" one. But most of the women in the group had gowns made
of light silk, and they weighed NOTHING. One woman even had a gorgeous full
petticoat that was ALL ruffles, maybe three or four inches wide. It didn't
weigh anything either...

I live in a neighborhood with many old houses, and many of them do have very
big rooms, though not a lot of rooms. Also, I lived in two dorms that had
been dorms for a women's college in the 1860s. The hallways were huge, and
so were all the doors in the common areas. (The dorm rooms were small,
barely enough for two single beds and two small desks, and their doors were
normal-sized.) We were always told that the hallways and big doorways were
wide to accommodate the hoop skirts. I don't know if that's true, but it
certainly makes a lot of sense when you imagine a few dozen young women in
hoop skirts walking around at the same time.

Gail Finke
(in Cincinnati, Ohio)

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From: Alex Doyle <garbaholic@sbcglobal.net>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
To: Historical Costume <h-costume@indra.com>
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> Does anyone know what mid 19th century houses were like?   

>What about those of more modest incomes but whose women still would
>have worn hoops?
> 
>

I grew up in Northern Indiana, in a farm house that while I don't know
if we dated the house, I do remember it was determined that the barn
was built in 1868, so we believed that the house was built sometime in
the 1860s.

The rooms of the original house were all easily 15 x 15, some were
larger.  Doorways were probably 36 inch doors, interior and exterior.

Now did anyone wear hoops who lived in that house?  I really don't
know, but I do remember the newspaper article that was found during
remodeling that detailed a family making the big trip to the new town
over for a visit with family.  That town was about fifteen, twenty
miles away.

Alexandria
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yes. recieved some 4/22 on hoops and comfort.

De

-----Original Message-----
Has anyone received any emails on the list since 4/18 or is the list really
this quiet ?  

 

Diane



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The artist you're probably looking for is Joos van Cleve (Jean van Cleef 
would be a French apporximation), Flemish, 1485-1540CE.  Several of his 
portraits are available on-line at Web Gallery of Art, CGFA, and Insecula, 
but none of the Princess Mary.  Also try the Altavista search engine for 
Joos van Cleve in the image section, and get lots more.
             -Helen/Aidan 

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Kayta,

Did you see her exhibit.  I know it went to Chicago after it left DC.  I 
don't know where it went after Chicago.

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 & Scott Finke wrote:

>\
>
>I used to be in a historic dance troupe, and one of our periods was the
>1860s. I not only wore a chemise, corset, hoop skirt, petticoat, and gown,
>but I danced in them quite vigorously. They were very comfortable, in some
>ways more comfortable than modern clothes (give me a good corset over a pair
>of tight jeans any day).
>
I've done years of Victorian dance too.  Yes, it is perfectly feasible 
to dance vigorously for hours in an "accurate" hoopskirt outfit, without 
undue discomfort. It's perfectly feasible to move through doorways and 
navigate a room without running into the furniture. It's perfectly 
possible to dance for hours in a relatively heavy original 1880s trained 
bustle dress.

However, it's even easier to dance vigorously  in a T-shirt (or tank top 
or leotard) and a lightweight modern skirt.  Un-PC as it is to say among 
reenactors, as a general rule women's  modern (1920s and later) clothing 
_is_ more comfortable and easier to manage.  I'd except some 
periods--the early 19th century isn't bad, for example.  But by and 
large, well, modern clothing is lighter, and more easily managed.  Even 
by someone who has studied movement.

I am perfectly aware that, aside from dress reform advocates and some 
people who had health problems, most women were comfortable in their 
clothes.  I am perfectly aware that women had practical reasons for 
wearing bulkier clothing, related to things like the lack of central 
heating and the nonexistence of certain modern textiles.  I am perfectly 
aware that different periods have different aesthetics.  I share many of 
them--a crinoline ballgown looks more appealing to me than a T-shirt and 
a modern dance skirt.  I am perfectly aware that there are many very 
complicated social issues that affect what people wear (and the houses 
they build).  I have a degree in history, and I've been studying 
historic costume since I was a teenager.  I'm perfectly aware that some 
modern clothes are distinctly impractical and/or uncomfortable.  (High 
spike heels spring to mind--I used to wear them myself, and was quite 
used to them, but last time I tried them on I wondered how I ever 
managed to endure them all day.)

But heck, I've made, collected, and worn enough historic garments for 
enough years to forget about saying "I"ve worn corsets, crinoline 
skirts, long trains, and many other things, managed them pefectly well, 
and was not uncomfortable"--which is true--and move on to saying, "Yes, 
but a T-shirt and a long skirt or jeans is more comfortable."

Fran
Lavolta Press
http://www.lavoltapress.com
If you want a list of costume drama films and some books I'm 
deaccessing, feel free to email


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I think alot of what we perceive as comfort is actually just what we are used to. I have been wearing period clothing (18th century originally) since I was 15 and am quite comfortable in a variety of long skirt variations as well as modern clothing. My grandmother was born in 1891 and to her dying day never wore pants. She told me that she wore pants a couple of times as a girl to play tricks at Halloween, but she just never felt comfortable (Physically? Psychologically? She died before I thought to ask her.) in them even after they became accepted wear for women. She died in 1980 well after they became accepted for women on at least casual occasions.

I regularly wear full Elizabethan courtdress and don't have much trouble moving in it. The period dances are quite strenuous and bouncey but I have never had a problem doing them. I have also personally climbed up on and ridden an elephant in it, as well as run full tilt across uneven ground. I have a friend who used to climb trees in it on a fairly regular basis.

One of the things I've noticed about the difference betwee how they might have moved in the past with long skirts and how modern people move is that we moderns thend to lean forward slightly as we walk. It's no problem wearing pants or a short (above ankle length), but it almost guarantees you will walk up the front of a floor length skirt. Another thing we do differently is that we allow our hips to sway quite a bit as we walk. In a long skirt (particularly with hoops) it becomes very gauche very quickly. In my Elizabethan hoops, I mostly walk from the knees down with minimal hip involvment. The Guilde of St. George at Bristol goes thru training every year with new people who join, so we are pretty aware of how to train people to walk in a hoop. In modern life I have a tnedency to take long strides (I'm fairly tall) but that's antoher thing you can't do in hoops- gotta take small lady-like steps! One of the greatest compliments we ladies get out at Bristol is that we look l!
 ike hovercraft as we walk.


Karen
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>     Also for city living, the homes of the wealthy were large, with large
>doorways in the "public" areas - they are the ones who would
>entertain. 
>
Yes, but in the country people with less money were not limited by 
adjoining houses and could build large.

>
>     Most museum/historic houses open for tours are those that belonged to
>a wealthy person.  I've seen 18thC houses that were made into
>museums, and houses with historic markers that are private
>residences.  I tend to notice 18thC rather than early 19thC. 
>
>  
>
I grew up in an area where many people lived in houses from the late 
18th century through the 1860s, and some later of course.   Just 
farmhouses, but they still ran large.  Not historic monuments or 
showcases, just private houses that had belonged (often still belonged) 
to farming families.  My family had some close friends nearby with an 
18th-century farmhouse that was bigger and had larger rooms than ours.  
BTW, there were several houses around built apparently by the local 
builder who built my parents' house,  on much the same plan--it must 
have been popular.  There was one about a mile and a half down the road 
that was the exact same house on a smaller scale.

One thing about the 18th-century houses in the area was people tended to 
build closer to the road, though there were exceptions, our friends' 
house being one.  Many I remember were rather tall, but wide, 
rectangular brick houses built right up near the road with little front 
yard.

I'd like to buy one of those houses now, but we'd probably have to move 
out of the San Francisco Bay Area (which we don't want to do).  There 
are certainly Victorian houses here but fewer, and they tend to be in 
congested areas of SF.  When we bought our current house we wound up 
with one built in 1940--which people call an "old" house around 
here--because all the Victorians we viewed were on high-traffic streets 
with way too little parking.  There are exceptions, of course.  One of 
these days (like, in about a year) we'll get around to moving and then 
we'll see what's for sale.

Fran
Lavolta Press
http://www.lavoltapress.com
If you want a list of costume drama films and some books I'm 
deaccessing, feel free to email


>     I've also been in apartments that are from some earlier era (19thC). 
>Usually I notice when the kichen is really tiny, but again hadn't
>noticed any particularly wide doors.
>
>     I'll have to keep this more in mind when I'm in houses, too look out
>for the sizes of rooms and doorways depending on the era.
>
>     -Carol
>
>  
>
>  
>
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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At 21:33 25/04/2005 +0000, you wrote:

>I think alot of what we perceive as comfort is actually just what we are 
>used to. I have been wearing period clothing (18th century originally) 
>since I was 15 and am quite comfortable in a variety of long skirt 
>variations as well as modern clothing. My grandmother was born in 1891 and 
>to her dying day never wore pants. She told me that she wore pants a 
>couple of times as a girl to play tricks at Halloween, but she just never 
>felt comfortable (Physically? Psychologically? She died before I thought 
>to ask her.) in them even after they became accepted wear for women. She 
>died in 1980 well after they became accepted for women on at least casual 
>occasions.
>
>I regularly wear full Elizabethan courtdress and don't have much trouble 
>moving in it. The period dances are quite strenuous and bouncey but I have 
>never had a problem doing them. I have also personally climbed up on and 
>ridden an elephant in it, as well as run full tilt across uneven ground. I 
>have a friend who used to climb trees in it on a fairly regular basis.
>
>One of the things I've noticed about the difference betwee how they might 
>have moved in the past with long skirts and how modern people move is that 
>we moderns thend to lean forward slightly as we walk. It's no problem 
>wearing pants or a short (above ankle length), but it almost guarantees 
>you will walk up the front of a floor length skirt. Another thing we do 
>differently is that we allow our hips to sway quite a bit as we walk. In a 
>long skirt (particularly with hoops) it becomes very gauche very quickly. 
>In my Elizabethan hoops, I mostly walk from the knees down with minimal 
>hip involvment. The Guilde of St. George at Bristol goes thru training 
>every year with new people who join, so we are pretty aware of how to 
>train people to walk in a hoop. In modern life I have a tnedency to take 
>long strides (I'm fairly tall) but that's antoher thing you can't do in 
>hoops- gotta take small lady-like steps! One of the greatest compliments 
>we ladies get out at Bristol is that we look l!
>  ike hovercraft as we walk.


A modern view of someone in a *crinoline* skirt walking properly is Grace 
Kelly, in "To Catch a Thief". Towards the end of the movie she is in a 
blue? ball gown with a crinoline skirt. She crosses the ball room, goes up 
a set of steps and along a corridor (I think that is the sequence - many 
years since I viewed it.) I would swear that she was on a set of roller 
skates and someone gave her a push - you never see movement, just glide - 
it is fascinating to watch.

The thing I found about the walking was as someone mentioned earlier - we 
now walk "heel toe" (flat shoes and trainers cause this in my opinion) 
whereas in earlier times people seem to have walked "toe heel" - look at 
the way the heel is set really far back on eighteenth century mules. If you 
walked "heel toe" in them, I am sure you would have kicked them off in no 
time!!

Suzi


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I wrote:

> >If you're looking for a structural lining, e.g. for a fitted 14th-15th c.
> >dress that molds the figure, I'd go for suit weight rather than shirt
> >weight. Works fine even under a slightly lighter-weight wool.

Carolyn asked:

> Is suit weight the same as trousers weight?  Inquiring minds want to know.

Probably. Heavier than blouse material, lighter than canvas, maybe around
the equivalent of denim.

When I think of "suit weight" in linen, I think of the unstructured linen
jackets and straight skirts I used to wear some years ago. That's not
necessarily the same as "suit weight" in wool, but then there's so much
variation in wool suits.

In general, though, I find "blouse weight" or "shirt weight" a little too
thin to do the job of manipulating the figure in a structural lining of a
14th-c. dress, where the lining does most of the real work.

--Robin


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On Sun, 24 Apr 2005, Elizabeth Walpole wrote:

> Hi everyone, I've been reading Herbert Norris' Tudor book and I've
> come across a description of a portrait that I haven't seen before. ...
> 
> I've skipped some of the description as I didn't want to, I looked on the
> Ashmolean Museum's website and I can't find a portrait matching that
> description, does anybody know if parts of their collection were
> lost/destroyed during WW2 or something though for a British museum in the
> midlands it seems unlikely (or maybe it's been sold to another museum since
> 1938 when this book was published) I'd just really like to see these satin
> lined sleeves that are edged with fur, it sounds odd for this period. A web
> search also fails to turn up any mention of a Jean van Cleef as a 16th
> century artist. Does anybody have any clue as to what Norris is talking
> about?

No idea about this picture, but a friend of mine tracked back another
Norris picture from this same book and found it bore no resemblance in
crucial details to the original. What's worse, Norris apparently combined
elements of at least one period description of a different outfit
(complete with original spellings) with his own comments based on his
re-interpreted image. The result had the ring of authority, but as far as
my friend could tell, it had no parallel to any single period source, and
definitely not to the source he was claiming.

--Robin

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On a FleaJaunt yesterday, I found myself killing time while my husband
was perusing yet one more pack of postcards.  At hand was a box of
'instant relatives'.  Among the gallery was a photo of a woman dressed
in fashionable 1880's fashion...not too unusual until I realized that
the trim on her skirt were bands of Raccoon fur.  I was the first time I
had seen garments of this period trimmed with fur...unless they were for
out of doors, which this one plainly was not! And this fur certainly was
not the fashionable sort favored in the '80's.

Kathleen


Could you post the URL for this item? I have a length of raccoon fur
gifted to me by an Aunt some years ago, that I've never quite figured
out what to do with.

Thanks!
Kate McClure
Who is most bummed that she will not be at CostumeCon this year, but
consoles herself in the fact that she'll be at Costume College! 

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On a FleaJaunt yesterday, I found myself killing time while my husband
was perusing yet one more pack of postcards.  At hand was a box of
'instant relatives'.  Among the gallery was a photo of a woman dressed
in fashionable 1880's fashion...not too unusual until I realized that
the trim on her skirt were bands of Raccoon fur.  I was the first time I
had seen garments of this period trimmed with fur...unless they were for
out of doors, which this one plainly was not! And this fur certainly was
not the fashionable sort favored in the '80's.

Kathleen


Could you post the URL for this item? I have a length of raccoon fur
gifted to me by an Aunt some years ago, that I've never quite figured
out what to do with.

Thanks!
Kate McClure
Who is most bummed that she will not be at CostumeCon this year, but
consoles herself in the fact that she'll be at Costume College! 

_______________________________________________
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] OT-Magic Flute
Date: Mon, 25 Apr 2005 17:52:08 -0600
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I havent seen the opera in question.  I was just responding to another 
comment which seemed to imply that the costumes were somewhat over the 
top, in which case, it could be a result of the designer and director 
being one in the same person.

I would be really interested in seeing pics of this opera production.  
Has anyone found any online?

Sylrog

On Apr 24, 2005, at 6:39 PM, AlbertCat@aol.com wrote:

>
> In a message dated 4/24/2005 7:06:52 P.M. Eastern Standard Time,
> sylvia@ntw.net writes:
>
> think  you just said it.  When the visuals overwhelm the substance,
> that's  where you draw the line.  And it takes good designers and
> directors  to figure that out.  Now if the designer in this case, Ms.
> Taymore,  is also the director, I can see how the problem  arises.
>
>
>
>
> But there is no problem here. There is nothing in these designs that 
> are
> gratuitous or over done. Everything arises out of the story and music 
> which is
> about mysticism and dark vs light. But it is, as I said, not subtle. 
> It is new
> and striking.
>
> Y'know, the same complaint was ever-present 30 years ago when Ponnelle 
> and
> Zeffirelli did their productions in the 70s & 80s that brought,  like,
> stage...as in plays...drama and action as well as scenery and costume 
> to  the "just
> stand there and sing" world of opera.
>
> "Eurotrash"....as it has been called even though it is most certainly 
> not
> exclusive to Europe...arises when you have like midgets jumping on 
> trampolines
> in "Le Nozzi di Figaro" for no apparent reason or Nazis with dogs in 
> "Der
> Rosenkavalier" which is just stretching it too far.
>
> None of that is here.
> _______________________________________________
> 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] book
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On Mon, 25 Apr 2005, Beth and Bob Matney wrote:

> It's a bit early (due out in early 2006) but I thought that some of you 
> might be interested:

> Cloth and Clothing in Anglo-Saxon England, AD 450-700 by Penelope Rogers
> <snip>
> 250p, 100 illus. (Council for British Archaeology 2005)
> ISBN 1902771540. Paperback. Not yet published - advance orders taken. 
> Publishers price US $39.95, DBBC Price US $32.00 

Where did you hear 2006? David Brown's site doesn't have anything other
than the above (2005).

--Robin

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From: "Elizabeth Walpole" <ewalpole@iimetro.com.au>
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Subject: Re: [h-cost] looking for a portrait
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<snip>
> No idea about this picture, but a friend of mine tracked back another
> Norris picture from this same book and found it bore no resemblance in
> crucial details to the original. What's worse, Norris apparently combined
> elements of at least one period description of a different outfit
> (complete with original spellings) with his own comments based on his
> re-interpreted image. The result had the ring of authority, but as far as
> my friend could tell, it had no parallel to any single period source, and
> definitely not to the source he was claiming.
>
> --Robin
>
That's exactly why I'm trying to come up with the original portrait. the
satin lined sleeves edged with fur just sounds so unbelievable I want to
work out what he's describing.
thanks
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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Subject: Re: [h-cost] book
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On Monday 25 April 2005 2:17 pm, Beth and Bob Matney wrote:
> It's a bit early (due out in early 2006) but I thought that some of you
> might be interested:
>
> Cloth and Clothing in Anglo-Saxon England, AD 450-700 by Penelope Rogers
>
> This archaeological study of Anglo-Saxon textiles and decoration is based
> on the first exhaustive study of dress evidence from early medieval
> cemeteries.


[rest cut]

<drool>  Yes, I'm interested!  Thanks for the information!

-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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Subject: [h-cost] Re: comfort
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Fran:

No arguments here. I didn't say that it was more comfortable than ALL modern
clothes, just some. More comfortable than, say, yoga clothes? No way. But it
is definitely more comfortable to wear and dance in than tight jeans -- and
I stand by that statement! To me, very little is less comfortable than tight
jeans. I don't know how anyone can stand to wear them.

Gail Finke

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Subject: Re: [h-cost] looking for a portrait
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> Hi everyone, I've been reading Herbert Norris' Tudor book and I've come
> across a description of a portrait that I haven't seen before. I'll quote
> the description in case somebody knows where I can find a picture.
> "In the Ashmolean Museum, Oxford, is a three-quarter-length portrait said
to
> be the Princess Mary, attributed to Jean van Cleef, and painted (according
> to an expert) in the year 1537. ... [she] is dressed in bodice, sleeves,
and
> skirt of black velvet... The sleeves are not so large as usual... lined
with
> crimson satin and edged with a narrow band of ermine. The sleeves are
turned
> back to just above the elbow level, revealing the false sleeves of gold
> brocade."


http://home.earthlink.net/~elisale/portraitgallery.html

It seems to have been reattributed to Antonio Moro which is perhaps why it's
been hard to track down. It's only in black and white here, but you can see
a band of fur rather than a whole turned back cuff.
And another reason is it is now understood to be a copy;
"Update- the Ashmolean Museum has confirmed that this is a later painting
probably from the 19th century and not contempory."

michaela de bruce
http://glittersweet.com



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But jeans don't have to be worn hold-your-breath-and-yank-them-on 
tight!   The style now is to wear T-shirts and jeans like you got poured 
into them, but that's not mandatory. I'm buying all my T-shirts a size 
bigger lately.

Fran
http://www.lavoltapress.com

Gail & Scott Finke wrote:

>To me, very little is less comfortable than tight
>jeans. I don't know how anyone can stand to wear them.
>
>
>  
>
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I called David Brown and pre-ordered it. That was the exact wording "early 
2006" that they told me. They said that they could not be more specific. I 
REALLY wanted it sooner! (but I've always been a bit impatient).

Beth

At 09:05 PM 4/25/2005, you wrote:
>Date: Mon, 25 Apr 2005 19:00:13 -0500 (CDT)
>From: Robin Netherton <robin@shell.nightowl.net>
>Subject: Re: [h-cost] book
>To: Historical Costume <h-costume@indra.com>
>
>On Mon, 25 Apr 2005, Beth and Bob Matney wrote:
>
> > It's a bit early (due out in early 2006) but I thought that some of you
> > might be interested:
>
> > Cloth and Clothing in Anglo-Saxon England, AD 450-700 by Penelope Rogers
> > <snip>
> > 250p, 100 illus. (Council for British Archaeology 2005)
> > ISBN 1902771540. Paperback. Not yet published - advance orders taken.
> > Publishers price US $39.95, DBBC Price US $32.00
>
>Where did you hear 2006? David Brown's site doesn't have anything other
>than the above (2005).
>
>--Robin

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Subject: RE: [h-cost] New Simplicity Martha McCain pattern
Date: Mon, 25 Apr 2005 22:35:51 -0400
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>From Martha McCain:
"It was definitely photographed over the smaller hoop in #7216.  I sent two
cotton petticoats to go over the hoop.  I don't know if the model wore both.

The skirt (as I cut it) is four panels.  The front panel is 30" wide (to put
the pocket and the opening in the right place.)  The other panels I
suggested could vary to suit the fabric used.  So if you had 45" fabric your
skirt would be 45 x 3 = 135 = the 30" front panel - total 165" depending on
seam allowances.  It's a gauged skirt, so it can be whatever works best. The
center front and center back are on a fold."

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006




I have a question for anyone who has looked at this pattern - what is the 
model wearing under her skirts? If it's a hoop, it's a pretty small one, 
and definitely NOT either of the hoops in earlier Martha McCain patterns. 
If it's petticoats, how many and what style? While I certainly have enough 
petticoats in my wardrobe to properly support this dress, I'd like to know 
what the designer intended, how she intended the dress to be worn. There's 
nothing referenced anywhere in the pattern instructions about undergarments 
and I didn't see another pattern for petticoats on the Simplicity website

Oh, and one other thing - there's no skirt circumference measurement 
anywhere on the pattern, that I can see, at least. I've emailed 
simplicity.com about this, but in the meantime if anyone knows what that 
measurement is, I'd appreciate the info.

Julie

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Carolyn Kayta Barrows writes:

> My mother's mother was born in 1880, and sometime in the like late
> 1960s-early 1970s she showed me how to walk in a long skirt.  This was
> when  Maxi skirts were new.  She said modern women didn't know how to
> walk in  long skirts, and walked across the floor kicking an imaginary
> Maxi skirt  out of the way.  (She never wore a skirt shorter than
> mid-calf.)  She said  one had to glide, "like this" - and she did it so
> I could see.  The balls  of her feet touched the floor before her heels
> did, and she could have  carried the proverbial book on her head with
> out it falling off.  She  didn't bounce at all, but moved around like
> she was on
> wheels.

Now that's somewhat dissappointing.   I kinda LIKE kicking my skirt out of
the way.  it's fun.   I can see I need some practice.   Kitty


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Subject: Re: [h-cost] looking for a portrait
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Yes, Anthonis Mor van Dashorst paintings are very hard to find (under any 
of his usual names). It's a shame...He did lots of good costume portraits. 
I would love to find a good book on his paintings.

Beth

At 09:05 PM 4/25/2005, you wrote:


>http://home.earthlink.net/~elisale/portraitgallery.html
>
>It seems to have been reattributed to Antonio Moro which is perhaps why it's
>been hard to track down. It's only in black and white here, but you can see
>a band of fur rather than a whole turned back cuff.
>And another reason is it is now understood to be a copy;
>"Update- the Ashmolean Museum has confirmed that this is a later painting
>probably from the 19th century and not contempory."
>
>michaela de bruce

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>
> Note that urban versus city living has a strong effect on house size.
> In the country, where land is more available, people tended as a very
> general rule to build bigger houses.
>

urban IS City.   Rural is country.


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] test
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On Monday 25 April 2005 2:16 pm, Diane Maynard wrote:
> Has anyone received any emails on the list since 4/18 or is the list really
> this quiet ?

There have certainly been posts since 4/18.  I'm not sure what your problem 
is, since I have received them and could have done without because I was on 
vacation 4/21-24.  :-)
>

-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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Subject: [h-cost] Magic Flute
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I googled Julie Taymor on google images and came up with an article in Andante magazine that has some wonderful images, including the bears.

       Hope this works for you,

                       Anna von Argenthal
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References: <200504240527.j3O5RZS5031388@net.indra.com><000a01c548d4$70a67170$0600a8c0@genteelarts>	<49182.209.249.180.89.1114351050.squirrel@webmail.patriot.net>	<035601c5490b$6bac2980$0400a8c0@compaqub><7c7e542c4a7cdf62e3f6f158240fdbdb@ntw.net>	<426C0D0E.50201@lavoltapress.com>	<49166.209.249.180.16.1114383209.squirrel@webmail.patriot.net>	<426C3CAB.6080404@lavoltapress.com>
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Just bad email editing/cut and paste, as I'm sure you realize. Just like 
you probably realize that as the beginning of your first sentence, 
"urban" should be captalized.

Fran
Lavolta Press
http://www.lavoltapress.com

basyefelton@floodcity.net wrote:

>>Note that urban versus city living has a strong effect on house size.
>>In the country, where land is more available, people tended as a very
>>general rule to build bigger houses.
>>
>>    
>>
>
>urban IS City.   Rural is country.
>
>
>_______________________________________________
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>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>  
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost]  bliaut thinking...
Date: Tue, 26 Apr 2005 00:18:50 -0400
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On Thursday 21 April 2005 5:44 pm, Susan wrote:
> I was thinking about bliaut and their pleats last night and remembered that
> years ago I knew a weaver who was working on a special project.  the fabric
> was set up so that once it had been woven and washed, the fabric would form
> little pleats as the warp (or the weft - can't remember which) would shrink
> slightly in the washing.  Has anyone ever seen anything like that?  Is it
> possible that the fabric pleats were either woven in or are an accident of
> weaving that someone liked and incorporated into a dress that was copied?
>
> One thing I have wanted to check is if there is a middle eastern garment
> that has a waist seam that could have turned into a bliaut. 

There is at least one Central Asian coat with a pleated-on skirt:

http://www.geocities.com/qilich/clothing/html/coat2a.htm

However, this garment does not have a close fit or long hanging sleeves, the 
way a bliaut does.  In addition, this garment has an overlapping front 
closure--something that was not seen in western Europe at the time.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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Subject: [h-cost] 18th century movie on TV (for the Australians)
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for anybody interested in 18th century clothing you may want to watch Barry Lyndon tomorrow night (wednesday 27 April) at 10PM on the SBS. it was mentioned on this list a few weeks ago and from peoples descriptions it's scores highly on the authenticity.
Elizabeth

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Date: Mon, 25 Apr 2005 21:41:20 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: comfort
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>To me, very little is less comfortable than tight
>jeans. I don't know how anyone can stand to wear them.

In a word - Spandex.


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

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Subject: Re: [h-cost] Re: Julie Taymor
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>Did you see her exhibit.  I know it went to Chicago after it left DC.  I 
>don't know where it went after Chicago.

I missed any exhibit she had, and I missed the show itself when it was in 
San Francisco.  Whoever said that poverty is ennobling was wrong.


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

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Subject: Re: [h-cost] Re: Julie Taymor
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Kayta,

I had through my back out at the time.  My husband took me all the way to 
DC.  He rented a wheelchair for me.  My son and I really wanted to see the 
exhibit.  My son sometimes does costumes for theater as well as set design.. 
Both of us we so inspired.  I can't recall if it was two or three floors of 
her costumes.  I do remember that when the elevators opened for the second 
floor, a giraffe costume from The Lion King (TLK) was right in front of us. 
This was TLK floor.  Almost all the costumes that you see in the book were 
on displays.  Several had Julie's miniature models in costume beside the 
life size costume.  This was so cool.  The miniature was exactly like the 
life size.  I seem to recall on one wall was a step-by-step display of her 
creating the models.  There were also several videos of her work process on 
different projects.

I really think this exhibit helped my son to decide to go into the 
professional arena, and on to college.  He has been doing professional work 
since 10th grade.  He's the one going to college in Liverpool.

Here are some articles about the Taymor exhibit:
http://www.nmwa.org/news/news.asp?newsid=29 (this is the one I saw)
http://oncampus.osu.edu/v28n18/thisissue_3.html
http://www.citybeat.com/1999-09-23/art3.shtml

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


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Subject: Re: [h-cost] looking for a portrait
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> http://home.earthlink.net/~elisale/portraitgallery.html
>
> It seems to have been reattributed to Antonio Moro which is perhaps why
it's
> been hard to track down. It's only in black and white here, but you can
see
> a band of fur rather than a whole turned back cuff.
> And another reason is it is now understood to be a copy;
> "Update- the Ashmolean Museum has confirmed that this is a later painting
> probably from the 19th century and not contempory."
>
> michaela de bruce
> http://glittersweet.com
>

Thanks so much Michaela, at least we know Norris wasn't making up his
description even if the source isn't reliable.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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Plus at least one of the pictures in the book, said to have been in the 
national gallery - on contacting them they said it may have been destroyed in the 
war, andas some of their records were too, they had no way of knowing.

Finally tracked it down - it had been in the tate all along!!

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Subject: [h-cost] Re: comfort
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In a message dated 4/26/05 3:08:16 AM GMT Daylight Time, 
h-costume-request@indra.com writes:

> To me, very little is less comfortable than tight
> >jeans. I don't know how anyone can stand to wear them.
> 
Lots and lots of stretch!!!
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From: "Katie Lewis" <katie_lewis@lycos.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Tue, 26 Apr 2005 11:10:01 -0500
Subject: Re: [h-cost]  bliaut thinking...
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Catherine wrote:
> 
> There is at least one Central Asian coat with a pleated-on skirt:
> 
> http://www.geocities.com/qilich/clothing/html/coat2a.htm

Cool image!  Thank you for posting it.
> 
> However, this garment does not have a close fit or long hanging sleeves, the
> way a bliaut does.  In addition, this garment has an overlapping front
> closure--something that was not seen in western Europe at the time.

I would also point out that this coat is Central Asian, and so is not something that Crusaders are likely to have brought back home.   
In addition, the pleated skirt on this type of coat mainly serves to give a slight bell effect to bottom half of the coat, it dosen't seem to do the things that hypothetical set in skirts do on a bilaut.

-Katie


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From h-costume-bounces@indra.com  Tue Apr 26 13:12:04 2005
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re:New Simplicity
Date: Tue, 26 Apr 2005 13:09:46 -0400
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If you look at the fabrics for the beginning of the 19thC you will see a lot
of very sheer fabrics such as dimity and dotted Swiss. This fabric weight
was still available throughout the century. I have two skirts of the 1850-60
period that are very sheer; one is a plaid with a matching capelet.  There
is a photo of women from my church which features this ensemble.  It
originally had a matching bodice .
 The one difference between today's sheer garments and the antiques is that
they did wear underwear.  I have seen many who are puzzled by the sheers
from the 20thC and say,"I could never wear anything as revealing as
that...How did they get away with it!" When you present them with the idea
that the gown or dress would have complete undies, they are amazed.

Kathleen

----- Original Message ----- 
From: "Melody Watts" <celticredhead2002@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 25, 2005 2:29 PM
Subject: RE: [h-cost] Re:New Simplicity


> I remember seeing in a book on lady Civil War spies,
> one woman's photo showed her wearing a summer frock.
> It was made of an airy material, in a plaid like
> pattern, it was in fact, so sheer you could see thru
> it to the under garments she was wearing. Her toddler
> girl was wearing a similar dress.
> I didn't imagine them having such light weight
> materials available,let alone wearing them....and she
> was a "respectable matron" of the community...except
> for the spying thing......
>  Melody
>
> --- Carolann Schmitt <cschmitt@genteelarts.com> wrote:
> >
> > While fashions from this era may look very heavy to
> > wear, if they are made in appropriate weight fabrics
> they usually are not.
> > Many of the fabrics used during the period are very
> lightweight. As part of a presentation, I did a
> > comparison of the weights of original garments,
> > reproduction garments using comparable weight
> fabrics, and reproduction garments using inappropriate
> > weight fabrics, i.e. drapery or upholstery fabrics.
> > Several original silk taffeta dresses weighed a
> little less than a pound;
> > the reproductions using comparable fabrics and
> linings weighed within an ounce of the originals;
> > reproductions using a drapery fabrics weighed from
> > five to eight pounds.
> >
> > Carolann Schmitt
> > cschmitt@genteelarts.com
> > www.genteelarts.com
> > Ladies & Gentlemen of the 1860s Conference, March
> > 2-5, 2006
> >
> >
> >
> >
> >
>
>
> >
>
>
> __________________________________________________
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Subject: Re: [h-cost] Videos of costume dramas for sale
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Fran, I would love to see you list!  I am off to NH soon for the summer and
am putting together a bag of viewing entertainment as well as for reading.

Kathleen Mitchell
----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Sunday, April 24, 2005 6:19 PM
Subject: [h-cost] Videos of costume dramas for sale


> I've been amassing a big collection of DVDs and videos. There are some I
> don't want to keep; I have way too much stuff around here.  Some I don't
> want to see again, some I replaced with other formats.  Most are costume
> dramas, a few are historical/informational, a few are fantasy.  I don't
> have time to make a list of them all, or list them with details (date,
> actors, etc; but there are places on the net to look up that info).
> There are also a couple books on tape my husband bought to listen to
> while commuting.
>
> I listed the titles and very brief information for a couple of dozen of
> these items in a file.  I can email the file to anyone who requests it.
> Prices will be based on the going used, non-eBay rates for that film in
> that condition (most I bought new and viewed once).
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> _______________________________________________
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Subject: Re: [h-cost] Re: hoopskirts and comfort
Date: Tue, 26 Apr 2005 13:25:30 -0400
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Thought you might like a tale related to me by a fellow costumer. Back in
the early 1980's she was costuming The King and I and when she came to the
point of dress rehearsal, she made a special point to get the women in some
sort of underwear.  One woman was such a free spirit that she did not heed
the instructions.  When the scene for the ball opened, the King's entrance
brought all the 'wives' to their knees and heads on the floor as blocked,
this particular lass had not yet gained control of the unfamiliar hoops, and
Yes, the inevitable happened.  She "mooned" the whole cast and invited
guests!  After that, she decided to get old fashioned, and wear the d*
undies.

Kathleen
---- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Sunday, April 24, 2005 8:59 PM
Subject: [h-cost] Re: hoopskirts and comfort


>
> Sylrog:
>
> I used to be in a historic dance troupe, and one of our periods was the
> 1860s. I not only wore a chemise, corset, hoop skirt, petticoat, and gown,
> but I danced in them quite vigorously. They were very comfortable, in some
> ways more comfortable than modern clothes (give me a good corset over a
pair
> of tight jeans any day). I don't know why you'd think it's impossible to
> walk through modern doorways in a hoopskirt. I did it all the time. My
gown
> was made of light Indian cotton, because it was a test for the pattern and
I
> never made a "real" one. But most of the women in the group had gowns made
> of light silk, and they weighed NOTHING. One woman even had a gorgeous
full
> petticoat that was ALL ruffles, maybe three or four inches wide. It didn't
> weigh anything either...
>
> I live in a neighborhood with many old houses, and many of them do have
very
> big rooms, though not a lot of rooms. Also, I lived in two dorms that had
> been dorms for a women's college in the 1860s. The hallways were huge, and
> so were all the doors in the common areas. (The dorm rooms were small,
> barely enough for two single beds and two small desks, and their doors
were
> normal-sized.) We were always told that the hallways and big doorways were
> wide to accommodate the hoop skirts. I don't know if that's true, but it
> certainly makes a lot of sense when you imagine a few dozen young women in
> hoop skirts walking around at the same time.
>
> Gail Finke
> (in Cincinnati, Ohio)
>
> _______________________________________________
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <4573B3011A18EF4A86F07223C3E8E15DBC13B8@denpexmb01-dex-bup>
Subject: Re: [h-cost] RE: unusual picture
Date: Tue, 26 Apr 2005 13:31:12 -0400
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I can't do it on this machine but may be able to do it from a friend's.

Kathleen
----- Original Message ----- 
From: "McClure, Kate" <kate.mcclure@dexmedia.com>
To: <h-costume@indra.com>; <h-costume@net.indra.com>
Sent: Monday, April 25, 2005 6:29 PM
Subject: [h-cost] RE: unusual picture


> On a FleaJaunt yesterday, I found myself killing time while my husband
> was perusing yet one more pack of postcards.  At hand was a box of
> 'instant relatives'.  Among the gallery was a photo of a woman dressed
> in fashionable 1880's fashion...not too unusual until I realized that
> the trim on her skirt were bands of Raccoon fur.  I was the first time I
> had seen garments of this period trimmed with fur...unless they were for
> out of doors, which this one plainly was not! And this fur certainly was
> not the fashionable sort favored in the '80's.
> 
> Kathleen
> 
> 
> Could you post the URL for this item? I have a length of raccoon fur
> gifted to me by an Aunt some years ago, that I've never quite figured
> out what to do with.
> 
> Thanks!
> Kate McClure
> Who is most bummed that she will not be at CostumeCon this year, but
> consoles herself in the fact that she'll be at Costume College! 
> 
> _______________________________________________
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <001701c54a08$af2ca6a0$0600a8c0@genteelarts>
Subject: Re: [h-cost] New Simplicity Martha McCain pattern
Date: Tue, 26 Apr 2005 13:39:55 -0400
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I have been trying to find this pattern at various venues without success.
Any suggestions?
Kathleen
----- Original Message ----- 
From: "Carolann Schmitt" <cschmitt@genteelarts.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, April 25, 2005 10:35 PM
Subject: RE: [h-cost] New Simplicity Martha McCain pattern


> >From Martha McCain:
> "It was definitely photographed over the smaller hoop in #7216.  I sent
two
> cotton petticoats to go over the hoop.  I don't know if the model wore
both.
>
> The skirt (as I cut it) is four panels.  The front panel is 30" wide (to
put
> the pocket and the opening in the right place.)  The other panels I
> suggested could vary to suit the fabric used.  So if you had 45" fabric
your
> skirt would be 45 x 3 = 135 = the 30" front panel - total 165" depending
on
> seam allowances.  It's a gauged skirt, so it can be whatever works best.
The
> center front and center back are on a fold."
>
> Carolann Schmitt
> cschmitt@genteelarts.com
> www.genteelarts.com
> Ladies & Gentlemen of the 1860s Conference, March 2-5, 2006
>
>
>
>
> I have a question for anyone who has looked at this pattern - what is the
> model wearing under her skirts? If it's a hoop, it's a pretty small one,
> and definitely NOT either of the hoops in earlier Martha McCain patterns.
> If it's petticoats, how many and what style? While I certainly have enough
> petticoats in my wardrobe to properly support this dress, I'd like to know
> what the designer intended, how she intended the dress to be worn. There's
> nothing referenced anywhere in the pattern instructions about
undergarments
> and I didn't see another pattern for petticoats on the Simplicity website
>
> Oh, and one other thing - there's no skirt circumference measurement
> anywhere on the pattern, that I can see, at least. I've emailed
> simplicity.com about this, but in the meantime if anyone knows what that
> measurement is, I'd appreciate the info.
>
> Julie
>
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>
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Subject: Re: [h-cost] New Simplicity Martha McCain pattern
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In a message dated 4/26/2005 1:39:59 PM Eastern Daylight Time,  
rmitchell@washjeff.edu writes:
>I have been trying to find this pattern at  various venues without success.
>Any suggestions?
>Kathleen
 
 

eBay currently has several listed in its "stores" section between $2.99  and 
$8.99 each, at "Buy it Now" prices.  I'd definitely snap up this new  dress 
pattern if I didn't have a huge stash of fabric and not enough room to  keep it 
in!  I've already taken over the closet and drawers of the guest  room of my 
house, and I am being forbidden non-essential fabric trips until I  make use of 
the fabric I already have (essential fabric trips being considered  as trips 
for lining, interlining, etc).  So, it will have to wait until  after I've 
cleared out some of my stash!

- Christine
 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Simplicity Martha McCain pattern
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Lloyd Mitchell wrote:
> I have been trying to find this pattern at various venues without success.
> Any suggestions?
> Kathleen

If it's the brand new one it may just take a week or two for your local 
rep to get it stocked in stores near you. Just keep checking every week.



Dawn


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Subject: [h-cost] Re: [F-Frau] "real" name for Low lands Pom Pom hat?
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In case anyone is interested, Davenport refers to this as a Tiphoike.  
The Hoike part refers to the long cape like attachment....I guess that 
leaves Tipp as the name for the hat....hmmm...not very satisfactory. 

Sg

Wicked Frau wrote:

>>Does anyone know the "real" name for the raised pom pom hat in this 
>>picture?
>>
>>http://www.louvre.fr/img/photos/collec/peint/grande/rf1977.jpg
>>
>>Thanks,  Sg
>>
>>    
>>
>
>
>  
>
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From: Sylvia Rognstad <sylvia@ntw.net>
Subject: Re: [h-cost] Re: hoopskirts and comfort
Date: Tue, 26 Apr 2005 18:15:43 -0600
To: Historical Costume <h-costume@indra.com>
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Isn't that what really happens in the play when the Siamese women first 
put on their hoop skirts?

On Apr 26, 2005, at 11:25 AM, Lloyd Mitchell wrote:

> Thought you might like a tale related to me by a fellow costumer. Back 
> in
> the early 1980's she was costuming The King and I and when she came to 
> the
> point of dress rehearsal, she made a special point to get the women in 
> some
> sort of underwear.  One woman was such a free spirit that she did not 
> heed
> the instructions.  When the scene for the ball opened, the King's 
> entrance
> brought all the 'wives' to their knees and heads on the floor as 
> blocked,
> this particular lass had not yet gained control of the unfamiliar 
> hoops, and
> Yes, the inevitable happened.  She "mooned" the whole cast and invited
> guests!  After that, she decided to get old fashioned, and wear the d*
> undies.
>
> Kathleen
> ---- Original Message -----
> From: "Gail & Scott Finke" <gailscott@eos.net>
> To: <h-costume@indra.com>
> Sent: Sunday, April 24, 2005 8:59 PM
> Subject: [h-cost] Re: hoopskirts and comfort
>
>
>>
>> Sylrog:
>>
>> I used to be in a historic dance troupe, and one of our periods was 
>> the
>> 1860s. I not only wore a chemise, corset, hoop skirt, petticoat, and 
>> gown,
>> but I danced in them quite vigorously. They were very comfortable, in 
>> some
>> ways more comfortable than modern clothes (give me a good corset over 
>> a
> pair
>> of tight jeans any day). I don't know why you'd think it's impossible 
>> to
>> walk through modern doorways in a hoopskirt. I did it all the time. My
> gown
>> was made of light Indian cotton, because it was a test for the 
>> pattern and
> I
>> never made a "real" one. But most of the women in the group had gowns 
>> made
>> of light silk, and they weighed NOTHING. One woman even had a gorgeous
> full
>> petticoat that was ALL ruffles, maybe three or four inches wide. It 
>> didn't
>> weigh anything either...
>>
>> I live in a neighborhood with many old houses, and many of them do 
>> have
> very
>> big rooms, though not a lot of rooms. Also, I lived in two dorms that 
>> had
>> been dorms for a women's college in the 1860s. The hallways were 
>> huge, and
>> so were all the doors in the common areas. (The dorm rooms were small,
>> barely enough for two single beds and two small desks, and their doors
> were
>> normal-sized.) We were always told that the hallways and big doorways 
>> were
>> wide to accommodate the hoop skirts. I don't know if that's true, but 
>> it
>> certainly makes a lot of sense when you imagine a few dozen young 
>> women in
>> hoop skirts walking around at the same time.
>>
>> Gail Finke
>> (in Cincinnati, Ohio)
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>
> _______________________________________________
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On Tuesday 26 April 2005 12:10 pm, Katie Lewis wrote:
> Catherine wrote:
> > There is at least one Central Asian coat with a pleated-on skirt:
> >
> > http://www.geocities.com/qilich/clothing/html/coat2a.htm
>
> Cool image!  Thank you for posting it.
>
> > However, this garment does not have a close fit or long hanging sleeves,
> > the way a bliaut does.  In addition, this garment has an overlapping
> > front closure--something that was not seen in western Europe at the time.
>
> I would also point out that this coat is Central Asian, and so is not
> something that Crusaders are likely to have brought back home. 

I agree.  Neither is the type of men's wear from India mentioned earlier in 
this thread.  My purpose in mentioning this coat was to show that  there 
doesn't seem to be any reason to assume garments with waist seams that are 
(roughly) contemporary with the bliaut had any other physical resemblances to 
that garment.

> In addition, 
> the pleated skirt on this type of coat mainly serves to give a slight bell
> effect to bottom half of the coat, it dosen't seem to do the things that
> hypothetical set in skirts do on a bilaut.

Again, I agree.  Of course, the coat is made of  a heavy fabric and likely was 
lined, which would also affect the silhouette.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] Re: hoopskirts and comfort
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That particular "Tale" sounds like the re telling of
the actual movie scene, when the Siamese Ladies of the
Court are about to greet the visiting English
gentlemen,tricked out on English hoop gowns,ala
Mrs.Leon- Owens ...see the King and do the "toady",
head to floor, hoops raising behing them like peacocks
tails, the Gentleman pops his monocle at the"behind
the scence" scene. The Ladies raise up, scream at the
sight of his goatee and runoff screaming "he has the
head of a goat".he also gets a glimpse of their  bare
legs.... 
 Maybe it was to good a scene not to steal....

--- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
> Thought you might like a tale related to me by a
> fellow costumer. Back in
> the early 1980's she was costuming The King and I
> and when she came to the
> point of dress rehearsal, she made a special point
> to get the women in some
> sort of underwear.  One woman was such a free spirit
> that she did not heed
> the instructions.  When the scene for the ball
> opened, the King's entrance
> brought all the 'wives' to their knees and heads on
> the floor as blocked,
> this particular lass had not yet gained control of
> the unfamiliar hoops, and
> Yes, the inevitable happened.  She "mooned" the
> whole cast and invited
> guests!  After that, she decided to get old
> fashioned, and wear the d*
> undies.
> 
> 

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: hoopskirts and comfort
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Maybe so, but not quite the expected theft for this conservative audience!
 And who is to say that Mrs.LeonOwens hadn't shown them her
drawers...assuming again that she wore them herself. A moon is a moon but
sometimes paler than others.

Kathleen

----- Original Message ----- 
From: "Melody Watts" <celticredhead2002@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, April 27, 2005 1:41 AM
Subject: Re: [h-cost] Re: hoopskirts and comfort


> That particular "Tale" sounds like the re telling of
> the actual movie scene, when the Siamese Ladies of the
> Court are about to greet the visiting English
> gentlemen,tricked out on English hoop gowns,ala
> Mrs.Leon- Owens ...see the King and do the "toady",
> head to floor, hoops raising behing them like peacocks
> tails, the Gentleman pops his monocle at the"behind
> the scence" scene. The Ladies raise up, scream at the
> sight of his goatee and runoff screaming "he has the
> head of a goat".he also gets a glimpse of their  bare
> legs....
>  Maybe it was to good a scene not to steal....
>
> --- Lloyd Mitchell <rmitchell@washjeff.edu> wrote:
> > Thought you might like a tale related to me by a
> > fellow costumer. Back in
> > the early 1980's she was costuming The King and I
> > and when she came to the
> > point of dress rehearsal, she made a special point
> > to get the women in some
> > sort of underwear.  One woman was such a free spirit
> > that she did not heed
> > the instructions.  When the scene for the ball
> > opened, the King's entrance
> > brought all the 'wives' to their knees and heads on
> > the floor as blocked,
> > this particular lass had not yet gained control of
> > the unfamiliar hoops, and
> > Yes, the inevitable happened.  She "mooned" the
> > whole cast and invited
> > guests!  After that, she decided to get old
> > fashioned, and wear the d*
> > undies.
> >
> >
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
> _______________________________________________
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>

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Subject: Re: [h-cost] Videos of costume dramas for sale
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All recordings in North American video format unless otherwise noted. 
All are legitimate manufacturer’s versions. (I put a few items that came 
with cardboard cases into sturdier plastic cases.) None were played by 
me more than once, most were bought new by me. All are in very good to 
excellent condition unless otherwise noted. All are in English or have 
English subtitles.

Prices are based on what I find to be the going rate for this used video 
(so if it is a “rare” OP video it will cost more). Payment should be by 
check or money order. Buyer pays shipping. Shipping will be media mail 
or priority mail as requested; insurance is required for expensive 
items. Please do not reserve an item unless you are determined to buy 
it. No returns or refunds.

* *

*Tapes*

“The Saragossa Manuscript” (fantasy; widescreen, 2 tapes) $18

“Monty Python and the Holy Grail” (comedy/fantasy) $8

Pasolini “The Decameron” (Renaissance Italian tales) $25

Ian Holm “King Lear” (Shakespeare) $24

“Peter the Great” (late 17thc-early 18thc Russian) $12

1967/Julie Christie “Far from the Madding Crowd” (Thomas Hardy) $20

BBC “Barchester Chronicles” (2 tapes, *UK/European video format) *$15**

1985 BBC “Sense and Sensibility” (Jane Austen) $13

1980 BBC “Pride and Prejudice” (Jane Austen) 2 tapes, $6

1995 “Persuasion” (Jane Austen; still shrink wrapped) $18

“Oscar and Lucinda” (Peter Carey) $3

“Swann in Love” (Proust) $13

Bergman “Fanny and Alexander” (a little snow in tape) $10

“My Brilliant Career” (set in turn-of-20thc Australia) $25

“The Far Pavilions” (romance set in Raj India) $4

Masterpiece Theatre “Rebecca” (Daphne du Maurier) $17

Gregory Peck “To Kill a Mockingbird” $21

Milos Forman “The Firemen’s Ball” (satire; Czech with English subtitles) $10

*DVDs*

“Dragonslayer” (fantasy) $7

“Merlin” (Arthurian fantasy) $7

“Mists of Avalon” (Arthurian fantasy) $7

2000 “Arabian Nights” (fantasy) $7

“The Strange Case of Dr. Jeckyll & Mr. Hyde” (science fiction) $7

1971 “The Six Wives of Henry VIII” (historical miniseries) $60

2001 “The Wives of Henry VIII” (historical miniseries) $15

History Channel “Elizabeth” (the First; miniseries) $23

“Cromwell” $17

Catherine Deneuve “Time Regained” (Proust) $17

“Tipping the Velvet” (Gay coming of age, set in late Victorian era) $17

W. C. Fields “It’s a Gift!”$7

W. C. Fields “The Bank Dick” $7

W. C. Fields “International House” $7

Kenneth Branagh “To the Lighthouse” (Virginia Woolf) $4

1979 “All Quiet on the Western Front” (Remarque) $3

Humphrey Bogart “Treasure of the Sierra Madre” (special edition, 2 
disks) $13

“A Month by the Lake” (Romance set in 1920s) $7

Rosalind Russell “Auntie Mame” $10

A & E “Jewel in the Crown” (miniseries set in India) $45

*Books on Tape*

/Saint Leibowitz and the Wild Horse Woman/ (Miller, science fiction, 
sequel to _A Canticle for Leibowitz_) $52

*Printed Books *(all duplicates I bought by mistake)

Santina Levey, /Elizabethan Treasures: The Hardwick Hall Textiles/ 
Hardcover, new condition $20

/Beeton’s Book of Needlework,/ 1870, 1986 reprint. Hardcover, new 
condition $20

Susan Pufpaff, /Nineteenth Century Hat Maker’s and Felter’s Manuals/ 
Paperback, new condition $20

Valerie Steele, /Fetish: Fashion, Sex, and Power/ Paperback, new 
condition $10

Metropolitan Museum of Art, Our New Clothes, Acquisitions of the 1990s 
Paperback, new condition

Manning and Donaldson, /Fundamentals of Dress Construction/ Original 
1926 hardcover in excellent condition $22

Vera Nazarian, /Dreams of the Compass Rose/ (Fantasy) Hardcover, new 
condition $25

Edward Carey, /Observatory Mansions/ (Literary fantasy) Paperback, new 
condition $4



Lloyd Mitchell wrote:

>Fran, I would love to see you list!  I am off to NH soon for the summer and
>am putting together a bag of viewing entertainment as well as for reading.
>
>Kathleen Mitchell
>  
>
>  
>
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Subject: Re: [h-cost] 1874 Canadian dress
Date: Tue, 26 Apr 2005 13:55:19 -0400
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I was able to get this book used from one of the alternate book sources.
Thankyou for the lead.

Kathleen
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, April 25, 2005 10:26 AM
Subject: Re: [h-cost] 1874 Canadian dress


> Kathy Page wrote:
>
> > I have been contacted by a potential client whom has
> > asked for a woman's day dress, circa 1874, Ontario.
>
> Ah, look for a copy of "Women's Costume in Ontario (1867 - 1907)" by
> K.B. Brett and the Royal Ontario Museum/ University of Toronto, 1966.
> It's a 16 page booklet with B&W photos and a text overview. I can't say
> it is specifically rural clothing, but it is Canadian, and there are
> some differences in style from the American of the same period. The
> booklet says Ontario followed the English fashions, but New York and
> Boston styles also caught their eye.
>
>
> Dawn
>
>
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From: Melody Watts <celticredhead2002@yahoo.com>
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Subject: [h-cost] Book or website on Blackwork Basics needed.....
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 Hi 
Can anyone point me in the direction of a simple book
or webpage that shows how to do Blackwork, basic
stiches and patterns?
 I'd like a simple "primer" version so I can try to
make my next project look a little less ...bad.....
Thanks...
Melody

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Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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[This message was delayed because it was sent to h-costume-bounces
instead of to h-costume. Please make sure you are using the correct
address for the list.    -eliz]


> I think alot of what we perceive as comfort is actually just what we are used
to. I have been wearing period clothing (18th century originally) since I was 15
 and am quite comfortable in a variety of long skirt variations as well as moder
n clothing. My grandmother was born in 1891 and to her dying day never wore pant
s. She told me that she wore pants a couple of times as a girl to play tricks at
 Halloween, but she just never felt comfortable (Physically? Psychologically? Sh
e died before I thought to ask her.) in them even after they became accepted wea
r for women. She died in 1980 well after they became accepted for women on at le
ast casual occasions.
>

My grandmother was born in 1899 -- despite how "freezified" she was, we *never*
could get her into pants -- not even sweats for warmth.  She said it "wan't
seemly" for a woman to wear pants.  But then, other than a brief episode in the
1940s, she never cut her hair until she was well past 80.

susan


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Subject: [h-cost] Re: Comfort
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I agree that comfort is, in large part, what you're used to. I grew up wearing tight jeans (before they put spandex in them), and when I got my first job that required me to wear slacks instead, I felt very uncomfortable for a while. Like I was hanging out where I shouldn't be. I imagine that must be how women who wore corsets every day felt when they took them off.
 
Tea Rose
 
 
 
In a message dated 4/26/05 3:08:16 AM GMT Daylight Time, 
h-costume-request@indra.com writes:

> To me, very little is less comfortable than tight
> >jeans. I don't know how anyone can stand to wear them.
> 
Lots and lots of stretch!!!
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Date: Wed, 27 Apr 2005 11:08:27 -0500
From: "Susan B. Farmer" <sfarmer@goldsword.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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Quoting sfarmer@goldsword.com:

> [This message was delayed because it was sent to h-costume-bounces
> instead of to h-costume. Please make sure you are using the correct
> address for the list.    -eliz]

*blush*  I realized it after I hit send -- I was setting it up to go to
the correct address, and pasted the wrong one.  No more cut and paste!
Email works again!  >happy dance<

Susan


-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From: elena_o_tighearnaigh@comcast.net (Elena O'Tighearnaigh)
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
Date: Wed, 27 Apr 2005 16:23:22 +0000
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Here are 2 I had on my favorites.  I hope they help!
http://www.blackworkarchives.com/bw_flwrs.html
http://www.skinnersisters.com/stitch/issue1/index.html

--
Slan go foill 
Elena ÓTighearnaigh Átha An Ri 

Emer's Needle Wares

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

> Hi 
> Can anyone point me in the direction of a simple book 
> or webpage that shows how to do Blackwork, basic 
> stiches and patterns? 
> I'd like a simple "primer" version so I can try to 
> make my next project look a little less ...bad..... 
> Thanks... 
> Melody 
> 
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Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
From: "Diana Habra" <dch@inreach.com>
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>  Hi
> Can anyone point me in the direction of a simple book
> or webpage that shows how to do Blackwork, basic
> stiches and patterns?
>  I'd like a simple "primer" version so I can try to
> make my next project look a little less ...bad.....
> Thanks...
> Melody

My first and only blackwork book is called "the New Carolingian Modelbook"
and it was written by a lady in the SCA many years ago.  She has a how-to
and many documented patterns.  I think it is a good book for starters.

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Sorry, that was supposed to be a private e-mail.

Fran

Lavolta Press wrote:

> All recordings in North American video format unless otherwise noted.

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Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
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Me again,

Here is a review of the book I mentioned.  I remembered it being
relatively inexpensive and the review says it is $24.95.

Here is the link:

http://www.renaissancemagazine.com/books/new.html

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: RE: [h-cost] Re: Hoops and comfort (was: New Simplicity)
Date: Wed, 27 Apr 2005 11:50:56 -0500
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Thread-Topic: [h-cost] Re: Hoops and comfort (was: New Simplicity)
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From: "Abel, Cynthia" <CynthiaAbel@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
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Despite the criticism and cartoons of the time, most women who recorded
in diaries and letters I've found that actually wore crinolines under
their gowns, mentioned how comfortable they were to wear compared to the
many underpetticoats worn prior to its invention and the bustle,
ever-tightening skirts and more restrictive corsets of the 1867-1890
era. Judging from photographs, most women didn't wear the extremely wide
skirts anyway, and wide skirts naturally made one's waist look smaller,
so corsets were not as restrictive during the bell-shaped skirt cycle.

Also, once photography was more common and development and reproduction
of photos became less time and $$ consuming, the photographers for the
rich and famous also became retouchers, altering photographs so that
"professional beauties" looked even more the fashionable ideal. If you
had some extra pounds the corset couldn't draw in enough, a master
retoucher could "improve" your photograph.

Also bear in mind that some women would boast they had 18 or 20 " waist
but that did not include the lacing gap of 2" - 4" and the most
fashionable ideal women of the day were the "supermodels" of our time
and probably even a lesser percentag of women in the general population
then could diet, corset, and dress themselves in close imitation of the
fashionable ideal then today.

Cindy Abel


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Subject: [h-cost] Dyeing
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I'm sure everyone will be thrilled to know that I managed to cover the 
T-shirts I dyed glow-in-the-dark "peach" with Dharma's "rust brown" 
dye.  Now they are rust orange (the color of rust in nature) as opposed 
to the reddish brown on Dharma's dye chart.  Not a color I usually wear 
but luckily it looks good on me.

I have now discovered an important lesson:  Dye the lighter colors 
first, so if you screw up you can try again with the darker ones.  
Considering I bought about three dozen tops of various types, and about 
a dozen colors of dye, I will keep this in mind.  Pity I dislike black.

Can anyone recommend a good book or website on Procion dyeing cottons 
that has instructions for:

(a) Mixing colors?  Preferably not just promary dyes, but for example I 
am thinking of adding some brown dye to the "rust" to get the russet 
brown I wanted (and trying again on some white shirts).

(b) Ombre dyeing? (color gradients)

Thanks for any info.

Fran
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
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Subject: Re: [h-cost] Videos of costume dramas for sale
Date: Wed, 27 Apr 2005 13:03:20 -0400
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Thank you for the list, Fran. I will need to check your inventory with my
own, but several are interesting.
Kathleen

----- Original Message ----- 
From: "Lavolta Press" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, April 26, 2005 1:37 PM
Subject: Re: [h-cost] Videos of costume dramas for sale


> All recordings in North American video format unless otherwise noted.
> All are legitimate manufacturer’s versions. (I put a few items that came
> with cardboard cases into sturdier plastic cases.) None were played by
> me more than once, most were bought new by me. All are in very good to
> excellent condition unless otherwise noted. All are in English or have
> English subtitles.
>
> Prices are based on what I find to be the going rate for this used video
> (so if it is a “rare” OP video it will cost more). Payment should be by
> check or money order. Buyer pays shipping. Shipping will be media mail
> or priority mail as requested; insurance is required for expensive
> items. Please do not reserve an item unless you are determined to buy
> it. No returns or refunds.
>
> * *
>
> *Tapes*
>
> “The Saragossa Manuscript” (fantasy; widescreen, 2 tapes) $18
>
> “Monty Python and the Holy Grail” (comedy/fantasy) $8
>
> Pasolini “The Decameron” (Renaissance Italian tales) $25
>
> Ian Holm “King Lear” (Shakespeare) $24
>
> “Peter the Great” (late 17thc-early 18thc Russian) $12
>
> 1967/Julie Christie “Far from the Madding Crowd” (Thomas Hardy) $20
>
> BBC “Barchester Chronicles” (2 tapes, *UK/European video format) *$15**
>
> 1985 BBC “Sense and Sensibility” (Jane Austen) $13
>
> 1980 BBC “Pride and Prejudice” (Jane Austen) 2 tapes, $6
>
> 1995 “Persuasion” (Jane Austen; still shrink wrapped) $18
>
> “Oscar and Lucinda” (Peter Carey) $3
>
> “Swann in Love” (Proust) $13
>
> Bergman “Fanny and Alexander” (a little snow in tape) $10
>
> “My Brilliant Career” (set in turn-of-20thc Australia) $25
>
> “The Far Pavilions” (romance set in Raj India) $4
>
> Masterpiece Theatre “Rebecca” (Daphne du Maurier) $17
>
> Gregory Peck “To Kill a Mockingbird” $21
>
> Milos Forman “The Firemen’s Ball” (satire; Czech with English subtitles)
$10
>
> *DVDs*
>
> “Dragonslayer” (fantasy) $7
>
> “Merlin” (Arthurian fantasy) $7
>
> “Mists of Avalon” (Arthurian fantasy) $7
>
> 2000 “Arabian Nights” (fantasy) $7
>
> “The Strange Case of Dr. Jeckyll & Mr. Hyde” (science fiction) $7
>
> 1971 “The Six Wives of Henry VIII” (historical miniseries) $60
>
> 2001 “The Wives of Henry VIII” (historical miniseries) $15
>
> History Channel “Elizabeth” (the First; miniseries) $23
>
> “Cromwell” $17
>
> Catherine Deneuve “Time Regained” (Proust) $17
>
> “Tipping the Velvet” (Gay coming of age, set in late Victorian era) $17
>
> W. C. Fields “It’s a Gift!”$7
>
> W. C. Fields “The Bank Dick” $7
>
> W. C. Fields “International House” $7
>
> Kenneth Branagh “To the Lighthouse” (Virginia Woolf) $4
>
> 1979 “All Quiet on the Western Front” (Remarque) $3
>
> Humphrey Bogart “Treasure of the Sierra Madre” (special edition, 2
> disks) $13
>
> “A Month by the Lake” (Romance set in 1920s) $7
>
> Rosalind Russell “Auntie Mame” $10
>
> A & E “Jewel in the Crown” (miniseries set in India) $45
>
> *Books on Tape*
>
> /Saint Leibowitz and the Wild Horse Woman/ (Miller, science fiction,
> sequel to _A Canticle for Leibowitz_) $52
>
> *Printed Books *(all duplicates I bought by mistake)
>
> Santina Levey, /Elizabethan Treasures: The Hardwick Hall Textiles/
> Hardcover, new condition $20
>
> /Beeton’s Book of Needlework,/ 1870, 1986 reprint. Hardcover, new
> condition $20
>
> Susan Pufpaff, /Nineteenth Century Hat Maker’s and Felter’s Manuals/
> Paperback, new condition $20
>
> Valerie Steele, /Fetish: Fashion, Sex, and Power/ Paperback, new
> condition $10
>
> Metropolitan Museum of Art, Our New Clothes, Acquisitions of the 1990s
> Paperback, new condition
>
> Manning and Donaldson, /Fundamentals of Dress Construction/ Original
> 1926 hardcover in excellent condition $22
>
> Vera Nazarian, /Dreams of the Compass Rose/ (Fantasy) Hardcover, new
> condition $25
>
> Edward Carey, /Observatory Mansions/ (Literary fantasy) Paperback, new
> condition $4
>
>
>
> Lloyd Mitchell wrote:
>
> >Fran, I would love to see you list!  I am off to NH soon for the summer
and
> >am putting together a bag of viewing entertainment as well as for
reading.
> >
> >Kathleen Mitchell
> >
> >
> >
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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To: Historical Costume <h-costume@indra.com>
From: Genie Barrett <maggie.gene@justinanimator.com>
Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
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At 11:30 AM 4/27/2005, you wrote:

>Me again,
>
>Here is a review of the book I mentioned.  I remembered it being
>relatively inexpensive and the review says it is $24.95.
>
>Here is the link:
>
>http://www.renaissancemagazine.com/books/new.html
>
>Diana

To whoever asked the original question (deleted the message too soon, drat),

Did a bit of research, can't find this book for that price, amazon has it 
used for over $90, but abe books has it for $54.

If you can get it, it's a good book.  Another blackwork book, easier to 
find and lot's less expensive, is _Blackwork_ by Mary Gostelow.  It's 
mostly extant stuff, and history, but it does have a nice section on 
designing your own and describes the stitches used.  It has pictures of the 
stitches themselves.  They are not very detailed but she has them both in 
sketch format and a photo on canvas.  The back is full of modern uses of 
blackwork, but the design ideas seem pretty solid.

Good luck
Genie 

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Date: Wed, 27 Apr 2005 10:14:14 -0700 (PDT)
Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
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>
> To whoever asked the original question (deleted the message too soon,
> drat),
>
> Did a bit of research, can't find this book for that price, amazon has it
> used for over $90, but abe books has it for $54.

Yeah, I was doing a little more looking around after I posted and found
that it was discontinued and pretty expensive now.  Boy am I glad I bought
that copy years ago!

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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Subject: [h-cost] how fabric moves
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Cynthia wrote:
"One of my personal pet peeves in costume recreation
for this period is the use of modern upholstery
weights.  This is clearly not in keeping
with the extant materials in collections at the Musee
Cluny, Musee de Tissue in Lyon, Musee de la Mode et du
Costume (at the Louvre) or the Musee de la Mode (at
the Union Central des Arts Decoratifs.) Most of
these museums have thorough catalogs of actual
materials and some garments (usually partials, burial
garments), some even have catalogs online."

I have a hard time looking at photographs of medieval
fabric (or even modern fabric!) and making the
connection to how the fabric would move, drape, etc.
Do any of you have advice on how to familiarise myself
with "how fabric works" in a material sense, beyond
just personally studying it, taking my own
thread-counts & thread sizes if not provided, etc, and
playing with it, then exterpolating to medieval
fabric?

Thanks,
Stephanie

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Subject: [h-cost] Semi OT: amusing costume related
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I'm back from Venice, and will eventually put a travelog up on my webpage.

Meanwhile, I was amused on the flight back.  There were several channels 
on the in-the-seatback TVs (even in Economy) and one of them was running 
essentially infomercials for expensive products, disguised as "business 
analysis" of successful businesses.  Gourmet food companies, luxury car 
companies, etc.  One of them was DMC embroidery products.  I wish I 
could have understood it better, as it was in rather fast French.
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From: "Becky @ SewingCity.com" <becky@sewingcity.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Book or website on Blackwork Basics needed.....
Date: Wed, 27 Apr 2005 12:34:25 -0700
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I just love this book:

Blackwork(Paperback)by Mary Gostelow, ISBN 0486401782

and this book:

Blackwork Embroidery (Paperback) by Elisabeth Geddes, ISBN 048623245X

You might be able to find these at your local library.  I bought my copies
from Amazon.com a while back.

Hope this helps,
Becky
http://www.sewingcity.com


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From: Cin <cinbarnes@gmail.com>
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Subject: [h-cost] Re: how fabric moves
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To figure out how fabric moves, I suggest you read a description of an
extant garment treatment then recreate a small version of it, say the
size of a big hankie.  With the original undecorated, untreated
material at one hand and the treated version on the other, see how the
2 vary in the way they hang over your hand, how they flutter (or not)
when moved thru the air, see if they have bias stretch, whether they
crease or make fat wavy folds, how they pool when touching the floor,
etc.

Below are 2 quick examples from Blanche Payne's book "History of
Costume". As you read thru the descriptions, imagine how these 2
items, which differ in fiber, lining, weave and other ways, might
react when held or worn. Consider how they might be similar.

Golden doublet of Queen Elizabeth at the BMFA (from p. 315)
"The fabric of the doublet is fine firm white linen, obviously from a
superior weaver. The surface is covered with gold and silver
embroidery in an endless scroll design enclosing a stylized flower.
The background is thickly sewed with minute gold sequins. Gold lace
finished the lower edge.

Spanish child's garment - the underskirt (also from p. 315)
"a layer of slipper weight satin backed by a sized linen and
completely covered with closely placed silk embroidery done thru both
thicknesses. This surface is in turn is overlaid with a heavily padded
design couched in gold".

I'm not suggesting that you spend gobs of time embroidering a sample, 
this just happens to be the page in Payne's book that was open.  My
point is, at minimum, to get you to pick up a square of linen, a
square of silk satin and observe them in use.  Get another square each
of linen & satin, add ONE more treatment, such as flat lining,
quilting, beading, buttonholes, washing to remove sizing, slashing or
interfacing.   As you do more projects with different fabrics, render
the scraps with the more interesting treatments. Pretty soon, you'll
have a good cross-section of fabrics vs treatments to learn from.  If
you dont use satin in your recreations, compare linen & good wool
instead.

In the garage, I have several boxes of sample treatments which I
started making when I did modern tailoring. The experiments involved
various interface weights on a variety of fabrics.  Other experiments
involve pad stitching, lining, interlinings, sleeveheads, starching
and stiffeners, removal of glazes & sizing (slipper satin in
particular is very sad w/o it's sizing).   I have collections of
failed and successful collars, cuffs, dags, lappets, button plackets
and more.

There's one very large binder with pages and pages of sample pockets
in different fabrics, threads, stitch lengths, interfacings.  When
ever I want to look at, oh say, a double welt pocket in heavy silk
satin, I can see that it wasnt successful and save myself that much
time. They're also handy for demonstratiing techniques.

FYI, I dont spend anytime with thread counts and other technical
measures. In real life I'm an engineer, so I prefer to measure my
success by the end results rather than scientific precision at the
expense of "look and feel".
--cin
Cynthia Barnes
CinBarnes@gmail.com

Message: 7
Date: Wed, 27 Apr 2005 10:49:19 -0700 (PDT)
From: Stephanie Smith <sismith42@yahoo.com>
Subject: [h-cost] how fabric moves

>>Cynthia wrote:
"One of my personal pet peeves in costume recreation for this period
is the use of modern upholstery weights.  This is clearly not in
keeping with the extant materials in collections at the Musee Cluny,
Musee de Tissue in Lyon, Musee de la Mode et du
Costume (at the Louvre) or the Musee de la Mode (at the Union Central
des Arts Decoratifs.) Most of these museums have thorough catalogs of
actual materials and some garments (usually partials, burial
garments), some even have catalogs online."

>I have a hard time looking at photographs of medieval fabric (or even
modern fabric!) and making the connection to how the fabric would
move, drape, etc. Do any of you have advice on how to familiarise
myself with "how fabric works" in a material sense, beyond just
personally studying it, taking my own thread-counts & thread sizes if
not provided, etc, and playing with it, then exterpolating to medieval
fabric?

Thanks,
Stephanie

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
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Melody Watts wrote:

>  Hi 
> Can anyone point me in the direction of a simple book
> or webpage that shows how to do Blackwork, basic
> stiches and patterns?
>  I'd like a simple "primer" version so I can try to
> make my next project look a little less ...bad.....
> Thanks...

The SCA stock clerk (sca.org) carries a booklet entitled "Wrought With 
Flowers of Black Silk", aka The Compleat Anachronist #115. It cost about 
$4.50 the last time I looked. It is 44 pages and it covers basic 
history, how to do the stiches, with some pattern outlines, and a 
glossary of diaper (fill-in) patterns plus a bibliography.



Dawn


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Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....
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Quoting Diana Habra <dch@inreach.com>:

> Me again,
>
> Here is a review of the book I mentioned.  I remembered it being
> relatively inexpensive and the review says it is $24.95.
>
> Here is the link:
>
> http://www.renaissancemagazine.com/books/new.html
>
Unfortunately, The New Carolingian Modelbook is *long* out of print.
There's a copy available on Amazon for $92.00

Susan

-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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Subject: RE: [h-cost] Book or website on Blackwork Basics needed.....
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Hi,
 
abe.books has both VERY reasonably priced.
 
Chris G.

"Becky @ SewingCity.com" <becky@sewingcity.com> wrote:
I just love this book:

Blackwork(Paperback)by Mary Gostelow, ISBN 0486401782

and this book:

Blackwork Embroidery (Paperback) by Elisabeth Geddes, ISBN 048623245X

You might be able to find these at your local library. I bought my copies
from Amazon.com a while back.

Hope this helps,
Becky
http://www.sewingcity.com


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Subject: [h-cost] re: linings, medieval patterns?
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Greetings :-)

Thank you for the tips and suggestions on linings! :-)

Next question -- I'm a newbie at all this, and haven't sewn much beyond
basic mending since Home Eq class quite a while ago.  I've recently joined
the SCA, and am interested in making some medieval garb, ~late 13th/mid 14th
century.  My sewing buddy has lots of mundane experience, but is
uncomfortable without having a pattern to follow (not that I blame her ;-).
So we've picked up several of the Big 3 patterns (on sale, of course ;-)
that seem most medieval and got the best reviews from garb-smart ladies who
evaluate such patterns on their web pages :-)

But I can't help but wonder if a pattern intended to be "period" would be
more correct to start from, and less work to make look period?  Such as
Period Patterns' pattern #21, "Cotehardies and Sideless Surcotes", seen here
http://www.patternsoftime.com/cat40.html , second image from the top,
perhaps?  Or is there any other pattern you'd recommend to a sewing newbie
who would like to have a fairly correct silhouette?  I'm not yet experienced
enough to tackle the fitting that is so integral to the body-skimming
designs of the day, but I think that if I can baby-step my way into this,
I'm more likely to be sucessful (and stay involved!) than if I try a mundane
pattern and end up with something less than nice.

I'm also interested in a nice houppelande pattern, to tackle later on ;-)

thank you for any guidance!

Michelle

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<snip>  Example, if the lavish
> ballgown on Anna as she dances with the King is delicious, and they
comment,
> that is a natural response and flows well both in and out of the story.
> People would comment on a lovely ballgown at a dressy event.
>
> But, conversely, if people are spending too much time looking at all the
> pretty dresses in a moment where they (the costumes) are drawing focus
from
> the action in the story, then the costumes are speaking too "loudly" and
> should be appropriately toned down.
>
> It's a balancing act, of course, but ultimately, a good costumer develops
a
> gut instinct for it.
>
> angela
<snip>

but it's kinda hard if you (and your friends) are the type who look at the
costumes no matter what, coz that's half the reason you're watching the
movie. You've somehow got to tap into the 'normal' population of non
costumers whose don't refer to scenes along the lines of "you know the scene
at the beginning when she was wearing that red and gold brocade gown with
the velvet trim and white sleeves..." ;-D so it certainly would be hard to
find that balance when you don't understand it in the same light as a
majority of your audience.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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From: "Elizabeth Walpole" <ewalpole@iimetro.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <BE91A51F.169AD%gailscott@eos.net>
Subject: Re: [h-cost] Re: hoopskirts and comfort
Date: Tue, 26 Apr 2005 21:35:34 +1000
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<snip>
> I live in a neighborhood with many old houses, and many of them do have
very
> big rooms, though not a lot of rooms. Also, I lived in two dorms that had
> been dorms for a women's college in the 1860s. The hallways were huge, and
> so were all the doors in the common areas. (The dorm rooms were small,
> barely enough for two single beds and two small desks, and their doors
were
> normal-sized.) We were always told that the hallways and big doorways were
> wide to accommodate the hoop skirts. I don't know if that's true, but it
> certainly makes a lot of sense when you imagine a few dozen young women in
> hoop skirts walking around at the same time.
>
> Gail Finke
> (in Cincinnati, Ohio)

But given that (judging by your description) the bedrooms were too small to
accommodate a woman (or two if they were using shared rooms as they did when
you were there) in a crinoline you have to wonder about that justification.
I'd think it had more to do with fashion in architecture. I think the best
test of this theory would be something like a gentleman's club where women
would not be expected. If they still had large rooms and wide doorways I
think we've fairly safely ruled out the idea that architecture changed for
the sake of women's fashion.
Elizabeth
--------------------------------------------
Elizabeth Walpole
Canberra Australia
ewalpole[at]iimetro.com.au

Mr. Speaker, I said the honourable member was a liar it is true and I am
sorry for it. The honourable member may place the punctuation where he
pleases.
Richard Brinsley Sheridan (1751-1816) British dramatist. On being asked to
apologise for calling a fellow MP a liar. Attrib.

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From: "Betsy Marshal" <betsy@softwareinnovation.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Book or website on Blackwork Basics needed.....
Date: Wed, 27 Apr 2005 18:30:14 -0500
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Found one here..

http://www.renaissancemagazine.com/books/new.html

hope this pans out, Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Susan B. Farmer
Sent: Wednesday, April 27, 2005 11:47 AM
To: Historical Costume
Subject: Re: [h-cost] Book or website on Blackwork Basics needed.....

Quoting Diana Habra <dch@inreach.com>:

> Me again,
>
> Here is a review of the book I mentioned.  I remembered it being
> relatively inexpensive and the review says it is $24.95.
>
> Here is the link:
>
> http://www.renaissancemagazine.com/books/new.html
>
Unfortunately, The New Carolingian Modelbook is *long* out of print.
There's a copy available on Amazon for $92.00

Susan

-----
Susan Farmer
sfarmer@goldsword.com
University of Tennessee
Department of Ecology and Evolutionary Biology
http://www.goldsword.com/sfarmer/Trillium/


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From h-costume-bounces@indra.com  Wed Apr 27 19:42:07 2005
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To: Historical Costume <h-costume@indra.com>
From: Suzi Clarke <suzi@suziclarke.co.uk>
Subject: Re: [h-cost] re: linings, medieval patterns?
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At 18:34 27/04/2005 -0400, you wrote:
>Greetings :-)
>
>Thank you for the tips and suggestions on linings! :-)
>
>Next question -- I'm a newbie at all this, and haven't sewn much beyond
>basic mending since Home Eq class quite a while ago.  I've recently joined
>the SCA, and am interested in making some medieval garb, ~late 13th/mid 14th
>century.  My sewing buddy has lots of mundane experience, but is
>uncomfortable without having a pattern to follow (not that I blame her ;-).
>So we've picked up several of the Big 3 patterns (on sale, of course ;-)
>that seem most medieval and got the best reviews from garb-smart ladies who
>evaluate such patterns on their web pages :-)
>
>But I can't help but wonder if a pattern intended to be "period" would be
>more correct to start from, and less work to make look period?  Such as
>Period Patterns' pattern #21, "Cotehardies and Sideless Surcotes", seen here
>http://www.patternsoftime.com/cat40.html , second image from the top,
>perhaps?  Or is there any other pattern you'd recommend to a sewing newbie
>who would like to have a fairly correct silhouette?  I'm not yet experienced
>enough to tackle the fitting that is so integral to the body-skimming
>designs of the day, but I think that if I can baby-step my way into this,
>I'm more likely to be sucessful (and stay involved!) than if I try a mundane
>pattern and end up with something less than nice.
>
>I'm also interested in a nice houppelande pattern, to tackle later on ;-)


If you think you could cope with scaling up a pattern from a grid, there is 
a lovely houppelande in Jean Hunnisett's book, "Period Costume for Stage 
and Screen Medieval to 1500". Don't be put off by the title - these clothes 
are all thoroughly researched and based one paintings, statues, books of 
hours and other original sources.

I can send you pictures of houppelandes made form this pattern, and a 
sideless surcoat from the same book if that would help.

Suzi



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hoops and comfort (was: New Simplicity)
Date: Wed, 27 Apr 2005 22:28:13 -0400
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On Wednesday 27 April 2005 12:50 pm, Abel, Cynthia wrote:
> Despite the criticism and cartoons of the time, most women who recorded
> in diaries and letters I've found that actually wore crinolines under
> their gowns, mentioned how comfortable they were to wear compared to the
> many underpetticoats worn prior to its invention

They're right.  I've worn an 1860s style dress with a hoop skirt, and an 
1840's style dress with 3 heavy petticoats, and it's a lot easier to walk in 
the former.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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Date: Wed, 27 Apr 2005 20:27:24 -0700 (PDT)
From: Melody Watts <celticredhead2002@yahoo.com>
Subject: Re: [h-cost] re: linings, medieval patterns?
To: Historical Costume <h-costume@indra.com>
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 If you'd like reviews on the big 3 and other
specialized pattern companies,  try the Greater Bay
Area Costumer Guilds website.
  www.gbacg.org
 you can see photos of actual garments made by
costumers using the patterns they review. 
 Melody

--- Michelle McKenney <michelle@hamel.mv.com> wrote:
> Greetings :-)
> SNIP
>  > Next question -- I'm a newbie at all this, ....
>  I've recently joined the SCA, and am interested in
making some medieval garb, ~late 13th/mid 14th
> century.  My sewing buddy has lots of mundane
> experience, but is uncomfortable without having a
pattern to follow 
> So we've picked up several of the Big 3 patterns 
> that seem most medieval and got the best reviews
> from garb-smart ladies who evaluate such patterns on
their web pages :-)
> 
> But I can't help but wonder if a pattern intended to
> be "period" would be more correct to start from, and
less work to make look period? 
 Such as Period Patterns' pattern #21, "Cotehardies
and
> Sideless Surcotes", seen here
> http://www.patternsoftime.com/cat40.html ,
 second image from the top perhaps?  
> who would like to have a fairly correct silhouette? 
> I'm not yet experienced enough to tackle the fitting
that is so integral to the body-skimming designs of
the day, but I think that if I can baby-step my way
into this, I'm more likely to be sucessful ......
> > I'm also interested in a nice houppelande pattern,
> to tackle later on ;-)
> 
> thank you for any guidance!
> 
> Michelle
> 

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Date: Wed, 27 Apr 2005 21:49:31 -0700 (PDT)
From: Melody Watts <celticredhead2002@yahoo.com>
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Subject: [h-cost] RE: Book or website on Blackwork Basics needed... Thanks
	All!
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Status: RO

 Thanks to all the kind folks who replied to my
question.
   I took a look at the books mentioned and found some
I can afford right now, and I found them at ,of all
places, Wal Mart Online.....
seems they have a really decent section of books on
all types of embroidery at good prices, too.
 Found a book on Charted Peasant Design from Saxon
Transylvania  - for 11th century on up-.... looks
interesting,and a reasonalby priced too ....( The
_Saxon Transylvania_ part did throw me though )
 Also couldn't resist the DVD full frame gift set of
Elizabeth R,with Glenda Jackson...was $58.87
 I think it was this series that started me down the
road of Renaissance Perdition......

 Thanks again to all who answered!
Melody

--- Betsy Marshal <betsy@softwareinnovation.com>
wrote:
> Found one here..
> 
> http://www.renaissancemagazine.com/books/new.html
> 
> hope this pans out, Betsy
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com
> [mailto:h-costume-bounces@indra.com] On
> Behalf Of Susan B. Farmer
> Sent: Wednesday, April 27, 2005 11:47 AM
> To: Historical Costume
> Subject: Re: [h-cost] Book or website on Blackwork
> Basics needed.....
> 
> Quoting Diana Habra <dch@inreach.com>:
> 
> > Me again,
> >
> > Here is a review of the book I mentioned.  I
> remembered it being
> > relatively inexpensive and the review says it is
> $24.95.
> >
> > Here is the link:
> >
> > http://www.renaissancemagazine.com/books/new.html
> >
> Unfortunately, The New Carolingian Modelbook is
> *long* out of print.
> There's a copy available on Amazon for $92.00
> 
> Susan
> 
> -----
> Susan Farmer
> sfarmer@goldsword.com
> University of Tennessee
> Department of Ecology and Evolutionary Biology
> http://www.goldsword.com/sfarmer/Trillium/
> 
> 
> _______________________________________________
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Subject: Re: [h-cost] re: medieval patterns?
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Unlike many people, I've had some good experiences with Period Patterns, but #21 Cotehardies and Sideless Surcoats is pretty awful.  It would probably need extensive altering to fit close to the body - mine turned out to be really unflattering and for several years it has been reserved for camp set-up and mucky weather.

I would recommend their houplande pattern, even though it takes lots of fabric.  You don't need to fit it - just belt it.  It is flattering to all figures, as it accentuates the bust and hides everything else.  The sleeve pattern looks improbable but it works.  Fancy dagging is pretty easy if you read the directions first (draw the dags on the fabric, sew them together and THEN cut the design out.)  

The woman who designs the Period Patterns is quite tall so expect them to run very long.

Janet
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Subject: [h-cost] Monmouth Cap
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Just to share - my wife just finished the following web page on knitted 
"Monmouth" Caps and a suggestion of how to make them:

http://www.personal.utulsa.edu/~marc-carlson/jennifer/Monmouth.htm

Marc


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Subject: [h-cost] Book or website on Blackwork Basics needed.....
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There's a book available from East Riddlesden Hall (National Trust property) 
in Yorkshire.

It's a fabulous book, written by a man who retired and took up blackwork.

As far as I know it's only available from the hall, but if you contact them 
they may be able to send a copy.

debs

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Subject: [h-cost] tacuinum sanitatis
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Can anyone tell me the specific date (and more identifying information) on this illustration from one of the Tacuinum Sanitatis manuscripts?  I know there are several manuscripts from around the same date, but I can't pin down which of them this came from:
http://www.formfunction.org/temp3/surcote10_tacuinim_sanitatis.gif  , and I need a more exact date than just c1400-give-or-take-a-couple-of-decades.  Taking a wild guess based on the hairstyle, I'd think this is Italian, but that still doesn't narrow it down enough for me. 

-E House
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] tacuinum sanitatis
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On Thu, 28 Apr 2005, E House wrote:

> Can anyone tell me the specific date (and more identifying
> information) on this illustration from one of the Tacuinum Sanitatis
> manuscripts?  I know there are several manuscripts from around the
> same date, but I can't pin down which of them this came from:
> http://www.formfunction.org/temp3/surcote10_tacuinim_sanitatis.gif ,
> and I need a more exact date than just
> c1400-give-or-take-a-couple-of-decades.  Taking a wild guess based on
> the hairstyle, I'd think this is Italian, but that still doesn't
> narrow it down enough for me.

Sure. It's half a picture. You can see the full one (with a great example
of a man's garment) in Marcel Thomas' "The Golden Age: Manuscript Painting
at the Time of Jean, Duke of Berry."

This is fol 25 of the "Paris" Tacuinum, which name refers to the owning
institution (the Bibliotheque Nationale, MS Nouv. Acq. Fr. 1673), not the
place of origin. The illuminators were probably from Lombardy, possibly
Verona. It belonged to a member of the Visconti family in Milan, who must
have acquired it between 1365 and 1405 based on marriage/death dates; a
likely date would be 1380-plus, maybe 1380-1390. There's a long, rambling,
and ultimately inconclusive discussion of dating in "The Medieval Health
Handbook" by Arano.

Bear in mind that the manuscripts of the Po Valley from this period
included both French and Italian influences, so you sometimes get some
pretty weird details and combinations.

(E., I have these books if you want to read the discussion and to see
other examples from the same ms and the related Tacuinum mss.)

--Robin

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From: "Five Rivers Chapmanry" <lgsteph@wightman.ca>
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Subject: [h-cost] Re: medieval patterns? 
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Status: RO

    If you're looking for an excellent alternative to Period Patterns, and 
want to do 13th or 14th century, I highly recommend the La Fleur de Lyse 
patterns, which we carry. In specific the People of the Medieval Gothic 
#LFDLMAG1314, which can be viewed here:
http://www.5rivers.org/en-gb/dept_18.html
-- just scroll down about 1/3 of the way.
    These patterns are the result of in-depth research and are historically 
accurate, with excellent engineering and good sewing instructions, all 
reasons why we chose to carry this excellent line of patterns.
    Haven't used this particular pattern personally, but have used the 
Medieval Accessories pattern and found it excellent.

Regards
Lorina
Five Rivers Chapmanry
historical sewing patterns; quality, hand-crafted cooperage; embroidery 
supplies, and more.
www.5rivers.org - info@5rivers.org
519-799-5577 

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    If you're looking for an excellent alternative to Period Patterns, and 
want to do 13th or 14th century, I highly recommend the La Fleur de Lyse 
patterns, which we carry. In specific the People of the Medieval Gothic 
#LFDLMAG1314, which can be viewed here:
http://www.5rivers.org/en-gb/dept_18.html
-- just scroll down about 1/3 of the way.
    These patterns are the result of in-depth research and are historically 
accurate, with excellent engineering and good sewing instructions, all 
reasons why we chose to carry this excellent line of patterns.
    Haven't used this particular pattern personally, but have used the 
Medieval Accessories pattern and found it excellent.

Regards
Lorina
Five Rivers Chapmanry
historical sewing patterns; quality, hand-crafted cooperage; embroidery 
supplies, and more.
www.5rivers.org - info@5rivers.org
519-799-5577 

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Status: RO

If you haven't looked lately, there are some interesting linen 'earth' colors at fabric.com under $10 a yard. There are several "100%" choices in the hanky and lightweight section that I find quite appealing,

Project for the real day...Black fly 'heads' for my daughter's upcoming Black Fly Festival in Vermont.

Kathleen
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Subject: [h-cost] NESAT 8
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I received a flyer today announcing the availability of NESAT 8. I will be 
mailing my order shortly.

As most NESAT volumes, there are a lot of interesting scholarly papers, 
most of which are in English with several in German.

Beth Matney

Priceless Invention of Humanity - Textiles (NESAT 8) Acta Archaeologica 
Lodziensia Nr 50/1 edited by Jerzy Maik. Instytut Archaeologii I Etnologii 
Pan. Lodz Poland (2004). 200pp. 30 euro plus 6 euro shipping.

Contact: archeo@cbmm.lodz.pl  

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Subject: Re: [h-cost] Re: Hoops and comfort
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no, I didn't realize, but I did guess that at worst it was a brain glitch,
which I am subject to now and then.  LOL   mine's a product of getting old
I guess.    I have 'em more than I used to.   Kitty

> Just bad email editing/cut and paste, as I'm sure you realize. Just like
>  you probably realize that as the beginning of your first sentence,
> "urban" should be captalized.
>
> Fran
> Lavolta Press
> http://www.lavoltapress.com
>
> basyefelton@floodcity.net wrote:
>
>>>Note that urban versus city living has a strong effect on house size.
>>> In the country, where land is more available, people tended as a very
>>> general rule to build bigger houses.
>>>
>>>
>>>
>>
>>urban IS City.   Rural is country.
>>
>>
>>_______________________________________________
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> Can anyone tell me the specific date (and more identifying
> information) on this illustration from one of the Tacuinum Sanitatis
> manuscripts?  I know there are several manuscripts from around the
> same date, but I can't pin down which of them this came from:
> http://www.formfunction.org/temp3/surcote10_tacuinim_sanitatis.gif  ,
> and I need a more exact date than just
> c1400-give-or-take-a-couple-of-decades.  Taking a wild guess based on
> the hairstyle, I'd think this is Italian, but that still doesn't
> narrow it down enough for me. 

I thought I'd seen a date of 1380 somewhere but the closest thing I 
can actually find without a more in depth look through my books is 
"late 14th C, Po River Valley" which is indeed in Italy. (I could 
only find 1 of the 3 books I have on that manuscript.)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Monmouth Cap
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Wish that had been around when I did my arts entry of a Monmouth cap.
And just to keep the judges on their toes, I did the knitting on one of the round peg knitters.  Yes, you CAN turn a hem on a peg knitter <GG>
Julie

> 
> Just to share - my wife just finished the following web page on knitted 
> "Monmouth" Caps and a suggestion of how to make them:
> 
> http://www.personal.utulsa.edu/~marc-carlson/jennifer/Monmouth.htm
> 
> Marc

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I went for several years without wearing jeans at all once I really started  
to appreciate historic garments.  Every single day for two years, as a  
personal choice and to try to gain some insight into how it really felt to live,  
move, eat, and perform chores, I dressed from the skin out in appropriate  
period garments, including undergarments.  That would include, of course,  
corseting, shifts, the whole shebang.  I threw away all my brassieres and  pantyhose 
just to be sure I wouldn't cheat.  I chose Saundra Altman's  sensible stays as 
my personal favorites, but did also wear 18th century and  mid-19th century 
stays as I was going between several house sites at the time,  each of which did 
a different era.  You might say I am "multi-era."   Anyway, the point is, 
after about 5 years of going without wearing jeans  (or any type of undergarment 
that was younger than c. 1865), one day I decided  to put them on, thinking 
that they would be comfortable and practical for  something I needed to do.  
About fifteen minutes later they came right back  off again, and I thankfully 
pulled back on my old tried-and-true early 19th c.  work gown instead.  I got rid 
of them and have never put on a  pair of jeans --or any other type of modern 
pants --since.  What  I remember thinking was, "I just cannot stand this 
feeling of being corseted  below the waist!  EEeeeeeuuuww --let me out!!"
 
My 2c,
Susannah
 
Susannah Eanes, Mantua Maker and Fine Tailoring
_www.virginvintage.com_ (http://www.virginvintage.com)  
 
"We are only the trustees for those who come after us."  --William  Morris
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Subject: [h-cost] Louis of Hungary
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I am wanting to make my husband King Louis of Hungary's robes, does anyone 
know of a better picture of wither this or a similar outfit?  I think that 
I am making some heads or tails out to the pattern pieces drawn out, but I 
am still a little shaky on the construction and any closures that it might 
have.  The robe itself does look similar to the cut of the men's loose gown 
in Janet Arnold's Patterns of Fashion.

http://www.virtue.to/guest_authors/hungarian.html

Here's the link to the only picture that I have been able to find so far.

ANY help will be appreciated.

Jennifer (Lost in Cincinnati)

what would you attempt to do if you knew you could not fail?  Anon.


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Date: Fri, 29 Apr 2005 07:35:37 EDT
Subject: Re: [h-cost] practicality of dress & petticoats
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I could go on about this subject at length, but will just add "ditto" to  
what Joan said.
 
Sensible stays are wonderful.
 
I will mention that I own a copy of an original c. 1850s corded  petticoat 
that was copied for me by a weaver, who wove the cording into a cotton  & wool 
somewhat loosely woven plainweave fabric.  The original is owned  by a lady in 
Charleston, SC.
 
I am one of those wierd Civil War living historians who doesn't wear a  hoop, 
but wears one lightweight cotton, one linen, and a corded petticoat  instead. 
 I portray a nurse during field hospital set-ups at house  sites, and we are 
not supposed to wear hoops, (some period photographs to  the contrary).  I do 
not notice the weight, really, and I am in the South,  so there is the aspect 
of personal warmth.  If I am really warm, I go into  an upstairs room in the 
house and take off the dress & a couple petticoats  & rest for awhile --just 
like my forebears.
 
Best regards,
Susannah
 
Susannah Eanes, Mantua Maker and Fine Tailoring
_www.virginvintage.com_ (http://www.virginvintage.com) 
 
"We are only the trustees for those who come after us."  --William  Morris
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Hey Beth,

We met at war and you let me look at your books.  My friend fell in
love with the book dealing with all of the different types of sheep and
she has been looking ever since for a copy and can't find one.  What I
want to do is find one for her and several of my friends are going in
together to pay for it.  One minor problem I didn't look at the author
or title of the book.  Can you give me that information please?  Any
ideas where to get a copy would also be appreciated.  We've really been
haveing fun lately, I have starting learning how to take raw wool and
end up with a finished product.  so far I am fairly slow hopefully with
time will get faster at combing and spinning,  I knit and weave fairly
well but you have to have the spun stuff first :) 

thanks
theresa

>>> bmatney@alltel.net 4/29/2005 9:20:09 AM >>>
I received a flyer today announcing the availability of NESAT 8. I will
be 
mailing my order shortly.

As most NESAT volumes, there are a lot of interesting scholarly papers,

most of which are in English with several in German.

Beth Matney

Priceless Invention of Humanity - Textiles (NESAT 8) Acta Archaeologica

Lodziensia Nr 50/1 edited by Jerzy Maik. Instytut Archaeologii I
Etnologii 
Pan. Lodz Poland (2004). 200pp. 30 euro plus 6 euro shipping.

Contact: archeo@cbmm.lodz.pl  

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There is also linen at $8.00 a yard at fashionfabricsclub.com and check out
the silk twill and silk handkerchief linen weave at $5.00 a yard!
www.fashionfabrics.com

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lloyd Mitchell
> Sent: Friday, April 29, 2005 4:54 AM
> To: H-Costume
> Subject: [h-cost] linen
>
>
> If you haven't looked lately, there are some interesting linen
> 'earth' colors at fabric.com under $10 a yard. There are several
> "100%" choices in the hanky and lightweight section that I find
> quite appealing,
>

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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] linen and silk
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The URL is actually www.fashionfabricsclub.com (the other URL goes to a web 
hosting site).

At 08:04 AM 4/29/2005 -0700, you wrote:
>There is also linen at $8.00 a yard at fashionfabricsclub.com and check out
>the silk twill and silk handkerchief linen weave at $5.00 a yard!
>www.fashionfabrics.com
>
>Regina
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Lloyd Mitchell
> > Sent: Friday, April 29, 2005 4:54 AM
> > To: H-Costume
> > Subject: [h-cost] linen
> >
> >
> > If you haven't looked lately, there are some interesting linen
> > 'earth' colors at fabric.com under $10 a yard. There are several
> > "100%" choices in the hanky and lightweight section that I find
> > quite appealing,
> >
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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I'm not Beth (well, it *is* my middle name, so maybe that's good 
enoug?), but I'm willing to bet that the book your friend was talking 
about is called "In Sheep's Clothing: A Handspinner's Guide to Wool." 
It's written by Nola & Jane Fournier, and is published by Interweave 
Press (www.interweave.com).
--Sue, slowly working her own way through wooly fiber arts ;-)

Theresa Threadgill wrote:
> Hey Beth,
> 
> We met at war and you let me look at your books.  My friend fell in
> love with the book dealing with all of the different types of sheep and
> she has been looking ever since for a copy and can't find one.  What I
> want to do is find one for her and several of my friends are going in
> together to pay for it.  One minor problem I didn't look at the author
> or title of the book.  Can you give me that information please?  Any
> ideas where to get a copy would also be appreciated.  We've really been
> haveing fun lately, I have starting learning how to take raw wool and
> end up with a finished product.  so far I am fairly slow hopefully with
> time will get faster at combing and spinning,  I knit and weave fairly
> well but you have to have the spun stuff first :) 
> 
> thanks
> theresa
> 
> 
>>>>bmatney@alltel.net 4/29/2005 9:20:09 AM >>>
> 
> I received a flyer today announcing the availability of NESAT 8. I will
> be 
> mailing my order shortly.
> 
> As most NESAT volumes, there are a lot of interesting scholarly papers,
> 
> most of which are in English with several in German.
> 
> Beth Matney
> 
> Priceless Invention of Humanity - Textiles (NESAT 8) Acta Archaeologica
> 
> Lodziensia Nr 50/1 edited by Jerzy Maik. Instytut Archaeologii I
> Etnologii 
> Pan. Lodz Poland (2004). 200pp. 30 euro plus 6 euro shipping.
> 
> Contact: archeo@cbmm.lodz.pl  
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: [h-cost] hunting for a book and a person
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I am hunting for Beth of SCA Little Grey Bear Barony.  She went to
Mississippi to war and I met her and looked at her books and was able to
get some fantastic information.  I was the amputee that she met.  I am
looking for a book that had a blue and white paper cover hardback that
had a man in a field with sheep.  It talked about the breeds of sheep
there were pictures of each breed the climate they liked how they were
to raise the type of wool they had and so forth.  But I forgot to write
down the name and author of that particular book.  She had given me a
business card but I seem to have lost it since then.  Any help would be
appreciated.  

Also Sue sent me one name In Sheep's Clothing but that wasn't it. 
Although I am going to get it it looked interesting.  So thanks Sue.

Thanks to all
Theresa
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Subject: [h-cost] Sheep was NESAT 8
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Hi Theresa,

I enjoyed our short time to visit. Let me know the next time you're coming 
near Arkansas.

Sorry Sue, wrong guess, but now I've got to find your suggestion...

What I have is "Sheep and Man" by M.L.Ryder. 856 pages (October 27, 1983) 
Publisher: Gerald Duckworth & Co. Ltd ISBN: 0715616552

This is a massive (more than 2 inches thick) volume by the expert of his 
time... I don't know of anything remotely comparable, though I'm still 
looking! There is a used copy available on Amazon UK but I don't think that 
you want to pay £705.70

http://www.worldcatlibraries.org/wcpa/ow/cb57f81fc24e556ba19afeb4da09e526.html
will tell you the participating US and CA libraries that have a copy.

I've had my copy for about 15 years.. originally bought it at Half-Price 
Books in Dallas, TX.

Take care.
Beth

At 10:27 AM 4/29/2005, you wrote:
>Date: Fri, 29 Apr 2005 09:33:06 -0600
>From: Sue Clemenger <mooncat@in-tch.com>
>Subject: Re: [h-cost] NESAT 8
>To: Historical Costume <h-costume@indra.com>
>
>I'm not Beth (well, it *is* my middle name, so maybe that's good
>enoug?), but I'm willing to bet that the book your friend was talking
>about is called "In Sheep's Clothing: A Handspinner's Guide to Wool."
>It's written by Nola & Jane Fournier, and is published by Interweave
>Press (www.interweave.com).
>--Sue, slowly working her own way through wooly fiber arts ;-)
>
>Theresa Threadgill wrote:
> > Hey Beth,
> >
> > We met at war and you let me look at your books.  My friend fell in
> > love with the book dealing with all of the different types of sheep and
> > she has been looking ever since for a copy and can't find one.  What I
> > want to do is find one for her and several of my friends are going in
> > together to pay for it.  One minor problem I didn't look at the author
> > or title of the book.  Can you give me that information please?  Any
> > ideas where to get a copy would also be appreciated.  We've really been
> > haveing fun lately, I have starting learning how to take raw wool and
> > end up with a finished product.  so far I am fairly slow hopefully with
> > time will get faster at combing and spinning,  I knit and weave fairly
> > well but you have to have the spun stuff first :)
> >
> > thanks
> > theresa


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Subject: Re: [h-cost] Sheep was NESAT 8
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Status: RO

Thanks and no don't want to pay that I think it ends up being about 1300 dollars.  I don't like anyone that much except maybe me and not for a book.  But now that I have the name I can watch for it in all the book stores I go to.  School will be out in about 4 weeks and I get to spend more time doing things.  I am learning all sorts of new things but have to go so slow while school is in session that it is frustrating.  Met someone last weekend not far from you, she came down for the Vicking fest here in Waco and we talked for a while and I learned a new way to weave with sticks very interesting. Well lunch is over and students are coming in take care talk later theresa

>>> bmatney@alltel.net 4/29/2005 12:08:43 PM >>>
Hi Theresa,

I enjoyed our short time to visit. Let me know the next time you're coming 
near Arkansas.

Sorry Sue, wrong guess, but now I've got to find your suggestion...

What I have is "Sheep and Man" by M.L.Ryder. 856 pages (October 27, 1983) 
Publisher: Gerald Duckworth & Co. Ltd ISBN: 0715616552

This is a massive (more than 2 inches thick) volume by the expert of his 
time... I don't know of anything remotely comparable, though I'm still 
looking! There is a used copy available on Amazon UK but I don't think that 
you want to pay £705.70

http://www.worldcatlibraries.org/wcpa/ow/cb57f81fc24e556ba19afeb4da09e526.html 
will tell you the participating US and CA libraries that have a copy.

I've had my copy for about 15 years.. originally bought it at Half-Price 
Books in Dallas, TX.

Take care.
Beth

At 10:27 AM 4/29/2005, you wrote:
>Date: Fri, 29 Apr 2005 09:33:06 -0600
>From: Sue Clemenger <mooncat@in-tch.com>
>Subject: Re: [h-cost] NESAT 8
>To: Historical Costume <h-costume@indra.com>
>
>I'm not Beth (well, it *is* my middle name, so maybe that's good
>enoug?), but I'm willing to bet that the book your friend was talking
>about is called "In Sheep's Clothing: A Handspinner's Guide to Wool."
>It's written by Nola & Jane Fournier, and is published by Interweave
>Press (www.interweave.com).
>--Sue, slowly working her own way through wooly fiber arts ;-)
>
>Theresa Threadgill wrote:
> > Hey Beth,
> >
> > We met at war and you let me look at your books.  My friend fell in
> > love with the book dealing with all of the different types of sheep and
> > she has been looking ever since for a copy and can't find one.  What I
> > want to do is find one for her and several of my friends are going in
> > together to pay for it.  One minor problem I didn't look at the author
> > or title of the book.  Can you give me that information please?  Any
> > ideas where to get a copy would also be appreciated.  We've really been
> > haveing fun lately, I have starting learning how to take raw wool and
> > end up with a finished product.  so far I am fairly slow hopefully with
> > time will get faster at combing and spinning,  I knit and weave fairly
> > well but you have to have the spun stuff first :)
> >
> > thanks
> > theresa


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


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Subject: [h-cost] Rib removal
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There was some discussion here awhile back that the story of ribs being
surgically removed by Victorian ladies to fit into their corsets better
was really a myth.  I have a reference librarian at a local history of
medicine library that is willing to help me do some research on this to
see if we can find anything.

What I am wondering if anyone has an anywhere-near-to-primary/secondary
source for this that they could give me the information on.  Even a
rough idea of what year/era it might have been done would be helpful.

Thanks and stay tuned,
Catherine
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Subject: Re: [h-cost] hunting for a book and a person
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Status: RO


Try "Sheep and Man"  by Ryder.  Bridgette

>I am hunting for Beth of SCA Little Grey Bear Barony.  She went to
>Mississippi to war and I met her and looked at her books and was able to
>get some fantastic information.  I was the amputee that she met.  I am
>looking for a book that had a blue and white paper cover hardback that
>had a man in a field with sheep.  It talked about the breeds of sheep
>there were pictures of each breed the climate they liked how they were
>to raise the type of wool they had and so forth.  But I forgot to write
>down the name and author of that particular book.  She had given me a
>business card but I seem to have lost it since then.  Any help would be
>appreciated.
>
>Also Sue sent me one name In Sheep's Clothing but that wasn't it.
>Although I am going to get it it looked interesting.  So thanks Sue.
>
>Thanks to all
>Theresa

Mari Stewart
Webmaster
College of Veterinary Medicine
Cornell University


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Date: Fri, 29 Apr 2005 10:56:43 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Louis of Hungary
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>I am wanting to make my husband King Louis of Hungary's robes, does anyone 
>know of a better picture of wither this or a similar outfit?  I think that 
>I am making some heads or tails out to the pattern pieces drawn out, but I 
>am still a little shaky on the construction and any closures that it might 
>have.  The robe itself does look similar to the cut of the men's loose 
>gown in Janet Arnold's Patterns of Fashion.
>
>http://www.virtue.to/guest_authors/hungarian.html
>
>Here's the link to the only picture that I have been able to find so far.
>
>ANY help will be appreciated.

I seem to recall that the Hungarians at this time wore clothes similar to 
those Italianate things the Germans were wearing at the same time.  So that 
might be a direction to try.

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

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Subject: [h-cost] Photography at SF Legion of Honor museum?
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Hi all,

I'm headed to San Francisco on a business trip this weekend and was wondering if anyone here knows if the Legion of Honor museum allows non-flash photography?  I couldn't find anything on their web site stating their policy.

I'm trying to decide whether or not to take the camera.

Thanks,

Colleen
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Date: Fri, 29 Apr 2005 16:18:19 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Rib removal
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>There was some discussion here awhile back that the story of ribs being
>surgically removed by Victorian ladies to fit into their corsets better
>was really a myth.  I have a reference librarian at a local history of
>medicine library that is willing to help me do some research on this to
>see if we can find anything.

The rumor, as I have heard it, is that one woman, in the mid-to-late 1800s 
or very early 1900s, did this.  Check the urban legend websites.


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

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From h-costume-bounces@indra.com  Fri Apr 29 20:37:39 2005
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Subject: [h-cost] unicorn tapestries and dye
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Apropos to our discussion a while ago about dyes and fading -- a friend sent
me this link to a story about computer-imaging the fronts and backs of the
Unicorn Tapestries at the Met. It's from the New Yorker, so it's long. But
it's fascinating, with all sorts of information about the backs of the
tapestries, very high-level math, computer imaging, and art.


http://www.newyorker.com/fact/content/articles/050411fa_fact


Enjoy!

Gail Finke

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Subject: Re: [h-cost] Louis of Hungary
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I have some that were sent to me by the lady who gave me these:
http://frazzledfrau.glittersweet.com/mary/index.htm
I can send you the full sized images if you have a program to clean them up
a bit, or if you don't mind waiting a few days I can tryto clean them up and
put them on my website.

michaela de bruce
http://glittersweet.com



> I am wanting to make my husband King Louis of Hungary's robes, does anyone
> know of a better picture of wither this or a similar outfit?  I think that
> I am making some heads or tails out to the pattern pieces drawn out, but I
> am still a little shaky on the construction and any closures that it might
> have.  The robe itself does look similar to the cut of the men's loose
gown
> in Janet Arnold's Patterns of Fashion.
>
> http://www.virtue.to/guest_authors/hungarian.html
>
> Here's the link to the only picture that I have been able to find so far.
>
> ANY help will be appreciated.
>
> Jennifer (Lost in Cincinnati)
>
> what would you attempt to do if you knew you could not fail?  Anon.



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From: "michaela" <thebruce@ihug.co.nz>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Rib removal
Date: Sat, 30 Apr 2005 13:21:31 +1200
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> >There was some discussion here awhile back that the story of ribs being
> >surgically removed by Victorian ladies to fit into their corsets better
> >was really a myth.  I have a reference librarian at a local history of
> >medicine library that is willing to help me do some research on this to
> >see if we can find anything.
>
> The rumor, as I have heard it, is that one woman, in the mid-to-late 1800s
> or very early 1900s, did this.  Check the urban legend websites.

It's only ever rumour and even now I only found maybe three sites of plastic
surgeons who claimed to do it. The sites were far from professional looking
though, and probably not reputable.

People do get ribs removed now, but for proper medical reasons.

Snoops says it's all legend, they can be wrong of course, but every person
who was actually claimed to have had it done has proved false.

I'll have to hunt down the particulars of one non English case, but it
involves hunting through a forum that is pretty busy. And it was probably a
rumour because of political intrigue.

Besides, tightlacers get waists that are tiny without rib removal, so it
doesn't seem like a good reason to get them removed. I could believe it a
bit more in eras without corsetry.


michaela
http://glittersweet.com



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From h-costume-bounces@indra.com  Fri Apr 29 21:35:16 2005
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Date: Fri, 29 Apr 2005 18:34:26 -0700 (PDT)
Subject: Re: [h-cost] Photography at SF Legion of Honor museum?
From: "Diana Habra" <dch@inreach.com>
To: "Historical Costume" <h-costume@indra.com>
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> Hi all,
>
> I'm headed to San Francisco on a business trip this weekend and was
> wondering if anyone here knows if the Legion of Honor museum allows
> non-flash photography?  I couldn't find anything on their web site stating
> their policy.

I don't know what their policy is but my theory is....take the camera,
don't use the flash and keep taking pictures unless they ask you to stop. 
The main reasons they don't want you to use a flash are:

--bright light degrades the painting/fabric

--they want to sell more catalogs

No flash means no bright light and no damage to paintings/fabrics.  And
since the catalogs never seem to show us what we want to see (i.e.
portrait details or costume details), I say use the camera.  As long as
you are going to use the pictures for your own reference and not to make
money, go for it!

Just my 2 cents,

Diana

www.RenaissanceFabrics.net
"Everything for the Costumer"

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From h-costume-bounces@indra.com  Fri Apr 29 21:46:57 2005
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Date: Fri, 29 Apr 2005 18:45:47 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Rib removal
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At 01:21 PM 4/30/2005 +1200, you wrote:
> > >There was some discussion here awhile back that the story of ribs being
> > >surgically removed by Victorian ladies to fit into their corsets better
> > >was really a myth.  I have a reference librarian at a local history of
> > >medicine library that is willing to help me do some research on this to
> > >see if we can find anything.
> >
> > The rumor, as I have heard it, is that one woman, in the mid-to-late 1800s
> > or very early 1900s, did this.  Check the urban legend websites.
>
>It's only ever rumour and even now I only found maybe three sites of plastic
>surgeons who claimed to do it. The sites were far from professional looking
>though, and probably not reputable.
>
>People do get ribs removed now, but for proper medical reasons.
>
>Snoops says it's all legend, they can be wrong of course, but every person
>who was actually claimed to have had it done has proved false.
>
>I'll have to hunt down the particulars of one non English case, but it
>involves hunting through a forum that is pretty busy. And it was probably a
>rumour because of political intrigue.
>
>Besides, tightlacers get waists that are tiny without rib removal, so it
>doesn't seem like a good reason to get them removed. I could believe it a
>bit more in eras without corsetry.
>
>
>michaela
>http://glittersweet.com

And of course in pre-antibiotic days (before WW II), such intrusive surgery 
could be a death sentence, which seems a bit steep just for a tiny 
waist.  Tight corsetting was less dangerous, even though it was not healthy 
and was constantly condemned by the medical doctors in the 19th century 
(when the tiny waist seems to become especially fashionable).

Joan Jurancich
joanmj@surewest.net

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----- Original Message ----- 
From: marie hurley 
To: edith reardon 
Sent: Friday, April 29, 2005 3:24 PM
Subject: grease on clothes


Hi Edith, for some reason I can't post on the costume group. Would you post this question for me? 

How do you get grease (the black grease that you grease truck axles with) out of a white cotton shirt?

Marie




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In a message dated 4/29/2005 10:11:22 P.M. Eastern Standard Time,  
edieann@telus.net writes:

How do  you get grease (the black grease that you grease truck axles with) 
out of a  white cotton shirt?



One product I have had good luck with is called Tar and Bug Remover.   Used 
to be able to get it at auto supply stores, although I haven't bought any  in a 
long time.
 
Ann Wass
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      This may be in the archives.  From the Ziegfield Follies, it was 
the wife of one of the owners who was also a Follies Girl.  I think 
the last name was Feld.  That was apparently the known case of a 
woman having ribs removed.

      -Carol
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Subject: Re: [h-cost] tacuinum sanitatis
Date: Fri, 29 Apr 2005 22:41:22 -0500
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----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
> Sure. It's half a picture. You can see the full one (with a great example
> of a man's garment) in Marcel Thomas' "The Golden Age: Manuscript Painting
> at the Time of Jean, Duke of Berry."
<snip>
> Bear in mind that the manuscripts of the Po Valley from this period
> included both French and Italian influences, so you sometimes get some
> pretty weird details and combinations.

Yay!  This info in itself helps a ton, and makes sense of the contradictory 
snips of info I'd found. (Also, it's nice to have my wild guess born out.) 
It's probably the unusual effect caused by that combination that attracted 
my attention in the first place.  Now, what I really wish I knew for sure is 
whether the side lacing is out of place on this general sort of garment, or 
a genuine detail!

> (E., I have these books if you want to read the discussion and to see
> other examples from the same ms and the related Tacuinum mss.)

Replied to off-list. 

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Subject: Re: [h-cost] Rib removal
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>      This may be in the archives.  From the Ziegfield Follies, it was the 
> wife of one of the owners who was also a Follies Girl.  I think the last 
> name was Feld.  That was apparently the known case of a woman having ribs 
> removed.

Might that name have been Anna Held?


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

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From: "Becky @ SewingCity.com" <becky@sewingcity.com>
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Subject: [h-cost] Use of fur on sideless gowns
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Greetings,

I am looking for information about the use of fur on a sideless surcoat.
The fur is white rabbit, not for royalty (no ermine) just noble.  I have
been wanting to use this fur for a while, and I have enough of it to cover
the top part of a sideless, but wasn't sure how appropriate it would be for
a noble woman.  The sideless gown is linen.  I remember seeing some pictures
of the edges lined, and one where the entire top/bodice was covered.

Thanks for any advice,
Becky

-------------
http://www.sewingcity.com


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Subject: Re: [h-cost] Fw: grease on clothes
To: Historical Costume <h-costume@indra.com>
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My wife has a whole set of specialised stain removers marketed under the name "Stain Devils" in the UK. Each one is specially formulated for removing a particular type of stain from cloth, carpets, soft furnishings, etc. The "packaging" is in a plastic tube about 1in. dia and about 4.5in high. & contains 50ml of the liquid formula.  They are manufactured by DDDLtd, Watford, kent, UK. There are removing formulas for rust, ball-point-pen, perm. markers, grease, oil & tar, coffe, wine, - the list is very long. My wife swears by them, and has been using them successfully for years

AnnBWass@aol.com wrote:
In a message dated 4/29/2005 10:11:22 P.M. Eastern Standard Time, 
edieann@telus.net writes:

How do you get grease (the black grease that you grease truck axles with) 
out of a white cotton shirt?



One product I have had good luck with is called Tar and Bug Remover. Used 
to be able to get it at auto supply stores, although I haven't bought any in a 
long time.

Ann Wass
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Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
Send instant messages to your online friends http://uk.messenger.yahoo.com 
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<<Hi Edith, for some reason I can't post on the costume group. Would you
post this question for me?

How do you get grease (the black grease that you grease truck axles with)
out of a white cotton shirt?>>

Depending on how it actually works on fabric of course.. but my brother
works on boats and they use denatured alcohol to clean the sttuff off them.
Haven't tried it myself (having not yet asked to test the product at home...
ehem) but I do recall reading that (rubbing) alcohol can be used for grease
stains.

Actually I've been pondering what to do to get grease off my white cat! He's
rather fond of going under cars having a good sniff and has come home this
morning covered in the stuff. I have a photo, I do mean covered.

I tried cleaning him gently with warm water and soap, but it just didtressed
him no end. I got half of it off, enough to stop him self cleaning and
ingesting more of it. Like the joke email says, cat spit is not a miracle
cleaner....

So to open this further and be costume related still: how would one get
grease out of fur? In my case it's on a living animal, but there may be
cases of grease getting on a pelt...

Oh and oil stains from a metal brocade is one I'm trying to work on as well.

michaela
http://glittersweet.com



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Date: Sat, 30 Apr 2005 14:54:09 +0100 (BST)
From: julian wilson <smnco37@yahoo.co.uk>
Subject: Re: [h-cost] removing grease on clothes
To: Historical Costume <h-costume@indra.com>
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Well, I can see grease spots  and oils staining our medieval clothes from at least two 0f our activities - the first is from cooking food and eating eating it; and the second is the maintainance of weapons and armour.
Firstly, it seems to me that the food stains would involve removal of the animal fats and natural plant oils that are present.  For example, eating without forks could result in accidentally dipping one's long sleeves  onto or into a platter or vessel while reaching for something else on the table. Or sauces dripping from foods as we convey them to our mouths.
 And the second  involving whatever  is used to clean-off light rusting from weapons and armour, especially after they've been fingered by the mundane Public who all seem to have this unstoppable urge to really "touch" one's equipment - [small boys and swords being at the head of my "oh, no, not again" list], - and then to protect/preserve the metal. These "staining agents" could be a natural plant oil [we coat our often-used weapons with refined Olive Oil after cleaning]  - but could also be a petroleum derivative product - or even a micro-crystalline wax as used by Museums for the long-term protection of steel exhibits.
 
So "posting" any specific remedies used successfully to remove those 2 classes of staining-agents will be particularly helpful.
 
I would have thought that removing the kind of auto-lubricating grease mentioned by a previous Lister, - would require lots of highly-distilled denatured alcohol, or a very-refined White Spirit or lots of Carbon Tetrachloride; - basically because - as I see that problem, - the only remedy is to keep-on "flushing" the grease stain,-  and blotting-up the emulsified/disolved grease must continue until the cleansing agent is coming-away clean.
Maybe a Lister who has had experience in the "Dry Cleaning" Trade could add some comment?  



Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
Send instant messages to your online friends http://uk.messenger.yahoo.com 
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Date: Sat, 30 Apr 2005 10:13:31 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Rib removal
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>>      This may be in the archives.  From the Ziegfield Follies, it 
>>was the wife of one of the owners who was also a Follies Girl.  I 
>>think the last name was Feld.  That was apparently the known case 
>>of a woman having ribs removed.
>
>Might that name have been Anna Held?

      I don't remember the name - is there any more info on Anna Held 
about rib removal?

      I suppose if one woman did this, it would be enough to fuel the 
rumor that others did.  For a modern comparison, I wonder in 100 
years if people will cite Michael Jackson's plastic surgery as if 
something to that extent was commonplace!

      -Carol
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> >Might that name have been Anna Held?
>
>       I don't remember the name - is there any more info on Anna Held
> about rib removal?

It was also rumoured she bathed in milk, that was probably put out by her
husband.

The only text I could find was on a dodgy page with a mysterious "I know
people who do this" and an email address to get the names of the surgeons.

Anyway they were quoting the staylace site.

Valerie Steele has done the research on studying skeletons and records and
has found no evidence to back up any of the claims.

http://www.snopes.com/horrors/vanities/ribs.htm

There is more out there (search for valerie steele rib removal) but I'm
having issues with a spyware program taking up more memory than it needs to
run and is making everything run slooooow.

michaela de bruce
http://glittersweet.com



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I'm afraid in 100 years it WILL be commonplace, at the rate cosmetic 
surgery is progressing and gaining in popularity!

On Apr 30, 2005, at 8:13 AM, Carol Kocian wrote:

>      I suppose if one woman did this, it would be enough to fuel the 
> rumor that others did.  For a modern comparison, I wonder in 100 years 
> if people will cite Michael Jackson's plastic surgery as if something 
> to that extent was commonplace!
>
>      -Carol

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I am not sure where you are, but in the united states, there is a  
product called Zout made by Dial which works great on all kinds of stains!

You might have to order it online.  I've not seen it in the stores for 
some reason, but I have not looked in awhile.

Sg

>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fw: grease on clothes
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If I had to get grease, or a greasy substance, out of something that 
could be dry-cleaned, I'd take it to a cleaners'.  They have solvents 
there that will specifically take out things like that.
For more delicate things, like fur garments, I really don't know. 
Perhaps, if you were careful, you could gently sponge at the stained 
areas with a mild solution of water and a dish soap specifically 
formulated to be grease-cutting? The trick would be to clean the fur, 
I'd imagine, but not get the skin part wet.
In the U.S., where I live, we have something called "Dawn," (dish soap? 
dish detergent?) which my Dad used to swear by--not only does it have 
grease-cutters, but it contains surfactants, which, I think, help break 
up the grease or oil molecules.  (geez, but I hope I got that right! 
<g>)  And while he used it to mix in with his tree paint solutions to 
help disperse the color more evenly, I've known a *bunch* of people on 
fiber lists talk about using Dawn and similar detergents to clean raw 
wools, some of which can be *very* greasy.  Come to think of it, you 
could probably also use something like Orvus, or some of the 
commercially-available wool washes, which should be purchasable in your 
neck of the woods, given that some of them, I think, are imported into 
the US from NZ! ;o)
As far as that cat goes--I'd ask your vet for recommendations.  I'd 
probably use something like Dawn or Orvus, both of which I happen to 
have and have used on cats for just that purpose in the past (what *IS* 
it with cats and the undersides of cars???).  The unhappy cat would just 
have to put up with being wet and in the sink for a bit (tough 
patooties, and all!)  You'd just have to make sure that the kitty was 
thoroughly rinsed afterwards, so that he didn't ingest any of the 
soap/detergent.
--sue, about to go out and enjoy a sunny, spring day! Hurrah! It's up 
above freezing this morning! (okay...so we *did* have snow on the tulips 
earlier this week! <g>)
p.s.  I've also heard of using other, absorbent things to soak up grease 
and oils.  Perhaps cornstarch? Or fine bread crumbs? or one of those dry 
shampoos intended for human use? I think the effectiveness would depend 
greatly on how bad the stain was.....

michaela wrote:

> <<Hi Edith, for some reason I can't post on the costume group. Would you
> post this question for me?
> 
> How do you get grease (the black grease that you grease truck axles with)
> out of a white cotton shirt?>>
> 
> Depending on how it actually works on fabric of course.. but my brother
> works on boats and they use denatured alcohol to clean the sttuff off them.
> Haven't tried it myself (having not yet asked to test the product at home...
> ehem) but I do recall reading that (rubbing) alcohol can be used for grease
> stains.
> 
> Actually I've been pondering what to do to get grease off my white cat! He's
> rather fond of going under cars having a good sniff and has come home this
> morning covered in the stuff. I have a photo, I do mean covered.
> 
> I tried cleaning him gently with warm water and soap, but it just didtressed
> him no end. I got half of it off, enough to stop him self cleaning and
> ingesting more of it. Like the joke email says, cat spit is not a miracle
> cleaner....
> 
> So to open this further and be costume related still: how would one get
> grease out of fur? In my case it's on a living animal, but there may be
> cases of grease getting on a pelt...
> 
> Oh and oil stains from a metal brocade is one I'm trying to work on as well.
> 
> michaela
> http://glittersweet.com
> 
> 
> 

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Subject: Re: [h-cost] Fw: grease on clothes
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You lucky people I have to hunt for stain removers and have tried some nasty
solutions. Maybe the manufacturer sells somewhere in Canada.  I still
couldn't get a tomato stain or felt pen out of an area rug. Some of the felt
came out with alcohol but not all of it.   The tomato stain didn't leave
no-matter what I did.  I know my mother took out ink stains by rubbing lard
into the stain.  Rust most of the time is easily removed by using baking
soda it causes a cemical reaction.  The kids brought a chair all the time
into the bathroom while taking a bath and it would leave long rust stains on
my lino.  It also works on steel doors, kitchen sinks and rust stains from
armour.

Brin

----- Original Message ----- 
From: "julian wilson" <smnco37@yahoo.co.uk>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, April 30, 2005 12:14 AM
Subject: Re: [h-cost] Fw: grease on clothes


My wife has a whole set of specialised stain removers marketed under the
name "Stain Devils" in the UK. Each one is specially formulated for removing
a particular type of stain from cloth, carpets, soft furnishings, etc. The
"packaging" is in a plastic tube about 1in. dia and about 4.5in high. &
contains 50ml of the liquid formula.  They are manufactured by DDDLtd,
Watford, kent, UK. There are removing formulas for rust, ball-point-pen,
perm. markers, grease, oil & tar, coffe, wine, - the list is very long. My
wife swears by them, and has been using them successfully for years

AnnBWass@aol.com wrote:
In a message dated 4/29/2005 10:11:22 P.M. Eastern Standard Time,
edieann@telus.net writes:

How do you get grease (the black grease that you grease truck axles with)
out of a white cotton shirt?



One product I have had good luck with is called Tar and Bug Remover. Used
to be able to get it at auto supply stores, although I haven't bought any in
a
long time.

Ann Wass
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Yours in service,
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of
Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
Send instant messages to your online friends http://uk.messenger.yahoo.com
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Use of fur on sideless gowns
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On Fri, 29 Apr 2005, Becky @ SewingCity.com wrote:

> I am looking for information about the use of fur on a sideless
> surcoat. The fur is white rabbit, not for royalty (no ermine) just
> noble.  I have been wanting to use this fur for a while, and I have
> enough of it to cover the top part of a sideless, but wasn't sure how
> appropriate it would be for a noble woman.  The sideless gown is
> linen.  I remember seeing some pictures of the edges lined, and one
> where the entire top/bodice was covered.

Many books will tell you that noblewomen wore this garment over the full
length of its existence. As it happens, I've done an extended study on
this (some of you have heard me lecture on it); I wrote about it here:

http://sca.uwaterloo.ca/Fashion/index.cgi?l=hcos03&s=sideless&Cmd=Match+1
http://sca.uwaterloo.ca/Fashion/index.cgi?l=hcos03&s=sideless&Cmd=Match+3

The short answer is that over time, the garment moved from having minimal
visible fur to larger and larger quantities of fur (first edgings, then
covering the entire top part with a fur piece often called a plastron). At
the same time, it moved from being a garment worn by nobility and
(probably) gentry and became more exclusive to the highest classes and
royalty, so that by the time you see the fur plastrons, you're looking at
duchesses and queens. The style also ended up gaining certain
artistic symbolism and was used by artists long after it seems to have
fallen out of fashionable wear, so later you go, the less reliable the art
is for anything that might have been worn by real people.

The shorter answer: The style of surcote that has lots of fur on it would
most likely have been exclusive to royalty and their family members, and
these women would have worn ermine. If you want to use your fur on a
sideless surcote, stick with an earlier version (perhaps a little fur
edging the armhole edges, which is itself a natural development from the
fur lining that would have been normal for these and other overgowns). Or
make a different style for which it's easy to document fur for a
noblewoman, such as a fitted overdress with fur tippets or long sleeve
extensions that show off a white fur lining.

The shortest answer: If you're in the SCA, most people won't know the
above unless they read this list or have heard me lecture ;-) so make what
you like. There's no shortage of images of females in sideless surcotes,
and most people (including many authors of older costume books) happily
cite them as examples without regard to who is being pictured or in what
context.

You can find some pictures here:
http://www.geocities.com/Athens/Crete/1581/surcoats.htm

Bear in mind that the Spanish and Italian examples are a different line of
evolution of sideless garments and not directly related to the Western
European sideless surcote in cut or style. Also, don't rely closely on the
text on this site, which includes some errors. It's a good selection of
pictures, though, as long as you're aware that many of the images
(particularly funerary sculpture and religious art) are symbolic or
allegorical in nature. (Points to the site author for linking directly to
other sites' pictures instead of just lifting them.)

--Robin


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Subject: [h-cost] Trim - prefabricated braid frogging - help?
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Suugestions for suppliers of "prefabricated braid frogging closures" would be very welcome.
I've tried an internet search but I'm obviously not asking the correct questsions - [maybe there's a Nut loose on my keyboard].
By "prefabricated" - I mean pre-made by the manufacturers into design patterns, and stitched to a card to help them keep their shape while on-show before Sale; prior to being stitched to the garment by the end-user.
If Listers could help with suggested sources from the US or the UK, I would be most grateful.
These are required for garment closures as on some Oriental tunics and jackets, and as alternative greatcoat closures on the Union Marine Uniform of the US Civil War Era - and after; -  not for sleeve decorations [e.g the so-called Austrian Knot" variations used on the  Light Cavalry sleeves of many Nations during the same periuod].




Yours in service, 
Julian Wilson,
[aka. Messire Matthew Baker/Matthieu Besquer, Governor & Castellan of Jersey, 1486-1497: - "Si vis pacem, para bellum"]
late-medieval Re-enactor; & Historian and Master Artisan to  
"The Companie of the Duke's Leopards",
[the only medieval living-history Group
in "olde" Jersey]
Send instant messages to your online friends http://uk.messenger.yahoo.com 
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From h-costume-bounces@indra.com  Sat Apr 30 18:21:48 2005
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	Sat, 30 Apr 2005 11:20:20 PDT
Date: Sat, 30 Apr 2005 11:20:20 -0700 (PDT)
From: Branwyn Maura <jauncourt@yahoo.com>
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Subject: [h-cost] A 19th century cap
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Status: RO

I am making a copy of a 19th century ruffled white cap
that's in my mom's collection. She asked me to do a
Janet Arnold (i.e. sketch, photograph, and pattern it
out without damaging it). It's a nifty piece, still in
excellent shape. Also, it fits me, which means that to
reproduce it, I don't need to grade it up :)

Its date seems to be about 1840, if compared to
similar caps in _Costume in Detail_. However, it is
also substantially similar, in cut, to examples from
the turn of the 18th-19th century and just after, in
_Rural Pennsylvania Clothing_ (Cap 'A', p 66; cap 'B',
p 68; cap 'E', p 69; and figs 75 & 76, p 70). As we
are fairly sure this cap is American in origin (though
we know nothing else about it - it was found in a bag
of mixed antique laces given to my mother over 20
years ago), I think the American examples are probably
closer to giving us an idea of its age.

It is entirely (and amazingly) handsewn of a sort of
windowpane check weave white linen (VERY fine), with
an applied ruffle of VERYVERY fine plainweave white
cotton. It ties with a pair of 1 cm wide twill tapes,
possibly linen (but soft enough to possibly also be
cotton :P ), and is adjusted at the back by two linen
drawcords in a casing made the same size as all the
other hems*.

The band is 5cm wide and shaped into
forward-projecting tapering points that terminate in
the ties, and the crown is gathered starting and
ending about 10cm up from the casings on either side,
evenly stroked into what are essentially tiny cartidge
pleats. Inside the crown you can see that the raw edge
was folded twice and hemmed until the gathering
points, where it was simply folded over once, about 4
mm, and neatly, tightly gathered. Apparently, the
tension of the gathering has held the edge from
fraying.

Between the shaped band and the crown is a 3 cm wide
band of linen with whitework flowers worked in cotton
and edged on either side with simple pulled thread
fagoting (about 5 threads wide). The whitework band is
attached to the band and gathered crown with TINY,
dense, regularly spaced whipstiches which both
roll-finish the whitework band and attach it to the
main body sections of the cap. On the side where the
whitework band is attched to the gathered edge of the
crown, these whip stitches also serve to hold the
gathers evenly - there is no evidence of any other
stitching used.

The ruffle is neatly hemmed on one edge by folding
over about 3mm and then again about 5mm and stitching
down. Its gathered edge is rolled and whipped, and
gathered by pulling up the thread and catching it to
the body of the cap every few stitches. The gathering
stops where the drawcord casings begin, at teh point
where the band joins the whitework band.

*The main pieces of the cap, made of the windowpane
check linen, seem to have been finished completely
before assembly, EXCEPT for the casing edge. The band
is made in two pieces and joined at its center, then
hemmed, and is probably cut from scraps, as the
pattern does not match up.

So, last night, I sat down and roughly patterned it
out, with some notes. I am now checking my pattern by
reproducing the cap from my notes. Since I don't have
access to such fine patterned white linen or such fine
white cotton, I'm making do. I have a slightly heavier
scrap of white linen, which I've drawn my main pattern
pieces out on in pencil and I am working in
drawn-thread work into a similar pattern. I am also
making the whitework strip from some of the same
linen. For the ruffle, I'm using the finest cotton I
have, to reproduce the difference between the body of
the original and its ruffle, though, as my cotton is
wider, my ruffle will be slightly fuller.

I'm in awe of the skills and thrift of the original
seamstress - she did so many things at once that she
msut have saved herself hours of work. I'll keep you
posted on how well my experiments in reproducing her
work are going.

Eventually, once we are sure this will work as a
pattern and article, it will be on my website.

Maura

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Subject: [h-cost] Grease remover
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Status: RO

Try Gojo.  It's a hand grease remover that mechanics use.  It is available
in two types, with pumice and without.  I have used it to get oil out of
yellow cotton towels before.  It got MOST of it out, and left a nice orange
scent!  I'd use the non pumice version because the pumice might damage the
fibers.  

Kate
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Subject: [h-cost] New Elizabethan Pattern:  The Working Woman's Wardrobe
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Hi, everyone!

I'm happy to announce the release of yet another historically accurate,
highly detailed
Elizabethan Pattern!

The Elizabethan Working Woman's Wardrobe Pattern is our first pattern for
the lower orders.   It's based on styles seen in the painting "The Wedding
at Bermondsey", (Also known as "The Fete at Bermondsey").  At last, a
realistic historical pattern for lower class women who don't want to dress
like ill fitted floozies.

The pattern has our usual high standards. It's well researched, and comes
with a 120 page instruction manual. It includes tissue patterns for a smock,
partlet, bodice with lacing and shoulder and waistline variations, a skirt,
two sleeves, three hats, a pouch, and instructions
for making an apron and neckcloth.  The size range is women's 2-30, and all
the sizes are included in each package.

 IMPORTANT: THIS IS NOT FINE PRINT! MOST OF THE PIECES IN THE WORKING
WOMAN'S WARDROBE ARE ADAPTED FROM SELECTED PIECES IN THE ELIZABETHAN LADY'S
ENSEMBLE. IF YOU ALREADY HAVE THE ENSEMBLE -- THE UNDERPINNINGS, WARDROBE,
AND ACCESSORIES -- YOU DO NOT NEED THIS NEW PACKAGE.

I'm putting the finishing touches on a set of instructions to adapt the
Lady's Ensemble patterns to create the same costumes as the Working Woman's
Wardrobe. These instructions will be added to the website in a downloadable
form within a few days. The Working Woman's Wardrobe has been created for
those who have not chosen to recreate the dress of the upper classes, but
want to enjoy the same quality of patterns and
documentation as our existing customers.

To see it and order, go to www.margospatterns.com

Thanks!

Margo Anderson

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Subject: Re: [h-cost] Trim - prefabricated braid frogging - help?
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Status: RO

Do you mean these things?
http://www.jkmribbon.com/wrights/frogs.html

Click on each type to see it.

Sg

If these don't suit you. Try googling on "frogs sewing"  (no quotes)

>  
>
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] A 19th century cap
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>Eventually, once we are sure this will work as a
>pattern and article, it will be on my website.

I'm drooling already.  Yes, please let us know where this will be.


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

              //// \\\
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Subject: Re: [h-cost] A 19th century cap
Date: Sat, 30 Apr 2005 18:28:34 -0400
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On Saturday 30 April 2005 2:20 pm, Branwyn Maura wrote:
[snip]
> I'm in awe of the skills and thrift of the original
> seamstress - she did so many things at once that she
> msut have saved herself hours of work. I'll keep you
> posted on how well my experiments in reproducing her
> work are going.
>
> Eventually, once we are sure this will work as a
> pattern and article, it will be on my website.


That sounds wonderful.  Thank you, and good luck!


-- 
Cathy Raymond <cathy@thyrsus.com>

"Some never live, but the crazy never die."--Hunter S. Thompson
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From: "Helen  Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>, <smnco37@yahoo.co.uk>
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Subject: Re: [h-cost] Trim - prefabricated braid frogging - help?
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Julian wrote:


> Suugestions for suppliers of "prefabricated braid frogging closures" would 
> be very welcome.

Cheeptrims.com does international orders, and is very reasonable, probably 
even with the duty you'll have to pay in Jersey.  They stock lots of trim, 
buttons and other notions as well.   Here are the appropriate pages for many 
styles of frogs:

http://www.cheeptrims.com/store/subcategory.asp?CategoryID=29&SubCategoryID=124

http://www.cheeptrims.com/store/subcategory.asp?CategoryID=29&SubCategoryID=122

http://www.cheeptrims.com/store/subcategory.asp?CategoryID=29&SubCategoryID=127

Good luck with your project,

                      -Helen/Aidan

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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Trim - prefabricated braid frogging - help?
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At 23:00 30/04/2005 +0100, you wrote:
>Suugestions for suppliers of "prefabricated braid frogging closures" would 
>be very welcome.
>I've tried an internet search but I'm obviously not asking the correct 
>questsions - [maybe there's a Nut loose on my keyboard].
>By "prefabricated" - I mean pre-made by the manufacturers into design 
>patterns, and stitched to a card to help them keep their shape while 
>on-show before Sale; prior to being stitched to the garment by the end-user.
>If Listers could help with suggested sources from the US or the UK, I 
>would be most grateful.
>These are required for garment closures as on some Oriental tunics and 
>jackets, and as alternative greatcoat closures on the Union Marine Uniform 
>of the US Civil War Era - and after; -  not for sleeve decorations [e.g 
>the so-called Austrian Knot" variations used on the  Light Cavalry sleeves 
>of many Nations during the same periuod].


Kleins - haberdashery and craft supplies
Barnett Lawson - huge range of braids, ribbons, buttons, feathers and trimmings
Little Trimmings - small scale trimmings and lace, and a very helpful lady

All the above have links on my web pages together with other suppliers of 
fabrics etc. Kleins and Barnett Lawson would be my first choices - Little 
Trimmings is probably more suitable for toys and dolls.

Suzi

www.suziclarke.co.uk
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] OT:  Funny Cats
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This is off topic but I know a lot of you have cats... so you will love this!

http://www.themooseisloose.net/funny_cats.html
(have you volume on when watching)


Penny Ladnier, owner
The Costume Gallery, www.costumegallery.com 
Costume Research Library, www.costumelibrary.com 
Costume Classroom, www.costumeclassroom.com
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Subject: Re: [h-cost] A 19th century cap
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> I am making a copy of a 19th century ruffled white cap
> that's in my mom's collection. She asked me to do a
> Janet Arnold (i.e. sketch, photograph, and pattern it
> out without damaging it). It's a nifty piece, still in
> excellent shape. Also, it fits me, which means that to
> reproduce it, I don't need to grade it up :)
>
>
> Eventually, once we are sure this will work as a
> pattern and article, it will be on my website.
>
> Maura
>

And where would we find that?   LOL  thanks,  Kitty


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From: "Becky @ SewingCity.com" <becky@sewingcity.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Use of fur on sideless gowns
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Robin,

I always love reading your posts - and I love your longer, shorter, shortest
answers :) Thanks for taking the time to reply, and I appreciate the
research.  I will have fun making this gown...

Becky
-------------------
http://www.sewingcity.com


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Subject: Re: [h-cost] New Elizabethan Pattern:  The Working Woman's Wardrobe
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Status: RO

sounds wonderful.  is there anything similar out there for the civil war
era?   or would that have been to diverse?   Kitty

> Hi, everyone!
>
> I'm happy to announce the release of yet another historically accurate,
> highly detailed
> Elizabethan Pattern!
>
> The Elizabethan Working Woman's Wardrobe Pattern is our first pattern
> for the lower orders.   It's based on styles seen in the painting "The
> Wedding at Bermondsey", (Also known as "The Fete at Bermondsey").  At
> last, a realistic historical pattern for lower class women who don't
> want to dress like ill fitted floozies.
>
> The pattern has our usual high standards. It's well researched, and
> comes with a 120 page instruction manual. It includes tissue patterns
> for a smock, partlet, bodice with lacing and shoulder and waistline
> variations, a skirt, two sleeves, three hats, a pouch, and instructions
> for making an apron and neckcloth.  The size range is women's 2-30, and
> all the sizes are included in each package.
>
>  IMPORTANT: THIS IS NOT FINE PRINT! MOST OF THE PIECES IN THE WORKING
> WOMAN'S WARDROBE ARE ADAPTED FROM SELECTED PIECES IN THE ELIZABETHAN
> LADY'S ENSEMBLE. IF YOU ALREADY HAVE THE ENSEMBLE -- THE UNDERPINNINGS,
> WARDROBE, AND ACCESSORIES -- YOU DO NOT NEED THIS NEW PACKAGE.
>
> I'm putting the finishing touches on a set of instructions to adapt the
> Lady's Ensemble patterns to create the same costumes as the Working
> Woman's Wardrobe. These instructions will be added to the website in a
> downloadable form within a few days. The Working Woman's Wardrobe has
> been created for those who have not chosen to recreate the dress of the
> upper classes, but want to enjoy the same quality of patterns and
> documentation as our existing customers.
>
> To see it and order, go to www.margospatterns.com
>
> Thanks!
>
> Margo Anderson
>
> _______________________________________________
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Subject: [h-cost] RE: grease on fur
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>From: "michaela" <thebruce@ihug.co.nz>
>...Actually I've been pondering what to do to get grease off my white cat! 
>He's
>rather fond of going under cars having a good sniff and has come home this
>morning covered in the stuff. I have a photo, I do mean covered...

>So to open this further and be costume related still: how would one get
>grease out of fur? In my case it's on a living animal, but there may be
>cases of grease getting on a pelt...

I can't with the cloth, but -may- help with the cat.  To remove the grease 
you may need to add more grease :)   There is (in the US) a product called 
"goop" that is used to remove grease from mechanics - and should not be 
confused with the adhesive called "goop".  I use it to get code off my hands 
when making shoes.  The company has a product called "Groomers Goop" and is 
specifically for degreasing cats and dogs.  The major ingredient of Goop is, 
I believe, Lanolin.  After you get the grease off the cat, then you can wash 
it down with soap and water to remove the lanolin.

BTW, there is also "Mom's Goop" which is supposed to take up stains on 
fabric.

The company is at http://www.goophandcleaner.com

Marc


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