From: Gretchen Miller Date: Fri, 13 Jan 1995 19:00:40 -0500 (EST) Subject: H-Costume Digest, Volume 207, 1/13/95 The Historic Costume List Digest, Volume 207, January 13, 1995 Send items for the list to h-costume@andrew.cmu.edu (or reply to this message). Send subscription/deletion requests and inquiries to h-costume-request@andrew.cmu.edu Enjoy! --------------------------------------------------------------- Topics: Pinking dies and coffin clothes Costumes in the latest "Little Women" incarnation Possible Smithsonian reproduction fabric source Disappointed with December 94 Burda "Historical Supply Catalog" Review of Patchworks service and Smithsonin reproduction fabrics Vintage dance classes, SF Bay area Sources for documenting fabric/print patterns Vintage dance in Chicago? ---------------------------- Date: Wed, 28 Dec 94 16:26:25 GMT From: paul@bozzie.demon.co.uk (Paul C. Dickie) Subject: Re: pinking dies In message <941219171040_2158630@aol.com> AlisounF@aol.com writes: > Paul M. Dickie wrote: Who he? o-) >>Quite why they bothered pinking the raw edge is surely a mystery, >>as one would not have expected the occupant to move very much in their >>journey from this world to the next, or from their "laying-out" to their >>ultimate destination. > > Is it possible that the pinking was to create decorative elements rather than > to finish the edge of the cloth? Not really, as the pinked edge was (and, sometimes, still is) covered up in the coffin when it's "in use". In other words, the fabric was cut with a pinking iron, then tacked in place inside the coffin, with a row of tacks just below the rim of the box. The fabric was then folded back over the tacks, covering them up, and a gimp or braid might then be applied to finish off the folded edge. I've no idea about current practice, but I know that such was done as recently as 1986, for I took a peek at the way my mother's coffin was prepared (actually, the lining wasn't folded very neatly so, before Father said his final farewells, I smoothed out the creases...) > One great advantage to a pinking die is that > it can be used to create slashed patterns on the cloth overall. Indeed, but I rather think that such isn't the reason, either. On thinking more about it, it seems that it's more likely to have been done to prevent fraying at the end of the cloth left on the roll and so impairing profit margins... Paul C. Dickie ---------------------------- Date: Wed, 28 Dec 94 12:04:21 PST From: "cynthia" Subject: Re: pinking dies Thanks to this discussion, I could identify a pinking wheel, misplaced into the cooking section at one of the local antique/ junk shops. The thing is cast iron with a patent date of 1917 (I didnt write down the mfgr or the pat #). It has minimal rust. Per previous descriptions, the unit clamps onto a table (like the '30s meat grinders), it has a wheel (and counterwheel). It turns, albeit stiffly. No need to fear for your fingers! As the owner has it under "cooking", it is vastly overpriced at $50. Probably, you could get it for 1/3 of this. A little naval jelly and oil, would fix it right up! If anybody wants it, it's in Evelyn's Antiques, San Carlos St, San Jose, Calif. --cin Cynthia@caere.com ---------------------------- From: Renactr2@aol.com Date: Thu, 29 Dec 1994 12:07:43 -0500 Subject: Re: "Little Women" film I havn't seen the movie yet, but I almost bought a picture book version for my wife who makes Civil War clothes... I say almost. I saw a photo of a wedding and the groom is dressed ias a Union soldier. That's all weel and good , but he was wearing BOTH Sargents chevrons AND Officers shoulder straps! I lost it at that point and put the book back on the shelf. I thought the womens' clothes looked good, but that is not my area . I figured if they could make such a blunder as putting both officer's rank on an enlisted mans frock coat, the rest of their documentation was pretty suspect. I know, It's not a boys movie.... Cheers, Jim Renactr2@aol.com ---------------------------- Date: Thu, 29 Dec 1994 13:41:04 -0800 (PST) From: Carol Cannon Subject: Re: Costuming 1800s This gentleman was looking [on the SCA Digest group] for help finding attire from the 1800s. Might someone please help him. Many thanks, on both our behalves. Christopher--The above address is probably more what you are looking for. There is a separate address for subscribing...which is: [I think] h-costume-request@andrew.cmu.edu Good luck. CJ Bell Cannon ---------------------------- Date: Thu, 29 Dec 1994 13:56:46 -0800 (PST) From: "Sarah E. Goodman" Subject: Re: "Little Women" film On Thu, 29 Dec 1994 Renactr2@aol.com wrote: > I figured if they could make such a blunder as putting both > officer's rank on an enlisted mans frock coat, the rest of their > documentation was pretty suspect. Field promotion? (I only ask 'cause one of the best reactment costumes I've ever seen belonged to a young guy how had little cash and not very sympatthetic parents. His was a reb, and his entire kit was made up of cast-offs, including the Union jacket which had been bleached by time, had all the insignia carefully picked off, and been re-dyed {not very well} butternut. He drove the local Flower of the Confederacy types nuts!) ---------------------------- From: close@lunch.engr.sgi.com (Diane Barlow Close) Subject: Possible Smithsonian Fabrics Source Date: Sat, 31 Dec 1994 18:22:28 -0800 (PST) I was cleaning out my mail order catalogs file (real paper catalogs, not a computer listing :-) today and noticed that The Patchworks' Fall 1994 catalog lists the Smithsonian Quilt Fabric Collection. The catalog entry states: RJR Fashion Fabrics presents Smithsonian Quilt Fabric Collection (c) Each collection is based on fabrics in a "special" quilt owned by the Smithsonian Institution. The first grouping will feature prints from "Rising Sun" c.1830 by Mary Toten. The Patchworks will be carrying all of the collections in their entirety. The first one should be available in Oct/Nov 1994 and will include 36 prints and 3 solids. Yardage available; solids $5.00 /yard, prints $7.25 /yard. Collection (39 pieces): 1/2 yard of each print $135.00; 3" sample of each print $5.00 I haven't ordered from The Patchworks before, so I can't say what they're like service-wise, only that they send me regular catalogs. :-) I don't know if they have any Smithsonian fabrics left, but they are an "out of the way" place so they're worth a try for those of you who were looking for possible sources. They do lots of other reproduction fabrics too, including a line of men's shirting fabrics ("neats") from the late 19th century, and a line of civil war era quilting fabrics. The Patchworks 6676 Amsterdam Road Amsterdam, MT 59741-8315 (406) 282-7218 (voice) (406) 282-7322 (FAX) -- Diane Close close@lunch.engr.sgi.com I'm at lunch today. :-) ---------------------------- From: close@lunch.engr.sgi.com (Diane Barlow Close) Subject: December 94 Burda Disappointment (Erte Dress) Date: Sat, 31 Dec 1994 22:05:10 -0800 (PST) I bought the December '94 issue of Burda magazine because it said that this month's "featured designer" was the late Erte. At first glance, this appeared to be a continuation of their "Designer Pattern" series which has been highlighting one designer a month, including one special Burda pattern created by that designer. A quick peek at the magazine before I purchased it suggested that this would be the case with Erte too. The article featured a full-page photo of a black dress with the caption "Simply ravishing! We've redesigned the original Erte ... just for you!" I expected to find a pattern featuring that redesigned dress within the selections offered that month. I didn't notice until I got home and read the article in more detail that the "featured dress" didn't have a number beside it indicating it was a pattern. In fact it's NOT a pattern -- it's simply a picture of a dress that Burda mag has done up of an Erte design. It's NOT an included pattern and no directions given on how they went about making up and/or redesigning the dress. The entire "feature" was a big disappointment and very misleading, imho. -- Diane Close close@lunch.engr.sgi.com I'm at lunch today. :-) ---------------------------- Date: Sun, 1 Jan 1995 17:08:35 -0800 (PST) From: Dianne Karp Subject: historical supply catalog In the new Wireless catalog (the catalog for public radio) there is an ad for ~The Historical Supply Catalog~. It states it is "a sourcebook for nearly 500 replicas and reproductions of century-old products available today". Looks to be for the 19th century. It is 17.95 through them and the item number is 32567, page 11. Their toll free ordering number is 1-800-669-9999. I am not a 19th century buff myself but I thought this might be of interest to those of you who are. Dianne ---------------------------- Date: Mon, 2 Jan 95 11:14:43 PST From: aterry@Teknowledge.COM (Allan Terry) Subject: Smithsonian fabrics Diane Close and I both recently posted messages that the Smithsonian collection of fabrics is available through Patchworks. I sent for several sets of swatches, including the Smithsonian fabrics, right after I posted and received them a few days later. I'm afraid the Smithsonian fabrics were a bit of a disappointment. The catalog copy led me to believe they are all accurate reproductions of fabrics from an 1830 "Rising Sun" quilt. "Instant authenticity for an 1830s dress" as Danine hoped. However, this does not seem to be the case. Patchworks sent an envelope of swatches accompanied by a sheet of descriptions presumably written by the manufacturer (RJR Fabrics). The descriptions are numbered but the swatches are not, and there are more swatches than descriptions. Thus, it's impossible to identify every fabric. However, only four out of the eleven fabrics described are associated with the Rising Sun quilt. Of these four, one print was "adapted from" a print in the Rising Sun quilt. Two were others "adapted from" not any print, but applique patterns in the quilt. Another print was "taken from the back of a late 18th-century quilt" and looks fairly close to some mid-18th-century prints, judging from a small swatch, but perhaps reduced in size. (Though I'm not sure I identified the right swatch.) Another fabric was "discovered" in an 1860-65 quilt block, another in an 1870-80 quilt, and yet another in a counterpane from "the first quarter of the 19th century." The rest of the fabrics were chosen or designed to "complement" the others. The prints are available in several "colorways" so not all colors can be original. The prints are mostly tiny, smaller than dress prints from before the 1880s (when the small prints modern quilters like became more common). I also got a swatch set for prints from an 1840 "Tiger Lily" quilt. These struck me as more accurate than the Smithsonian prints, but still on the small side. I already had Patchworks' swatch sets for several historic time periods, but this time I ordered their "dressmaker" swatch sets. On talking to Patchworks, it turns out these are designated "dressmaker" mostly because large quantities of fabric are usually available. The prints, by and large, are smaller than the originals photograhed in my textile and costume books, as well as prints in garments in my collection. Patchworks says a new shipment of the Smithsonian fabrics was sent to them a few days ago, so there should be no problem ordering these in the near future. The owner thought most of the Tiger Lily fabrics were available in dressmaker quantities, but wasn't in the store so she'd have to check. The "dressmaker" fabrics are available in large quantities on a long-term basis. Some other fabrics, from Patchworks' nondressmaker historic swatch sets and other, more specialized sets, are occasionally available in large quantities. Basically you have to get the nondressmaker swatches, ask about any fabric that appeals, and hope for the best. I think Patchworks provides good service in the sense that they answer questions by phone and send swatches promptly. However, I think they sell mostly to quilters and don't quite understand the concerns of people making clothing reproductions. I was unable to resist buying some fabric, but it's too early to tell whether Patchworks ships promptly. In the course of examining the Patchworks swatches I realized that fabrics from an 1830 quilt would be accurate for 1820s or earlier clothing rather than 1830s, since the originals would have been saved-up scraps or parts of worn garments. Fran Grimble ---------------------------- Date: Tue, 03 Jan 95 12:02:34 PST From: "cynthia" Subject: Smithsonian fabrics >the Rising Sun quilt. Of these four, one print was "adapted from" >a print in the Rising Sun quilt. Two were others "adapted from" >not any print, but applique patterns in the quilt. I understood that passage in the RJR notes to apply to the "broderie perse" fabric. This should mean that it was a large print fabric that you, too (addressing the quilters) could use in this same sort of applique. Personally, I'd expect a reasonable amount of research as a prelude to the Smithsonian attaching their name to a commercial venture. I have 1830s fashion plates with dresses in BIG prints. As always, check your swatch books, contemporary quilts and vintage clothes. That quilt back print (circa 1780?) appears to be the one that looks like a line drawing of birds on branches. Originally it was tan with burgundy lines, they adapted another to tan with "indigo" lines. --cin Cynthia@caere.com ---------------------------- Date: Tue, 3 Jan 95 20:29:31 PST From: aterry@Teknowledge.COM (Allan Terry) Subject: San Francisco Bay Area Vintage Dance Classes VINTAGE DANCE CLASSES The East Bay Vintage Dance Society schedule for January and February is: January 7, dance master Stan Isaacs; Victorian dance January 14, dance masters Allan Terry and Frances Grimble; Victorian redowas January 21, Isaacs; Victorian dance January 28, Terry & Grimble; Victorian mazurkas February 4, Isaacs; ragtime dance February 11, Terry & Grimble; ragtime February 18, Isaacs; ragtime February 25, Terry & Grimble; ragtime All classes will be held on Saturday mornings, 10:30 a.m. to 12:30 p.m. at St. Johns Presbyterian Church 2727 College Avenue, Room 203 Berkeley, California The price is $6/person. No partner required. This is a regular series of classes; ragtime teaching will probably continue through March at least. Although we (Terry & Grimble) have not yet figured out what order these dances will be taught in, our February/March teaching will include hesitation waltz, 5/4 waltz (half-and-half), maxixe, and tango. For further information, call Clare Peterson at (510) 223-8233. ---------------------------- Date: Tue, 3 Jan 1995 23:56:46 -0500 (EST) From: Elizabeth McMahon Subject: Re: San Francisco Bay Area Vintage Dance Classes On Tue, 3 Jan 1995, Allan Terry wrote: > VINTAGE DANCE CLASSES > > The East Bay Vintage Dance Society schedule for January and February is: > > January 7, dance master Stan Isaacs; Victorian dance What fun! I wish I could go to the ball....sigh -*-*- Beth in the office, with the east coast blues, and working too late 212-741-4400 ---------------------------- Date: Tue, 3 Jan 95 21:08:12 PST From: aterry@Teknowledge.COM (Allan Terry) Subject: Smithsonian fabrics >Personally I'd expect a reasonable amount of research as a prelude to the >Smithsonian attaching their name to a commercial venture Maybe so. But one of my objections to the reproductions of jewelry and textiles sold by museums is they can't leave anything _alone_. Every original model has to be turned into some other kind of object or altered in some way, when wonderful results could be achieved by making exact copies. Electroplate and faux jewels might have to be substituted to make the jewelry affordable, but the museums already do that anyway. If you really want authenticity I'd recommend checking the RJR/Smithsonian fabrics against original designs before making a choice. This goes for other repro fabrics too. My favorite source for dating prints is: _Textile Designs_ by Susan Meller and Joost Elffers. Abrams, 1991. This is a large-format, 450-page book consisting of color reproductions of prints from the 18th century into the 1960s. Almost all are dated to the decade and many to the year. Although not all are photographed at full size, most are photograhed at 80% to 100% of full size (the captions clearly indicate any reduction for each photo). Another helpful book is: _Fabric of Society: A Century of People and Their Clothes 1770-1870_, by Jane Tozer and Sarah Levitt. Laura Ashley Limited, 1983. This book contains an essay on prints which describes and pictures the predominant styles and trends for each decade from 1770 to 1870. (_Textile Designs_ organizes the prints by design type, so trends are less clear.) In the 1820s and 1830s, many fabrics were roller printed and striped patterns were favored. That is, not all were plain stripes but flowers and suchlike were printed in a striped manner. The motifs are what I'd call medium-sized. The 1820s prints often have dark or bold (i.e., bright red or yellow) grounds. The 1830s prints tend to have white or light grounds. Although the motifs are still medium-sized they look more delicate than those of the 1820s. Some 1840s prints have very interesting geometric effects and ombre shading. They can be quite modern-looking to our eyes. Patchworks carries some of these prints in their historical dressmaker swatches collection, but the sizes seem to have been reduced for quilting. Fran Grimble ---------------------------- From: annalea@its.com (Annalea Sommerville) Date: Wed, 4 Jan 95 08:41:42 -0600 Subject: Re: San Francisco Bay Area Vintage Dance Classes Does anyone know of Vinatage Dance Classes in the Chicago area? Or who I could contact to find out about it? Thanks! Annalea ---------------------------- End of Volume 207 -----------------------