From: owner-h-costume-digest (H-Costume Digest) To: h-costume-digest@lunch.engr.sgi.com Subject: H-Costume Digest V3 #208 Reply-To: h-costume Errors-To: owner-h-costume-digest@lunch.engr.sgi.com Precedence: bulk H-Costume Digest Sunday, October 1 1995 Volume 3, Number 208 Compilation copyright (C) 1995 Diane Barlow Close and Gretchen Miller Use in whole prohibited. Individual articles are the property of the author. Seek permission from that author before reprinting or quoting elsewhere. Important Addresses: Send submissions to: h-costume@lunch.engr.sgi.com (or reply to this message). Adds/drops/archives: majordomo@lunch.engr.sgi.com Real, live person: h-costume-request@andrew.cmu.edu Topics: Re: Books Re: Men's Shirt - Approx 1780 Re: 19th c clothing in museums re: french hood Re: Alcega's Pattern book Pattern Book re: french hood Re: 1880's Dress Gratuitous Advertisement to Follow! (fwd) Re: lorgnettes French hoods and corsets -- frames & supports Re: re: french hood French Hoods Victorian Mourning Attire Re: Victorian Mourning Attire Tudor update ---------------------------------------------------------------------- Date: Fri, 29 Sep 95 17:41:30 PST From: Loren_Dearborn@casmail.calacademy.org (Loren Dearborn) Subject: Re: Books The Little Bodice Book The Little Hatmaking Book They sound pretty good. I was wondering if anyone else knows of these = and if so, are they worth buying? It just so happens that I just purchased the above on my recent trip to the Oregon Shakespeare Festival (a good place to find costume books of all kinds btw...) I'm not sure how useful they'd be to folks who have done a lot of hat/bodice making before but I found them worth while, especially for the price of $6.95. They are basically short "classes", with step by step instructions. The bodice book goes over the construction of bodices (not corsets, the top half of the gown) for a variety of time periods/classes (victorian, 1770s, 1650, 1600). The hat one is for turn of the century hats. They are geared towards the theatrical crowd, so not necessarily totally historically accurate, but they have a lot of good short cuts and the correct basic shape. Hope this helps, Loren Dearborn ldearborn@calacademy.org ------------------------------ Date: Sat, 30 Sep 1995 08:17:11 -0400 From: KenDawe@aol.com Subject: Re: Men's Shirt - Approx 1780 In a message dated 95-09-28 20:44:59 EDT, Gillian.Richards@tafensw.edu.au (GILLIAN RICHARDS (02) 716 3712) writes: > 1) Cotton batiste, swiss voile, "hanky linen", Casbar (?) or > organdie? (I can't find a fine enough linen in white). I would say cotton--I made my first out of a heavy-weight muslin, second of calico, and the third of a lightweight muslin. Suppose it would depend on what usage he (he?) expects to get out of it. > 2) THe wrist band with the button and button hole on it - do I make > a placket as well :-( or do I leave about 10 cm of sleeve between > the two so that he can put his hand through? I would suggest leaving a lot of rom for hand--I've made the sleeve of my pattern a bit wider, and the cuff longer, to accomodate larger hands than the pattern-maker seemed to anticipate. (My advice: Don't buy Missouri River Patterns.) > 3) How do I fasten up the front? Holes and laces or hooks and eyes > or buttons and loops? Or is it just held together by the collar at > the top being fastened? Button and "loop" button-hole at top seems to be traditional--which is one reason men ALWAYS wore a cravat or stock. > 4) Are all the gussets triangles or are the underarm ones diamonds? Underarm gusset is a diamond. > 5) Any nasty little tricks I should know? Make sure the neck-opening is big enough, and make sure the collar fits right! Like I said, the pattern I had wasn't meant for a man my size, although it claimed it was... Still and all, one of the "rectangle shirts" is easy to make--he COULD do it himself! (You might offer to use this to teach him with...) ------------------------------ Date: Sat, 30 Sep 1995 08:17:12 -0400 From: KenDawe@aol.com Subject: Re: 19th c clothing in museums In a message dated 95-09-28 21:00:44 EDT, vbetts@gower.net (Vicki Betts) writes: >does anyone know of any good >19th century clothing exhibits along that stretch of road? Not off hand--but if you contact Dixie Gun Works in Union City TN, (901) 885-0700, I'm sure they'll have a few suggestions. Meniton the bit about ACW reenactment, that's where they get much of their $$$. ------------------------------ Date: Sat, 30 Sep 1995 09:34:38 -0400 (EDT) From: "Katherine L. Rodman" Subject: re: french hood Has anyone thought about using thermoplastics in their hoods? I have never done it but you can find it in light weight grades, it doesn't wilt in the rain and you would have to get pretty darn hot to do any damage to it. Just my 2c. Kat Katherine L. Rodman Gainesville, FL afn25136@freenet.ufl.edu "Historical accuracy and costume design do not neccessarily go hand in hand" John Conklin On Fri, 29 Sep 1995, Kimberly Smay wrote: > Recently some folks have suggested methods of constructing a french hood. > I will argue with the measurements etc., but the materials are a bit > chancy. Rather than use coat hanger wire to build the frame, try to track > down milliners wire. barring that you could use heavy florists wire. > pieces can be grafted together or made heavier using florists tape. Once > your basic frame is made it can be covered with buckrum attached using > grosgrain ribbon around the wire. The ribbon can be glued(i use rubber > cement) or sewn. An earlier post mentioned buckrums tendency to wilt in > the rain, but when wired it is quite sturdy. One can create virtually any > shape hat using this method and then cover the resulting form with > fabric, paint or another desired material. > Kimberly Smay > ------------------------------ Date: Sat, 30 Sep 1995 09:42:24 -0400 (EDT) From: "Katherine L. Rodman" Subject: Re: Alcega's Pattern book Another idea is to make a transparency of the page and blow it up on the wall with an overhead projector. (I work for a university so I have easy access to one.) Then you can measure your pieces so that they fit, trace them out on to craft paper that you had hung on the wall, cut the pattern out, true it and then build it out of muslin. I don't know if all of you do this, but after many trials and errors, I never build any garment for myself (because I am hard to fit) or anyone else without making a muslin mockup first. I can find the evil problems in my work much faster this way and because it is muslin, I don't care if I damage it a little in the fitting process. Good Luck!!!!! Kat Katherine L. Rodman Gainesville, FL afn25136@freenet.ufl.edu "Historical accuracy and costume design do not neccessarily go hand in hand" John Conklin On 29 Sep 1995, Carole Newson-Smith wrote: > Reply to: RE>Alcega's Pattern book > Well, what I do, at least while working from other books, may > be the opposite of enlarging the little bitty drawing to fit. > But then, I'm convinced that I'm not the same size and shape as > the person who wore the original garment. > > First, I photocopy the drawing, enlarging it as much as I can. > I look at the dimensions of each piece, measure myself in those > areas shown on the drawing, add a couple of inches for ease, > and write the measurements down on the photocopy . (I was > trained young not to mark in my books.) > When I've got all the measurements written down, I get down > on the floor with a yardstick and a magic marker and start > sketching out the shape - from the copy with my measurements - > onto several sheets of newspaper which have been previously > taped together. > When I have all the shapes drawn, I cut them out and tape > them to each other enough that I can try on the paper garment. > > Then I can start altering. When I get fairly close to what may > be a fit, then I transfer the pattern pieces to unbleached muslin > and add seam allowance. > > Carole Newson-Smith > > > > ------------------------------ Date: Sat, 30 Sep 1995 10:42:38 -0400 From: sunfire@muskoka.com (Stephen Fraser) Subject: Pattern Book Hi! Could anyone recommend a great book for someone who really can only work from patterns, that would be similar to, but maybe more historically acurate than say the Katherine Holkeboer book, "Patterns for Theatrical Costumes"?? I've found this book easy to work from and informative, but I've noticed that some of you saying that the patterns aren't really historically acurate. I want to do the best that I can do, but certainly am limited by the resources I have. I live in a very tiny town in Ontario Canada, and therefore don't have much in the way of access at my Library. I would consider purchasing a book if it had a lot to offer me in the way of Medieval patterns that I could work with, without having to buy a supplement. I really need a "complete" manual, as I haven't got much money. I sew well, when I know what to do (eg. When I have a pattern to follow.) Can anyone offer some advice in this matter?? Again I wish to concentrate on the Medieval (9th - 17th Centuries) era. HELP?!? Krista sunfire@muskoka.com ------------------------------ Date: Sat, 30 Sep 1995 10:58:58 -0700 (PDT) From: Kimberly Smay Subject: re: french hood I have never used thermoplastics for rennaisance headgear nor for allweather use. I have used hexalite in cast weight for 1890's hats. Strength was fine but they were a trifle on the heavy side. Also the stuff I used was a fairly large mesh and finishing the edges was not partricularly easy. Kimberly Smay ------------------------------ Date: Sat, 30 Sep 1995 11:09:18 -0700 (PDT) From: Kimberly Smay Subject: Re: 1880's Dress Are you asking about constructing the bustle underpinnings or the dress? I believe past patterns has a bustle petticoat pattern and I know that Norah Waugh's Corsets and Crinolines has patterns. In regards to the draping on the dress itself my advice is to drape it. Put all your underpinnings on a dressform(beg, borrow or fake it) and use a fabric similiar to the final dress fabric to create the drapes and swags you want. You can use the muslin drape as apattern or if you used an appropriate colour, use it to line the finished bustle on the garment. Kimberly Smay ------------------------------ Date: Sat, 30 Sep 1995 11:33:58 -0700 (PDT) From: Rhodry Subject: Gratuitous Advertisement to Follow! (fwd) Date: Sat, 30 Sep 1995 11:31:04 -0700 (PDT) From: Rhodry I have a Singer sewing machine that I would dearly love to have taken off my hands. It has 33 stiches and works, I have all the attachments it came with and lots of bobbins. I am selling it because, well, I have three other machines. Please post to me personnaly if anyone is interested. - Rhodry rsaylor@pogonip.scs.unr.edu ------------------------------ Date: Sat, 30 Sep 95 05:11:59 PDT From: ke6isf@outlander (Dennis Allen Carr) Subject: Re: lorgnettes > >and would not dare to drive a car with the close up contacts. My eye doctor > >was very reluctant to give me any contacts until I told him that I would go > >without my glasses any way and that some vision was better then none. > >Amaryllis > >aka:Barb > > > > I know we're getting _really_ off topic, but I just want everyone to > know that bifocal contact lenses have been on the market for several years no > > Kathleen > Another way off addnote - if you have a LOT of disposable income, or good health insurance with optometry coverage, there are soft contacts available for those with astigmatism. Having such, I looked into it - and found that the plan at the Southern Cal College of Optometry's clinic's plan was about US$300.00 - which covered 2 pairs of lenses, and I think there was a service plan. (Advocacy not intended.) KE6ISF uublip!outlander!ke6isf@ccss.com Just say NO.J.! v3.1 GCC d-(-) s: a-- c++ U?>$ P L>+++ E? !W-- N+(+) o K- !w O? M- V? PS-- PE(+)@ Y PGP? t+ 5 X(+) R tv b+ DI+ D? G e h-- r !y- I'M NOT REALLY SANE!!!! am i? ------------------------------ Date: Sun, 1 Oct 1995 11:48:34 -0500 From: bpnoble@mailbag.com (Bronwyn Noble) Subject: French hoods and corsets -- frames & supports Kimberly Smay writes: >Rather than use coat hanger wire to build the frame, try to track >down milliners wire. barring that you could use heavy florists wire. >pieces can be grafted together or made heavier using florists tape. I have found that 14 or 18 galvanized gauge wire, available in reasonably long lengths, works quite well for framing such things as French hoods. Along the same line, bamboo skewers (like those used for shish-kabobs) should work nicely when used as "bents" in Elizabethan corsets. Has anyone ever tried them or found something else that works as well or better? Bronwyn Noble ------------------------------ Date: Sun, 1 Oct 1995 18:52:46 -0400 From: Mazelle@aol.com Subject: Re: re: french hood I also use the plastic canvas, but I sew milliner's wire around the edges with knitting yarn or No. 10 cotton yarn. I then cover the frame and edges with either felt or batting to get a smooth look to the headdress. Alysia Gabrielle de Fougeres mka: Mazelle ------------------------------ Date: Sun, 1 Oct 1995 18:39:09 -0500 From: aboleyn@wichita.fn.net (Anne of Foxmoor and/or Thomas) Subject: French Hoods Greetings! I have read all these postings with great interest and note pad & pencil on the side. . .Lots of good advice! Actually, I stick with the coat hanger wire on the front and back with the needlepointer netting sewed to it for body. . . 1) the coat hanger wire is stronger and is less likely to get bent out of shape at a post revel when someone accidentally steps on it!!! :) 2) The needlepoint netting is plastic and will not warp in heat or rain.. .:) 3) I don't wear any chin straps for the front coat hanger wire is shaped to my head and I wear long veils in the back. . .sometimes I pin the veil together right directly under my nape of the neck. . . The duct tape is also a great idea to put around on the wires to make them less pliable. . .and when covered with the fabric you are using it makes for a good soft base around your face. I always sew pearls all the way around the hood . . .(That is my trademark in my Barony. . .:):) You all have great ideas and I will be using them in my teaching classes. . . - -------------------- Anne Barony of Vatavia Kingdom of Calontir MKA: Sarah Anne Russell Wichita, KS ------------------------------ Date: 01 Oct 95 23:08:42 EDT From: "Dawn T. Jacobson" <74647.1271@compuserve.com> Subject: Victorian Mourning Attire In answer to Stacey Weinberg's posted questions, and to keep everyone else filled in on our discussion (in person), more information regarding Victorian Mourning Attire: Colors: "In the nineteenth century, color symbolism defined the degrees of mourning and indicated the lapse of time since bereavement. The degrees were variously desc4ribed as deep or full, second or half, and light; many adjectives, including fractions, were used to define the progressive recovery from grief. Black, white, grey, and violet (heliotrope) were the colours of mourning. Custom dictiated all balck or all white clothing for the deepest degree4 of mourning, worn only by close relatives and spouses. An exception was made for the widow, who was allowed to add white trim to her lusterless black garments during her period of deep mourning, which could last more than a year. Genrally, the adoptio of combinations of black and white, grey, or shades of purple indicated recovery from deep sorrow (second mourning), or distance in relationship to the deceased (semi-mourning, complementary mourning, or fashionable mourning)." Pike, Martha V. and Janice Gray Armstrong, _A Time to Mourn: Expressions of Grief in Nineteenth Century America_ (The Museums at Stony Brook, Stony Brook NY: 1980), pp 92-93. In looking at Alison Gernshiem's book _Victorian and Edwardian Fashion: A Photographic Survey_ (Dover Books, NY: 1981), I found a couple of photographs of the royal family, dated to the early 1860s; none of them are wearing strongly-patterned fabrics or light colors. It must be remembered, though, that black was also considered a "fashion color"; in the March, 1860 _Godey's Lady's Book_, in an article on fashion hints, it mentions black as being "extremely elegant and fetching, particularly on blondes." Fabrics: Fortunately, real mourning crepe, made of gummed, tightly twisted silk thread, is no longer available (it is truly nasty stuff!). It may be possible to still obtain bombazine (a twilled fabric with a silk warp and worsted wool weft); Britex in San Francisco and B. Black & Sons in Los Angeles are the best fabric stores to check. Henrietta Cloth (a twilled fabric with a silk warp and worsted weft that has the appearance of a twilled front and smooth back, and the hand of cashmere) is also still available, but is expensive. Most fabrics used for day-time wear, particularly in England, and used by those with taste (after all, we all can't be _nouveau riche_ 8-D), tend to have very little luster, judging from the photographs I've seen. What would I do?: I would go with finding a very high-quality, light-weight silk/wool blend, with very little sheen, but looking like a luxurious fabric, and build my dress out of that, probably in black, but possibly in purple. My justification? I'm a fiend for authenticity, and I check for the hyphen in anal-retentive ; I can justifiy the expense as it is a dress I can use for _lots_ of other occasions, and by making it out of good fabric, it will last for _years)_. I would use a flat braid trim (reasonably available, in good taste, and suitable for 1/2-mourning) for decoration, and I'd knock myself on killer finishing and detailing--after all, I _am_ the Princess Royal. Finally: Stacey, it was great meeting you at Faire. Good luck, let me know if you need help, and I'll see you at Dickens. Dawn Jacobson 74647.1271@compuserve.com Whew! Faire is over! Uh oh, it's only 8 weeks 'til Dickens Fair... ------------------------------ Date: Sun, 1 Oct 1995 20:56:24 -0700 (PDT) From: "Sarah E. Goodman" Subject: Re: Victorian Mourning Attire > deceased (semi-mourning, complementary mourning, or fashionable mourning)." I've also heard this refered to as demi-mourning, which I find a charming term. Does your book (which I'm going to go get as soon as I figure out where) define the level of mourning involved in "being in black gloves"? I've wanted to know in a vague way for years. > black was also considered a "fashion color"; in the March, 1860 _Godey's Lady's > Book_, in an article on fashion hints, it mentions black as being "extremely > elegant and fetching, particularly on blondes." As Miss Manners points out somewhere, this is one of the reasons that the rules of mourning state that a widow puts off mourning when she puts on an engagement ring for a 2nd marriage. > Whew! Faire is over! Uh oh, it's only 8 weeks 'til Dickens Fair... Bite your tongue! ------------------------------ Date: Mon, 2 Oct 1995 01:03:36 -0400 From: kl94ag@badger.ac.BrockU.CA (Kathleen Leggat) Subject: Tudor update I have two more weeks to work on my Tudor, which is much more realistic. * I now have a working corset, two layers of cotton with interfacing, quilted, with seam binding and coated steel boning, all covered in a cover layer of cotton, front and back (covering it was a last minute decision, and what I had was black...it looks like the Bat Signal!) It has the right shape, and feels very comfortable! * I made the underpropping for my hood. I made it like the portrait of Lady Jane Grey in the fur lined Spanish surcoat, and made it from 2 layers of buckram edged with millinery wire, with extra wire in 2 extra rows along its length and in a criss-cross back and forth across its width. This seems pretty firm. (I found the plastic a bit awkward to work with, so gave up on durability.) It will require a chin strap to put it in the correct shape on the head and to keep it on. My question is: in portraits I see small sections of thin light-coloured strap on several hoods, but no bow or loose ends. Is it likely, therefore, that thin white cord would be attached to size to the hood? The chin would go in first, I figure, then the hood slipped up into place. Thoughts? * I'm getting closer to linen! I found an inexpensive linen-cotton blend in a russet that matches the russet in my tapestry. Before I begin constructing the skirts, could someone explain to me again what cartridge pleating is? Btw, does anyone use those sewing machine attachments that automatically pleat your upper fabric into your lower fabric? (I realize this isn't cartridge pleating, but it would be a great time-saver for shirt and partlet sleeves) Do they work well? How much longer does the upper fabric have to be? Hope my step-by-step doesn't bore too many people! Kathleen (Catriona) ------------------------------ End of H-Costume Digest V3 #208 ******************************* A non-digest (direct mail) version of this list is also available; to subscribe to that instead, send the command lines: unsubscribe h-costume-digest subscribe h-costume end in the body of a message to majordomo@lunch.engr.sgi.com. Thanks and enjoy the list!