From: owner-h-costume-digest (H-Costume Digest) To: h-costume-digest@lunch.engr.sgi.com Subject: H-Costume Digest V4 #76 Reply-To: h-costume Sender: owner-h-costume-digest@lunch.engr.sgi.com Errors-To: owner-h-costume-digest@lunch.engr.sgi.com Precedence: bulk H-Costume Digest Wednesday, March 20 1996 Volume 4, Number 76 Compilation copyright (C) 1996 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: hennins-Middle East influence Re: Kinsale Cloak Pattern Re: Hennins. (fwd) Re: French Knots [none] Pro Chemical ph# correction Re: French Knots Re: Lining for Doublet Fittingly Sew.. Costume College Reposting of Elizabeth's Bibliography ---------------------------------------------------------------------- Date: Wed, 20 Mar 1996 13:10:55 -0500 From: mhamilto@magnus.acs.ohio-state.edu (Marsha Hamilton) Subject: hennins-Middle East influence I have no documentation but...years ago I ran across a comment that the northern European hennin was a post-Crusades borrowing of the traditional eastern Mediterranean (Lebanese, etc.) headress whose name I have forgotten. There are 19th century portrait photographs of Lebanese women wearing these. Some are of silver, others of fabric or felt but they are tall conical or )( shaped headresses to which scarves or strings of coins, etc. are attached. (Middle Eastern experts help me here.) I once commented that is was interesting that hennins were adopted in the Middle East and the reply was that it had moved from East to West. Many Middle Eastern influences following the Crusades in clothing, music (the oud becoming the lute, the derbeke becoming the small drum), textiles, word borrowings, food, etc. have been documented. Does anyone remember documentation on the hennin? Are there any examples of hennin that pre-date the first Crusade? Marsha > >Speaking of hennins, I am looking at the January picture of my 1996 Medieval >Women calendar. It's a French illumination from the Roman de la Rose, and the >calendar dates it only as 15th century. None of the ladies are wearing >hennins, but their various headdresses ALL include that little loop of black >over their foreheads. ------------------------------ Date: Wed, 20 Mar 1996 10:28:50 +0000 From: "Leslie Helms" Subject: Re: Kinsale Cloak Pattern > Subject: Kinsale Cloak Pattern If you mean the Irish cloak of that name, it is sold by Folkwear (Taunton Press). I recently purchased one, and it has extensive historical notes which give me some faith in its authenticity, although I'd like to hear from others who have seen it and can judge better than I. I'd also like to know whether such a cloak would be authentic in lighter fabrics for non-winter wear. Leslie leslieh@canfield.com ------------------------------ Date: Wed, 20 Mar 1996 10:47:30 -0800 From: nbeattie@mail.inlink.com (Nancee Beattie) Subject: Re: Hennins. (fwd) >I have come across conflicting sources on those pointy hats (hennins) of >the 1420's?... I have seen in illustrations that they are big veiled >cones, and I have been also told that they just plain didn't exist, and >then I know people who claim to have seen them, and that they were >*really* only 5 inch diameter at the bottom, and balanced with a skullcap, >and counterbalanceing wires/veils.. I see a few in the art. but not many.. >and just about every Disney Princess has worn one as a staple piece of >headwear. > >Any ideas on what the dimensions were, how they balanced?.. were they >made of metals?(decorated metals?)? were they veiled?... did they exist?... > >Thanks! >Sarahj > Sarahj, I have done a great deal of research on the subject of hennins, and yes, they did exist. I have a bundle of manuscript illuminations to back me up, too. Hennins came in a variety of sizes. They could be fairly short and squatty (much like a Shriner's fezz) or they could be tall and almost pointy (I estimate about 16-18 inches). I say "almost pointy," because it is my opinion that hennins never came to a complete point. If you look at the pictures closely, you'll see that even the really tall ones are blunt. Hennins fit on the wearer's head like any other hat. They don't need to be balanced with wires and caps. If fitted correctly, and the wearer's hair is tightly bunned underneath, the wearer doesn't even need bobby pins or hair combs to hold them on. A hennin can be wired for strenght. Many manuscripts show the bottom loop of structural wire poking out at the center-front of the brim of the hat--just at the wearer's forehead. To make a hennin, you will need some stiff fabric. I use buckram. Buckram is a coarsely woven fabric, stiffened with starch. Modernly, it is used to support drapery pleats, and make lampshades. Walmart carries it. Look on the rack with the interfacing. The salesperson may not know what you're talking about, so don't be discouraged by that. Just keep looking. Use a double layer of buckram, and cut a quarter of a circle, with a radius of about 18 inches. Cut a smaller quarter circle out of the top. The more you cut away, the shorter the hennin will be. You must cut away at least an inch of radius. If you want a wire, now is the time to add it. Take any wire you can work with, and starting at the top-center, zig-zag the wire in place down the center of the wedge, to the bottom-center, loop around tightly, and come back up the middle, less than an inch away from the first run of wire. Find some really great fabric, and cover the hennin while still flat. You can machine or hand-sew it into place. Then roll the straight edges of the hennin around together to form a cone. Place it on the head of the wearer (whose hair should be tightly bunned up on top of her head), and pin to fit. Take the hat off, turn it upside down, and use the hole at the top as a pattern to make the top of the hat. Cover it with the same fabric. Hand stitch the top on, starting at the back, and coming back around to the back and stitching down the back of the hat. You're done! Pretty easy, eh? Top the hennin off with a sheer veil. Don't hang it from the tip, but drape it over the top so the front edge brushes the wearers forhead, and the back edge of the veil drapes gracefully down her back. Go for length on the veil. You can pin or tack the veil in place on top if you like. I hope this is helpful. Meistres Meredydd Editor of Tournaments Illuminated Companion of the Laurel Mommy of Owen (getting bigger by the moment) It's just stuffing, and you stuff into dat bird. ------------------------------ Date: Wed, 20 Mar 1996 14:05:05 -0800 From: Veda Crewe Joseph Subject: Re: French Knots Fiona Thorne wrote: > Haven't a clue on it's history, but you make them by poking the needle > > from the back to the front of the fabric, pulling the thread through, To the best of my knowledge, french knots are really an embroidery technique meant to create the effect of a round ball on the surface of the piece, not to hold anything together. They were not in use as early as the 15th century in embroidery. (Please prove me wrong.) Perhaps some kind of catch stich going through and knotted on the back would be more appropriate. Veda Crewe Joseph ------------------------------ Date: Wed, 20 Mar 1996 14:22:07 -0500 From: Ladnier@aol.com Subject: [none] I had many people requesting my bibliography from my research paper “Queen Elizabeth I- The Accessories Make the Dress.” I decided to post it to the group instead of Emailing it individually. I had a wonderful trip to London and Bath last week. The highlight of my trip was meeting the curator of the Bath Museum of Costume. One thing worth noting, in the treasury in St. Paul’s Cathedral I came across the Bishop’s Cape. The floor length cape was hand embroidered by one hundred students in 1994. It has over 70 churches of London embroidered on it and is accented with gold. The workmanship is wonderful. A must see. I never thought going back to college at 38 would be so much fun. Next year we go to Italy for Spring break. Thank you again, to all the people who helped me with my research paper. BIBLIOGRAPHY Arnold, Janet. “Queen Elizabeth’s Wardrobe Unlock’d,” Great Britain: W.S. Maney & Sons, LTD, 1988. Ashelford, Jane. “Dress in the Age of Elizabeth I,” New York: Holmes & Meier, 1988. Ashdown, Mrs. Charles H. British Costume During XIX Centuries,” London: Thomas Nelson and Sons, LTD., no date. Boucher, Francois. “20,000 Years of Fashion-The History of Costume and Personal Adornment”, New York: Harry N. Abrams, Inc., 1987, pp. 244-5. Braun & Schneider, “The History of Costume,” http://www.siue.edu/COSTUMES/COSTUME8_index.html Brooke, Iris. “Footwear-A short History of European and American Shoes,” New York: Theatre Arts Books, 1971, pp. 39-53. Calthrop, Dion Clayton. English Costume: 1066-1820, London: A. & C. Black Ltd., 1963. Cassin-Scott. “The Illustrated Encyclopedia of Costume and Fashion-1550-1920,” New York: Blandford Press, 1986, p. 11. Courtais, Georgine de. “Women’s Headdresses and Hairstyles- in England from AD 600 to the Present Day,” London: B.T. Batsford, 1974. “Compton’s Encyclopedia.” Queen Elizabeth I, America Online. Cunnington, C. Willet and Phillis. “The History of Underclothes,” London: Faber & Faber, 1981. D’Assailly, Gisele. “Ages of Elegance,” Paris: Libraire Hachette, 1968, pp. 64-85. Davenport, Millia. “The Book of Costume,” New York: Crown Publishers, Inc., Vol. I, 1968. Earnshaw, Pat. “Needle-made Laces”, London: Ward Lock Ltd., 1988. Fairholt, F.W. “Costume in England-A History of Dress,” London: George Bell and Sons, 1968. Gorsline, Douglas. “What People Wore,” New York: The Viking Press, 1952, pp. 41-65. Kliot, Kaethe & Jules. “Bobbin Lace- Form by the Twisting of Cords,” New York: Crown Publishers, Inc., 1973. LaMar, Virginia A. “English Dress in the Age of Shakespeare,” Washington, D.C.: The Folger Shakespeare Library, 1958. Racinet, Albert. “The Historical Encyclopedia of Costumes,” New York: Facts on Facts Publications, 1988, pp. 162-179. Stavridi, Margaret. “The History of Costume 1500-1660,” Boston, Mass: Plays, Inc., Vol. 3, 1969. Tortora, Phyllis, & Eubank, Keith. “Survey of Historic Costume,” New York: Fairchild Publications, 1994. Truman, Nevil. “Historic Costuming,” London: Pitman Publishing, Second Edition, pp. 54-56. Walkup, Fairfax Proudfit. “Dressing the Part- A History of Costume for the Theatre,” New York: F.S. Crofts & Co. 1938. Wilcox, R. Turner. “The Mode of Footwear,” New York: Charles Scribner’s, 1948, pp. 86-98. Yarwood, Doreen. “English Costume- From the Second Century B.C. to 1950,” London: B.T. Batsford LTD, 1952. $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ Pennies from Heaven, where it’s always reigning money Penny E. Ladnier, Virginia Commonwealth University s0peladn@cabell.vcu.edu $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ ------------------------------ Date: Wed, 20 Mar 96 08:18:02 PST From: michael.di.matteo@autodesk.com Subject: Pro Chemical ph# correction Fellow netters. Now this is what I love seeing on lists. People passing along information. A few lists I have experienced all I read is " how do I do this, can you send me that." it is refreshing to see list members who are really more into offering and giving advice and information freely. Yes there may be a few exceptions to this rule, but as a whole I find people VERY helpful here. Thank you Kathy for the following information that you posted. Please see correction to phone number below. ______________________________ Forward Header __________________________________ Subject: re: marbling --Pro Chemical Author: Kathy Whisler at smtpcc Date: 3/19/96 8:43 PM Pro Chemical & Dye carries many useful items, including marbling supplies, in varying quantities. Their synthetic indigo comes in 2 oz jars all the way up to 10 lb.. drums, for example. They carry obscure brands and products, such as chemical (not heat) fixatives for fiber reactive dyes, industrial fabric softeners, and dyes of every class. I ordered from them a lot back when I was a textile major in art school. >They have a toll-free number now, 1-888-2-BUY-DYE. (Note the new "888" exchange.) I hope this helps.< The correct toll free is [ 1-800-2-buy-dye] [ 1-800-2-289-393] I just called to get a catalog. The new catalogs will not be available for 2 or 3 weeks. Katharine Whisler Rush-Presbyterian-St. Luke's Medical Center On Mon, 18 Mar 1996, Kimberly Smay wrote: > I have not used them, but Pro Chemical and dye makes a fabric marbling > product. > the address is > p.o. box 14 > somerset, mass 02726 > (508) 676-3838 ------------------------------ Date: Wed, 20 Mar 96 15:24 From: joe@imr.usa.com (Joe Cook) Subject: Re: French Knots Actually, unless I am REALLY mistaken, I have seen them on some 14th century French pieces. ---------- From: Veda Crewe Joseph To: joe; Costume Post Subject: Re: French Knots Date: Wednesday, March 20, 1996 2:05PM Fiona Thorne wrote: > Haven't a clue on it's history, but you make them by poking the needle > > from the back to the front of the fabric, pulling the thread through, To the best of my knowledge, french knots are really an embroidery technique meant to create the effect of a round ball on the surface of the piece, not to hold anything together. They were not in use as early as the 15th century in embroidery. (Please prove me wrong.) Perhaps some kind of catch stich going through and knotted on the back would be more appropriate. Veda Crewe Joseph ------------------------------ Date: Wed, 20 Mar 1996 15:51:06 -0800 From: denikai@ix.netcom.com (Marie Denikas ) Subject: Re: Lining for Doublet To accomplish a suede doublet with velvet showing through the slashes, you will need to have three layers. One of suede, one of velvet, then the lining. I always line in a medium to heavy cotton. This is because A. it's cheap, and B. it wicks out the persperation. Historically the linings may have been of satin, etc. but that was a heavy silk satin not found today. No matter what the piece, I line in neutral cotton. Pre-wash what can be pre-washed. If you can, use cotton velveteen instead of rayon velvet for the slashes. It is more 'historical' and wears better. Have the suede professionally dyed, then cleaned to remove excess dye. Cotton velveteen can be machine washed and dried, no matter what the label says. Try to find a neutral shade (tan, etc) for the lining to absorb any dyes working their way inwards. By doing all this re-washing, you are minimizing the chances of dyes staining anything else. Since your fella wants the outer, slashed doublet to be made from suede, you don't need to worry about edge-finishing the slashes. Look at period doublets for slash placement, then you can decorate them with beading, embroidery, gilding, etc. If you have been using a woven fabric for the outer shell, you would have needed to finish those slash edges to prevent fraying. Once the outer shell is complete, you can put the velvet behind it, wrong side of the outer shell towards the right side of the velvet. (Make sure the right side of the velvet is showing out the slashes.) Baste these pieces together at the edges, and then handle as one piece. Then you can simply insert the lining. Making a slashed doublet isn't hard. Do what you can to the outer shell before connecting it to the fancy lining. Then consider the two pieces as the outer shell. Hope this helps! Let us know how it went! Marie ------------------------------ Date: Mon, 18 Mar 96 11:40:52 PST From: ches@tristero.io.com Subject: Fittingly Sew.. Can someone who actually bought this program write to me? Ciao @}\ Ches @}----`--,-- http://www.io.com/~ches/ @}/ ------------------------------ Date: Wed, 20 Mar 1996 16:21:04 -0800 (PST) From: erin1@uclink4.berkeley.edu (Erin Harvey Moody) Subject: Costume College Will someone who is a ICG member down in Southern Cal post something about Costume College '96 to the list? I think there are alot of people on the list who may be interested. I don't have a recent copy of the newsletter, just my instructor's package which doesn't include info for the general public. Erin Moody ------------------------------ Date: Wed, 20 Mar 1996 19:26:43 -0500 From: Ladnier@aol.com Subject: Reposting of Elizabeth's Bibliography For some reason my original post did not pan out correctly, format problems. I also have biblio..for the Bayeux Tapestry and the tomb of Tut, about the same length. Let me know if interested. I had many people requesting my bibliography from my research paper “Queen Elizabeth I- The Accessories Make the Dress.” I decided to post it to the group instead of Emailing it individually. I had a wonderful trip to London and Bath last week. The highlight of my trip was meeting the curator of the Bath Museum of Costume. One thing worth noting, in the treasury in St. Paul’s Cathedral I came across the Bishop’s Cape. The floor length cape was hand embroidered by one hundred students in 1994. It has over 70 churches of London embroidered on it and is accented with gold. The workmanship is wonderful. A must see. I never thought going back to college at 38 would be so much fun. Next year we go to Italy for Spring break. Thank you again, to all the people who helped me with my research paper. BIBLIOGRAPHY Arnold, Janet. “Queen Elizabeth’s Wardrobe Unlock’d,” Great Britain: W.S. Maney & Sons, LTD, 1988. Ashelford, Jane. “Dress in the Age of Elizabeth I,” New York: Holmes & Meier, 1988. Ashdown, Mrs. Charles H. British Costume During XIX Centuries,” London: Thomas Nelson and Sons, LTD., no date. Boucher, Francois. “20,000 Years of Fashion-The History of Costume and Personal Adornment”, New York: Harry N. Abrams, Inc., 1987, pp. 244-5. Braun & Schneider, “The History of Costume,” http://www.siue.edu/COSTUMES/COSTUME8_index.html Brooke, Iris. “Footwear-A short History of European and American Shoes,” New York: Theatre Arts Books, 1971, pp. 39-53. Calthrop, Dion Clayton. English Costume: 1066-1820, London: A. & C. Black Ltd., 1963. Cassin-Scott. “The Illustrated Encyclopedia of Costume and Fashion-1550-1920,” New York: Blandford Press, 1986, p. 11. Courtais, Georgine de. “Women’s Headdresses and Hairstyles- in England from AD 600 to the Present Day,” London: B.T. Batsford, 1974. “Compton’s Encyclopedia.” Queen Elizabeth I, America Online. Cunnington, C. Willet and Phillis. “The History of Underclothes,” London: Faber & Faber, 1981. D’Assailly, Gisele. “Ages of Elegance,” Paris: Libraire Hachette, 1968, pp. 64-85. Davenport, Millia. “The Book of Costume,” New York: Crown Publishers, Inc., Vol. I, 1968. Earnshaw, Pat. “Needle-made Laces”, London: Ward Lock Ltd., 1988. Fairholt, F.W. “Costume in England-A History of Dress,” London: George Bell and Sons, 1968. Gorsline, Douglas. “What People Wore,” New York: The Viking Press, 1952, pp. 41-65. Kliot, Kaethe & Jules. “Bobbin Lace- Form by the Twisting of Cords,” New York: Crown Publishers, Inc., 1973. LaMar, Virginia A. “English Dress in the Age of Shakespeare,” Washington, D.C.: The Folger Shakespeare Library, 1958. Racinet, Albert. “The Historical Encyclopedia of Costumes,” New York: Facts on Facts Publications, 1988, pp. 162-179. Stavridi, Margaret. “The History of Costume 1500-1660,” Boston, Mass: Plays, Inc., Vol. 3, 1969. Tortora, Phyllis, & Eubank, Keith. “Survey of Historic Costume,” New York: Fairchild Publications, 1994. Truman, Nevil. “Historic Costuming,” London: Pitman Publishing, Second Edition, pp. 54-56. Walkup, Fairfax Proudfit. “Dressing the Part- A History of Costume for the Theatre,” New York: F.S. Crofts & Co. 1938. Wilcox, R. Turner. “The Mode of Footwear,” New York: Charles Scribner’s, 1948, pp. 86-98. Yarwood, Doreen. “English Costume- From the Second Century B.C. to 1950,” London: B.T. Batsford LTD, 1952. $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ Pennies from Heaven, where it’s always reigning money Penny E. Ladnier, Virginia Commonwealth University s0peladn@cabell.vcu.edu $ $ $ $ $ $ $ $ $ $ $ $ $ $ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $$$ $ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ ------------------------------ End of H-Costume Digest V4 #76 ****************************** 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!