From: owner-h-costume-digest (H-Costume Digest) To: h-costume-digest@lunch.engr.sgi.com Subject: H-Costume Digest V4 #89 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, April 10 1996 Volume 4, Number 89 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: 1911'ish hairstyle help needed quick question Mid-Eastern costume Dance Pants? Re: quick question Mid-Eastern costume Re: quick question Mid-Eastern costume The Kimono Inspiration Re: Mid-Eastern dance costume Re: The Kimono Inspiration The meaning of dress Re: Regency costume and needlework Re: The meaning of dress Re: Dance Pants? Re: Leather (no subject) ---------------------------------------------------------------------- Date: Tue, 9 Apr 1996 12:13:32 -0700 From: Subject: 1911'ish hairstyle help needed I'm needing to reproduce a hairstyle from about 1911, the kind that is low on top, but very full on the sides & back, to go under a large hat. I have plenty of sources for the look of the hairstyle, but was wondering whether it was created with the help of a wire frame, or extra pads of hair. I know I need to use something extra, my hair is too thin to do this style on its own; but if it needs major structural underpinnings to achieve the right look, I'd rather style a wig than pad my own hair. Any advice would be apprieciated. Alison ------------------------------ Date: Tue, 9 Apr 96 14:51:19 EDT From: douglass@chaplin.ndhm.gtegsc.com (Debbie Douglass) Subject: quick question Mid-Eastern costume What is the name of the harem costume that you see in all the movies? - -Debbie Douglass - ------------------------------------------------------------------------- Debbie Douglass Systems Administrator douglass@chaplin.ndhm.gtegsc.com GTE Government Systems, Needham, MA All I want to do is outlive my cats and all HIGHLA-L subscribers. May your sword always be within reach and may your Foe's skill and luck be less than your own. - ------------------------------------------------------------------------- ------------------------------ Date: Tue, 9 Apr 1996 12:08:19 -0700 From: kondoa@ucs.exp.orst.edu Subject: Dance Pants? I was watching a very acrobatic early rock & roll dance perdformance the other day, where the women were swung into the air & flipped around by their partners. The wide skirts flung out, showing panties & garters. I started wondering if any special underwear was worn when someone was dancing, or did women just accept that their regular undies would occasionally be visible? Alison ------------------------------ Date: Tue, 9 Apr 96 15:49:00 PDT From: Mirabelle Severn & Thames Subject: Re: quick question Mid-Eastern costume Someone asks what the "harem costume" seen in movies is called, and Boopies replies: From: Booboopies@aol.com Date: Tue, 9 Apr 1996 17:29:23 -0400 Message-ID: <960409172920_267796486@mail04> To: douglass@chaplin.ndhm.gtegsc.com, h-costume@lunch.engr.sgi.com Subject: Re: quick question Mid-Eastern costume Sender: owner-h-costume@lunch.engr.sgi.com Precedence: bulk How about "ugly"? Gee, I wear a very similar style for belly dancing, and I think they're beautiful. Often uncomfortable, but lovely. I've never heard a name for the costume. "Harem costume", "Cabaret-style costume", or "Bra, belt, pantaloons, and skirt" are all I've ever heard from belly dancers. (Incidentally, in the imported videos and performances I've seen, modern Egyptian cabaret dancers wear something very different, more like a fitted evening dress (and no, I'm not talking about a baladi dress). To the gentleman in New Orleans: No, I haven't sent the literature yet; yes, I still have your address. Soon, very soon. :-) Naomi Brokaw from California's central coast ------------------------------ Date: Tue, 9 Apr 1996 17:26:11 -0700 From: savaskan@electriciti.com (Julie Adams) Subject: Re: quick question Mid-Eastern costume >What is the name of the harem costume that you see in all the >movies? > >-Debbie Douglass > Are you talking about the 1960's "I Dream of Jeanie" harem costume? Perhaps you can describe what you mean in more detail? Is there a skirt or pants? Are the pants blousy or narrow at the ankle? Is there a shirt? Is there a vest or a bra? Is there a sash or scarf at the hips? Is there a particular movie we can reference? From my knowledge there are various parts of middle eastern clothing which have names depending on country of origin. Do you have a specific country in mind? (i.e. Turkey, Iran, Iraq, Arabia, Egypt, Morocco)? Julie Adams ------------------------------ Date: Tue, 9 Apr 96 23:26:04 PDT From: Ches@mail.io.com Subject: The Kimono Inspiration TextileMus@aol.com wrote: Please post the following information on h-costume list. Thank you. For Immediate Release: March 4, 1996 Press Contact: Maury Sullivan, (202) 667-0441, ext. 42 Press Preview: Tuesday March 26 at 2:00 pm The Kimono Inspiration: Art and Art-to-Wear in America For more than 100 years the kimono has been a reoccurring motif in American art and popular culture. But why? Why would an American textile artist from Minnesota make a kimono in 1995? Why did James McNeill Whistler paint a Greek friend in a kimono in 1863? What exactly is a kimono anyway? These and other questions will be explored in The Textile Museum's upcoming exhibition, The Kimono Inspiration: Art and Art-to-Wear in America opening March 29th. The exhibition closes Sept. 1, 1996. Approximately 65 objects including one-of-a-kind "kimonos" by contemporary American artists, antique Japanese garments, paintings, drawings and archival photographs have been selected to explore the use and meaning of the kimono as art form and symbol in American art and popular culture. This exhibition traces the transformation of this quintessential Japanese garment from its ethnic origins through its many appearances in American fine art, costume and high fashion to its role in the contemporary Art-to-Wear Movement, which employs garments as a vehicle for artistic expression. Among the objects establishing a historical context for the kimono in America are a pastel drawing of Sarah Bernhardt in her Japanese garden (1885), a kimono collected by Frank Lloyd Wright on his first trip to Japan in 1905, and a kimono embellished with Japanese and American flags presented by Japanese officials to Mrs. Woodrow Wilson in 1920. During the last 25 years in the ultimate merger of art and dress, the kimono has been appropriated as an art form by creators of a new American art, art-to-wear, which realizes the potential of clothing as a means of artistic expression. The works of Tim Harding, Ana Lisa Hedstrom, John Marshall, Susan Summa and Randall Darwall are among those representing the art-to-wear kimono in the exhibition. (MORE) -2- The kimono has played a critical role in presenting the ideas, feelings, sensibilities, and skills of creators of art-to-wear. In their hands, the "kimono" has been transformed into both an easily wearable, gracefully draped garment and to a ceremonial, almost ritualistic body covering to a three-dimensional sculptural statement making no more than allusion to wearability. While wearability may not always be a prime concern, reference to the human body remains a constant and central issue. To each artist, the kimono represents a basic garment removed from the demands of fashion, the simple line of the silhouette providing a broad canvas on which to express the artist’s individuality whether in weaving, knitting, quilting, or surface patterning. A fully illustrated catalog (200 pages, 90 color and 60 b/w photographs) published by The Textile Museum and Pomegranate Artbooks in conjunction with the exhibition is available through The Textile Museum Shop ($35 Softcover and $55 Hardcover). The catalog includes an introduction by Rebecca Stevens and essays by Dr. Nancy A. Corwin, Julie S. Dale and Yoshiko Wada with prefaces by Masako Kuriyama, wife of the former Japanese Ambassador to the United States and Joan Mondale, wife of the United States Ambassador to Japan. The Kimono Inspiration: Art and Art-to-Wear in America has been organized by The Textile Museum in cooperation with the Spencer Museum of Art, University of Kansas. The Textile Museum venue opens to coincide with the National Cherry Blossom Festival. In conjunction with the exhibition The Textile Museum will sponsor a symposium on May 11. Four speakers including Richard Martin, Curator of The Costume Institute, Metropolitan Museum of Art and Jun Kanai, Curator, Kyoto Costume Institute will explore and discuss "The Garment as Expression." The symposium is funded by the Richard & Rosalie C. Davison Foundation, Inc. The Textile Museum is grateful to the following foundations, corporations, and individuals for support of this exhibition: The E. Rhodes and Leona B. Carpenter Foundation; The Richard & Rosalee C. Davison Foundation, Inc.; Neiman Marcus; The T. Backer Fund, Inc.; the Rau Foundation; Friends of Fiber Art International; Hecht’s; Mr. and Mrs. Carl S. Gewirz; Mr. and Mrs. Samuel J. Rosenfeld; and members of The Kimono Inspiration: Art and Art-to-Wear in America Support Committee. ### For more information and photographs contact Maury Sullivan, Public Information Manager at (202) 667-0441, ext. 42. The Textile Museum is a private, non-profit museum open Monday through Saturday 10:00 a.m. to 5:00 p.m. and Sunday 1:00 - 5:00 p.m. Admission is free with a suggested donation of $5.00 Ciao @}\ Ches @}----`--,-- http://www.io.com/~ches/ @}/ ------------------------------ Date: Tue, 9 Apr 1996 21:40:58 +0000 From: "Leslie Helms" Subject: Re: Mid-Eastern dance costume > What is the name of the harem costume that you see in all the > movies? Most movies depict a fantasy version of the clothing once worn in harems or (with much more coverage) by street dancers in the Middle East. The closest thing to that in American belly dancing is called a "Cabaret Costume." It all gets very muddled in present-day use, because the costumes now worn by dancers in the middle east (except for "traditional" dancers or in rural areas) are derived from the Hollywood image that was originally based on their own traditional dress. The current Middle Eastern dance costume is very glitzy and, in the countries where it is permitted, very brief. Where coverage is required by law, flesh-colored body stockings are common. Traditionally, however, dancers were quite fully clothed. The diaphanous spangly stuff in the films is a Western overlay. I could go on at length, if anyone is interested. Expansions, corrections, or further inquiries welcomed. Leslie leslieh@canfield.com ------------------------------ Date: Tue, 9 Apr 1996 23:16:17 -0700 (MST) From: cwood@primenet.com (Ysabeau) Subject: Re: The Kimono Inspiration >TextileMus@aol.com wrote: > >Please post the following information on h-costume list. Thank you. > > >For Immediate Release: March 4, 1996 >Press Contact: Maury Sullivan, (202) 667-0441, ext. 42 >Press Preview: Tuesday March 26 at 2:00 pm > > > The Kimono Inspiration: Art and Art-to-Wear in America > Uh, I feel really stupid asking this, but where is the Textile Museum??? Am I correct in assuming that it is our Nation's Capital? Would some one please confirm this for me and pardon my ignorance....which in this case is not very blissful... ------------------------------ Date: Wed, 10 Apr 1996 11:25:48 +0100 (BST) From: Dorothy Stein Subject: The meaning of dress The recent discussions about the influence of marital status on dress and the authenticity of busty displays during the renaissance have at length made the urge to quote the following passage from Quentin Bell's 'On Human Finery' irresistible: There is a story, which has been repeated with numerous variations, of a Mohammedan prince visiting London in the 1880s who was taken to an evening party in Kensington which he described more or less in the following terms: This assembly, though conducted in an orderly way and without any obscene cries or gestures, was quite clearly the prelude to an orgy. I had long been used to the spectacle of Frankish women with uncovered faces and had learnt that in spite of this shameful aspect they are frequently honest, but these females had stripped off the greater part of their clothing leaving their arms, their shoulders and the greater part of their breasts bare, save for powder and cosmetics. Whether these women were sold or allotted in some other fashion to the gentlemen who attended the gathering I do not know for, much to my annoyance, my guide induced me by means of various polite excuses to quit the party before the time of fornication had been announced, nor, such is the hypocrisy of these people, would he by any means depart from the patently absurd story that the guests had gathered to listen to music and to exchange remarks about the weather. ------------------------------ Date: Wed, 10 Apr 1996 11:30:06 +0100 (BST) From: Dorothy Stein Subject: Re: Regency costume and needlework The late Doris Langley Moore once remarked to me that she owned Lady Byron's wedding dress, and how could anyone have married Byron in such a mousy creation (or words to that effect). You could try the costume museum at Bath, the core of whose collection once belonged to DLM. ------------------------------ Date: Wed, 10 Apr 1996 07:13:04 -0400 From: lukelep@neca.com Subject: Re: The meaning of dress >The recent discussions about the influence of marital status on dress and >the authenticity of busty displays during the renaissance have at length >made the urge to quote the following passage from Quentin Bell's 'On >Human Finery' irresistible: > >There is a story, which has been repeated with numerous variations, of a >Mohammedan prince visiting London in the 1880s who was taken to an >evening party in Kensington which he described more or less in the >following terms: > This assembly, though conducted in an orderly way and without any >obscene cries or gestures, was quite clearly the prelude to an orgy. I >had long been used to the spectacle of Frankish women with uncovered >faces and had learnt that in spite of this shameful aspect they are >frequently honest, but these females had stripped off the greater part of >their clothing leaving their arms, their shoulders and the greater part >of their breasts bare, save for powder and cosmetics. Whether these women >were sold or allotted in some other fashion to the gentlemen who attended >the gathering I do not know for, much to my annoyance, my guide induced >me by means of various polite excuses to quit the party before the time >of fornication had been announced, nor, such is the hypocrisy of these >people, would he by any means depart from the patently absurd story that >the guests had gathered to listen to music and to exchange remarks about >the weather. Hi all! What a marvelous quote, it really put things into prespective doesn't it! Cheers! Lisa ------------------------------ Date: Wed, 10 Apr 1996 09:37:36 -0400 From: eliz@world.std.com (Elizabeth Lear) Subject: Re: Dance Pants? Subject: Re: Leather A while back someone on this list asked about leather for body armour. The URL below points to a good FAQ on hardening leather for just that use. > >http://sir-alan.chem.indiana.edu/mikes/leather > > If you don't have WEB access perhaps someone who does could Email this text file to you. Kevin Richard-Morrow ------------------------------ Date: Wed, 10 Apr 96 09:40:19 0700 From: George Ross Subject: (no subject) The Banff Centre for the Arts announces MASTER CLASSES =20 COSTUME BREAKDOWN (repeated due to overwhelming response) Ageing and Distressing of Fabric and Costume for Film, Television and=20 Theatre April 19, 20, and 21, 1996 FABRIC DECORATION Screenprinting, Stenciling, Marbling, Hand Painting, etc. April 21, 22, and 23, 1996 Gary Dahms: Head of Costume Department. These 3-day seminars will be presented by EDWINA PELLIKKA. EDWINA PELLIKKA began her work as a textile artist in Europe and moved=20 her business A DYEING ART, to Los Angeles in 1981. Since then she has=20 contributed to most of the major films produced in the USA. Her skills=20 in dyeing, painting, decoration, breakdown and ageing of fabric and=20 costumes are in demand for the film, television and theatre fields, and=20 by an impressive list of private clients in the fashion and interior=20 decoration industry. Edwina Pellikka=B9s film credits include:=20 Dangerous Liaisons; Dances with Wolves; Dracula; Dick Tracy; Forrest=20 Gump; Back to the Future I, II, III; Batman I, II, III; Jurassic Park;=20 Silence of the Lambs ; Natural Born Killers; Age of Innocence ; The=20 Godfather; Return of the Jedi and Thelma & Louise. Television credits include:=20 Dynasty; L.A. Law; Melrose Place; Magnum P.I.; North and South; Roseanne=20 and Star Trek. The number of participants will be limited. Fee: $775/master class (includes processing fee, single room=20 accommodation for the first and second nights as well as breakfast and=20 lunch on the second and third days). There will be a discount of $175=20 on Fabric Decoration for those registered in both master classes. (This=20 also applies to individuals who wish to register for Fabric Decoration=20 and who attended the first Costume Breakdown session in December 1995.) Non-Canadians will be required to obtain a Student Authorization ($125=20 Cdn) from the Canadian government. Information will be sent following=20 registration. =20 Those wishing to attend should contact the Office of the Registrar for a=20 registration form. The completed form, along with full payment should be=20 forwarded by March 15 to: Office of the Registrar The Banff Centre for the Arts Costume Master Class Box 1020, Stn. 28 Banff, Alberta, Canada T0L 0C0 Tel: (403) 762-6180 Fax: (403) 762-6345 EMail: Arts_info@banffcentre.ab.ca Banff Located in an inspirational mountain setting, The Banff Centre for=20 Continuing Education is a unique Canadian institution playing a special=20 role in the advancement of cultural and professional life,=20 internationally recognized for its advanced work in arts and=20 management, and for developing and hosting conferences on contemporary=20 issues. The Banff Centre for the Arts is a place for artists, and is dedicated=20 to lifelong learning and professional career development in the arts,=20 acting as site and catalyst for creative activity and experience. The=20 pursuit of this dynamic breadth makes the Banff Centre for the Arts=20 among the few places in the world where concentrated creative=20 interaction can take place. This environment has been shaped by a=20 long-standing commitment to the needs of artists. Proposed Master Classes planned for future dates: u THE BALLET: Design for the ballet; tutus =AD the art of cutting and=20 making all types; ballet head-dresses. u JEWELLERY: All types and techniques for film and stage u ABORIGINAL CEREMONIAL DRESS of North America u PERIOD CUTTING: Various specific areas for both men and ladies=20 costumes. u MAKEUP for film and television=20 u SPECIAL EFFECTS MAKEUP AND PROSTHETICS=20 u WIGS: styling, maintenance, fitting; KNOTTING: techniques - mustaches=20 and beards=20 u SPECIALTY COSTUMES: animals and masks u ART DIRECTION for film and television u DESIGN for film and television These Master Classes will be presented by well-known international=20 figures in the field of costume technology and design. For more=20 information, please direct enquiries to the Office of the Registrar. ------------------------------ End of H-Costume Digest V4 #89 ****************************** 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!