From: owner-h-costume-digest (H-Costume Digest) To: h-costume-digest@lunch.engr.sgi.com Subject: H-Costume Digest V4 #131 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 Sunday, June 2 1996 Volume 4, Number 131 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: Double running stitch Re: Need help with double running stitch (Holbein stitch) Re: Need help with double running stitch (Holbein stitch) source of Tibetan/Mongolian gold brocade? RE: Need help with double running stitch Double-sided blackwork Victorian Yellow Pages Fellow costuming-type sought in SF Bay area Costumers' Flea Market Civil War Lady magazine Re: Holbein Stitch - starting and ending Miscellaneous Questions Re: Karl Kohler's "Schaube" or German Scholar's coat Gores in a dress... ---------------------------------------------------------------------- Date: Fri, 31 May 1996 13:57:03 -0400 From: BarbMVD@aol.com Subject: Double running stitch Lisa - Most books on blackwork will give you the info on technique and design. Your working thread thickness should match your background material. Stretch your linen tight in an embroidery frame to make it easier to count the threads. Use a blunt (tapestry) needle so you do not split your background threads. Since you have done cross-stitch,begin and end the same way you already are doing (I hope) - Begin by pushing needle up through fabric back, hold the loose end with the first few stitches and end by weaving through the back of stitches. Do not use double layer of fabric, single is correct. Happy stitching! Barbara M. Delorey BarbMVD@aol.com Circle of the Rose ------------------------------ Date: Fri, 31 May 1996 11:39:30 -0700 (PDT) From: David & Yvonne Britnell Subject: Re: Need help with double running stitch (Holbein stitch) I am by no means an expert, but I would caution against using comercial "piping" to edge the cuffs. I think you will find that you get a better, more period (not to mention much less stiff) result if you "whip-stitch" the raw edge with black. Taking care to fold the fabric the tiniest little bit as you go so you don't end up with little bits of white poking through the top. Any tiny threads poking out the bottom (of which there should only be a few) can be trimmed off afterward. Keep the stitches as close together as you can, and try to keep them even in depth. This takes a bit of practice, and can be time intensive, but trust me; the results will be magnificent! I would do this before starting the body of blackwork, so I could tell which side I wanted to be the "back" side. A quickie alternative might be to use a machine to buttonhole or aplique' stitch, but I have never tried it, so couldn't vouch for the result. As to starting and finishing threads on the actual blackwork, I am sorry I don't have any documentation. I was taught to leave a few inches dangling at the start. (no knots) These dangly bits can be held out of the way by pulling them through the fabric away from the pattern. Then do the stiching. When you get to the end of your thread, leave the same amount of extra, and then pull it through the fabric out of your way. once the stitching is complete the end bits can be woven through, following the pattern, on the back side of the work. This makes it look a bit more bulky than the front, but is only minimally noticeable. Of course you don't have to completely finish the work before you start to weave the ends in. As blocks of work are finished, you can weave as you go. hope this helps, (or even makes sense) Yvonne Britnell ------------------------------ Date: Fri, 31 May 1996 11:57:54 -0700 (PDT) From: "Sarah E. Goodman" Subject: Re: Need help with double running stitch (Holbein stitch) On Fri, 31 May 1996, Lisa A. Tyson wrote: > I would like to know _how_ I am supposed to be beginning and ending > each new thread on the work so as to cleverly disguise the ends. > I've tried a few ways but can't seem to get anything but a little > bit of loose thread and possibly a little knotted ball. I can't speak to the authenticity, but when I was taught stichery by someone who was into very neat insides, she had us do a couple of running stitches in the line the emborider was going to go, then a couple back over it (as you would "lock" a machine seam) and then embroider back over the locking stiches. It seems to hold up pretty well, and I've done it both on art embroidery and clothing. *************************************************************************** Sarah E. Goodman Where we going Wee Cottage, Daly City, CA, USA and what am I doing goodston@well.com in this handbasket? *************************************************************************** ------------------------------ Date: Fri, 31 May 1996 14:19:11 -0500 From: Beverly Seavey Subject: source of Tibetan/Mongolian gold brocade? I bought some red and gold Mongolian brocade in Beijing. I need more, but the store where I got it, at the Palace of Ethnic Minorities, has turned into a mattress store.:-( THis kind of brocade is like the brocade you can find at large American Chinatowns, but the motifs are bigger. Anyone know of a source? ------------------------------ Date: Fri, 31 May 96 15:57 From: joe@imr.usa.com (Joe Cook) Subject: RE: Need help with double running stitch Lisa Tyson writes: I would like to know _how_ I am supposed to be beginning and ending each new thread on the work so as to cleverly disguise the ends. I've tried a few ways but can't seem to get anything but a little bit of loose thread and possibly a little knotted ball. ______________________ Hi there! Blackwork can be a tricky thing, especially if you are working on true reversable blackwork. What you will need to do to accomplish this is the following: using a single strand, leave a decently long "tail" when you begin your pattern. You may wish to tape it down to keep it in place. When the pattern is firmly established and the thread is securely in the fabric, go back to your "tail." Rethread the tail into the needle and wrap it CAREFULLY around some already established stitches. You will need to do this at least 3 times. Snip it very close to the fabric. Now that it is hidden and routed in the pattern, continue on and end the thread in the same manner. I hope that helps! Joe ------------------------------ Date: Fri, 31 May 1996 17:25:08 -0400 From: mhamilto@magnus.acs.ohio-state.edu (Marsha Hamilton) Subject: Double-sided blackwork I apologize for not remembering the source but I have seen a portrait with a double-sided blackwork partlet collar and the design was different on both sides which made me think it was either two pieces of cloth sewn together or one piece folded in half with the design changing at the fold. Does anyone have examples of double-sided blackwork that is definitely a single layer of cloth? Marsha Hamilton >I am starting to work on recreating the blackwork embroidered cuffs >as seen on the Lady Jane Seymour painting. The design itself is >simple but I believe it is intended to have both front and back >sides of the piece showing. Thus, I believe it is worked on >a single layer of linen. At least, that is my assumption. ------------------------------ Date: Fri, 31 May 1996 15:57:59 -0700 From: Frances Grimble Subject: Victorian Yellow Pages While browsing the Internet I found a page called The Victorian Yellow Pages, which turned out to be actually an ad for a book with that title, not the Yellow Pages itself. The book is published by Teapot Press. Has anyone on either of these lists seen the book? If so does it have a significant number of costume resources? Thanks, Fran Grimble ------------------------------ Date: Fri, 31 May 1996 19:54:33 -0400 From: Tudorldy@aol.com Subject: Fellow costuming-type sought in SF Bay area Greetings. I will be visiting the San Francisco area in either mid-July or the first weekend of August (tell me now if this is crazy because it's likely to be a furnace). I am a lady of good character but modest means, and I need to find a place to stay while there - probably three nights at the most. I don't need to be entertained or fed, just given a place to sleep and possibly dropped off somewhere where I can catch the shuttle to the airport. Please reply to me off list. Many, many thanks, gracious friends! Meagn Elisabeth Maguire [TudorLdy@aol.com] ------------------------------ Date: Fri, 31 May 1996 18:56:09 -0800 From: emfarrell@earthlink.net (Eleanor Farrell) Subject: Costumers' Flea Market >Date: Fri, 31 May 1996 18:45:19 -0800 >To:F-Costume >From:emfarrell@earthlink.net (Eleanor Farrell) >Subject:Costumers' Flea Market > >Costumers in the San Francisco Bay Area might be interested in a flea >market sponsored by the Greater Bay Area Costumer's Guild and the Bay Area >English Regency Society, which will feature fabric, trims, patterns, >books, garments and accessories for sale. > >Costumers' Flea Market >Sunday, June 9, 1996 >11 am - 5 pm >Hillview Community Center >97 Hillview Avenue, Los Altos >(off San Antonio Road between El Camino Real and Foothill Expressway) > >Admission is free; plenty of free parking available. > >For more information call the GBACG Hot Line at 415/974-9333 >or contact me via e-mail. > >Eleanor Farrell >emfarrell@earthlink.net > ------------------------------ Date: Sat, 1 Jun 96 16:03 CDT From: vbetts@gower.net (Vicki Betts) Subject: Civil War Lady magazine I have just received issue number 17 of Civil War Lady Magazine. There are two article of interest to historic costumers--"Pleating a Civil War Skirt" by Beth Miller and "Stick-Out Petticoats" by Saundra Ros Altman. Also, from the introduction, "Notes of Joy"-- "Clothing historican Beth Miller is completing work on her new book on correctly reproducing women's clothing of the 1860's. This invaluable guidebook for seamstresses will include step by step instructions and illustrations from this award winning seamstress. This is a functional publication has been requested for several years for women in reenacting, and will be of great assistance to those desiring to accurately reproduce clothing, enter dress competitions, and be educated on dress construction of the 1860's." Elsewhere the title is given as _Reproducing Victorian Women's Clothing of the 1860's, The American Civil War Era, Vol. 1_, to be released summer 1996. No pre-pub price was given. I would personally advise anyone interested in sewing her own ACW dresses to purchase this book almost regardless of price. Beth Miller is an outstanding historian and seamstress, and a really nice person to boot. Her articles are always informantive and clearly illustrated. Also from "Notes of Joy"--"The newest book for reenactresses, _Dressing a Civil War Lady, Vol. 1_, is due to be released shortly. This distinctive edition provides valuable research material and plentiful beautiful photographs to guide and assist reenactresses in perfecting their 1860's appearance. Watch our upcoming issue for the announcment at its release!" Elsewhere the author is given as Joy Melcher, the editor of Civil War Lady Magazine, and the subtitle is "A Photographic Guide to Clothing." No pre-pub price was given. I don't know about you, but I can always use more photographs as examples. Finally, the fact that the new Past Pattern ACW era patterns are NOT yet available is confirmed, although they "will be released shortly." Sorry, but I've heard that since September. I hope they are right this time--I've got fabric and trim waiting. Vicki Betts vbetts@gower.net ------------------------------ Date: Sat, 1 Jun 1996 23:05:12 -0400 (EDT) From: Susan Evans Subject: Re: Holbein Stitch - starting and ending Two books I would recommend are "Reversible Blackwork" and "Blackwork & Holbeing Embroidery" both by I. Altherr. They have each gone through several editions and were self-published by the author. You might try getting a copy from Bette Feinstein's Hard-to-find-Needlework Books, which has a Web site and mail order. Her directions for beginning: Stitch the first row thorugh the middle of the shape where it is the widest. Cut the thread twice as long as one with which you would normally use. Using a blunt needle, and go into the fabric from the right side approximately 3" or more away from the shape to be filled, leaving a tail of half the length of your thread. Bring the needle up on the line of shape. You are now ready to stitch with one-half of your thread. when this is ready to be tied off, threaqd a sharp needle with it and splice through the fabric threads along the outline for about 1", making sure that the needle does not come out on the back or front of the fabric. Cut close to the fabric. Then thread the blunt needle with the half of the thread that is still in reserve and work in the other direction. Tie off as described above. This method saves a starting and ending of one thread. She advises to start and end the thread on the outline of a shape. An additional method she describes: In the case of a border pattern or a shape so large you can't reach the outline, tie off on the wrong side of the work by splicing the fabric underneath the stitches already made. If you're working with two strands, separate them and work them into opposite directions. She also advises to cut off all tails, no matter how short from the wrong side of the work (or underside, if working on a cuff). I've also used Fray-Chek to help hold the threads in place. Test first on your thread and fabric. Use a small brush and paint the thread ends after they are stitched into place. And of course, you have to wash very gently. Sue Evans ------------------------------ Date: Sun, 2 Jun 1996 11:07:25 -0400 From: QLemery@aol.com Subject: Miscellaneous Questions Anyone have any information on the following: 1. What did 1700 (early) undergarments look like for women in Scotland? As best as I've been able to determine, it was a loose shift so sorts, but I've got no clue whether these were sleeved, sleeveless, or if any support (corset) was used. 2. ------------------------------ Date: Sun, 2 Jun 1996 12:29:34 -0700 From: savaskan@electriciti.com (Julie Adams) Subject: Re: Karl Kohler's "Schaube" or German Scholar's coat Dawn Vukson-Van Beek wrote: >Have anyone attempted the construction of the the Schaube in Kohler? >It is the 15th(?) Century German great coat with the sleeves set into >large square armholes, and a great fur collar. Kohler's biblio is all in >German and French and I need to complete the garment by next week! The >coat is said to be fur-lined--Would lining with another fabric be >incorrect? No, it would be fine depending on fabric choice, both fur and fabric linings were used in period for that garment. > I still am "furring" the collar all the way down the front- I >just don't want to line the inside. If you have made similar sleeves, is >there any special method? I am most concerned with the setting into the >armhole. ANY related advice would be welcome! Though I admit to not making this particular pattern, I've done similar armscyes. I assume you are worried about the deep squared off armscye shown in History of costume, figures 299-302. It looks to me like you would place the pattern of figure 301 with side marked 68 on the fold. This is the top of the sleeve. A seam would be sewn from 100 to 20. 0 to 20 would be left open. The side 0 to 20 on figure 301 fits into side 20 to 62 on 300. With 0 of 301 meeting to 20 on 300. Side 0 to 34 on 301 would match side 20 to 28 on 300. The upper part of the sleeve would be fitted into the yolk. This style of armscye is also shown on numerous early late 15th/early 16th century men's underdoublets. Variations of Schaubes can be examined in The Paintings of Lucas Cranach, Max J. Friedlander and Jakob Rosenberg, The WellFleet Press, 1978 The Triumph of Maximillian, Dover Press, 1964 And the various Durer Books published by Dover Press Be aware that not all Schaubes have a squared armscye. And many of the sleeves are only sewn at the top of the shoulder and are sometimes even split midway to allow the wearer to wear them as full or half hanging sleeves. On Fri, 31 May 1996, Sarah Randles wrote: > >On the back, you must add a rectangular piece for the back collar - > >deep enough to go halfway down your back (as per Kohler, Durer etc) > >and wide enough to span the shoulders. This statement may be somewhat deceiving. The yolk should be to mid shoulder blades at most in length and is short enough that it is often covered by the collar. The circular cut body piece is then organ-pipe pleated into the yolk. You can fudge organ pipe pleating using shallow cartridge pleats instead, but it is not quite the same. I would not say it is "1/2 way down the back" though. Gwyn Carnegie wrote: >A later style (1580 to 1590) of coat uses the collar pieces cut in one >with the body of the coat. Sort of like this: ____ ____ __|CB|__ __| |CF ) ( ) | / \ / | / \ / | / \ >This coat pattern is taken form a tailor's masterpiece book that I'm >working on translating (Tailor masterpiece book of Enn's 1599). (It is >incredibly slow going). My my Gwyn, your German must have drastically improved since last we spoke! The coat you describe, like the Schaube, is a type of "Rock" but this type is not normally referred to as a Shaube. It is either an "Ehrrock", a "Gestaltrock" or a "Harzkappe" depending on sleeve type and collar. A History of Costume, by Carl Kohler, 1963 Dover Press Textilier Hausrat, Kleidung und Haustextilien in Nurnberg von 1500-1650 Jutta Zander-Seidel, Deutcher Kunstverlag, 1990 But most of the period patterns, even Alcega, and the doublets in Janet Arnold, with the back collar cut as part of the back, show the front collar pieces sewn separately. This is because you will get an unsightly buckle as the piece turns around the neckline. I leave it in one piece only to make the high standing Cranach collars (because they do not have to curve around the neck), but the collar angles a bit down toward the CF than can be shown in ASCII. >(Could this be the reason we don't see those several layers of interlining >>common to English Ren. doublets). All we see in German clothing of this >time >is a single layer of linen used as a interlinning and most of that >is just >fragments left in the seams (if your lucky). Please oh please, Gwyn, site your sources and references. I have seen no evidence to back your comparisons or statements up in period drawings or books describing period garments of those countries. Julie Adams ------------------------------ Date: Sun, 2 Jun 1996 14:25:08 -0500 (CDT) From: "Rachel E. Mast" Subject: Gores in a dress... Hi All, I'm working on a middle ages dress and I'm having problems figuring out how to sew the tip of the front and rear gores. I'm trying to mak it reversible (the fabric looks good on either side) by taking the extra fabric and folding it under itself, but I now have a small hole where the tip of the gore wont fit right into the space left. I'm afraid to sew a seam up the front (I don't want the dress to be too smal). It looks kinda like this....... Dress Fabric /\ Dress Fabric / -\--- Hole \ -- / / \ / ^ \ Gore fabric Thanks Sasha rmast@risc.usi.edu ------------------------------ End of H-Costume Digest V4 #131 ******************************* 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!