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Subject: Re: [h-cost] Wearing White
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Date: Sat, 1 Jun 2002 00:47:42 -0400
Status: RO

I'm with you Ron... Virginians are very traditional.  We suck up every bit
of history we can and hang on to it.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Portrait at auction
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Date: Fri, 31 May 2002 21:55:18 -0700
Status: RO

Oh god, Margo, we really ARE the same person!  I had the exact thought!


MaggiRos


>From: Margo Anderson <margo@margospatterns.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com, h-costume@indra.com
>Subject: Re: [h-cost] Portrait at auction
>Date: Fri, 31 May 2002 18:32:35 -0700
>
>You know, I jsut checked the estimated price on this painting.  I did NOT
>need to know that I could own an original Gheerharts for $2-3000.  Ten
>times that would be impossible, but $2-3000 has me thinking..."if I just
>start making costumes for money again---and pack lunches, and drive the old
>clunker car for another year....."
>
>Oh, dear, I'm in trouble now.
>
>Margo
>"One Tough Costumer"
>
>

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From h-costume-admin@indra.com  Sat Jun  1 02:12:34 2002
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Date: Fri, 31 May 2002 23:23:41 -0700 (PDT)
Status: RO


Robin Netherton <robin@shell.nightowl.net> wrote:
> On Fri, 31 May 2002, Sheryl Nance-Durst wrote:
> > Aren't the classes usually "Novice", "Journeyman" and "Master" for
> > costume competitions?
> 
> I've heard that one only in the SCA. I haven't seen many non-SCA costume
> competitions, so perhaps it's used elsewhere; I wouldn't know.

No, the normal classes at the major sci-fi cons are indeed Novice, 
Journeyman, and Master.  There's a set number of wins that move you up
from each class.  Problem is, BayCon is no longer considered one of the
"major" cons, partially because they've loosened the rules both for 
participation and for the classes.  When it was still a major competition,
I won a technical award for the mars enviornment suit that my husband and
I built.  I was the only person backstage who _didn't_ complain about how
hot it was, because I'd built a liquid-cooled garment into the suit.  That
was the only "real" competition I've entered.

Last year, I won best in class for Novice with my hall costume.  The Lady
Luck costume was a good example of what you can do when your sewing machine
is broken.  All the applique was done with double-faced iron-on interfacing,
edged with fabric paint and glitter.  All the rhinestones were glued on.
The only really impressive parts of the costume (in my opinion) were the
headpiece (I made a wirework crown and covered it with cut crystal beads
by hand, then did a four-layer veil) and the sceptor (I built it using an
antique glass doorknob as the topper and painted the shaft with the four
card suits).  It was a _great_ hall costume.  It probably wouldn't have
even placed as a masquerade costume at one of the major competitions.

I _am_ tempted to take the Jedi Librarian idea and run with it...

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Date: Sat, 1 Jun 2002 02:16:00 -0400
Status: RO

Oh, I believe there is evidence out there... we just haven't found it yet!
I am looking for cold hard evidence.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Sat Jun  1 09:10:38 2002
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Date: Sat, 1 Jun 2002 05:53:23 -0700 (PDT)
Status: RO

I'm making some 17th century Renaissance costumes for
a stage combat troop and I'd like to flat fell the
seams.  Does anyone know if this is period?  I was
thinking flat fell because 1) I think it's sturdy, 2)
I have to finish the seams somehow, and 3) I bought
this foot for my Bernina.  Appreciate any advice -
Thanks!  Kay

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Date: Sat, 01 Jun 2002 10:39:47 -0400
Status: RO

Lee Thompson-Herbert wrote:

> No, the normal classes at the major sci-fi cons are indeed Novice, 
> Journeyman, and Master.  There's a set number of wins that move you up
> from each class. 

	Perhaps Baycon might want to do what our local Darkover Con 
does. It only has two levels: Novice and Experienced. The 
regional and larger conventions usually follow the standard 
Novice-Journeyman-Master bit.

	-Judy Mitchell

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Date: Sat, 01 Jun 2002 08:03:39 -0700
Status: RO

One theory I heard:  The overlap was uniform for men and women when
women's bodices had back closures. When the closures for women were
moved to the front they were simply rotating resulting in a different
overlap.

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Date: Sat, 1 Jun 2002 15:57:12 -0500
Status: RO

The ICG uses "novice", "journeyman", "master". Check out their website
http://www.costume.org/, where I think you can find details if anyone's
interested.

Genie

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume Photos/levels
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Date: Sat, 01 Jun 2002 15:11:06 -0700
Status: RO

You and I know that, but BayCon doesn't.  I compete at the Master level in 
F/SF and Historical, and have judged in both.  I am also a founding member 
of the GBACG (San Francisco Bay Area).

>The ICG uses "novice", "journeyman", "master". Check out their website
>http://www.costume.org/, where I think you can find details if anyone's
>interested.


Kayta
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Subject: RE: [h-cost] buttoning direction
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> 	For a woman, who would be most apt to be holding a baby in
> her left arm, it would be the most convenient to reach
> across and unfasten something with her right hand and pull
> it open, whether it be pinned, hooked, or buttoned,
> especially when it comes to nursing a baby.

This is the perfect lead-in to something I've been wondering about: Do
those of you who wear left- and right-buttoned shirts have any preference?
Is it really any easier to do one over the other with your dominant (or
free) hand?  Yes, it is confusing if you're accustomed to one and suddenly
have to deal with the other, but that's just a question of habit.

Does handedness really matter?

Emma

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From h-costume-admin@indra.com  Sat Jun  1 22:52:33 2002
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Date: Sat, 1 Jun 2002 22:32:05 EDT
Status: RO

<< My favorite room so far is this one:
 http://tlc.discovery.com/fansites/tradingspaces/beforeandafter/beforeandafte
 r_4.html#
 scroll down towards the bottom
 and click on:
 "North Carolina: Southerby Drive"
 and then on "Doug's Room">>

Ooh, that IS nice!  Now you're gonna have me watching that show...

<<Does costuming a room count as sort of off/on topic?>>

I think it is if the room will be a background for a historical costume event 
or portrait, hehe.

--Gillian
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Date: Sat, 1 Jun 2002 21:54:42 -0600
Status: RO


I'm making a Chinese fu tou (http://indra.com/~eliz/SCA/futou.jpg)

I've made a wire frame, and now I'm trying to figure out the best way
to go.  

I could stretch gauze over the frame, and shellac it, but I think the
fabric would be loose, and I really need more than a wire frame for
this.

I could try stretching buckram over the frame, but it would probably
bend the frame with the force of stretching.

I could papier mache over the frame and paint it black (or cover it
with fabric) then remove the frame, but the hat would be a bit
delicate in the rain.

I could papier mache over the frame and fill the mold with something
that would solidify to make a sturdy hat block, then use the buckram
and mold it on the sturdy block.  But what to fill it with?

Other suggestions I haven't thought of?

I have one week - the hat has to be wearable on Saturday, June 8.

Help?!?
						...eliz
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Date: Sun, 02 Jun 2002 14:20:53 -0700
Status: RO



Emma Elizabeth Lehman wrote:

> >       For a woman, who would be most apt to be holding a baby in
> > her left arm, it would be the most convenient to reach
> > across and unfasten something with her right hand and pull
> > it open, whether it be pinned, hooked, or buttoned,
> > especially when it comes to nursing a baby.
>
> This is the perfect lead-in to something I've been wondering about: Do
> those of you who wear left- and right-buttoned shirts have any preference?
> Is it really any easier to do one over the other with your dominant (or
> free) hand?  Yes, it is confusing if you're accustomed to one and suddenly
> have to deal with the other, but that's just a question of habit.
>
> Does handedness really matter?
>

I wear men's and women's shirts and I don't consciously notice the difference.

But then, I'm generally using both hands to unbutton.

Claire

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Subject: Re: [h-cost] Wearing White
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Date: Fri, 31 May 2002 11:35:23 -0700
Status: RO

At 02:22 PM 5/31/2002 -0400, Kevin & Mara Riley wrote:
>On Fri, 31 May 2002, Kate M Bunting wrote:
> > You'll have to explain this for the benefit of non-Americans, Penny. I 
> know from news bulletins that your Memorial Day happened recently (in 
> Britain we remember the war dead on Nov. 11th) but when is Labor Day and 
> why may you not wear white between them?
>
>One can wear white shoes between Memorial Day (last Monday in May) and
>Labor Day (first Monday in September), i.e. for summer, but not between
>Labor Day and Memorial Day (i.e., fall, winter and spring), except for
>Easter.  I always heard this applied to shoes, not to clothing in general.

That's the way I always heard it, but with an exemption for brides and 
babies.  This shows up fairly often in pop culture -- the climax of "Serial 
Mom" had Kathleen Turner disposing of Patty Hearst for wearing white shoes 
after Labor Day.



Be well, do good work, and keep in touch.  - G. Keillor
Betsy Hanes Perry  betsy.perry@oracle.com

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Date: Sun, 2 Jun 2002 14:07:30 EDT
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Eliz

Have you tried one of the plastic laced buckrams like Thermoplastic or 
Wonderflex? They are a buckram like weave sprayed or immersed (don't know the 
process) with a form of heat activated plastic. They will shape perfectly 
with heat (use an embossing heat tool, they're only about $20- it's like  a 
super hot blow dryer) and are rain proof, since the primary ingredient is 
plastic.  You can cover it with fabric any way you like, sewing, glue 
whatever.  It's very cool stuff.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"The naked truth of it is, I have no shirt."
Love's Labours Lost, V, ii - W. Shakespeare

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0">Eliz<BR>
<BR>
Have you tried one of the plastic laced buckrams like Thermoplastic or Wonderflex? They are a buckram like weave sprayed or immersed (don't know the process) with a form of heat activated plastic. They will shape perfectly with heat (use an embossing heat tool, they're only about $20- it's like&nbsp; a super hot blow dryer) and are rain proof, since the primary ingredient is plastic.&nbsp; You can cover it with fabric any way you like, sewing, glue whatever.&nbsp; It's very cool stuff.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes <BR>
http://www.cabbagerosecostumes.com<BR>
Theatrical Costume Design<BR>
<BR>
"The naked truth of it is, I have no shirt."<BR>
Love's Labours Lost, V, ii - W. Shakespeare</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0"><BR>
</FONT></HTML>
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Subject: [h-cost] Re: interlining a doublet
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Date: Sun, 2 Jun 2002 10:37:51 -0700 (PDT)
Status: RO


 I don't suppose you have a diagram/handout/phots of
exactly how to do this?  Kinda step by step? 
 I've read about it but have been having a hard time
visualizing exactly how it goes.

Thanks!
Sheila

>>  Re: interlining a doublet 
>>The second, if the outer of the doublet is of
woollen >>fabric, the interlining should be pad
stitched >>in.&nbsp; Pad stitching is a tailoring 
>>technique.&nbsp; You work up and down the piece,
>>before making up, holding it over your left
>>hand.&nbsp; You make a horizontal stitch, catching
as >>little as possible of the outer fabric (no more
than >>a single thread is needed), and then move down
to do >>the next stitch, so you end up with no
stitching >>visible on the right side, but columns of
long >>diagonal stitches on the wrong side.



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[making a fu tou, http://indra.com/~eliz/SCA/futou.jpg]

It might just be a combination of the scan and my monitor, but that hat
looks like it's made of leather to me.  Or felt that's been well wetted
and slicked down.  I think the idea of making a mold then using it to
shape the buckram and/or felt would be the best idea.  You can buy casting
plaster at most art stores.  For that matter, you could probably get away
with filling the paper mache form with something like Crayola Model Magic
which has the advantage of coming in a big tub, no mixing required.  It
cures to a spongy texture, but would be sturdy enough to use as a block.
It's also waterproof when cured, which puts it ahead of something like
paper clay.  

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Date: Thu, 30 May 2002 23:04:22 -0700
Status: RO

Oh WOW!!  That's fabulous, Stephen!  I have to admit I'm dying to see the
gree/silver trim closer up, and whatever that green sleeve/undertunic fabric
is too.  But even without details, I can tell this is amazing.  Northern
Faire will be all a twitter!


MaggiRos

> -----Original Message-----
> From: Stephen Bergdahl [mailto:madly@2xtreme.net]
> Sent: Thursday, May 30, 2002 3:00 PM
> To: Authentic_SCA@yahoogroups.com; Clan_of_Garb_Keepe@yahoogroups.com;
> DanegeldTor@yahoogroups.com; f-costume@indra.com; GSACG@yahoogroups.com;
> h-costume@indra.com; ICG-D@yahoogroups.com;
> margospatterns@yahoogroups.com; SCA-GARB@LIST.UVM.EDU
> Subject: [margospatterns] Costume Photos
>
>
> Hello
>
> Over the weekend I won two awards at BayCon 2002 a SF Convention in San
> Jose.  You can see the winning costume at:
>
> http://www.2xtreme.net/madly/Costume101/Green_Man.htm
>
> Lord Vich (Stephen Bergdahl)
>
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Date: Sun, 2 Jun 2002 09:10:23 -0600
Status: RO

On Sat, Jun 01, 2002 at 10:57:47PM -0700, Lee Thompson-Herbert wrote:
> [making a fu tou, http://indra.com/~eliz/SCA/futou.jpg]
> 
> It might just be a combination of the scan and my monitor, but that hat
> looks like it's made of leather to me.  Or felt that's been well wetted
> and slicked down.  

The source says it's black gauze with shellac.  I think they probably
made them over a wood block or some other mold, so I think your ideas
are good.  Thanks!

					...eliz
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Subject: RE: [h-cost] hat help
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Date: Sun, 2 Jun 2002 14:47:40 -0500
Status: RO

For that shape, this may not be helpful, but when buckram just isn't enough,
I like to use the plastic "canvas" from the craft store-
I like the heat-settable suggestion though, where is that stuff to be found?
(my $.02) Betsy

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Elizabeth Lear
Sent: Saturday, June 01, 2002 10:55 PM
To: f-costume@net.indra.com; h-costume@net.indra.com
Subject: [h-cost] hat help



I'm making a Chinese fu tou (http://indra.com/~eliz/SCA/futou.jpg)
snippage
Other suggestions I haven't thought of?

I have one week - the hat has to be wearable on Saturday, June 8.

Help?!?
						...eliz
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Flat felt seam question
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Date: Sun, 02 Jun 2002 13:41:50 -0700
Status: RO


>I'm making some 17th century Renaissance costumes for
>a stage combat troop and I'd like to flat fell the
>seams.  Does anyone know if this is period?

Not according to the originals pictured in Janet Arnold.  OTOH, do it 
anyway.  Ripped out seams may be period, but they're bad theatre.  My best 
and most authentic Ren. Faire outfit has a little pocket sewn inside for my 
gate pass, car keys, and lunch money.  That's not period either, but 
neither is showing up at the event in a car in the first place.

>I was
>thinking flat fell because 1) I think it's sturdy, 2)
>I have to finish the seams somehow, and 3) I bought
>this foot for my Bernina.  Appreciate any advice -
>Thanks!


Kayta
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Subject: Re: [h-cost] hat help
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Date: Sun, 02 Jun 2002 13:46:14 -0700
Status: RO


>Have you tried one of the plastic laced buckrams like Thermoplastic or 
>Wonderflex? They are a buckram like weave sprayed or immersed (don't know 
>the process) with a form of heat activated plastic. They will shape 
>perfectly with heat (use an embossing heat tool, they're only about $20- 
>it's like  a super hot blow dryer) and are rain proof, since the primary 
>ingredient is plastic.  You can cover it with fabric any way you like, 
>sewing, glue whatever.  It's very cool stuff.\

You could use plastic needlepoint canvas instead.

Kayta
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In a message dated 6/2/2002 4:48:31 PM Eastern Daylight Time, kayta@frys.com 
writes:


> OTOH, do it 
> anyway.  Ripped out seams may be period, but they're bad theatre.  

Amen. Besides, haven't I seen French seams stab stitched down flat on period 
garments somewhere?

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 6/2/2002 4:48:31 PM Eastern Daylight Time, kayta@frys.com writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">OTOH, do it 
<BR>anyway. &nbsp;Ripped out seams may be period, but they're bad theatre. &nbsp;</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Amen. Besides, haven't I seen French seams stab stitched down flat on period garments somewhere?</FONT></HTML>

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Subject: Re: [h-cost] Wearing White
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Date: Sun, 2 Jun 2002 21:54:19 -0700
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> Being a Northwesterner (Oregon), I don't think we really care out
> here. White's just cooler in the summer, that's all. Where I live,
> open-toed Birkies are popular all year long--the difference is wool
> socks, cotton socks, or no socks!
> 
> I think it's more of a Northeastern thing.
>      Arlys (clothes are for wearing, not for
>      stressing over)

Actually, it's alive and well in the NW too, Arlys! Believe me, in the 
upper and upper-middle classes who are involved in the fashionable 
world (as opposed to Joe-Blow middle class or below), the no white 
shoes before Easter or after Labor Day is still alive and well. 
Although I come from lower middle class, I went to "charm school" 
and did modeling (with those who were definitely "higher class" 
than I). It was definitely drilled into my brain. I ran into it as recently 
as 2 years ago in the Portland/Vancouver area.

As to the trend away from this, I do believe that we are much less 
constrained by culture to conform to "fashion rules" than our 
forebearers. And the trend will continue faster now that they have 
that TV commercial where they talk about how it used to be "no 
white shoes" in the winter, but that it is changing. (Media makes 
trends change more rapidly because of the more rapid 
dissemination of information.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Sun, 2 Jun 2002 21:57:33 -0700
Status: RO


> > OTOH, do it 
> > anyway.  Ripped out seams may be period, but they're bad theatre.  
> 
> Amen. Besides, haven't I seen French seams stab stitched down flat on
> period garments somewhere?

Yep. I don't have the references handy but I know you can find 
them in either the York digs, the MOL books or the like. Just have 
to look for them in more than one place.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 3 Jun 2002 04:12:16 -0400
Status: RO

A reminder that JP Ryan's online class "Making a Late 18th Century Wardrobe:
Pet-en-l'air or Robe ŕ la Française" begins today at the Costume Classroom.
We will be accepting new students until Sunday, June 9th.  You do need to
have a pair of stays to take this class.

Bjarne is developing a class on how to embellish this costume.  Hopefully we
will have this class before the end of the year.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Mon Jun  3 11:48:48 2002
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Subject: Re: [h-cost] interlining a doublet
In-Reply-To: <20020531075127.A10465@net.indra.com> "from Elizabeth Lear at May
 31, 2002 07:51:27 am"
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Date: Mon, 3 Jun 2002 08:40:50 -0700 (PDT)
Status: RO

I would recommend a tailoring technique, if you want to get it to stay
in place -- if you aren't catching the interlining in the seams, it's likely
to bag in the center.  

along the seam edge, where you have cut the underlining shorter, I would
catchstitch it down the length of the seam.  then I would recommend taking some
long pad stitches (1.5 inches or so) down the center, say 3-5 rows, to prevent
it from bagging.

Heather Meadows


> On Fri, May 31, 2002 at 10:51:30AM +0100, Rachel wrote:
> > My question is how do I sew the interlining in without
> > having to add it to the seams?
> 
> I would cut the interlining to the size of the lining piece without
> the seam allowances, then mount the interlining on the lining.
> Mounting is generally done by tacking the two fabrics together at
> regular intervals.  You could also sew along the interlining edges -
> it wouldn't be too noticeable when looking at the lining because the
> stitches would be near the seams.
> 
> Then sew the lining and fabric together, and the interlining should
> butt the seams but not be in them.
> 
> 						...eliz
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: [h-cost] Gloves and hat etiquette
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Date: Mon, 03 Jun 2002 16:08:39 +0000
Status: RO

Hi,

I've been wondering, since gloves and hats are very rarely worn these days 
(I mean, not the ones to keep warm, the ones to look nice), when should they 
be kept on and when should we take them off?

I've always found it weird that you kept your hat on at church... Do you 
have to take it off the moment you walk into a house? I know it's that way 
for men, but for women?

And what about gloves? I guess you take them off when you eat?

Thanks

Audrey

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Date: Mon, 3 Jun 2002 10:06:40 -0700
Status: RO


> I've always found it weird that you kept your hat on at church... Do
> you have to take it off the moment you walk into a house? I know it's
> that way for men, but for women?

Men and women wore hats for different reasons originally. Men 
wore them for protection from the elements, so it was polite to take 
them off as a show of respect (tipping your hat as you talked to 
someone, entering a home, going to church).

Women wore hats as a sign of respect to God that their head 
(actually hair) was covered. (Women's hair was a "sign of vanity" 
and a "crown of glory.".) So, women would have been disrespectful 
if they *didn't* wear their hats when visiting or going to church. (It's 
also why women had their heads shaved when entering the cloister 
as a nun, why women had their heads shorn before execution, etc.)

That's why in some cultures today (such as the Amish and 
Mennonite) women of a responsible age wear hats. 

It's also why women who were either married or no longer of a 
marriageable age "put on caps" or were expect to have a veil over 
their heads at all times. (They were expected to be "of responsible 
age.")


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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--part1_47.1dd33ef9.2a2cfd7d_boundary
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In a message dated 6/2/2002 12:50:53 PM Pacific Daylight Time, 
betsy@softwareinnovation.com writes:


> I like the heat-settable suggestion though, where is that stuff to be found?
> (my $.02) Betsy

Wonderflex can be purchased in sheets from Richard the Thread (don't have 
number handy?) or Dazian 1-877-432-9426.  I can find out about thermoplastic 
if anyone wishes.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"If we shadows have offended, think but this,
 and all is mended,
That you have but slumbered here,
 while these visions did appear."
W. Shakespeare

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Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/2/2002 12:50:53 PM Pacific Daylight Time, betsy@softwareinnovation.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I like the heat-settable suggestion though, where is that stuff to be found?<BR>
(my $.02) Betsy</BLOCKQUOTE><BR>
<BR>
Wonderflex can be purchased in sheets from Richard the Thread (don't have number handy?) or Dazian 1-877-432-9426.&nbsp; I can find out about thermoplastic if anyone wishes.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"If we shadows have offended, think but this,<BR>
 and all is mended,<BR>
That you have but slumbered here,<BR>
 while these visions did appear."<BR>
W. Shakespeare</FONT></HTML>

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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 03 Jun 2002 17:39:43 +0000
Status: RO

>From: kat@grendal.rain.com

>Men and women wore hats for different reasons originally. Men
>wore them for protection from the elements, so it was polite to take
>them off as a show of respect (tipping your hat as you talked to
>someone, entering a home, going to church).
>
>Women wore hats as a sign of respect to God that their head
>(actually hair) was covered. (Women's hair was a "sign of vanity"
>and a "crown of glory.".) So, women would have been disrespectful
>if they *didn't* wear their hats when visiting or going to church.

<snip>

So that means a woman should always keep her hat on, even when entering a 
house or sitting at table to eat?

And... where did they put all those hats when they took them off?

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Date: Mon, 3 Jun 2002 14:03:43 EDT
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In a message dated 6/2/2002 1:49:06 PM Pacific Daylight Time, kayta@frys.com 
writes:


> >Have you tried one of the plastic laced buckrams like Thermoplastic or 
> >Wonderflex? They are a buckram like weave sprayed or immersed (don't know 
> >the process) with a form of heat activated plastic. They will shape 
> >perfectly with heat (use an embossing heat tool, they're only about $20- 
> >it's like  a super hot blow dryer) and are rain proof, since the primary 
> >ingredient is plastic.  You can cover it with fabric any way you like, 
> >sewing, glue whatever.  It's very cool stuff.\
> 
> You could use plastic needlepoint canvas instead.
> 
> Kayta

It would not work for the application I suggested though.  Plastic 
needlepoint canvas  would simply melt into a puddle. Wonderflex/Thermoplastic 
is a buckram with the fibres coated with a form of Friendly Plastic.  FP is 
specially designed to melt at a specific temperature and remain hard once 
high heats are removed.  It's hard to describe without having worked with it, 
but it is very moldable.  It has the benefit of being re-moldable too, 
meaning that if you don't get the perfect shape you just heat it and rework 
it into what you want. I think it's about $37.00 a sheet (about 45" X 45").  
If you want a rounded clean finished shape, this (or felt or leather) would 
be the way to go, IMHO.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"If we shadows have offended, think but this,
 and all is mended,
That you have but slumbered here,
 while these visions did appear."
W. Shakespeare

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/2/2002 1:49:06 PM Pacific Daylight Time, kayta@frys.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">&gt;Have you tried one of the plastic laced buckrams like Thermoplastic or <BR>
&gt;Wonderflex? They are a buckram like weave sprayed or immersed (don't know <BR>
&gt;the process) with a form of heat activated plastic. They will shape <BR>
&gt;perfectly with heat (use an embossing heat tool, they're only about $20- <BR>
&gt;it's like&nbsp; a super hot blow dryer) and are rain proof, since the primary <BR>
&gt;ingredient is plastic.&nbsp; You can cover it with fabric any way you like, <BR>
&gt;sewing, glue whatever.&nbsp; It's very cool stuff.\<BR>
<BR>
You could use plastic needlepoint canvas instead.<BR>
<BR>
Kayta</BLOCKQUOTE><BR>
<BR>
It would not work for the application I suggested though.&nbsp; Plastic needlepoint canvas&nbsp; would simply melt into a puddle. Wonderflex/Thermoplastic is a buckram with the fibres coated with a form of Friendly Plastic.&nbsp; FP is specially designed to melt at a specific temperature and remain hard once high heats are removed.&nbsp; It's hard to describe without having worked with it, but it is very moldable.&nbsp; It has the benefit of being re-moldable too, meaning that if you don't get the perfect shape you just heat it and rework it into what you want. I think it's about $37.00 a sheet (about 45" X 45").&nbsp; <BR>
If you want a rounded clean finished shape, this (or felt or leather) would be the way to go, IMHO.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"If we shadows have offended, think but this,<BR>
 and all is mended,<BR>
That you have but slumbered here,<BR>
 while these visions did appear."<BR>
W. Shakespeare</FONT></HTML>

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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 14:27:55 EDT
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Women would leave hats on at all times, except at home.  In church, at lunch 
in a restaurant or at someone else's home, etc.  But, to update the 
etiquette, Miss Manners says that, if girls are wearing hats like boys (for 
example, a ball cap at school), they are to take them off inside just as boys 
are supposed to.

Both men and women remove gloves to eat.

You can probably find all the details in an older etiquette book, like Emily 
Post.  I think Miss Manners addresses such questions in her books, too.

Ann Wass
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 03 Jun 2002 11:38:07 -0700
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>Women wore hats as a sign of respect to God that their head
>(actually hair) was covered. (Women's hair was a "sign of vanity"
>and a "crown of glory.".) So, women would have been disrespectful
>if they *didn't* wear their hats when visiting or going to church.

Some sects of the Moslem religion take this to extremes.


Kayta

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>
>And... where did they put all those hats when they took them off?
>
Isn't this why coat and hat racks where invented?  I don't know when this 
invention was formally introduced or if it coincides with your period, but I 
would think that a rack or hooks inside a house or building would be used.

:) jessica

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Date: Mon, 3 Jun 2002 16:07:28 -0400
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Catholic women do not remove their hat.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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     There is a ton of information in old ettiquete books on the wearing of 
gloves and hats, but a lady would be pretty safe in wearing the hat anywhere 
you want to.  Ladies do not have to take their's off inside (or outside 
either for that matter).  They didn't usually wear them at home unless they 
were entertaining at a formal tea or some such.  Wear the gloves most of the 
time except when at home, shaking hands, or eating.  At least that is the way 
we did it in my youth when people actually dressed up to go to town. 

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;There is a ton of information in old ettiquete books on the wearing of gloves and hats, but a lady would be pretty safe in wearing the hat anywhere you want to. &nbsp;Ladies do not have to take their's off inside (or outside either for that matter). &nbsp;They didn't usually wear them at home unless they were entertaining at a formal tea or some such. &nbsp;Wear the gloves most of the time except when at home, shaking hands, or eating. &nbsp;At least that is the way we did it in my youth when people actually dressed up to go to town. 
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 16:11:25 -0400
Status: RO

My costume history professor said that women in the 30s onward take their
hats off when entering a home.  Shopping in a store and eating lunch you
keep it on.  Dinner you take it off.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com


----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Monday, June 03, 2002 1:39 PM
Subject: Re: [h-cost] Gloves and hat etiquette


> >From: kat@grendal.rain.com
>
> >Men and women wore hats for different reasons originally. Men
> >wore them for protection from the elements, so it was polite to take
> >them off as a show of respect (tipping your hat as you talked to
> >someone, entering a home, going to church).
> >
> >Women wore hats as a sign of respect to God that their head
> >(actually hair) was covered. (Women's hair was a "sign of vanity"
> >and a "crown of glory.".) So, women would have been disrespectful
> >if they *didn't* wear their hats when visiting or going to church.
>
> <snip>
>
> So that means a woman should always keep her hat on, even when entering a
> house or sitting at table to eat?
>
> And... where did they put all those hats when they took them off?
>
> _________________________________________________________________
> Join the world’s largest e-mail service with MSN Hotmail.
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>




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From h-costume-admin@indra.com  Mon Jun  3 16:25:41 2002
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Date: Mon, 3 Jun 2002 16:18:06 -0400
Status: RO

Rule in my house... if one of my sons sits at the dinner table and does not
take off their hat, I have a right to pop them in the head.  Don't ask for
them to remove... they will figure it out after being popped.  We also have
a rule that guys have to wear a shirt at the dinner table.  Even if they
just come in from swim team. If they don't wear a shirt... a riot starts by
the others at the table.  Its like everyone wants to attack the shirtless
person.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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       Don't know about costume history, but we never took our hats off to 
eat at a restaurant.  We didn't take them off the minute we entered a house 
either unless it was our house and we were so glad to get the silly thing 
off.  Just speaking from past experience.  Don't even own a hat now except 
for a straw hat to use out in the sun.  Too bad too, I loved hats.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Don't know about costume history, but we never took our hats off to eat at a restaurant. &nbsp;We didn't take them off the minute we entered a house either unless it was our house and we were so glad to get the silly thing off. &nbsp;Just speaking from past experience. &nbsp;Don't even own a hat now except for a straw hat to use out in the sun. &nbsp;Too bad too, I loved hats.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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From h-costume-admin@indra.com  Mon Jun  3 18:11:36 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 03 Jun 2002 15:01:17 -0700
Status: RO

If you watch old movies (especially anything in black and white :) you'll 
see women never take off their hats when visiting for tea, or dining out or 
shopping.  Dinner at someone's home seems to have been a non-hat affair for 
women.

Where did men put their hats?  In the 16th century, an Englishmen took his 
off with the reverence (bow) and held it in one hand for the duration of the 
conversation.  This was apparently not the case elsewhere, because the 
Venetian ambassador saw fit to comment on it, as a mark of how polite the 
English were.

MaggiRos


>From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] Gloves and hat etiquette
>Date: Mon, 03 Jun 2002 17:39:43 +0000
>
>>From: kat@grendal.rain.com
>
>>Men and women wore hats for different reasons originally. Men
>>wore them for protection from the elements, so it was polite to take
>>them off as a show of respect (tipping your hat as you talked to
>>someone, entering a home, going to church).
>>
>>Women wore hats as a sign of respect to God that their head
>>(actually hair) was covered. (Women's hair was a "sign of vanity"
>>and a "crown of glory.".) So, women would have been disrespectful
>>if they *didn't* wear their hats when visiting or going to church.
>
><snip>
>
>So that means a woman should always keep her hat on, even when entering a
>house or sitting at table to eat?
>
>And... where did they put all those hats when they took them off?
>
>_________________________________________________________________
>Join the world’s largest e-mail service with MSN Hotmail.
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From h-costume-admin@indra.com  Mon Jun  3 18:23:41 2002
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Date: Mon, 3 Jun 2002 15:21:56 -0700
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> So that means a woman should always keep her hat on, even when
> entering a house or sitting at table to eat?

You would not take your hat off when entering a house. You would 
keep your hat on when taking tea with someone, but not in your 
own house. Elaborate hairstyles in some periods took the place of 
hats (such as Italian Rennaisance and later) for evening use. 
Earlier they wore them even when eating banquets. (Perhaps even 
at home for fancy dinners, depending on the time period.)
 
> And... where did they put all those hats when they took them off?

If you were a woman, you wouldn't really take them off except at 
home. Then they would go in their hatbox or on a peg.

Men, on the other hand, handed them to a major domo or butler 
who would put them on a hall table or in a room off the hall, 
depending on the household.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 3 Jun 2002 15:38:42 -0700
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> My costume history professor said that women in the 30s onward take
> their hats off when entering a home.  Shopping in a store and eating
> lunch you keep it on.  Dinner you take it off.

That probably really depends on where they live. In the 50s and 
even into the 60s in the NW US, the hats were left on when visiting.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 3 Jun 2002 15:38:42 -0700
Status: RO


> Don't even own
> a hat now except for a straw hat to use out in the sun.  Too bad too,
> I loved hats.

No hats! How awful for you. 

I have a whole room filled with hats. I never leave the house without 
one. I have vintage hats, modern hats, period reconstruction hats. I 
*love* hats! (That's why some people have called me "Hat Kat" to 
distinguish me from all the other Kat's around.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 3 Jun 2002 18:48:01 EDT
Status: RO

In a message dated 6/3/2002 4:12:59 PM Eastern Daylight Time, 
penny@costumegallery.com writes:

<< Dinner you take it off. >>
I thought you wore charming little cocktail hats for this and left them on?
Ann Wass
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Date: Mon, 3 Jun 2002 18:51:26 EDT
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In a message dated 6/3/2002 6:35:15 PM Eastern Daylight Time, 
kat@grendal.rain.com writes:

<< some people have called me "Hat Kat" >>
But not "Kat in the Hat"?  (Sorry, I couldn't resist.)  I wear hats 
sometimes.  I have a couple of lovely modern hats, a vintage one or two, and 
of course my early 19th century bonnets and turbans.
Ann Wass
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From h-costume-admin@indra.com  Mon Jun  3 19:23:11 2002
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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 19:15:14 -0400
Status: RO

Maybe this is another one of those "Southern mannerisms."  A quick way to
get popped by a parent is to wear a hat or no shirt/dirty shirt at the
table.  I have seen parents popping kids for doing this in several films
too.  Mom's also like to SEE the kids' hands to make sure they are clean
before they can eat.  The common line is "Show me your hands." Another
reason to get popped... dirty hands.  Its called "Clean up for dinner." If
you don't do it properly... you get popped.  I warned you all that I am a
Southern Belle.  There are certain things we do a little different than the
rest of the world.  Mom's pop kids with her hand or a spoon.  Dad's like to
pop with newspapers... especially boys about the hats.  (((wondering if the
none Southern list members think we live in Gone with the Wind)))

Remember that Ann the next time we eat together.  There is a possibly you
could get popped! LOL!!!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Mon Jun  3 19:27:10 2002
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Date: Mon, 3 Jun 2002 19:18:26 -0400
Status: RO

I like to wear hats too... 99% modern... especially this time of the year.
I do collect modern and vintage hat boxes.  My best boxes at in stacks in my
dining room for decoration.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Mon Jun  3 20:19:12 2002
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Date: Mon, 03 Jun 2002 19:10:26 -0500
Status: RO

Will there be another 18th c. stays class before the next version of this 
class is run?

Cheers,
Danielle

At 04:12 AM 6/3/2002 -0400, you wrote:
>A reminder that JP Ryan's online class "Making a Late 18th Century Wardrobe:
>Pet-en-l'air or Robe ŕ la Française" begins today at the Costume Classroom.
>We will be accepting new students until Sunday, June 9th.  You do need to
>have a pair of stays to take this class.
>
>Bjarne is developing a class on how to embellish this costume.  Hopefully we
>will have this class before the end of the year.
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com

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Date: Mon, 3 Jun 2002 19:16:36 -0500
Status: RO

I dearly miss hats and gloves. :(

Ok, catholic kid here. At our catholic school part of the uniform were
gloves that we had to make ourselves and these cute little sailor hats. We
wore them to church and field trips only. We never ate outside the school so
that was never an issue.

One of my favorite period movies is The Age of Innocence (1993). There is a
scene where the couples are eating, all the ladies are one side the men on
the opposite side of the table. All the ladies have their gloves tucked into
that little opening at the wrist of only one hand. I think they are eating
soup. You can see the fingers of the gloves just peeking out of the opening.


Sincerely,
Franchesca Vecchio Havas
McKinney, Texas
  `°ş¤ř,¸¸,ř¤ş°`

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Monday, June 03, 2002 11:08 AM
Subject: [h-cost] Gloves and hat etiquette


> Hi,
>
> I've been wondering, since gloves and hats are very rarely worn these days
> (I mean, not the ones to keep warm, the ones to look nice), when should
they
> be kept on and when should we take them off?
>
> I've always found it weird that you kept your hat on at church... Do you
> have to take it off the moment you walk into a house? I know it's that way
> for men, but for women?
>
> And what about gloves? I guess you take them off when you eat?
>
> Thanks
>
> Audrey
>
> _________________________________________________________________
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Date: Mon, 3 Jun 2002 20:30:44 -0400
Status: RO

Danielle,

Janice wants to re-run the series so people can have a sackback gown for the
Halloween season if they wish.  The stays class will begin Aug. 26 and is
four weeks long.  The sackback gown (Robe ŕ la Française) will begin Sept.
24 and is five weeks long.  These dates are on the schedule now for
registration.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com




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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 19:40:40 -0500 (CDT)
Status: RO


On Mon, 3 Jun 2002, Penny Ladnier wrote:

> Catholic women do not remove their hat.


What, *never*?!?

Emma

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From h-costume-admin@indra.com  Mon Jun  3 21:48:06 2002
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From: Cin <hysteria95126@yahoo.com>
Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 18:40:13 -0700 (PDT)
Status: RO


> > Catholic women do not remove their hat.
> What, *never*?!?

"Well, hardly ever" --Gilbert & Sullivan



=====
--cin
Cynthia
hysteria95126@yahoo.com

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From h-costume-admin@indra.com  Mon Jun  3 22:39:54 2002
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Subject: RE: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 22:43:23 -0400
Status: RO

Depends on the hat and the time period, too.
	Those little clip-on ones of the 40's were quite a
different affair from a big broad brimmed Gone-With-The-Wind
job, or the kind that took half an hour to install.
	Ever see the old theatre slides ---"Ladies, please remove
your hats"? They were of a big hat period. Sunbonnets, now,
were something else entirely.

	I love all the different hat eras.  And then, of course,
there were the seasonal ones.  The little wired clip-on ones
were primarily for summer, or mild fall.  In winter people
wore something considerably heavier.

	Then, of course, there are the flapper headbands!  Hmmm, is
that a hat, or not?  Yes, they did wear them for formal, my
MIL was married in a lace one that held the veil.
	It does solve the "bad hair day" problem but immediately
creates another one, just as bad or worse---- having the
right hat for every outfit!  And, of course, hat, shoes,
belt, and gloves were supposed to match, or at least go
together and go with the outfit.

Diane S. ----with a closetful of hats I never wear




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Subject: [h-cost] 1760's Corset help?
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Date: Mon, 03 Jun 2002 19:40:21 -0700
Status: RO

Well, it's summertime, and my professor in costume design is having me do an 
independant study construction project for next fall - I'll be making a 
1760's Watteu-back gown.  But for a summer project, I'm supposed to make 
foundation garments for such a dress, and this is where I'm somewhat lost.  
I'm more familliar with Victorian corsetry than Elizabethan, and more 
familliar with Elizabethan than Rococo...  Basically, I have *No* clue where 
to start with this one.  So here I am, asking for help and suggestions. :)

Can anyone reccomend a good pattern for me?  Should I be looking for 
something boned, or one of the cord or reed stuffed stays?  Does anyone have 
any tips or suggestions on construction, materials, etc?  I've got a yard of 
60" natural-colored cotton duck all happily pre-shrunk and waiting for me, 
but I'm not sure if that's a suitable substitute for coutil.  Can anyone 
advise me?

Thanks!

-Laura

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Date: Mon, 03 Jun 2002 21:45:15 -0500
Status: RO

Thank you!  It's a period I've always wanted to do.  I will have to get 
started on stays & panniers this summer.

Cheers,
Danielle

At 08:30 PM 6/3/2002 -0400, you wrote:
>Danielle,
>
>Janice wants to re-run the series so people can have a sackback gown for the
>Halloween season if they wish.  The stays class will begin Aug. 26 and is
>four weeks long.  The sackback gown (Robe ŕ la Française) will begin Sept.
>24 and is five weeks long.  These dates are on the schedule now for
>registration.
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com

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From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] looking for Helleu prints
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Date: Mon, 03 Jun 2002 21:46:38 -0500
Status: RO

Thank you so much!  His work is gorgeous and someday I would love to own 
one of his prints...

Cheers,
Danielle

At 09:30 AM 5/31/2002 -0700, you wrote:
>Danielle - I looked in the Library of Congress catalog and there are 5
>entries but they are all old.  Neither my university library or city library
>has any of them but here's the information in case it helps at all...
>
>Coordinating council of French relief societies inc. New York.  and G. d.
>Batz (1943). Helleu & Sargent drawings. New York City.
>
>Helleu, P. (1907). A gallery of portraits : reproduced from original
>etchings. London, Edward Arnold.
>
>Montesquiou-Fâezensac, R. (1913). Paul Helleu, peintre et graveur. Paris,,
>H. Floury.
>
>Paris. Bibliotháeque nationale., J. Vallery-Radot, et al. (1955). Helleu;
>exposition. Paris,.
>
>Wedmore, F., B. Rogers, et al. (1901). Dry-points by Paul Helleu. New York,
>Frederick Keppel & Co.

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Date: Mon, 3 Jun 2002 23:11:12 -0400
Status: RO

> No hats! How awful for you.
>
> I have a whole room filled with hats. I never leave the house without
> one. I have vintage hats, modern hats, period reconstruction hats. I
> *love* hats! (That's why some people have called me "Hat Kat" to
> distinguish me from all the other Kat's around.)

I understand perfectly.. I love hats, but I've just started wearing some,
and it takes some time getting used to it, finding the right ones for my
shape of head, etc.

I think it's one of the saddest things that happend to fashion in the last
years, that people don't wear hats anymore...
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Subject: Re: [h-cost] 1760's Corset help?
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Date: Mon, 03 Jun 2002 22:19:55 -0500
Status: RO

Kala Jathos wrote:
> 
> But for a summer project, I'm supposed to make
> foundation garments for such a dress, and this is where I'm somewhat lost.
<...>
> Can anyone reccomend a good pattern for me?  Should I be looking for
> something boned, or one of the cord or reed stuffed stays?

You could ILL a copy of Norah Waugh's _Corsets and Crinolines_.  It has
gridded patterns taken (I believe) from actual corsets as well as
information on how they were worn and what they were made of.  The
mid-18th century one is quite nice--I've made it myself.  I believe it
was originally boned with whalebone.  (I wish I could look it up, but
the books are all still packed from my recent move.)  The archives of
this list have several messages on the pros and cons of modern synthetic whalebone.

To scale up gridded patterns, use radial projection.  If you aren't
familiar with the technique, there should also be a message from me in
the archive describing it.  If you need it and can't find it, email me
privately and I'll give you a synopsis.

Best of luck,
Melanie Schuessler
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Subject: [h-cost] Bag Hats & Stocking Caps
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Date: Sun, 2 Jun 2002 23:50:06 -0700
Status: RO

I'm wondering if anyone can point me to pictures (hopefully online) 
of people wearing a particular type of soft hat between about 1350 
and 1600.

Basically, it's a hat constructed like a pouch, only upside down -- a 
cylinder, open at the bottom and closed by a straight seam across the 
top. The top can flop, or be arranged, in a number of different ways 
-- just flopped over to one side, tuck the corners in for a rounded 
effect, leave them loose, wear it with the seam crosswise on the head 
or front-to-back, or even with the two corners tied or sewn together 
to make a sort of pointed top.

Variations include a tapered cylinder and the so-called "stocking 
cap" where the taper continues till the hat comes to a point.

The reason I'm asking (hat in hand???) is that I am actually doing 
that dreadful, shameful thing <grin>, retro-documentation. I have 
these vague feelings that I've seen such hats somewhere, they seem to 
me like a logical type of simple hat to construct, and I'm hoping 
that this _is_ something people actually did. (Of course, since I'm 
trying to be a scholar, negative evidence would also be of interest.)

TIA,
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Re: Wearing White
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Date: Mon, 3 Jun 2002 23:59:59 EDT
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Around here, central Illinois, the rule is no white before Easter.  Easter 
Sunday starts the wearing of white and then it is supposed to end on Labor 
Day.  It is followed around here by lots of people still.
Kelly
 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Around here, central Illinois, the rule is no white before Easter.&nbsp; Easter Sunday starts the wearing of white and then it is supposed to end on Labor Day.&nbsp; It is followed around here by lots of people still.<BR>
Kelly<BR>
 </FONT></HTML>

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Date: Tue, 4 Jun 2002 00:08:22 EDT
Status: RO


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In a message dated 6/3/2002 12:20:15 PM Central Daylight Time, 
h-costume-request@indra.com writes:


> That's why in some cultures today (such as the Amish and 
> Mennonite) women of a responsible age wear hats. 

Not all Mennonite women where headcoverings.  It depends on the denomenation. 
 I attend the Evangelical Mennonite Church and our Church doesn't wear 
headcoverings.  There is one lady in the Church who likes to wear hats to 
Church but the are just regular dress hats.
Kelly
m311@aol.com

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 6/3/2002 12:20:15 PM Central Daylight Time, h-costume-request@indra.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">That's why in some cultures today (such as the Amish and <BR>
Mennonite) women of a responsible age wear hats. </BLOCKQUOTE><BR>
<BR>
Not all Mennonite women where headcoverings.&nbsp; It depends on the denomenation.&nbsp; I attend the Evangelical Mennonite Church and our Church doesn't wear headcoverings.&nbsp; There is one lady in the Church who likes to wear hats to Church but the are just regular dress hats.<BR>
Kelly<BR>
m311@aol.com</FONT></HTML>

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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 21:38:59 -0700
Status: RO

 
> << some people have called me "Hat Kat" >>
> But not "Kat in the Hat"? 

Oddly enough, no. But then my husband is *very* large and *very* 
protective. ;)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Re: Mennonite clothing, was: Gloves and hat etiquette
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Date: Mon, 3 Jun 2002 21:56:52 -0700
Status: RO


> > That's why in some cultures today (such as the Amish and 
> > Mennonite) women of a responsible age wear hats. 
> 
> Not all Mennonite women where headcoverings.  It depends on the
> denomenation. 
>  I attend the Evangelical Mennonite Church and our Church doesn't wear
>  
> headcoverings.  There is one lady in the Church who likes to wear hats
> to Church but the are just regular dress hats. Kelly m311@aol.com

I spent some time this weekend with some Mennonite ladies. One 
of the things they say is that you can tell which branch of the 
church they are by looking at what they wear. The more strict, the 
more the hair is covered. The ladies I was with mostly wore little 
doily like things although one had a transparent linen box like hat 
over her bun. (And she won't reveal the catalog where she gets 
them either!) The older ladies had their hair completely covered. 
(Although one of the older ladies was in one of the more strict 
branches.)

They say that you can also tell by looking at the color of their 
clothing, whether they wear a specific dress pattern and whether 
they can wear things like Reebocs. 

It must be something like the differences between the different 
ways that Jews (such as Orthodox vs Reformed) dress.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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I would LOVE to have more info about this product.  Thanks, Anne

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of MzScahlett@aol.com
Sent: Monday, June 03, 2002 1:12 PM
To: h-costume@indra.com
Subject: Re: [h-cost] hat help


In a message dated 6/2/2002 12:50:53 PM Pacific Daylight Time,
betsy@softwareinnovation.com writes:




I like the heat-settable suggestion though, where is that stuff to be
found?
(my $.02) Betsy



Wonderflex can be purchased in sheets from Richard the Thread (don't
have number handy?) or Dazian 1-877-432-9426.  I can find out about
thermoplastic if anyone wishes.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"If we shadows have offended, think but this,
and all is mended,
That you have but slumbered here,
while these visions did appear."
W. Shakespeare 


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<DIV><SPAN class=3D820042805-04062002><FONT face=3DArial color=3D#0000ff =
size=3D2>I=20
would LOVE to have more info about this product.&nbsp; Thanks,=20
Anne</FONT></SPAN></DIV>
<BLOCKQUOTE style=3D"MARGIN-RIGHT: 0px">
  <DIV></DIV>
  <DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr =
align=3Dleft><FONT=20
  face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B>=20
  h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] <B>On =
Behalf Of=20
  </B>MzScahlett@aol.com<BR><B>Sent:</B> Monday, June 03, 2002 1:12=20
  PM<BR><B>To:</B> h-costume@indra.com<BR><B>Subject:</B> Re: [h-cost] =
hat=20
  help<BR><BR></FONT></DIV><FONT face=3Darial,helvetica><FONT =
size=3D2>In a message=20
  dated 6/2/2002 12:50:53 PM Pacific Daylight Time, =
betsy@softwareinnovation.com=20
  writes:<BR><BR><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  TYPE=3D"CITE">I like the heat-settable suggestion though, where is =
that stuff=20
    to be found?<BR>(my $.02) Betsy</BLOCKQUOTE><BR><BR>Wonderflex can =
be=20
  purchased in sheets from Richard the Thread (don't have number handy?) =
or=20
  Dazian 1-877-432-9426.&nbsp; I can find out about thermoplastic if =
anyone=20
  wishes.<BR><BR>angela<BR>+++++<BR>Angela F. Lazear<BR>Cabbage Rose=20
  Costumes<BR>Theatrical Costume =
Design<BR>www.cabbagerosecostumes.com<BR>"If we=20
  shadows have offended, think but this,<BR>and all is mended,<BR>That =
you have=20
  but slumbered here,<BR>while these visions did appear."<BR>W.=20
  Shakespeare</FONT> </FONT></BLOCKQUOTE></BODY></HTML><html><body><hr =
noshade size=3D1><a =
href=3D"http://www.swifttouch.com/SwiftCardJump.asp?SwiftLink=3DUM7S63L07=
DHYD" target=3D'_blank'><img border=3D"0" =
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pg" title=3D"Save this SwiftCard and you'll always have up-to-date =
contact information." alt=3D"Compu-Zoo of Virginia Beach, =
Inc...&#13;&#10;President..&#13;&#10;fax =
757-463-5904..&#13;&#10;compuzoo@quik.com..&#13;&#10;Gary F. =
Moeller..&#13;&#10;tel 757-463-5607..&#13;&#10;845 Chimney Hill Shopping =
CenterVirginia Beach, VA 23452-3049..&#13;&#10;..&#13;&#10;"><br><font =
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Date: Tue, 04 Jun 2002 21:07:34 +0930
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<html><div style='background-color:'><DIV><U><FONT color=#0000ff></FONT></U><BR>Have you ever seen the kids book "I like hats"</DIV>
<DIV>Rebecca</DIV>
<DIV>&nbsp;</DIV>
<DIV>Kat wrote:<BR><BR>&gt; Don't even own<BR>&gt; a hat now except for a straw hat to use out in the sun.&nbsp; Too bad too,<BR>&gt; I loved hats.<BR><BR>No hats! How awful for you.<BR><BR>I have a whole room filled with hats. I never leave the house without<BR>one. I have vintage hats, modern hats, period reconstruction hats. I<BR>*love* hats! (That's why some people have called me "Hat Kat" to<BR>distinguish me from all the other Kat's around.)<BR><BR></DIV></div><br clear=all><hr>Chat with friends online, try MSN Messenger: <a href='http://g.msn.com/1HM301201/40'>Click Here</a><br></html>
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Date: Tue, 04 Jun 2002 08:23:33 -0400
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on 6/4/02 12:51 AM, h-costume-request@indra.com at
h-costume-request@indra.com wrote:

> On Mon, 3 Jun 2002, Penny Ladnier wrote:
> 
>> Catholic women do not remove their hat.
> 
> 
> What, *never*?!?
> 
> Emma
> 

Well . . . HARDLY ever.

Gail Finke

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Date: Tue, 4 Jun 2002 08:36:38 -0400 (EDT)
Status: RO

At what date did people start wearing wool crepe?  I think it's 19th
century, but am not quite sure.

Thanks,
Mara


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Date: Tue, 04 Jun 2002 08:31:10 -0400
Status: RO



I went to a Mennonite charity auction last year in New Bremen Ohio. It's an
annual event and people come from all over to buy things. The money goes to
missions in Haiti. Anyway, there is a big difference between the way
different branches of Mennonites dress, and it was fun to see them all in
one place. Most of the women looked so pretty, I felt downright ugly in
shorts and a t-shirt.

Some of them wore only plain colors (the Amish, of course -- although there
are several varieties of Amish), some wore small prints. Some wore only
particular patterns of dress, and others wore what you might call "modest"
but otherwise mainstream dress. I saw lots of different hair styles and
hats, too.

Most of the items were big-ticket things like quilts and furniture, but I
did get a shoe-fly pie, so I was happy!!! It's a molasses pie, vaguely like
gingerbread and vaguely like pecan pie without the pecans, for those
unfortunate enough not to have tried it. It's Amish/Pennsylvania Dutch, and
I don't get it often now that I live in Ohio.

Gail Finke


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Subject: Re: [h-cost] Finding feathers?
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Date: Tue, 04 Jun 2002 08:17:38 -0500
Status: RO

Liz / Cozit wrote:
> 
> Does anyone know where I might be able to obtain relatively plain (but not tiny) feathers?  Like duck or goose?
> 
> Either over the web, or anywhere between the Philadelphia and DC areas?

Go here:  http://www.rainbowfeatherco.com/index.html
Click on "feathers" to see pictures of different kinds of feathers.  You
can get small packets of feathers of any type for $1.25 (click on
"packages").  I assume you can pick the color, but I'm not sure what
colors are available.

Happy shopping!

Melanie Schuessler
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Subject: Re: [h-cost] 1760's Corset help?
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--part1_72.1d556bb4.2a2e2cb0_boundary
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There's a quite useful 1770s corset pattern in Nora Waugh's "Corset & 
Crinolines". Yes, it's actually 10 years into the future for your project but 
the pattern is so basic I think it's perfectly suitable for 1760s. It is an 
easy pattern to understand and fool around with. IOW....it's a great start. 
Make up a mock up in muslin, "half boned" [as opposed to solidly boned....the 
pattern in the book is "half boned"]. Finish up the backs and put in grommets 
so you can lace it up but give yourself 2" seam allowances at the sides and 
CF. Tack it together with the seam allowances on the outside, put it on 
someone and start adjusting to see what results you get. Try not to fool with 
the back....keep it narrow. The corset should bring the shoulder blades 
closer together, bowing out the front.

You'll note some horizontal bones in the pattern. Ignore them for the body of 
the corset but make them their own little casement that you can tack to the 
inside later if you want. 

All this will help you understand what the corset is trying to do.

This is how we did it in school.

After you're confident and you got things looking the way you want, then make 
it up in you real fabric. Jean or twill is good but so is linen and cotton. 
You can use a fancy chintz as an outer fabric if you want a pretty corset. We 
boned the fronts with steel boning and the backs and tabs with Riglene. 
Binding the tabs at the bottom can be a bitch [do it before it's boned]

If you're gonna make a real fancy gown, solidly bone the corset. 

Jean Hunnisett's 1st volume of "Period Costumes for Stage and Screen" has a 
more complicated corset but it also has instructions and tips for making up 
and fitting. You may want to check it out since you are doing costumes.

And please....don't use the term "Watteau gown". I HATE that. Watteau painted 
many types of gowns and a lot are fantasy clothes. The gowns he indeed paints 
a lot of, with the flowing pleats at the back, is properly referred to as a 
robe a la Francaise or a sack gown....as opposed to a robe a l'Anglaise, 
where the pleats are sewn down to the lining.

Have fun!

--part1_72.1d556bb4.2a2e2cb0_boundary
Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>There's a quite useful 1770s corset pattern in Nora Waugh's "Corset &amp; Crinolines". Yes, it's actually 10 years into the future for your project but the pattern is so basic I think it's perfectly suitable for 1760s. It is an easy pattern to understand and fool around with. IOW....it's a great start. Make up a mock up in muslin, "half boned" [as opposed to solidly boned....the pattern in the book is "half boned"]. Finish up the backs and put in grommets so you can lace it up but give yourself 2" seam allowances at the sides and CF. Tack it together with the seam allowances on the outside, put it on someone and start adjusting to see what results you get. Try not to fool with the back....keep it narrow. The corset should bring the shoulder blades closer together, bowing out the front.
<BR>
<BR>You'll note some horizontal bones in the pattern. Ignore them for the body of the corset but make them their own little casement that you can tack to the inside later if you want. 
<BR>
<BR>All this will help you understand what the corset is trying to do.
<BR>
<BR>This is how we did it in school.
<BR>
<BR>After you're confident and you got things looking the way you want, then make it up in you real fabric. Jean or twill is good but so is linen and cotton. You can use a fancy chintz as an outer fabric if you want a pretty corset. We boned the fronts with steel boning and the backs and tabs with Riglene. Binding the tabs at the bottom can be a bitch [do it before it's boned]
<BR>
<BR>If you're gonna make a real fancy gown, solidly bone the corset. 
<BR>
<BR>Jean Hunnisett's 1st volume of "Period Costumes for Stage and Screen" has a more complicated corset but it also has instructions and tips for making up and fitting. You may want to check it out since you are doing costumes.
<BR>
<BR>And please....don't use the term "Watteau gown". I HATE that. Watteau painted many types of gowns and a lot are fantasy clothes. The gowns he indeed paints a lot of, with the flowing pleats at the back, is properly referred to as a robe a la Francaise or a sack gown....as opposed to a robe a l'Anglaise, where the pleats are sewn down to the lining.
<BR>
<BR>Have fun!</FONT></HTML>

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] 1760's Corset help?
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Date: Tue, 4 Jun 2002 11:37:04 -0400 (EDT)
Status: RO

I've gotten good results using Drea's Elizabethan Corset Pattern generator
http://www.dnaco.net/~aleed/corsets/custompat/

then modifying the results to make an 18th c. corset:
http://www47.pair.com/lindo/Stays/stays.htm

I'm also working on a booklet that will describe this process in greater
detail  (with Drea's permission to use her corset drafting instructions).
I'm hoping it'll be ready for publication in the next six months or
sooner.

Cheers,
Mara


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Subject: Re: [h-cost] 1760's Corset help?
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Date: Tue, 4 Jun 2002 10:49:46 -0700 (PDT)
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--- Kevin & Mara Riley <lindo@Radix.Net> wrote:
> I'm also working on a booklet that will describe this process in
> greater
> detail  (with Drea's permission to use her corset drafting
> instructions).
> I'm hoping it'll be ready for publication in the next six months or
> sooner.

This would be wonderful! I haven't yet found a pattern for 18th c.
corset that I really like, but I love Drea's corset pattern
generation method. It would be great to see an adaptation of this for
18th c.

mirv


=====
Megan Irvine <mirv01@yahoo.com>
My Web log: http://darkthreads.blogspot.com
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From: Margo Anderson <margo@margospatterns.com>
Subject: [h-cost] Costume Interns
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Date: Tue, 04 Jun 2002 10:07:46 -0700
Status: RO

My son's teacher has a teenage daughter who wants to go to fashion school,
and who is interested in being an intern in my pattern business. Does
anyone out there who has had an intern, or been one, have any advice for me?

She understands that I can't pay her, and she'd be working for experience,
and for a letter of recommendation to fashion school. I understand that
three weeks of stuffing envelopes and picking up pins is not what she's
interested in, and that I need to give her some interesting projects that
will let her learn and have fun.  Is there anything else I should keep in
mind?

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From h-costume-admin@indra.com  Tue Jun  4 14:01:47 2002
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] 1760's Corset help?
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Date: Tue, 4 Jun 2002 13:54:04 -0400 (EDT)
Status: RO

On Tue, 4 Jun 2002, Megan Irvine wrote:
> This would be wonderful! I haven't yet found a pattern for 18th c.
> corset that I really like, but I love Drea's corset pattern
> generation method. It would be great to see an adaptation of this for
> 18th c.
>
> mirv

Thanks!  Well, I'm about halfway done with the text -- have the nuts and
bolts down on paper, but need to go back and 'tweak' it.  I sent it to a
friend who is a 'newbie' at staymaking, and she pointed out a whole bunch
of stuff that I forgot to include because it's so obvious to me <g>.

Will certainly send out an announcement when it _does_ go to press!

Cheers,
Mara

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From h-costume-admin@indra.com  Tue Jun  4 14:10:54 2002
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Subject: Re: [h-cost] Costume Interns
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 "from Margo Anderson at Jun 4, 2002 10:07:46 am"
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Date: Tue, 4 Jun 2002 11:04:45 -0700 (PDT)
Status: RO

yeah -- keep in mind that picking up pins and stuffing envelopes IS part
of the job, too, and have her do that for the same percentage of time that
you might be.  :)

.heather.


> My son's teacher has a teenage daughter who wants to go to fashion school,
> and who is interested in being an intern in my pattern business. Does
> anyone out there who has had an intern, or been one, have any advice for me?
> 
> She understands that I can't pay her, and she'd be working for experience,
> and for a letter of recommendation to fashion school. I understand that
> three weeks of stuffing envelopes and picking up pins is not what she's
> interested in, and that I need to give her some interesting projects that
> will let her learn and have fun.  Is there anything else I should keep in
> mind?
> 
> Margo
> "One Tough Costumer"
> 
> 
> See the Historic Costume Patterns website at margospatterns.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From h-costume-admin@indra.com  Tue Jun  4 14:11:48 2002
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From: Megan Irvine <mirv01@yahoo.com>
To: al-jisr <al-jisr@al-mustarib.org>, h-cost <h-costume@indra.com>
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Subject: [h-cost] Slightly OT, non-period but still useful new choli pattern
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Date: Tue, 4 Jun 2002 11:03:47 -0700 (PDT)
Status: RO

Sorry for the cross-posting, but I think people on both lists might
be interested. I have finally printed my backlacing stretch choli
pattern and it is available via my eBay store. I'm just so proud of
myself. I tried to do a really professional job on this one. Here is
a link to the front cover page of the pattern with all the details:
http://www.geocities.com/mirv_sewing/choli-patt-frontpage.pdf

Of course, this style is not "historical" but my eBay customers and
belly dance classmates love this top for practice. I'm working on
other styles too, with a focus on "stuff I haven't seen anywhere
else." Maybe someday, I will have a pre-17th c. choli pattern that is
based on historical fact, but I am still working on that. 

mirv, a.k.a. darkthreads


=====
Megan Irvine <mirv01@yahoo.com>
My Web log: http://darkthreads.blogspot.com
My eBay storefront: http://www.ebaystores.com/darkthreadsdesigns
"No ship will ever take you away from yourself."--Constantine Cavafy

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Date: Tue, 4 Jun 2002 14:13:04 EDT
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Margo

It sounds like you are on the right track.  When using volunteer interns at 
the theatre, I try to come up with projects that they will find interesting, 
but which actually need doing rather than busy work that is unproductive to 
me.  I've found a nice hybrid of garment finishing (I guess that would equate 
to envelope stuffing, as it is the finishing touch of a project) and minimal 
construction of designs where the intern/volunteer can add some design 
elements (their own touch, so to speak) work well for keeping interest.  
Hands on experience is invaluable, and an excellent way for this young woman 
to get started.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"All the world's a stage, 
and all the men and women merely players.
They have their exits and their entrances; 
and one man in his time plays many parts."
W. Shakespeare

In a message dated 6/4/2002 10:52:31 AM Pacific Daylight Time, 
margo@margospatterns.com writes:


> My son's teacher has a teenage daughter who wants to go to fashion school,
> and who is interested in being an intern in my pattern business. Does
> anyone out there who has had an intern, or been one, have any advice for 
> me?
> 
> She understands that I can't pay her, and she'd be working for experience,
> and for a letter of recommendation to fashion school. I understand that
> three weeks of stuffing envelopes and picking up pins is not what she's
> interested in, and that I need to give her some interesting projects that
> will let her learn and have fun.  Is there anything else I should keep in
> mind?
> 
> Margo
> "One Tough Costumer"
> 
> 


--part1_69.2805a061.2a2e5d30_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Margo<BR>
<BR>
It sounds like you are on the right track.&nbsp; When using volunteer interns at the theatre, I try to come up with projects that they will find interesting, but which actually need doing rather than busy work that is unproductive to me.&nbsp; I've found a nice hybrid of garment finishing (I guess that would equate to envelope stuffing, as it is the finishing touch of a project) and minimal construction of designs where the intern/volunteer can add some design elements (their own touch, so to speak) work well for keeping interest.&nbsp; Hands on experience is invaluable, and an excellent way for this young woman to get started.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"All the world's a stage, <BR>
and all the men and women merely players.<BR>
They have their exits and their entrances; <BR>
and one man in his time plays many parts."<BR>
W. Shakespeare<BR>
<BR>
In a message dated 6/4/2002 10:52:31 AM Pacific Daylight Time, margo@margospatterns.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">My son's teacher has a teenage daughter who wants to go to fashion school,<BR>
and who is interested in being an intern in my pattern business. Does<BR>
anyone out there who has had an intern, or been one, have any advice for me?<BR>
<BR>
She understands that I can't pay her, and she'd be working for experience,<BR>
and for a letter of recommendation to fashion school. I understand that<BR>
three weeks of stuffing envelopes and picking up pins is not what she's<BR>
interested in, and that I need to give her some interesting projects that<BR>
will let her learn and have fun.&nbsp; Is there anything else I should keep in<BR>
mind?<BR>
<BR>
Margo<BR>
"One Tough Costumer"<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
</FONT></HTML>
--part1_69.2805a061.2a2e5d30_boundary--
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From h-costume-admin@indra.com  Tue Jun  4 14:23:04 2002
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Subject: Re: [h-cost] thermoplastic/Wonderflex
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Date: Tue, 4 Jun 2002 14:15:12 EDT
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Which one? Wonderflex or Thermoplastic. I haven't yet called the store to 
price it out, but I've seen it and worked with it's little brother Friendly 
Plastic for years.  How can I help?

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"If we shadows have offended, think but this,
 and all is mended,
That you have but slumbered here,
 while these visions did appear."
W. Shakespeare

In a message dated 6/3/2002 10:21:47 PM Pacific Daylight Time, 
ladyanne@quik.com writes:


> I would LOVE to have more info about this product.  Thanks, Anne
> 
> >> 
>> -----Original Message-----
>> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On 
>> Behalf Of MzScahlett@aol.com
>> Sent: Monday, June 03, 2002 1:12 PM
>> To: h-costume@indra.com
>> Subject: Re: [h-cost] hat help
>> 
>> 
>> In a message dated 6/2/2002 12:50:53 PM Pacific Daylight Time, 
>> betsy@softwareinnovation.com writes:
>> 
>> 
>> >>> I like the heat-settable suggestion though, where is that stuff to be 
>>> found?
>>> (my $.02) Betsy
>> 
>> Wonderflex can be purchased in sheets from Richard the Thread (don't have 
>> number handy?) or Dazian 1-877-432-9426.  I can find out about 
>> thermoplastic if anyone wishes.
>> 
>> angela
>> +++++
>> Angela F. Lazear
>> Cabbage Rose Costumes
>> Theatrical Costume Design
>> www.cabbagerosecostumes.com
>> "If we shadows have offended, think but this,
>> and all is mended,
>> That you have but slumbered here,
>> while these visions did appear."
>> W. Shakespeare 
> <A HREF="http://www.swifttouch.com/SwiftCardJump.asp?SwiftLink=UM7S63L07DHYD">
> </A>
> 
> 
--part1_191.7d79316.2a2e5db0_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Which one? Wonderflex or Thermoplastic. I haven't yet called the store to price it out, but I've seen it and worked with it's little brother Friendly Plastic for years.&nbsp; How can I help?<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"If we shadows have offended, think but this,<BR>
 and all is mended,<BR>
That you have but slumbered here,<BR>
 while these visions did appear."<BR>
W. Shakespeare<BR>
<BR>
In a message dated 6/3/2002 10:21:47 PM Pacific Daylight Time, ladyanne@quik.com writes:<BR>
<BR>
<BR>
</FONT><FONT  COLOR="#0000ff" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I would LOVE to have more info about this product.&nbsp; Thanks, Anne</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Tahoma" LANG="0">-----Original Message-----<BR>
<B>From:</B> h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] <B>On Behalf Of </B>MzScahlett@aol.com<BR>
<B>Sent:</B> Monday, June 03, 2002 1:12 PM<BR>
<B>To:</B> h-costume@indra.com<BR>
<B>Subject:</B> Re: [h-cost] hat help<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Tahoma" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="arial" LANG="0">In a message dated 6/2/2002 12:50:53 PM Pacific Daylight Time, betsy@softwareinnovation.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I like the heat-settable suggestion though, where is that stuff to be found?<BR>
(my $.02) Betsy</BLOCKQUOTE><BR>
<BR>
Wonderflex can be purchased in sheets from Richard the Thread (don't have number handy?) or Dazian 1-877-432-9426.&nbsp; I can find out about thermoplastic if anyone wishes.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"If we shadows have offended, think but this,<BR>
and all is mended,<BR>
That you have but slumbered here,<BR>
while these visions did appear."<BR>
W. Shakespeare</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> </BLOCKQUOTE><BR>
<A HREF="http://www.swifttouch.com/SwiftCardJump.asp?SwiftLink=UM7S63L07DHYD">
</A><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT></HTML>
--part1_191.7d79316.2a2e5db0_boundary--
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From h-costume-admin@indra.com  Tue Jun  4 14:32:00 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1760's Corset help?
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Date: Tue, 04 Jun 2002 11:21:29 -0700
Status: RO


>There's a quite useful 1770s corset pattern in Nora Waugh's "Corset & 
>Crinolines". Yes, it's actually 10 years into the future for your project 
>but the pattern is so basic I think it's perfectly suitable for 1760s. It 
>is an easy pattern to understand and fool around with. IOW....it's a great 
>start. Make up a mock up in muslin, "half boned" [as opposed to solidly 
>boned....the pattern in the book is "half boned"]. Finish up the backs and 
>put in grommets so you can lace it up but give yourself 2" seam allowances 
>at the sides and CF. Tack it together with the seam allowances on the 
>outside, put it on someone and start adjusting to see what results you 
>get. Try not to fool with the back....keep it narrow. The corset should 
>bring the shoulder blades closer together, bowing out the front.
>
>You'll note some horizontal bones in the pattern. Ignore them for the body 
>of the corset but make them their own little casement that you can tack to 
>the inside later if you want.

Yes Nora Waugh.  I made this one, and don't omit the horizontal bones - 
they're necessary.

And please....don't use the term "Watteau gown". I HATE that.

'Watteau gown' or 'Watteau pleats' are terms from the late 1800's-early 
1900's, and are correct to that period, but only to that period.  In 
Watteau's time these gowns were, indeed, called 'sack back' or 'robe a la 
Francaise'.



Kayta

    //// \\\
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Subject: Re: [h-cost] Costume Interns
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Date: Tue, 4 Jun 2002 16:54:10 -0400
Status: RO

Margo,

Write Jennie Chancey.  She has an intern right now learning pattern
drafting.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com




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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Tue, 4 Jun 2002 17:13:52 -0300
Status: RO

Can't resist a hat thread.... I have a whole closet filled to the brim (pun
intended!) with hats of all styles. I collect vintage hats and vintage-esque
modern hats. I wear a hat almost every time I go out of the house. It is not
just a fashion statement, either. It is a real necessity down here in South
Alabama with the blazing sun and extreme temperatures. Hats are a blessing!
I have very fair skin and burn easily, so I really do need 'em. I love the
broad-brimmed ones especially and have had a lot of success finding them of
late.

My husband and I also both like to "dress" when traveling by airplane or
train. He wears a three-piece (very 1930s-looking) suit with hat, and I
always wear a hat and gloves. People turn to stare open-mouthed sometimes as
we walk by. I guess in the old days it was taken for granted that you
dressed to travel, but today we must look a bit like a costume show in
transit. LOL! But it sure is fun, and we love the treatment we get from
others -- they are invariably super-polite and extra-quick to help me with
baggage or whatever. What fun!

Cheers,
Jennie

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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From h-costume-admin@indra.com  Tue Jun  4 19:23:49 2002
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Date: Tue, 4 Jun 2002 19:15:54 EDT
Status: RO

Hey guys,

I got an e-mail that said "h-costume digest, Vol 1 #972 - 11 msgs" and the 
sender addy was the usual, but it had an attachment.  Since the list normally 
does not have attachments, I deleted it rather than open it.  Anybody know if 
that was a virus or some new coding weirdness from the list server?

--Gillian
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Date: Tue, 4 Jun 2002 17:35:26 -0600
Status: RO


You're correct - the list doesn't do attachments, so delete before
reading it!
					...eliz

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Subject: Re: [h-cost] Another virus??
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Date: Tue, 4 Jun 2002 19:54:56 -0500 (CDT)
Status: RO


On Tue, 4 Jun 2002 Azelana@aol.com wrote:

> I got an e-mail that said "h-costume digest, Vol 1 #972 - 11 msgs" and
> the sender addy was the usual, but it had an attachment.  Since the
> list normally does not have attachments, I deleted it rather than open
> it.  Anybody know if that was a virus or some new coding weirdness
> from the list server?

Sounds like Klez. It grabs both a recipient name and a sender's name from
an infected computer's addressbook, so when it sends itself, the message
looks as though it came from another source. That makes it hard to track
down the infected computer, because that person's name doesn't show up as
sender. The innocent party listed as sender gets the blame instead.

Another list I'm on has had this problem -- a listmember who has the list
name in his addressbook has gotten infected, and the virus has been using
the list name as the fake sender on virus mailings.

So, this means someone who has h-cost *and* you in his/her addressbook is
infected.

Anyone reading this who has both the list address and Azelana's in their
addressbook should do a virus scan with updated software.

(A few weeks ago I got an annoyed mailing from someone complaining about
my sending them a virus. I use UNIX, so it didn't come from me! It came
from someone who had both my name and hers in his/her addressbook.)

--Robin

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Subject: [h-cost] Now....what's that stuff called again?
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Date: Tue, 4 Jun 2002 20:42:11 EDT
Status: RO


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Greetings,

Y'know those beautiful scarves and stoles popular in the 1920s made of a 
cotton net with flat silver [as in real silver] tape worked into it in 
geometric patterns. I comes from the Middle East...Egypt I think. Makes a 
very glittery, sheer but very heavy stole.....

Anyway, what is that stuff called? I cannot remember for the life of me! 
Something that begins with an "A". Asiut? Asuite? Someone help my feeble 
brain!

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>Greetings,
<BR>
<BR>Y'know those beautiful scarves and stoles popular in the 1920s made of a cotton net with flat silver [as in real silver] tape worked into it in geometric patterns. I comes from the Middle East...Egypt I think. Makes a very glittery, sheer but very heavy stole.....
<BR>
<BR>Anyway, what is that stuff called? I cannot remember for the life of me! Something that begins with an "A". Asiut? Asuite? Someone help my feeble brain!</FONT></HTML>

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From: MzScahlett@aol.com
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Subject: Re: [h-cost] Now....what's that stuff called again?
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Date: Tue, 4 Jun 2002 21:06:18 EDT
Status: RO


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In a message dated 6/4/2002 5:43:53 PM Pacific Daylight Time, 
AlbertCat@aol.com writes:


> Greetings, 
> 
> Y'know those beautiful scarves and stoles popular in the 1920s made of a 
> cotton net with flat silver [as in real silver] tape worked into it in 
> geometric patterns. I comes from the Middle East...Egypt I think. Makes a 
> very glittery, sheer but very heavy stole..... 
> 
> Anyway, what is that stuff called? I cannot remember for the life of me! 
> Something that begins with an "A". Asiut? Asuite? Someone help my feeble 
> brain! 

Yes, that's what it's called. Spelling varies. Assuit is the one I've seen 
most.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"See! How she leans her cheek upon her hand, 
O! That I were a glove upon that hand,
That I might touch that cheek."
Romeo & Juliet, II, ii - W. Shakespeare

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0">In a message dated 6/4/2002 5:43:53 PM Pacific Daylight Time, AlbertCat@aol.com writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Greetings, <BR>
<BR>
Y'know those beautiful scarves and stoles popular in the 1920s made of a cotton net with flat silver [as in real silver] tape worked into it in geometric patterns. I comes from the Middle East...Egypt I think. Makes a very glittery, sheer but very heavy stole..... <BR>
<BR>
Anyway, what is that stuff called? I cannot remember for the life of me! Something that begins with an "A". Asiut? Asuite? Someone help my feeble brain! </BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0"><BR>
Yes, that's what it's called. Spelling varies. Assuit is the one I've seen most.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes <BR>
http://www.cabbagerosecostumes.com<BR>
Theatrical Costume Design<BR>
<BR>
"See! How she leans her cheek upon her hand, <BR>
O! That I were a glove upon that hand,<BR>
That I might touch that cheek."<BR>
Romeo &amp; Juliet, II, ii - W. Shakespeare<BR>
</FONT></HTML>
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From: Shalazar <shalazar@shaw.ca>
Subject: Re: [h-cost] Now....what's that stuff called again?
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Date: Tue, 04 Jun 2002 19:30:38 -0700
Status: RO

It's called assuit. if you want to see a really good example of it go to

http://www.hahbiru.com/john_and_ritah.html  ( my favourite drooling
site for this stuff)

There is also good information at

http://liquidsilverdesigns.com/

It is not actually real silver though many people think it is. its just
base metal.
It makes wonderful dresses for dancing in.   I have several pieces which
were brought back from the Boer War . If  the patterns are all geometric
it was meant for  domestic use,. But if it has animal or humam
depictions  mnixed in,   it was intended  for the 'foreign market'


--
"Human beings, who are almost unique in having the ability to
learn from the experience of others, are also remarkable
for their apparent disinclination to do so."

 - Douglas Adams (1952-2001)    English novelist


"Throughout history,
 it has been the inaction of those who could have acted;
 the indifference of those who should have known better;
 the silence of the voice of justice when it mattered most;
 that has made it possible for evil to triumph."

` -Haile Selassie


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Subject: Re: [h-cost] Gloves and hat etiquette
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In a message dated 6/3/2002 11:12:28 PM Eastern Daylight Time, 
audreybmorin2@hotmail.com writes:


> I understand perfectly. I love hats, but I've just started wearing some,
> 

Hooray for Hats!  I started wearing hats again at Church and enjoy them very 
much.  I like the vintage ones but I haven't worn the light peach (orange) 
with the green ribbon trim one yet.
Dianne in Dunlap

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/3/2002 11:12:28 PM Eastern Daylight Time, audreybmorin2@hotmail.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I understand perfectly. I love hats, but I've just started wearing some,<BR>
</BLOCKQUOTE><BR>
<BR>
Hooray for Hats!&nbsp; I started wearing hats again at Church and enjoy them very much.&nbsp; I like the vintage ones but I haven't worn the light peach (orange) with the green ribbon trim one yet.<BR>
Dianne in Dunlap</FONT></HTML>

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Date: Tue, 04 Jun 2002 23:13:42 -0400
Status: RO

No one's yet mentioned that along with the dates for wearing 
white, it also goes along with hatwear: felt hats and straw 
hats (at least for men). I think there's even a "felt hat 
day" for when you put away your straw hats at the end of 
summer and re-don your felt hats (or is it the other way 
around?).
	-Judy Mitchell

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Date: Wed, 5 Jun 2002 00:11:51 -0400
Status: RO

This is a multi-part message in MIME format.

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Oh dear, I am not sure what the difference is.  I thought they were
basically the same stuff with different names.  I know the principle
behind Friendly Plastic but have never used it.  Which would be best for
head dresses?  Thanks, Anne


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dear, I am not sure what the difference is.&nbsp; I thought they were =
basically=20
the same stuff with different names.&nbsp; I know the principle behind =
Friendly=20
Plastic but have never used it.&nbsp; Which would be best for head=20
dresses?&nbsp; Thanks, Anne</FONT></SPAN></DIV>
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DHYD" target=3D'_blank'><img border=3D"0" =
src=3D"http://MY.BUSINESS.CARD.swifttouch.com/cards/users/UM7S63L07DHYD.j=
pg" title=3D"Save this SwiftCard and you'll always have up-to-date =
contact information." alt=3D"Compu-Zoo of Virginia Beach, =
Inc...&#13;&#10;President..&#13;&#10;fax =
757-463-5904..&#13;&#10;compuzoo@quik.com..&#13;&#10;Gary F. =
Moeller..&#13;&#10;tel 757-463-5607..&#13;&#10;845 Chimney Hill Shopping =
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From h-costume-admin@indra.com  Wed Jun  5 00:22:51 2002
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Date: Tue, 4 Jun 2002 23:09:59 -0300
Status: RO

I  had to chuckle that this actually came up as a side topic on the list! I
had no idea anyone really knew I was teaching an intern right now. I'll be
happy to answer any questions anyone might have off-list. Just drop me a
line. This is my "guinea pig" intern, since I've never had anyone actually
come and stay with me for six weeks to study pattern drafting and costuming
techniques. It has been a blast, and I'd highly recommend it!

By the way, my current intern has a Regency ballgown she made while here up
on eBay. If you'd like to see it, just go to
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=1738391802 (if you can't
get the URL to work, it's listed under my username, which is "chanceys").
She did a fantastic job (boast, boast....).

Cheers,
Jennie

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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Date: Wed, 05 Jun 2002 00:27:37 -0700
Status: RO

leigh 

I have a favor to ask.  I was packing for an event last week and could not
find my ammo box (a dark green military ammunition box that I keep powder
in at events).  I have since then searched high and low in my house and car
and still cannot find it.  The last time I definatily know I it was at New
Sweden.  Would you please be so kind, the next time you are at or near the
New Sweden Farmstead, to a absent-minded professor type (me) and look in
the hay barn under the stairs to the loft and see if I was so absent-minded
as to leave it there.  Please let me know if you find or do not find the
box.

Let me aploagize for any inconvinence this request my cause you or Mike.
Please let me know if you find the ammo box.

Your humble and obediant servant,
David S Mallinak
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Date: Wed, 05 Jun 2002 09:59:32 +0100
Status: RO

(Catching up on mail after our extra long public holiday for the Queen's Golden Jubilee...)
Thanks for all the replies on this topic. I must have misunderstood the sense of Penny's original posting (about wearing white). I thought Memorial Day must be an equivalent of our Remembrance Day because of the speeches made by Mr.Bush on his recent overseas tour. Actually it isn't a public holiday in the UK; ceremonies honouring the war dead take place on the nearest Sunday to Nov, 11th, though in recent years there has been a return to the custom of observing a minute's silence at 11 a.m. on the 11th itself.
The poppies are one of those weeds that tend to come up on disturbed ground - they were a common sight in corn- (i.e. wheat) fields before herbicides - and so they grew around the trenches in WW1. Costume sidelight - the plot of one of Dorothy Sayers' detective novels hinges on the fact that in the '20s people didn't wear their poppies until Armistice Day itself, whereas nowadays we pin them on as soon as we buy them, any time from the beginning of November.

Kate Bunting
Library, University of Derby

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Getting recognized (WAS: Lurking)
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Date: Wed, 05 Jun 2002 11:43:49 +0000 (GMT)
Status: RO

Cin wrote:

> > The Spy's Guidebook doesn't tell 
> > you about "hiding in plain sight" and being so obvious no-one would
> > suspect you.
> 
> Teddy, I'm pretty sure George Smiley wears gray, not orange.  I'm sure
> it's in the book under "innocuous". <grin>
> 
> (1) ref. "Smiley's People", "The Honorable Schoolboy", and all those
> other books by John LeCarré.

<laugh!>  The Spy's guidebook doesn't cover that at all...  I 
memorised it from cover to cover when I was eleven adn i don;t 
think the current edition (which I just gave to my godson for his 
sixth birthday) has included it either.

Margo Anderson wrote: 

> Yes, I've had this happen, too.  At the Renn Faire we recently
> produced, one of the booth people needed scissors for something,
> and was told to go look for Margo Anderson. Two other people nearby
> exclaimed, "You mean THE Margo Anderson is here?" 
> 
> I call this condition being a "microcelebrity".  Danielle, Teddy,
> and I, among others,  enjoy international fame (or is it
> notoriety?) due to this list and others like it,  but the actual
> number of people who know of us is probably a few thousand or less.
>  Ah, well, if I'd wanted fame on a big scale I'd have stuck to my
> teenage goal of being a rock star. 

I'm glad to have a name to put to it.

It can be very nice - it's great to build up a wide-ranging network of 
contacts and friends through being known on lists like this and 
through other activities.

Anyone else on the list had this happen?

Teddy
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Subject: [h-cost] news: sumptuary laws alive...
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Date: Wed, 05 Jun 2002 13:55:38 +0200
Status: RO

... in Bhutan:

"Traditional Bhutanese costume, the Gho for men and the Kira for women, is 
compulsory. Those who wear anything else face a Ł2 ($3.30) fine, which 
amounts to three days' wages."

http://news6.thdo.bbc.co.uk/low/english/country_profile/newsid_54000/54627.stm

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] buttoning direction
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Date: Wed, 05 Jun 2002 12:18:48 +0000 (GMT)
Status: RO


> Do those of you who wear left- and right-buttoned shirts have any
> preference? Is it really any easier to do one over the other with
> your dominant (or free) hand?  Yes, it is confusing if you're
> accustomed to one and suddenly have to deal with the other, but
> that's just a question of habit. 
> 
> Does handedness really matter?

I have no problem with either way around... my cousin, on th eother 
hand, has an awful time adapting when she wears mens shirts.  A 
few yearsa go the only reasonably priced plain-white cotton shirts 
we could find for her to wear to work were mens ones and, since 
she has specific clothes that she wears only for work (because 
she can't bear tro wear anything she *likes* for something as 
terrible as Work) we got them out of desperation.

Teddy
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Date: Wed, 5 Jun 2002 13:06:00 BST
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Teddy <teddy1@mdx.ac.uk> wrote :
> > I call this condition being a "microcelebrity".  Danielle, Teddy,
> > and I, among others,  enjoy international fame (or is it
> > notoriety?) due to this list and others like it,  but the actual
> > number of people who know of us is probably a few thousand or less.

> I'm glad to have a name to put to it.
> 
> It can be very nice - it's great to build up a wide-ranging network of 
> contacts and friends through being known on lists like this and 
> through other activities.
> 
> Anyone else on the list had this happen?

In a totally different context, yes. I used to be very active in fantasy roleplaying: the Gloranthan universe in particular. Chatted on the lists, had articles published in fanzines, that sort of thing. Then I went to my first ever rolelaying convention, all shy and ready to hide in corners, to be met with people asking if I'm "the" Jane Williams, people wanting my autograph on things I'd written, and people asking me to appear on panels. Eek!




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Subject: Re: [h-cost] Now....what's that stuff called again?
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In a message dated 6/4/2002 10:12:39 PM Eastern Daylight Time, 
shalazar@shaw.ca writes:


> http://www.hahbiru.com/john_and_ritah.html  ( my favourite drooling
> site for this stuff)
> 

Are you drooling over the assuit work....or John?

The other site was great. Fascinating. I just found a white stole of this 
stuff in the bottom of a box I haven't opened since I moved 8 years ago. It's 
actually a box that belonged to my old roommate, who died 9 years ago. So I 
guess it's mine now!

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 6/4/2002 10:12:39 PM Eastern Daylight Time, shalazar@shaw.ca writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">http://www.hahbiru.com/john_and_ritah.html &nbsp;( my favourite drooling
<BR>site for this stuff)
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Are you drooling over the assuit work....or John?
<BR>
<BR>The other site was great. Fascinating. I just found a white stole of this stuff in the bottom of a box I haven't opened since I moved 8 years ago. It's actually a box that belonged to my old roommate, who died 9 years ago. So I guess it's mine now!</FONT></HTML>

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Subject: Re: [h-cost] Now....what's that stuff called again?
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Date: Wed, 05 Jun 2002 08:00:22 -0700
Status: RO

Both.. (grin)
He is a thoroughly nice person,  and he is aging very well too!! Those
are his own eyes not contacts...   But given the chose I will take the
assuit he's wearing. Better yet the stuff he wore up here in Vancouver
it was completely covered with metal.
Take care of the piece you found its  worth   big bucks especially if
its  older with the fine mesh and in good condition.

Bit of trivia  .... Arnie wore assuit in Conan.



--
"Human beings, who are almost unique in having the ability to
learn from the experience of others, are also remarkable
for their apparent disinclination to do so."

 - Douglas Adams (1952-2001)    English novelist


"Throughout history,
 it has been the inaction of those who could have acted;
 the indifference of those who should have known better;
 the silence of the voice of justice when it mattered most;
 that has made it possible for evil to triumph."

` -Haile Selassie


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Date: Wed, 5 Jun 2002 10:48:35 EDT
Status: RO


--part1_1a6.33e6250.2a2f7ec3_boundary
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       The really sad part is that their location makes them likely to be 
wiped out if India and Pakistan get in a nuclear war.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The really sad part is that their location makes them likely to be wiped out if India and Pakistan get in a nuclear war.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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From: Barbara Wolff <bjwolff@facstaff.wisc.edu>
Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Wed, 05 Jun 2002 10:05:54 -0600
Status: RO

Greetings from a lurker-fan! To broaden this trend a tad, does anyone 
out there know the "rules" of late 19th-C. 
"morning-afternoon-evening" wear? I'm prompted to ask because a 
neighboring town (Columbus, Wis.) is having a huge classic carriage 
event this weekend, complete w/authentic costumes. There will be 
period events (the centerpiece will be a picnic), and participants 
are graded heavily on wearing the proper garb. Time of day seems to 
be a special factor - the organizers don't seem to have a 'site I 
could tootle up, so any insight to feed my curiosity is greatly 
appreciated! Thank you, and cheers ~

Barbara in Madison, Wis.
-- 
Barbara Wolff
University Communications
University of Wisconsin-Madison
(608) 262-8292
bjwolff@facstaff.wisc.edu
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Subject: RE: [h-cost] American Patriotic Holidays
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Date: Wed, 5 Jun 2002 09:29:42 -0700
Status: RO


> Actually it isn't a public holiday in the UK;
> ceremonies honouring the war dead take place on the nearest Sunday to
> Nov, 11th, though in recent years there has been a return to the
> custom of observing a minute's silence at 11 a.m. on the 11th itself.
> The poppies are one of those weeds that tend to come up on disturbed
> ground - they were a common sight in corn- (i.e. wheat) fields before
> herbicides - and so they grew around the trenches in WW1. 

That's around the time of our "Veteran's Day". Memorial day isn't 
strictly for war dead, but rather for *all* dead. When I was little, 
we'd go out to the cemetery and clean up our relatives graves on 
that day.

Interesting about the poppies. That makes the sale of artificial 
poppies on Veteran's day (for money for charities) make much 
more sense.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: "Ulrika A. O'Brien" <uaobrien@uci.edu>
Subject: RE: [h-cost] American Patriotic Holidays
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Date: Wed, 05 Jun 2002 09:46:56 -0700
Status: RO

At 09:29 AM 6/5/2002, you wrote:

> > Actually it isn't a public holiday in the UK;
> > ceremonies honouring the war dead take place on the nearest Sunday to
> > Nov, 11th, though in recent years there has been a return to the
> > custom of observing a minute's silence at 11 a.m. on the 11th itself.
> > The poppies are one of those weeds that tend to come up on disturbed
> > ground - they were a common sight in corn- (i.e. wheat) fields before
> > herbicides - and so they grew around the trenches in WW1.
>
>That's around the time of our "Veteran's Day". Memorial day isn't
>strictly for war dead, but rather for *all* dead. When I was little,
>we'd go out to the cemetery and clean up our relatives graves on
>that day.
>
>Interesting about the poppies. That makes the sale of artificial
>poppies on Veteran's day (for money for charities) make much
>more sense.

The poppies are almost certainly also an allusion to the WWI poem
by John McCrae:

In Flanders Fields

In Flanders fields the poppies blow
Between the crosses, row on row
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.




  Ulrika O'Brien
  English & Comparative Literature
  University of California, Irvine
  435 Humanities Instructional Building
  (949) 824-6712


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Date: Wed, 05 Jun 2002 10:21:21 -0700
Status: RO


>  being known on lists like this and
>through other activities.
>
>Anyone else on the list had this happen?

A friend of mine was in a store, got to talking to one of the sales help, 
and they started talking about costumes.  The salesperson started telling 
my friend about this camouflage historical outfit she'd heard about, and by 
the time my friend got the details, from the salesperson, straightened out, 
it seemed that one of my costumes had achieved urban legend status in a 
small way.  The sales person didn't know me.  The costume was my 
'Cammo-Colonial', a 1780 with a hand-quilted petticoat to match.


Kayta

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From h-costume-admin@indra.com  Wed Jun  5 13:39:48 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: RE: [h-cost] American Patriotic Holidays
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Date: Wed, 05 Jun 2002 10:32:21 -0700
Status: RO

I was just about to go looking for the poem myself, when I read your 
message, Ulrika.  Thank you.  It still gives me chills as much as it did 
when I first read it in elementary school, and every time after.

Beautifully written, powerfully stated.

MaggiRos


>From: "Ulrika A. O'Brien" <uaobrien@uci.edu>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: RE: [h-cost] American Patriotic Holidays
>Date: Wed, 05 Jun 2002 09:46:56 -0700
>
>At 09:29 AM 6/5/2002, you wrote:
>
>> > Actually it isn't a public holiday in the UK;
>> > ceremonies honouring the war dead take place on the nearest Sunday to
>> > Nov, 11th, though in recent years there has been a return to the
>> > custom of observing a minute's silence at 11 a.m. on the 11th itself.
>> > The poppies are one of those weeds that tend to come up on disturbed
>> > ground - they were a common sight in corn- (i.e. wheat) fields before
>> > herbicides - and so they grew around the trenches in WW1.
>>
>>That's around the time of our "Veteran's Day". Memorial day isn't
>>strictly for war dead, but rather for *all* dead. When I was little,
>>we'd go out to the cemetery and clean up our relatives graves on
>>that day.
>>
>>Interesting about the poppies. That makes the sale of artificial
>>poppies on Veteran's day (for money for charities) make much
>>more sense.
>
>The poppies are almost certainly also an allusion to the WWI poem
>by John McCrae:
>
>In Flanders Fields
>
>In Flanders fields the poppies blow
>Between the crosses, row on row
>That mark our place; and in the sky
>The larks, still bravely singing, fly
>Scarce heard amid the guns below.
>
>We are the Dead. Short days ago
>We lived, felt dawn, saw sunset glow,
>Loved and were loved, and now we lie
>In Flanders fields.
>
>Take up our quarrel with the foe:
>To you from failing hands we throw
>The torch; be yours to hold it high.
>If ye break faith with us who die
>We shall not sleep, though poppies grow
>In Flanders fields.
>
>
>

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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
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Subject: Re: [h-cost] Costume Interns
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Date: Wed, 05 Jun 2002 17:59:18 +0000
Status: RO

I haven't got any experience in costume or fashion, but when I did 
internship in computer work (was paid work, but it doesn't matter here) the 
greatest thing that happened is they ended up giving me a project of my own 
to follow to the end. Of course, it ended up going much slower than if it 
had been done by someone with more experience, but it had me interact with 
people I needed to work with, contact the clients myself, organize meetings, 
get authorizations, and program the applcation in question myself. I did 
every step of the project myself, so it was a much better learning 
experience than just chasing bugs in existing programs or programming 
pre-planned web pages.

I think you could apply the same to her: get her to meet the client(s) with 
you, get her involved in the planning stages, then make her do some of the 
work (even if it's the simple hidden parts - you could even ask her what 
part of the work she'd prefer doing). Or give her a task that's simpler, but 
that you've pushed back for a long time because you don't have time to do it 
yourself. Ask her opinion, and once in a while consider following her advice 
:-)

Of course, all this is based on my experience as a computer scientist, not 
as a costumer...


>From: Margo Anderson <margo@margospatterns.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com, <margospatterns@yahoogroups.com>,   
><h-costume@indra.com>
>Subject: [h-cost] Costume Interns
>Date: Tue, 04 Jun 2002 10:07:46 -0700
>
>My son's teacher has a teenage daughter who wants to go to fashion school,
>and who is interested in being an intern in my pattern business. Does
>anyone out there who has had an intern, or been one, have any advice for 
>me?
>
>She understands that I can't pay her, and she'd be working for experience,
>and for a letter of recommendation to fashion school. I understand that
>three weeks of stuffing envelopes and picking up pins is not what she's
>interested in, and that I need to give her some interesting projects that
>will let her learn and have fun.  Is there anything else I should keep in
>mind?
>
>Margo
>"One Tough Costumer"
>
>
>See the Historic Costume Patterns website at margospatterns.com
>_______________________________________________
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In a message dated 6/4/2002 9:07:52 PM Pacific Daylight Time, 
ladyanne@quik.com writes:


> Oh dear, I am not sure what the difference is.  I thought they were 
> basically the same stuff with different names.  I know the principle behind 
> Friendly Plastic but have never used it.  Which would be best for head 
> dresses?  Thanks, Anne
> 

They are basically the same thing.  Two different manufacturers. I think 
Thermoplastic has been around longer, as that's what my connection uses at 
the local regional/professional theater in San Jose.  Either is suitable for 
a headdress that you wish to be firm, lightweight and breathable.  Emphasis 
on firm.  The substance can be worked over and over again until the shape is 
perfect.  It could be used anywhere you want something permanent that you'd 
ordinarly make of papier mache or similar method.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"The naked truth of it is, I have no shirt."
Love's Labours Lost, V, ii - W. Shakespeare

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0">In a message dated 6/4/2002 9:07:52 PM Pacific Daylight Time, ladyanne@quik.com writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#0000ff" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Oh dear, I am not sure what the difference is.&nbsp; I thought they were basically the same stuff with different names.&nbsp; I know the principle behind Friendly Plastic but have never used it.&nbsp; Which would be best for head dresses?&nbsp; Thanks, Anne</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0"><BR>
They are basically the same thing.&nbsp; Two different manufacturers. I think Thermoplastic has been around longer, as that's what my connection uses at the local regional/professional theater in San Jose.&nbsp; Either is suitable for a headdress that you wish to be firm, lightweight and breathable.&nbsp; Emphasis on firm.&nbsp; The substance can be worked over and over again until the shape is perfect.&nbsp; It could be used anywhere you want something permanent that you'd ordinarly make of papier mache or similar method.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes <BR>
http://www.cabbagerosecostumes.com<BR>
Theatrical Costume Design<BR>
<BR>
"The naked truth of it is, I have no shirt."<BR>
Love's Labours Lost, V, ii - W. Shakespeare<BR>
</FONT></HTML>
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<snip>
Costume sidelight - the plot of one of Dorothy Sayers' detective novels
hinges on the fact that in the '20s people didn't wear their poppies until
Armistice Day itself, whereas nowadays we pin them on as soon as we buy
them, any time from the beginning of November

Oh, which one please.

Genie

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Date: Wed, 5 Jun 2002 18:21:36 -0500
Status: RO

Have you heard of the Strauss Waltz drill team.  Full Victiorian, male and
female, entirely made of camo fabrics.

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When I did my internship at the Valentine Museum, it was unpaid.  But they
were offering 2 scholarship to the interns that they thought did their best
work.  I was awarded one of them.

I can tell you that internship was one of the most valuable experiences that
I ever had.  I learned so much working hands-on with the costumes.  I also
learned how heavily networked our industry is.  The curator took me on field
trips and introduced me to so many wonderful people in our industry.  These
were people that otherwise I might have never have meet.  And it really
helped me get my foot in the door.  I learned so much, even doing meaning
less things like re-bagging the costume collection.  I got to do up-close
inspections of historic garments like Meriweather Lewis coat from his
expeditions, Lady Astor's court gown, and George Washington's niece's
wedding gown.  Yes, I re-bagged all of them.  I also re-bagged the largest
collection of historic wedding gowns in the U.S.  What a design dream!  What
a wonderful education that I will always be thankful to the museum for
giving me the opportunity.

When the curator was out of town for two weeks, I worked with the curator of
manuscripts and photographs.  I learned so much there about research
techniques, storage, and working with publishers who were borrowing photos
and manuscripts.

As for pay... I often thought that I should have paid them for the
opportunity and education.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Do you mean the entry at Costume Con a few years back? That was all
19thC (not exclusively Victorian, if I recall), done in denim . . .

MD/Marged
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Date: Wed, 5 Jun 2002 20:42:37 EDT
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David -- You sent this to me. Did you mean to?

Kathy

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">David -- You sent this to me. Did you mean to?<BR>
<BR>
Kathy</FONT></HTML>

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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
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Subject: Re: [h-cost] Madison event
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Date: Wed, 5 Jun 2002 19:50:05 -0500
Status: RO

Who - what - where - near Madison??? Can you give me details? That sounds
like fun!

**********************
Rebecca Schmitt
aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
Bristol,
BRF FOF

New to Madison and so looking for people here who know what's going on where

lotsofteapots@charter.net
**********************

----- Original Message -----
From: "Barbara Wolff" <bjwolff@facstaff.wisc.edu>
To: <h-costume@indra.com>
Sent: Wednesday, June 05, 2002 11:05 AM
Subject: Re: [h-cost] Gloves and hat etiquette


> Greetings from a lurker-fan! To broaden this trend a tad, does anyone
> out there know the "rules" of late 19th-C.
> "morning-afternoon-evening" wear? I'm prompted to ask because a
> neighboring town (Columbus, Wis.) is having a huge classic carriage
> event this weekend, complete w/authentic costumes. There will be
> period events (the centerpiece will be a picnic), and participants
> are graded heavily on wearing the proper garb. Time of day seems to
> be a special factor - the organizers don't seem to have a 'site I
> could tootle up, so any insight to feed my curiosity is greatly
> appreciated! Thank you, and cheers ~
>
> Barbara in Madison, Wis.
> --
> Barbara Wolff
> University Communications
> University of Wisconsin-Madison
> (608) 262-8292
> bjwolff@facstaff.wisc.edu
> _______________________________________________
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Subject: Re: [h-cost] Waltzing with Mr Strauss
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Date: Wed, 05 Jun 2002 17:51:40 -0700
Status: RO

Nope.  These folks waltzed like a drill team.

>Do you mean the entry at Costume Con a few years back? That was all
>19thC (not exclusively Victorian, if I recall), done in denim . . .


Kayta

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Date: Wed, 05 Jun 2002 17:50:54 -0700
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>Have you heard of the Strauss Waltz drill team.  Full Victiorian, male and
>female, entirely made of camo fabrics.

Not entirely.  Some, according to the mil-spec documentation they had at 
WorldCon in San Francisco, was plain colours.  They even had the mil-spec 
part numbers stencilled on their bloomers.  And, one of them told me, they 
did their flat-felling like actual government uniform suppliers do, in two 
passes with single needle rather than in one pass with a double needle.


Kayta

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From h-costume-admin@indra.com  Wed Jun  5 21:30:49 2002
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Subject: [h-cost] Usage of "the"
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Date: Wed, 5 Jun 2002 21:20:14 -0400
Status: RO

I have mixed feelings about using the word "the" as a title.   I use the
word "The" in the title of my business, The Costume Gallery, for a certain
reason.  Years ago in our area their was a grocery store that opened up
called "The Grocery Store."  I really loved the way the placed the word
"The" in their title.  How many times in our life have we said that we are
going to the grocery store.  You didn't name the store you were going to...
the grocery store was a generic term, meaning you were going to a store that
sold groceries.  So these people coined the generic phrase to be the title
of their business.

When I was working on my first exhibit (meaning I worked on it) in the
Valentine Museum... we were moving costumes and mannequins for a week to the
gallery from storage.  Every time we moved the items, the workers on the
exhibit would say, I am going to "the costume gallery."  In the museum
world, it is a generic term for where the costumes are exhibited.  A couple
of months later when we decided to turn my online library into a business, I
decided to name it "The Costume Gallery."  It is a generic place were you
can go to see all kinds of costumes exhibited.  I even set it up the site
with a museum format, with different locations, to visit.

As for using the word "the" as a title when referring to a person... it is
one of my pet peeves.  Please don't flame me, its just my personal opinion,
and I don't care to argue the point.  I just thought I would offer a
different viewpoint.  When I started in the costume world, I knew some
people who like to be called "The 'you insert a name' ".  It was an elitist
thing or the Royalty of our Industry.  They liked to think they were
unapproachable.... like divas.  Personally if someone put me in that
category, I would be very upset.  I love meeting people and hearing their
stories.  I learn so much from each person I meet and think every person is
just as special as the last person I meet.  I like for people to remember me
as just a girl who really enjoys what she does and enjoys sharing it with
others.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: Re: [h-cost] Gloves and hat etiquette
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Date: Wed, 05 Jun 2002 22:47:40 -0700
Status: RO

Rebecca Anderson wrote:
> 
> Have you ever seen the kids book "I like hats"
>
> No hats! How awful for you.
> 
> I have a whole room filled with hats. I never leave the house without
> one. I have vintage hats, modern hats, period reconstruction hats. 

Have hats stored in three different closets. In fact I am changing from my
winter hats to my summer hats. In fact it is one of my fantasy wishes that
most men would wear more than baseball caps...

When I was in Toastmasters, a speech club, many years ago, I did "Hats for
every occasion" as the humor speech. Think of of a Southern revival meeting
meet the advantage of wearing hats.  The club was speechless when I
admitted that expect for the very large straw hat (borrowed from a lady
friend) all the hats were mine.  I still get ask to do the speech.

Your humble and obedient servant,
David S Mallinak
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Date: Wed, 05 Jun 2002 23:31:21 -0700
Status: RO

Penny Ladnier wrote:

> 1. Does anyone know the name of George Washington's boyhood home outside of
> Ft. A.P. Hill in Virginia.  It is near Robert E. Lee's home on the Northern
> Neck.  I know this is still a working plantation and they do the shearing of
> sheep, spinning of wool, etc.  I thought it would be a good field trip for
> the boys.

      Do you mean George Washington Birthplace National Monument, Located
in Westmoreland County, VA.  You can get more information at
http://www.nps.gov/gewa/.

Your humble and obedient servant,
David S Mallinak
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Date: Wed, 5 Jun 2002 20:38:24 -0700 (PDT)
Status: RO



I'm getting ready to go on a one week trip to north carolina -
my home state, but it's been so long since I've been there that
I'm not sure if there are any good costume/textile places I should
check out.  I'll be in the Triangle area -- Raleigh, Durham, Chapel
Hill.  Any suggestions?

.heather.


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From h-costume-admin@indra.com  Thu Jun  6 01:21:37 2002
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Date: Thu, 6 Jun 2002 01:10:38 -0400
Status: RO

Thanks David.  We already made the trip to Westmoreland last month.  It was
wonderful, the boys got to watch them shear the sheep as they would have in
George's childhood.  They also got to see a blacksmith at work.  They really
enjoyed it.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com


----- Original Message -----
From: "David S. Mallinak" <matchlck@erols.com>
To: <h-costume@indra.com>; <penny@costumegallery.com>
Sent: Thursday, June 06, 2002 2:31 AM
Subject: Re: [h-cost] Textile Mills


> Penny Ladnier wrote:
>
> > 1. Does anyone know the name of George Washington's boyhood home outside
of
> > Ft. A.P. Hill in Virginia.  It is near Robert E. Lee's home on the
Northern
> > Neck.  I know this is still a working plantation and they do the
shearing of
> > sheep, spinning of wool, etc.  I thought it would be a good field trip
for
> > the boys.
>
>       Do you mean George Washington Birthplace National Monument, Located
> in Westmoreland County, VA.  You can get more information at
> http://www.nps.gov/gewa/.
>
> Your humble and obedient servant,
> David S Mallinak
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>




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Date: Thu, 06 Jun 2002 09:06:59 +0100
Status: RO

Genie wrote:
<snip>
Costume sidelight - the plot of one of Dorothy Sayers' detective novels
hinges on the fact that in the '20s people didn't wear their poppies until
Armistice Day itself, whereas nowadays we pin them on as soon as we buy
them, any time from the beginning of November

>Oh, which one please.

"The Unpleasantness at the Bellona Club".

Thanks to Ulrika for quoting the poem, which had been mentioned in a previous post. Yes, that is the origin of the custom; the botanical note was for those unfamiliar with European wild poppies.



Kate Bunting
Library, University of Derby

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The only store of note is Mary Jo's in Gastonia [near Charlotte]. Most shops 
are upholstery oriented anyway....they do do the furniture market in High 
Point twice a year, y'know. There is this fancy-schmancy shop in Chapel Hill 
but it's way overpriced.

Still, you never know what will turn up even at upholstery shops! [you folks 
who do Regency must love the cotton gauzes out everywhere for window sheers] 
Or even at Jo Anne's.

Sorry if I've dampened your enthusiasm.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>The only store of note is Mary Jo's in Gastonia [near Charlotte]. Most shops are upholstery oriented anyway....they do do the furniture market in High Point twice a year, y'know. There is this fancy-schmancy shop in Chapel Hill but it's way overpriced.
<BR>
<BR>Still, you never know what will turn up even at upholstery shops! [you folks who do Regency must love the cotton gauzes out everywhere for window sheers] Or even at Jo Anne's.
<BR>
<BR>Sorry if I've dampened your enthusiasm.</FONT></HTML>

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References: <3CFF01B9.3CBDA48B@erols.com> "from David S. Mallinak at Jun
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From: "M.  Stewart" <ms154@cornell.edu>
Subject: Re: [h-cost] north carolina
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Date: Thu, 6 Jun 2002 09:12:23 -0700
Status: RO

Hey Heather...

in Chapel Hill ,   the Cotton Boll and Mulberry Silks.

Mari Stewart,  Cornell University, Ithaca NY
Native of Chapel Hill, NC


who also sometimes goes by "The Stewart of Black River"   ; >    it's a
family thing tied to our history - and some of the first grants of land
here in "the colonies"


>I'm getting ready to go on a one week trip to north carolina -
>my home state, but it's been so long since I've been there that
>I'm not sure if there are any good costume/textile places I should
>check out.  I'll be in the Triangle area -- Raleigh, Durham, Chapel
>Hill.  Any suggestions?
M. Stewart <ms154@cornell.edu>
Webmaster/Electronic Communications
BCERF  / Cornell University
101 Rice Hall


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Date: Thu, 06 Jun 2002 09:26:52 -0400
Status: RO

Hi. There are some cultures that use what you seem to be describing. The
Janissary troops of the Ottoman Sultan use a sort of cylindrical hat that
flops backwards, almost like the bag you mention, and Polish hats of the
late 16th cent. have elements like that (perhaps the Eastern influence?)
similar to the tapered variant. Of course, if you are creating this for a
particular culture, rather than just a time period, you have begun to be
more complex in your study. The Janissary one, for example, was only worn
by men, and then only certain ones, so the process of retro or reverse
documentation is fine if just for study, but if you are looking for it
for the purposes of making one to wear, in this case, you have severely
limited your scope. Perhaps if you shared a little more info on what you
would like to see, folks can narrow down the area of search. As for
online sources, look for illos about Mehmed the Conqueror's invasions of
Rhodes, Otranto, and the later siege of Constantinople in some Eastern
art archives to see the Janissary hat I mentioned, and Polish Institute
of Art, Polish Army Museum and University of Warsaw to search out illos
on the Polish version. Good Luck with your project, Mike T.



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To: h-costume@indra.com, "h-costume" <h-costume@indra.com>
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Usage of "the"
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Date: Thu, 06 Jun 2002 05:53:03 -0700
Status: RO


>
>As for using the word "the" as a title when referring to a person... it is
>one of my pet peeves.  Please don't flame me, its just my personal opinion,
>and I don't care to argue the point.  I just thought I would offer a
>different viewpoint.  When I started in the costume world, I knew some
>people who like to be called "The 'you insert a name' ".  It was an elitist
>thing or the Royalty of our Industry.  They liked to think they were
>unapproachable.... like divas.  

Hmm. Not a flame, but a comment:  If I was told that, say, Joni Mitchell
was in the room, I'd Say "THE Joni Mitchell?"  as shorthand for "The Joni
Mitchell who's a musician and songwriter, whose work I've adored for thirty
years and who I'd love to meet, or is it someone else with the same name?"
I don't see how this is offensive. 

I was simply offering an amusing anectdode about having my name recognized
due to its being known through the Net. And, much as I'd like to be a Diva,
I don't think anyone who's met me whould call me unnaproachable.  Not
hardly.  

Now, if I start calling MYSELF "The Margo Anderson"  You all have my
permission to slap me down for it, as often as needed. 


Margo
(The Radiant One, She whose Light Shines on the Universe, whose
Magnifience....oh, never mind)
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Usage of "the"
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Date: Thu, 6 Jun 2002 14:41:30 +0100 (BST)
Status: RO

 --- Margo Anderson <margo@margospatterns.com> wrote: > 

> Margo
> (The Radiant One, She whose Light Shines on the Universe, whose
> Magnifience....oh, never mind)
> "One Tough Costumer"

*cries tears of laughter*

Full marks Margo!

Nicole (obligatory costume content: I still don't have a photo of my morning
gown, grrrrrr, I forgot!)

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Thu, 06 Jun 2002 09:45:30 -0400
Status: RO

Hi, Dave. We will look when we get a chance to go out to NS. We have to go out
fairly soon to get some arrangements made regarding the bank, as we have
deposits from tours and Shiela is not well. Hopefully that will be in the next
few weeks. When do you need it next, and how do you want us to get it to you
should we find it? Thanks again for the books. Leigh will be starting your One
pounder soon. Talk to you soon, Mike


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Date: Thu, 6 Jun 2002 08:59:17 -0700 (PDT)
Status: RO

--0-225905690-1023379157=:70234
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  Hi Mari
Carol here, living in Chapel Hill and loving it  !  Just thought I'd say hi .... Both of the stores you mentioned are still here and doing well.  If you're ever in the neighborhood, drop me a line and we can go fabric shopping
Regards
Carol


....you cease to mourn the morning when you celebrate the night .....

"The night summons like an unquenched love, beckoning with the promise of dark desires."

"The only way to get rid of temptation is to give in to it" ... Oscar Wilde


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<P> 
<P>&nbsp; <B><I>Hi Mari</I></B>
<P><STRONG><EM>Carol here, living in Chapel Hill and loving it&nbsp; !&nbsp; Just thought I'd say hi .... Both of the stores you mentioned are still here and doing well.&nbsp; If you're ever in the neighborhood, drop me a line and we can go fabric shopping</EM></STRONG>
<P><STRONG><EM>Regards</EM></STRONG>
<P><STRONG><EM>Carol</EM></STRONG></P><BR><BR>....you cease to mourn the morning when you celebrate the night .....<br><br>"The night summons like an unquenched love, beckoning with the promise of dark desires."<br><br>"The only way to get rid of temptation is to give in to it" ... Oscar Wilde<p><br><hr size=1><b>Do You Yahoo!?</b><br>
<a href="http://rd.yahoo.com/welcome/*http://fifaworldcup.yahoo.com/fc/en/spl">Sign-up for Video Highlights</a> of 2002 FIFA World Cup
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From: Barbara Wolff <bjwolff@facstaff.wisc.edu>
Subject: Re: [h-cost] Madison event
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Date: Thu, 06 Jun 2002 11:48:26 -0600
Status: RO

>Hey Mistress C. - It does indeed sound like fun; I don't know much 
>about it, but I think it starts about 10 a.m., Fri-Sat-Sun, 
>w/"authenticity judging" (they call it "turnout") of carriages and 
>costumes, via assorted events (like the aforementioned picnic) over 
>those days. There are, incidentally, two authentic-reproduction 
>carriage-makers in Columbus, which is about 30 miles east of Madison 
>on Hwy. 151. Getting back to the weekend, people come from all over 
>the country for it - sorry I don't know more, but this is the first 
>year I've heard of it. Hope you're able to take in some of it, and 
>welcome to Madison! Barbara



>Who - what - where - near Madison??? Can you give me details? That sounds
>like fun!
>
>**********************
>Rebecca Schmitt
>aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
>Bristol,
>BRF FOF
>
>New to Madison and so looking for people here who know what's going on where
>
>lotsofteapots@charter.net
>**********************
>
>----- Original Message -----
>From: "Barbara Wolff" <bjwolff@facstaff.wisc.edu>
>To: <h-costume@indra.com>
>Sent: Wednesday, June 05, 2002 11:05 AM
>Subject: Re: [h-cost] Gloves and hat etiquette
>
>
>>  Greetings from a lurker-fan! To broaden this trend a tad, does anyone
>>  out there know the "rules" of late 19th-C.
>>  "morning-afternoon-evening" wear? I'm prompted to ask because a
>>  neighboring town (Columbus, Wis.) is having a huge classic carriage
>>  event this weekend, complete w/authentic costumes. There will be
>>  period events (the centerpiece will be a picnic), and participants
>>  are graded heavily on wearing the proper garb. Time of day seems to
>>  be a special factor - the organizers don't seem to have a 'site I
>>  could tootle up, so any insight to feed my curiosity is greatly
>>  appreciated! Thank you, and cheers ~
>>
>>  Barbara in Madison, Wis.
>>  --
>>  Barbara Wolff
>>  University Communications
>>  University of Wisconsin-Madison
>>  (608) 262-8292
>>  bjwolff@facstaff.wisc.edu
>>  _______________________________________________
>>  h-costume mailing list
>>  h-costume@mail.indra.com
>>  http://mail.indra.com/mailman/listinfo/h-costume
>>
>
>_______________________________________________
>h-costume mailing list
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-- 
Barbara Wolff
University Communications
University of Wisconsin-Madison
(608) 262-8292
bjwolff@facstaff.wisc.edu
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From h-costume-admin@indra.com  Thu Jun  6 13:14:49 2002
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Subject: [h-cost] Cheap silk brocade online
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Date: Thu, 06 Jun 2002 10:11:01 -0700
Status: RO

Fabric Direct
http://www.fabricdirect.com/

Choose Apparel Fabric Collection

Then Chinese Brocade

Some of this is marked as 100% silk, some as 100% polyester.  All
$7.99 per yard by a spot check.  You have to buy the entire bolt. I
bought two bolts of the silk--probably shouldn't, as I have no idea
what I will do with that much.  It does seem to be silk, though I did
no tests for purity.  It's kind of a medium weight, not heavy but not
quite as light as blouse weight.

As for customer service:  This site doesn't answer emails in my
experience. If you use the ZoneAlarm firewall you have to turn it off
to make their shopping cart work.  Their shipping is reasonably
prompt.

Anyway, it's a good price if you can figure out what to do with 25
yards of brocade.

Fran Grimble

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance




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Subject: [h-cost] Question about pleating
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Date: Thu, 06 Jun 2002 16:42:08 -0400
Status: RO

Ok... Yeah, I've been making pleats of various sorts for years on 
bunches of things... but I've finally figured out what in the world 
keeps making my pleats on skirts go "wierd" (as anyone can tell you who 
has seen my "Irish gown" I've apparently even developed a way of curling 
fabric that shouldn't be curled)

The problem is I've got hips... ok, so now I can include a bit of belly 
to that, too... but the original problem was simply hips.  I've had a 
minimum of 10 inches difference hips and waist, over a short distance 
ever since way back when in HS.  Funny, I'm only *just* now realizing 
that of course that's why the pleats are always being pulled out and 
curling and looking "wierd".  I pleat the way I was taught, straight 
lines down.

So... before I get to this next skirt later this month....

How in the world can you pleat regularly, reliably, neatly, and so that 
it "looks right" in such a way that the waist is that much narrower than 
the hips?  I'm thinking that some sort of trapezoidal look is involved, 
but can't figure out how I'd figure the angle at the top, how to get it 
to lay right when on at least (figuring it might look odd off, but 
better that than curly on), and how to keep them even (not a problem 
with any sort of "square" pleats).

I've got ideas, but I dread doing and re-doing experimentally, so I'm 
hoping for suggestions I can work into it before the first try  (can you 
say "Muslin is your friend"?... hmmm... guess I have to hit that sale at 
JoAnns after all...)

-Elisabeth

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From h-costume-admin@indra.com  Thu Jun  6 18:37:28 2002
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From: Deb Baddorf <baddorf@inil.com>
Subject: Re: [h-cost] Question about pleating
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Date: Thu, 06 Jun 2002 17:30:24 -0500
Status: RO

How about putting a yoke at the top?  3-5" of fabric (as needed)  that isn't
pleated at all.  Waistband at top.   Pleats attach to bottom of yoke.
Yoke bridges gap between waist and hips.

Of course ... you didn't say if you were trying to stay period correct
or not.   ......
Deb


At 04:42 PM 6/6/2002 -0400, you wrote:
>Ok... Yeah, I've been making pleats of various sorts for years on bunches 
>of things... but I've finally figured out what in the world keeps making 
>my pleats on skirts go "wierd" (as anyone can tell you who has seen my 
>"Irish gown" I've apparently even developed a way of curling fabric that 
>shouldn't be curled)
>
>The problem is I've got hips... ok, so now I can include a bit of belly to 
>that, too... but the original problem was simply hips.  I've had a minimum 
>of 10 inches difference hips and waist, over a short distance ever since 
>way back when in HS.  Funny, I'm only *just* now realizing that of course 
>that's why the pleats are always being pulled out and curling and looking 
>"wierd".  I pleat the way I was taught, straight lines down.
>
>So... before I get to this next skirt later this month....
>
>How in the world can you pleat regularly, reliably, neatly, and so that it 
>"looks right" in such a way that the waist is that much narrower than the 
>hips?  I'm thinking that some sort of trapezoidal look is involved, but 
>can't figure out how I'd figure the angle at the top, how to get it to lay 
>right when on at least (figuring it might look odd off, but better that 
>than curly on), and how to keep them even (not a problem with any sort of 
>"square" pleats).
>
>I've got ideas, but I dread doing and re-doing experimentally, so I'm 
>hoping for suggestions I can work into it before the first try  (can you 
>say "Muslin is your friend"?... hmmm... guess I have to hit that sale at 
>JoAnns after all...)
>
>-Elisabeth
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Subject: Re: [h-cost] Question about pleating
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Date: Fri, 7 Jun 2002 11:12:23 +1200
Status: RO

> How in the world can you pleat regularly, reliably, neatly, and so that
> it "looks right" in such a way that the waist is that much narrower than
> the hips?  I'm thinking that some sort of trapezoidal look is involved,

It sounds like you need much deeper pleats, so that the pleats still overlap
over your hips more than they are now. Think of the 1840s bell shaped
skirts.. the pleats used are very deep indeed and designed to go over a very
wide hip shape.

You could try sunray pleating, it's period for late SCA:
http://frazzledfrau.tripod.com/1540erzherzoginanna.htm
http://frazzledfrau.tripod.com/1534buch2.htm ( I actually need to fix these
so that you are taken to the page I found them.. but I've lost a lot of
links in a recent HDD reformat.)

It looks like a lot of german gowns are based on a circular shape like this
so that the pleatsflare from waist to hem.

this could be the excuse to try german renn.. come over to the dark side...
use the for- oh wrong place and time.

Organ pleating also uses the circle shape so that pleats start out narrow
and end up wide at the bottom. The first edition of Blanche Payne's History
of costume has a pair of bases from the 16thC that shows how this is
achieved. Teddy recently sent a link to a painting of a man laying
unconscious with his skirts open and showing the interior of the pleats.

michaela



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Date: Thu, 06 Jun 2002 22:28:22 -0400
Status: RO

Sorry, Guys. this one was a private note that got incorrectly sent. D-oh!  Mike T.




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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Usage of "the"
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Date: Fri, 07 Jun 2002 09:14:48 +0000 (GMT)
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> I was simply offering an amusing anectdode about having my name
> recognized due to its being known through the Net. And, much as I'd
> like to be a Diva, I don't think anyone who's met me whould call me
> unnaproachable. Not hardly.  
> 
> Now, if I start calling MYSELF "The Margo Anderson"  You all have my
> permission to slap me down for it, as often as needed. 

Absolutely!  The same here.

> Margo
> (The Radiant One, She whose Light Shines on the Universe, whose
> Magnifience....oh, never mind)

<snortle!>




Teddy
(Trustworthy Evil-Bunny of Destiny, King of the Far-Isles, part-time Knave, Creature of
air and darkness, and Hairdresser of Death apparently!)
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Date: Fri, 7 Jun 2002 04:27:57 -0400
Status: RO

Teddy,

I have seen a photo were you looked like a diva.  <<<<running away fast>>>>
But you looked damn good!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: [h-cost] Peterson's Magaine 1882
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Date: Fri, 7 Jun 2002 05:59:44 -0400
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Does anyone have a year's book for 1882 of Peterson's magazine?  I have all
the color fashion plates for that year but am looking for someone who has
the book with the dress descriptions for the plates.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: RE: [h-cost] thermoplastic/Wonderflex
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Thanks for the info.  Which do you think would work best for French
hoods?  I have been using poster board glued together and coated with
craft glue.  I would like something a bit more flexible so that I can
put more curves into the back portion.  
Thanks again, Anne

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of MzScahlett@aol.com
Sent: Wednesday, June 05, 2002 2:15 PM
To: h-costume@indra.com
Subject: Re: [h-cost] thermoplastic/Wonderflex


In a message dated 6/4/2002 9:07:52 PM Pacific Daylight Time,
ladyanne@quik.com writes:




Oh dear, I am not sure what the difference is.  I thought they were
basically the same stuff with different names.  I know the principle
behind Friendly Plastic but have never used it.  Which would be best for
head dresses?  Thanks, Anne




They are basically the same thing.  Two different manufacturers. I think
Thermoplastic has been around longer, as that's what my connection uses
at the local regional/professional theater in San Jose.  Either is
suitable for a headdress that you wish to be firm, lightweight and
breathable.  Emphasis on firm.  The substance can be worked over and
over again until the shape is perfect.  It could be used anywhere you
want something permanent that you'd ordinarly make of papier mache or
similar method.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"The naked truth of it is, I have no shirt."
Love's Labours Lost, V, ii - W. Shakespeare



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<DIV><SPAN class=3D130461714-07062002><FONT face=3DArial color=3D#0000ff =
size=3D2>Thanks=20
for the info.&nbsp; Which do you think would work best for French =
hoods?&nbsp; I=20
have been using poster board glued together and coated with craft =
glue.&nbsp; I=20
would like something a bit more flexible so that I can put more curves =
into the=20
back portion.&nbsp; </FONT></SPAN></DIV>
<DIV><SPAN class=3D130461714-07062002><FONT face=3DArial color=3D#0000ff =
size=3D2>Thanks=20
again, Anne</FONT></SPAN></DIV>
<BLOCKQUOTE style=3D"MARGIN-RIGHT: 0px">
  <DIV></DIV>
  <DIV class=3DOutlookMessageHeader lang=3Den-us dir=3Dltr =
align=3Dleft><FONT=20
  face=3DTahoma size=3D2>-----Original Message-----<BR><B>From:</B>=20
  h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] <B>On =
Behalf Of=20
  </B>MzScahlett@aol.com<BR><B>Sent:</B> Wednesday, June 05, 2002 2:15=20
  PM<BR><B>To:</B> h-costume@indra.com<BR><B>Subject:</B> Re: [h-cost]=20
  thermoplastic/Wonderflex<BR><BR></FONT></DIV><FONT =
face=3Darial,helvetica><FONT=20
  lang=3D0 face=3D"Arial Narrow" size=3D2 FAMILY=3D"SANSSERIF">In a =
message dated=20
  6/4/2002 9:07:52 PM Pacific Daylight Time, ladyanne@quik.com=20
  writes:<BR><BR></FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: =
#ffffff"=20
  face=3DArial color=3D#000000 size=3D2 =
FAMILY=3D"SANSSERIF"><BR></FONT><FONT lang=3D0=20
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size=3D2=20
  FAMILY=3D"SANSSERIF">
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  TYPE=3D"CITE">Oh dear, I am not sure what the difference is.&nbsp; I =
thought=20
    they were basically the same stuff with different names.&nbsp; I =
know the=20
    principle behind Friendly Plastic but have never used it.&nbsp; =
Which would=20
    be best for head dresses?&nbsp; Thanks, Anne</FONT><FONT lang=3D0=20
    style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D3=20
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  style=3D"BACKGROUND-COLOR: #ffffff" face=3D"Arial Narrow" =
color=3D#000000 size=3D2=20
  FAMILY=3D"SANSSERIF"><BR>They are basically the same thing.&nbsp; Two =
different=20
  manufacturers. I think Thermoplastic has been around longer, as that's =
what my=20
  connection uses at the local regional/professional theater in San =
Jose.&nbsp;=20
  Either is suitable for a headdress that you wish to be firm, =
lightweight and=20
  breathable.&nbsp; Emphasis on firm.&nbsp; The substance can be worked =
over and=20
  over again until the shape is perfect.&nbsp; It could be used anywhere =
you=20
  want something permanent that you'd ordinarly make of papier mache or =
similar=20
  method.<BR><BR>angela<BR>+++++<BR>Angela F. Lazear<BR>Cabbage Rose =
Costumes=20
  <BR>http://www.cabbagerosecostumes.com<BR>Theatrical Costume=20
  Design<BR><BR>"The naked truth of it is, I have no shirt."<BR>Love's =
Labours=20
  Lost, V, ii - W. =
Shakespeare<BR></BLOCKQUOTE></FONT></FONT></BODY></HTML><html><body><hr =
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Subject: [h-cost] (H-COST) Braid for Saxon tunic
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Date: Fri, 07 Jun 2002 16:12:08 +0000 (GMT)
Status: RO

Hello folks,

this is *way* out of my area....  A friend has asked me about braid 
suitable to trim a Saxon tunic.  Don't hink it needs be hyper-
accurate - just something that doesn't look glaringly wrong.

Before anyone asks me to be more specific - that's about as 
specific as it gets - I think they're after something that will do for 
"generic" Saxon but I have no idea what that would look like.  

Can anyone point me at on-line pictures that will show the sort of 
thing (size/type of patterns etc) that they should be shopping for?  
Nicole?  Anyone?

Many thanks in advance



Teddy
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From h-costume-admin@indra.com  Fri Jun  7 11:29:17 2002
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From: sheilabb@earthlink.net
Subject: [h-cost] Searching for Annunciation Icon....
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Date: Fri, 7 Jun 2002 11:21:35 -0400
Status: RO

Hello, and this one is way out of MY area too...

We are looking for an icon of the annunciation which
*clearly* shows the Virgin Mary with a spindle in her
hand.

If anyone has a reference -- book, museum or web
-- for this *specific* image, please let me know.

If you have friends who have special knowledge of
icons and can ask their help, we'd be grateful!

Thanks!


Sheila Beardslee Bosworth      sheilabb@earthlink.net

 http://www.earlymusicboston.com
    /bemn   for CALENDAR (New England)
    /brs/brs/  for Boston Recorder Society

29 Main Street, Acton MA 01720-3505
VOX  978/263.9926      FAX  978/263.2366




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Date: Fri, 07 Jun 2002 09:03:24 -0700
Status: RO


--------------040707010709080201030802
Content-Type: text/plain; charset=us-ascii; format=flowed
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A search on Google for "icon Virgin Mary with spindle" found numerous 
sites with references to icons of the Virgin Mary with a spindle. See, 
for example,   www.ikona.ru/gal/ann/ann_e.htm

sheilabb@earthlink.net wrote:

>Hello, and this one is way out of MY area too...
>
>We are looking for an icon of the annunciation which
>*clearly* shows the Virgin Mary with a spindle in her
>hand.
>


--------------040707010709080201030802
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<html>
<head>
</head>
<body>
A search on Google for "icon Virgin Mary with spindle" found numerous sites
with references to icons of the Virgin Mary with a spindle. See, for example,
&nbsp; <font size="-1"><font color="#008000"><a class="moz-txt-link-abbreviated" href="http://www.ikona.ru/gal/ann/ann_e.htm">www.ikona.ru/gal/ann/ann_e.htm</a></font></font><br>
<br>
<a class="moz-txt-link-abbreviated" href="mailto:sheilabb@earthlink.net">sheilabb@earthlink.net</a> wrote:<br>
<blockquote type="cite" cite="mid:l03130313b9267f5b2bd1@%5B63.214.117.39%5D">
  <pre wrap="">Hello, and this one is way out of MY area too...<br><br>We are looking for an icon of the annunciation which<br>*clearly* shows the Virgin Mary with a spindle in her<br>hand.<br></pre>
  </blockquote>
  <br>
  </body>
  </html>

--------------040707010709080201030802--


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Date: Fri, 7 Jun 2002 09:51:22 -0700 (PDT)
Status: RO

regular buckram would work just fine for french hoods.



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From h-costume-admin@indra.com  Fri Jun  7 12:58:27 2002
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Subject: Re: [h-cost] Peterson's Magaine 1882
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Date: Fri, 07 Jun 2002 12:50:00 -0400
Status: RO

I might...will look when I get home.  Any month/dress in particular?
Kate

Penny Ladnier wrote:

> Does anyone have a year's book for 1882 of Peterson's magazine?  I have all
> the color fashion plates for that year but am looking for someone who has
> the book with the dress descriptions for the plates.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
>
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Date: Mon, 03 Jun 2002 09:19:28 -0700
Status: RO

At 04:08 PM 6/3/2002 +0000, you wrote:

>I've always found it weird that you kept your hat on at church... Do you 
>have to take it off the moment you walk into a house? I know it's that way 
>for men, but for women?

Used to be, a lady wore her hat whenever she left the house.  It stayed on 
in church (there's a Bible verse that says women should cover their hair in 
church) and at her friends' houses. (I think she removed it at work, if she 
worked.)  She didn't wear a hat inside her own house.  (The rules varied 
radically from period to period; I'm thinking the U.S. in the 20th century 
up through the 40s or 50s.)

>And what about gloves? I guess you take them off when you eat?

Yes, and to shake hands.  With evening gloves, you unbuttoned them at the 
wrist and stuffed the hand part into the wrist at the dinner table.



Be well, do good work, and keep in touch.  - G. Keillor
Betsy Hanes Perry  betsy.perry@oracle.com

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Subject: Re: [h-cost] (H-COST) Braid for Saxon tunic
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Date: Fri, 7 Jun 2002 18:17:02 +0100
Status: RO

Tablet weaving is correct see www.maering.co.uk there are examples of there.

Bought braid looks aweful

Mel

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To: h-costume@indra.com
From: "M.  Stewart" <ms154@cornell.edu>
Subject: [h-cost] Re: [h-cost]Annunciation Icon  & textile weaves Question
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Date: Fri, 7 Jun 2002 13:18:03 -0700
Status: RO

Hi all...

hmmmm   spindles are going to be difficult....     Typically many 1450-1650
depictions of the Annunciation in Western art show the virgin reading  -
usually a devotional text,   and strangely enough usually the passage that
describes the annunciation.


Two questions,  you say "Icon"  do you mean "genuine Eastern Orthodox -
Russian - E. European ICON"  or do you mean any representation or
depiction?

 ALSO   do you have a particular time frame in mind?

When you tell me...  I'll go looking through what I have on file.

Historical textile Question...     ; >

Question to weavers and fabric gurus on the list...   I'm looking for
descriptions of weaves used in the 1450 to 1600 range for wool,  twills in
particular.   Anywhere in Western,  Central or Eastern Europe.   Anyone
know of a collection - or even one description on weave patterns described
or found from that period?     The earliest notebook I can find is from
1723 Kilbarchan, Scotland.

sigh...    hope to hear.

Thanks,
Mari



Mari Stewart,  Cornell University,  Ithaca, NY
Currently overrun with Alumni.

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Subject: Re: [h-cost] (H-COST) Braid for Saxon tunic
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Date: Fri, 7 Jun 2002 13:24:25 -0700
Status: RO

Hi Teddy.... and all.

A good place to start might be looking at inkle weaving pages on the web.
This is a common method for applying and making braids and trims in the AS
period.   There are some very subtle and sophisticated patterns available.

Short of that ....  I'd vote for a simple geometric,  checky, fretty,
diamonds etc.

Good luck.
Mari


>Hello folks,
>
>this is *way* out of my area....  A friend has asked me about braid
>suitable to trim a Saxon tunic.  Don't hink it needs be hyper-
>accurate - just something that doesn't look glaringly wrong.
>
>Before anyone asks me to be more specific - that's about as
>specific as it gets - I think they're after something that will do for
>"generic" Saxon but I have no idea what that would look like.
>
>Can anyone point me at on-line pictures that will show the sort of
>thing (size/type of patterns etc) that they should be shopping for?
>Nicole?  Anyone?
>
>Many thanks in advance
>
>
>
>Teddy

Mari Stewart,  Cornell University, Ithaca NY
Currently  overrun with Alumni

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Subject: Re: [h-cost] thermoplastic/Wonderflex
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Date: Fri, 7 Jun 2002 13:24:50 EDT
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Hi,

Sorry for not answering your question directly, but from what I understand 
they are almost identical in nature in terms of use.  So there wouldn't be 
one preferred over the other.  I could be wrong, though, but that is the 
extent of my information.

They are both a form of medium weight buckram that can be heat shaped but 
become solid when cooled.  There may be an issue with wearing it in very high 
temperatures (hot days over 100) so if that is ever the case, you might not 
want to use this, but I'm not sure.  The heating directions say hotter than 
that, and the only time I've ever had damage is when things made of Friendly 
Plastic are left say, on a car dashboard.   FP isn't coated over buckram 
either, which probably keeps the melting down to a minimum.  I haven't priced 
them yet, but Richard the Thread has Wonderflex, and probably both. I'd say 
spend the $40 on a sheet and give it a try. This is an amazingly adaptable 
technology for costumers.  Why don't you give them a call as I'm sure their 
staff can answer your questions. Good luck!

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"All the world's a stage, 
and all the men and women merely players.
They have their exits and their entrances; 
and one man in his time plays many parts."
W. Shakespeare
In a message dated 6/7/2002 7:20:31 AM Pacific Daylight Time, 
ladyanne@quik.com writes:


> Thanks for the info.  Which do you think would work best for French hoods?  
> I have been using poster board glued together and coated with craft glue.  
> I would like something a bit more flexible so that I can put more curves 
> into the back portion.  
> Thanks again, Anne
> 


--part1_157.f041e84.2a324662_boundary
Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Hi,<BR>
<BR>
Sorry for not answering your question directly, but from what I understand they are almost identical in nature in terms of use.&nbsp; So there wouldn't be one preferred over the other.&nbsp; I could be wrong, though, but that is the extent of my information.<BR>
<BR>
They are both a form of medium weight buckram that can be heat shaped but become solid when cooled.&nbsp; There may be an issue with wearing it in very high temperatures (hot days over 100) so if that is ever the case, you might not want to use this, but I'm not sure.&nbsp; The heating directions say hotter than that, and the only time I've ever had damage is when things made of Friendly Plastic are left say, on a car dashboard.&nbsp;&nbsp; FP isn't coated over buckram either, which probably keeps the melting down to a minimum.&nbsp; I haven't priced them yet, but Richard the Thread has Wonderflex, and probably both. I'd say spend the $40 on a sheet and give it a try. This is an amazingly adaptable technology for costumers.&nbsp; Why don't you give them a call as I'm sure their staff can answer your questions. Good luck!<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"All the world's a stage, <BR>
and all the men and women merely players.<BR>
They have their exits and their entrances; <BR>
and one man in his time plays many parts."<BR>
W. Shakespeare<BR>
In a message dated 6/7/2002 7:20:31 AM Pacific Daylight Time, ladyanne@quik.com writes:<BR>
<BR>
<BR>
</FONT><FONT  COLOR="#0000ff" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Thanks for the info.&nbsp; Which do you think would work best for French hoods?&nbsp; I have been using poster board glued together and coated with craft glue.&nbsp; I would like something a bit more flexible so that I can put more curves into the back portion.&nbsp; </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#0000ff" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Thanks again, Anne</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT></HTML>
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Subject: [h-cost] help!! period pattern #41  & #21
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Date: Fri, 07 Jun 2002 18:08:14 +0000
Status: RO

<html><div style='background-color:'><P>Hello Everyone</P>
<P>I'm trying to make a couple of new gowns.&nbsp; Unfortunately I seem to have lost the last page(S) of both period patterns.&nbsp; I have some of the historical notes and both&nbsp;material layout and requirements pages but don't have the last pages.</P>
<P>Since I am only a modestly skilled seamtress, I badly need the pages. If it was a regular commerical pattern I would sew it anyway but period patterns&nbsp;have&nbsp; nasty&nbsp;surprizes :&nbsp; ) and I don't have 9 yds of material to ruin.</P>
<P>I might have lost them moving or when I had boxes of books ruined in storage.</P>
<P>Please can someone scan the last 2? pages (this email addy does accept all files)&nbsp;or send me copies? I would very gratefull.</P>
<P>I did buy these patterns new, so I don't think this should violate copyright laws</P>
<P>And I have tried getting ahold of historically- yours with no sucess</P>
<P>Thanks for your time</P>
<P>Christianna</P></div><br clear=all><hr>Get your FREE download of MSN Explorer at <a href='http://g.msn.com/1HM505401/44'>http://explorer.msn.com</a>.<br></html>
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From: Cin <hysteria95126@yahoo.com>
Subject: Re: [h-cost] Waltzing with Mr Strauss
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Date: Fri, 7 Jun 2002 11:13:05 -0700 (PDT)
Status: RO

--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> Nope.  These folks waltzed like a drill team.
> 
> >Do you mean the entry at Costume Con a few years back? That was all
> >19thC (not exclusively Victorian, if I recall), done in denim . . .

Are you thinking of S.W.A.T.?  The Strauss Waltz Assault Team?  The way I
remember the tale from MasterSargeantMajorDomo George was that it started out
as a defensive manouvre. Seems that the Social Daunce Irregulars (Pasadena?)
was infested with inept dancers of the worst sort.  The kind that dance too
close to other pairs and step on others toes & ankles.  Apparently, after one
ball where the group bemoaned trod-upon feet, dirtied, shoes, torn socks and
other disasters someone quipped that they needed Dance Police. "Police?",
someone retorted, "No, we need a SWAT team". Thus the group was named.

I saw the costumes at CC11 or 12 when CostumeCon was in SJ and at SDI (Social
Daunce Irregulars). Desert Storm tan jungle camo bodices & tailcoats over
jungle green skirts and trousers, respectively.  Add accessories of suitable
militaria in the Victorian mode and you pretty much have the idea.

Note: SDI (Social Daunce Irregulars) is rather like Gaskell's Ball for those of
you who know it.


=====
--cin
Cynthia
hysteria95126@yahoo.com

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From: sheilabb@earthlink.net
Subject: Re: [h-cost] Re: [h-cost]Annunciation Icon  & textile weaves
 Question
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Date: Fri, 7 Jun 2002 14:45:40 -0400
Status: RO

Mari, thanks for this help...
Cornell, I see ....  Mr. B is a Cornell alum and was born and raised in
Ithaca...

>hmmmm   spindles are going to be difficult....     Typically many 1450-1650
>depictions of the Annunciation in Western art show the virgin reading  -
>usually a devotional text,   and strangely enough usually the passage that
>describes the annunciation.

NOT Western Art.  Greek, Russian or Eastern orthodox.
I've seen a couple in books at the museums in Paris, which I
foolishly did not buy at the time.

In addition to my own interest in H-costume, my DH Jonathan (Mr. B above)
makes spinning wheels and drop spindles (you can see info on the
other part of our life at  www.journeywheel.com), and we've been
*told* that most orthodox icons (yes, I mean Icons, but I'd guess
that any depiction would do -- we found a Holy Family print with
the BVM spinning, and Joseph doing a carpenterial putter with
Himself helping out...) show the BVM spinning as an young maiden
would be expected to do...

As for particular time frame, I'll guess that 10-14th c would be
most useful, but, as I said -- any references are gratefully accepted.

>Historical textile Question...     ; >
>
>Question to weavers and fabric gurus on the list...   I'm looking for
>descriptions of weaves used in the 1450 to 1600 range for wool,  twills in
>particular.   Anywhere in Western,  Central or Eastern Europe.   Anyone
>know of a collection - or even one description on weave patterns described
>or found from that period?     The earliest notebook I can find is from
>1723 Kilbarchan, Scotland.
>
If you're a weaver yourself, have you asked on any of the
weaving lists?  Not sure who the scholars are on those, but maybe
someone...

Thank you so much...

Sheila Beardslee Bosworth      sheilabb@earthlink.net

 http://www.earlymusicboston.com
    /bemn   for CALENDAR (New England)
    /brs/brs/  for Boston Recorder Society

29 Main Street, Acton MA 01720-3505
VOX  978/263.9926      FAX  978/263.2366




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Date: Fri, 7 Jun 2002 13:07:29 -0700
Status: RO

I know it's been discussed here before by various folks but time has passed
and I know new editions get updated/corrected so what I need to know is
.....

What do folks (who've used them) think of the various Elizabethan-era
(1550-1600) patterns that are currently available?

I know there are a number of companies, both large and small, publishing
them and everybody extolls the virtues of _their_ product (which is natural)
but I need to know what the _users_ think.

I've been looking at the wholesale websites trying to decide on whose
patterns to carry at RenFaires and am just bewildered.  My problem is that
although I make clothing from this period, I don't use patterns!  I cut to
the body.  (Hand me a pattern and I feel stifled, constrained......  I like
the engineering aspect, the figuring-it-out part, the "Aha!" of discovery.)

Soooooo, I'm looking for information on ....
 - the name of the pattern company, the pattern name/number
 - what you made from it as some of them are multiple-item patterns
 - understandability of instructions, pattern pieces, etc.
 - ease of use
 - ease of alteration to fit
 - historical accuracy of fit and appearance
 - historical basis/background docs
 - is it a revision of a previously-unworkable pattern
 - anything else you can think of
If you have an on-line picture of what you made, I'd love to see .....

Input from novice sewers is greatly appreciated here as well as from
experienced ones.

I (and my customers) appreciate any and all input that you can make.  I
don't know if responses should be posted here (although others may be
interested) but they can be sent to me privately at brenna@robewarriors.com


Thanking you in advance,
Brenna Sharp
B Sharp Fabrics
Portland, OR USA
supplying the living history re-enactor
  (and hopefully, RenFaire and demo visitors who get inspired ...)

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From h-costume-admin@indra.com  Fri Jun  7 16:37:13 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Commercial pattern question
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Date: Fri, 07 Jun 2002 13:30:48 -0700
Status: RO

THE best Elizabethan pattern I've seen is Margo Anderson's "Elizabethan 
Lady's Wardrobe".  Yes, THE Margo Anderson. ;-)

It's in 3 packages: underpinnings, the gown itself, (forepart, skirt, 
bodice, sleeves, all with variations) and accessories. It's aimed at the 
intermediate sewer, but beginners have been picking it up with success as 
well.  Among its many virtues is that it comes in US Ladies sizes 2-30, with 
no overlapping pattern lines.  And it is *designed* to be customized.  
Directions are given for how to manage (for example) your size 12 shoulders 
with your size 18 waist, and so on.

More than that, each package comes with a complete "users guide", filled 
with not only cutting and sewing directions and trim recommendations, but 
DOCUMENTATION and a bibliography. Where Margo had to make a choice, she 
tells you what the options were, based on what we know, and what she chose.

At the moment, only ladies' court costume is available, but there the 
Gentlemen's Wardrobe is being developed even as we speak, and there are 
plans for others as well.

Check out http://www.margospatterns.com/
And oh yes, there's even a yahoo group for margo's users, so we can share 
tips and tricks and make notes and post pics of Finished Items.;-0

Just a happy user.


MaggiRos

>From: "Brenna" <brenna@robewarriors.com>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: [h-cost] Commercial pattern question
>Date: Fri, 7 Jun 2002 13:07:29 -0700
>
>I know it's been discussed here before by various folks but time has passed
>and I know new editions get updated/corrected so what I need to know is
>.....
>
>What do folks (who've used them) think of the various Elizabethan-era
>(1550-1600) patterns that are currently available?
>
>I know there are a number of companies, both large and small, publishing
>them and everybody extolls the virtues of _their_ product (which is 
>natural)
>but I need to know what the _users_ think.
>
>I've been looking at the wholesale websites trying to decide on whose
>patterns to carry at RenFaires and am just bewildered.  My problem is that
>although I make clothing from this period, I don't use patterns!  I cut to
>the body.  (Hand me a pattern and I feel stifled, constrained......  I like
>the engineering aspect, the figuring-it-out part, the "Aha!" of discovery.)
>
>Soooooo, I'm looking for information on ....
>  - the name of the pattern company, the pattern name/number
>  - what you made from it as some of them are multiple-item patterns
>  - understandability of instructions, pattern pieces, etc.
>  - ease of use
>  - ease of alteration to fit
>  - historical accuracy of fit and appearance
>  - historical basis/background docs
>  - is it a revision of a previously-unworkable pattern
>  - anything else you can think of
>If you have an on-line picture of what you made, I'd love to see .....
>
>Input from novice sewers is greatly appreciated here as well as from
>experienced ones.
>
>I (and my customers) appreciate any and all input that you can make.  I
>don't know if responses should be posted here (although others may be
>interested) but they can be sent to me privately at brenna@robewarriors.com
>
>
>Thanking you in advance,
>Brenna Sharp
>B Sharp Fabrics
>Portland, OR USA
>supplying the living history re-enactor
>   (and hopefully, RenFaire and demo visitors who get inspired ...)
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


_________________________________________________________________
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Date: Fri, 07 Jun 2002 16:05:14 -0500
Status: RO



 > Margo
 > (The Radiant One, She whose Light Shines on the Universe, whose
 > Magnifience....oh, never mind)
 > "One Tough Costumer"

oooh, that is so much better than being called   "the" costume nazi..... I and Catherine 
had the moniker for way to many years!

-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Date: Fri, 07 Jun 2002 14:09:25 -0700
Status: RO

To Brenna-

A great many of your questions are answered on the Greater Bay Area's
Great Pattern Review site:

http://www.gbacg.org/Patterns/index.html

Margo's patterns aren't covered, but they have a considerable amount of
feedback within the community already.  

There are pictures of results, including a pair in PVC Elizabethans:
totally accurate look in totally shiny PVC!!!!

Enjoy, 

Theresa Eacker

Brenna wrote:(Pruning ensues)
 
> What do folks (who've used them) think of the various Elizabethan-era
> (1550-1600) patterns that are currently available?
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Date: Fri, 7 Jun 2002 17:45:49 -0400
Status: RO

Kate,

Thank you for checking.  I think I have found someone who has the entire
book.  But if she is missing issues I will get in touch with you.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com

----- Original Message -----
From: "Kate Pinner" <pinner@mccc.edu>
To: <h-costume@indra.com>
Sent: Friday, June 07, 2002 12:50 PM
Subject: Re: [h-cost] Peterson's Magaine 1882


> I might...will look when I get home.  Any month/dress in particular?
> Kate
>
> Penny Ladnier wrote:
>
> > Does anyone have a year's book for 1882 of Peterson's magazine?  I have
all
> > the color fashion plates for that year but am looking for someone who
has
> > the book with the dress descriptions for the plates.
> >
> > Penny Ladnier
> > Owner, The Costume Gallery & Costume Classroom
> > http://www.costumegallery.com
> > http://www.costumeclassroom.com
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> _______________________________________________
> h-costume mailing list
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>
>




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From: Jan McEwen <jmcewen@hawaii.edu>
Subject: Re: [h-cost] Searching for Annunciation Icon
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Date: Fri, 07 Jun 2002 12:40:40 -1000 (HST)
Status: RO

Sheila,

I forwarded your request to an artist friend; this is her reply.

Jan McEwen
SCA: Catriona Stewart

---------- Forwarded message ----------

Ouspensky, Leonid & Lossky, Vladimir; _The Meaning of Icons_;St.
Vladimir's Seminary Press; Crestwood, NY, 1989; p. 171 (indicated on
p. 172 as Russian, 15th c. Moscow School, Icon Museum, Recklinghausen)

Also see:
http://www.culture.gr/2/21/218/218ab/e218ab58.html
http://english.ucsb.edu/faculty/pfumer/courses/carousel8/slide07.html
http://www.ohrid.org.mk/eng/ikoni/4.htm
http://www.goarch.org/access/resources/clipart/annunciation1.html
http://www.hermitagemuseum.org/html_En/03/hm3_6_8b.html
http://www.ugkc.lviv.ua/Gallery/Room6.html(scroll down to #22 and
click on the image)

Contemporary renderings at
http://www.stgabriel.com/holypix.html (scroll down)
http://icons.virtualave.net/diptih.html
http://www.comeandseeicons.com/phf07.htm

I'm sure there are more, but that should do to go on for now.


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Subject: [h-cost] help!!! period patterns 21 & 41
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Date: Sat, 08 Jun 2002 01:11:26 +0000
Status: RO

<html><div style='background-color:'><DIV>
<P><BR><BR></P>
<DIV>
<DIV></DIV>
<P>Hello Everyone<BR><BR>I'm working on a new gown&nbsp; period pattern # 41 and i can't seem to find the last page(s)of either pattern 21 or 41.&nbsp; I might have lost while moving, or when boxes of hard earned books got ruined in storage.</P></DIV>
<P>Since I'm only a middling seamstress I badly need those pages.&nbsp;&nbsp;If&nbsp;&nbsp;the pattern was&nbsp;a commercial pattern&nbsp;I probably would go ahead and sew it but&nbsp;since p. patterns sometimes have nasty surprises.&nbsp; I would rather have the instructions.</P>
<P>I have the material layout and requirement pages of both patterns, I need what instructions come next.</P>
<P>&nbsp;Can someone please <STRONG>privately </STRONG>email me a scan or copy of the instructions?&nbsp; This email account accepts all files.&nbsp; I would be very gratefull.</P>
<P>I tried to contact the distributor of period patterns historically yours and couldn't find their new site.&nbsp; I already own the patterns so&nbsp;I don't&nbsp; think this would violate any copyright laws.</P>
<P>Thanks for your time</P>
<P>Christianna</P></DIV>
<DIV></DIV></div><br clear=all><hr>Chat with friends online, try MSN Messenger: <a href='http://g.msn.com/1HM505401/43'>Click Here</a><br></html>
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Subject: [h-cost] Waltzing with Mr Strauss
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Date: Fri, 7 Jun 2002 20:18:37 -0500
Status: RO

No, that was A Waltz Thru Time With Mr.Strauss of which I was the hooped
Victorian.  This was the West Coast Costumers Guild members Kate and
Bridget.  I think they wore them at one of the Friday nite meet and greet' I
forget CC.

Genie

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Date: Fri, 07 Jun 2002 19:26:33 -0600
Status: RO

Which ones are they? I've got a bunch of 'em in my pattern tub, but
they're kept in manila envelopes, and I just write "women's italian
ren," or something similar on the envelope.
--sue

Christianna Del oro wrote:
> 
> Hello Everyone
> 
> I'm working on a new gown  period pattern # 41 and i can't seem to
> find the last page(s)of either pattern 21 or 41.  I might have lost
> while moving, or when boxes of hard earned books got ruined in
> storage.
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Subject: [h-cost] Waltzing with Mr Strauss
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Date: Fri, 7 Jun 2002 20:21:46 -0500
Status: RO

Yes, thats the one.

Genie
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Date: Fri, 07 Jun 2002 22:22:26 -0400
Status: RO



Maggie Secara wrote:
> 
> THE best Elizabethan pattern I've seen is Margo Anderson's "Elizabethan
> Lady's Wardrobe".  Yes, THE Margo Anderson. ;-)
> 
> It's in 3 packages: underpinnings, the gown itself, (forepart, skirt,
> bodice, sleeves, all with variations) and accessories. It's aimed at the
> intermediate sewer, but beginners have been picking it up with success as
> well.  Among its many virtues is that it comes in US Ladies sizes 2-30, with
> no overlapping pattern lines.  And it is *designed* to be customized.
> Directions are given for how to manage (for example) your size 12 shoulders
> with your size 18 waist, and so on.
> 
> More than that, each package comes with a complete "users guide", filled
> with not only cutting and sewing directions and trim recommendations, but
> DOCUMENTATION and a bibliography. Where Margo had to make a choice, she
> tells you what the options were, based on what we know, and what she chose.

I can only add that I am novice when it comes to sewing but Margo's
Pattern is the easiest to follow. I have patterns from the big three
plus,Alter Years, Period Patterns, Wingeo, Fantasy Fashions, and the
Costume Connection.  Margo's pattern for Elizabethian Women beats them
all hands down for some one like me.  I can just about show you
everything I have made on my web site. Margo's is still the best all a
around for ease of use, Ease in alteration, and historically accurate. 
Email me and I will give you my site url. You'll be able to see what a
novice can do with the right pattern.

Diana
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From: "Anne Moeller" <ladyanne@quik.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] thermoplastic/Wonderflex
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Will do and thanks for the help.  Anne

spend the $40 on a sheet and give it a try. This is an amazingly
adaptable technology for costumers.  Why don't you give them a call as
I'm sure their staff can answer your questions. Good luck!

angela
+++++




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From h-costume-admin@indra.com  Fri Jun  7 22:58:09 2002
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Searching for Annunciation Icon....
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Date: Fri, 7 Jun 2002 19:22:50 -0700
Status: RO

At 11:21 AM -0400 6/7/02, sheilabb@earthlink.net wrote:
>Hello, and this one is way out of MY area too...
>
>We are looking for an icon of the annunciation which
>*clearly* shows the Virgin Mary with a spindle in her
>hand.
>
>If anyone has a reference -- book, museum or web
>-- for this *specific* image, please let me know.
>
>If you have friends who have special knowledge of
>icons and can ask their help, we'd be grateful!

You may find what you're looking for in the article:

Wyss, Robert L..  1973.  "Handarbeiten der Maria" in:

Stettler, Michael & Lembe.  1973.  Artes Minores: Dank an Werner 
Abegg.  Verlag Stampfli & Cie Ag., Bern.  ISBN  3-7272-9200-8 
(pp.113-188)

This is a study of images of Mary doing various types of handwork, 
including a number of images of spinning, although not all in the 
context of the Annunciation.  I'm also not sure that any of them are 
"icons" in the more specific sense of the word.  But if you can get 
your hands on the article, you'll probably be the best at figuring 
out whether any of them fit your needs.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Christianna Del oro" <christiannad@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] help!!! period patterns 21 & 41
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Date: Sat, 08 Jun 2002 03:07:52 +0000
Status: RO

<html><div style='background-color:'><DIV>
<P><BR><BR></P></DIV>
<DIV></DIV>
<DIV></DIV>&gt;From: Sue Clemenger <MOONCAT@IN-TCH.COM>
<DIV></DIV>&gt;Reply-To: h-costume@indra.com 
<DIV></DIV>&gt;To: h-costume@indra.com 
<DIV></DIV>&gt;Subject: Re: [h-cost] help!!! period patterns 21 &amp; 41 
<DIV></DIV>&gt;Date: Fri, 07 Jun 2002 19:26:33 -0600 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Which ones are they? I've got a bunch of 'em in my pattern tub, but 
<DIV></DIV>&gt;they're kept in manila envelopes, and I just write "women's italian 
<DIV></DIV>&gt;ren," or something similar on the envelope. 
<DIV></DIV>&gt;--sue 
<DIV></DIV>
<P>&gt; </P>
<P>Hi&nbsp;&nbsp; Sue </P>
<P>&nbsp;</P>
<DIV>They are mediaeval miscallanea period patterns:</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>#21 is&nbsp; Cotehardies &amp; Sideless Surcoat&nbsp;&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>14th &amp; 15th c.&nbsp; sizes 6 -20&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>#41&nbsp; is Italian Renaissance Gowns&nbsp;&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;C 1470 - 1505&nbsp; sizes 8 - 18</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>If you have them that would BE GREAT !!!</DIV>
<DIV>If you need any more info&nbsp; I will probably checking my email till 2:00 am </DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks a bunch</DIV>
<DIV>&nbsp;</DIV>
<DIV>christianna</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></div><br clear=all><hr>Join the world’s largest e-mail service with MSN Hotmail. <a href='http://g.msn.com/1HM505401/47'>Click Here</a><br></html>
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Date: Fri, 7 Jun 2002 23:44:38 -0400
Status: RO

Excellent, Jan -- thank your friend, please -- we'll check them all out!
Sheila B



>I forwarded your request to an artist friend; this is her reply.
>
>Jan McEwen
>SCA: Catriona Stewart
>
>---------- Forwarded message ----------
>
>Ouspensky, Leonid & Lossky, Vladimir; _The Meaning of Icons_;St.
>Vladimir's Seminary Press; Crestwood, NY, 1989; p. 171 (indicated on
>p. 172 as Russian, 15th c. Moscow School, Icon Museum, Recklinghausen)
>
>Also see:
>http://www.culture.gr/2/21/218/218ab/e218ab58.html
>http://english.ucsb.edu/faculty/pfumer/courses/carousel8/slide07.html
>http://www.ohrid.org.mk/eng/ikoni/4.htm
>http://www.goarch.org/access/resources/clipart/annunciation1.html
>http://www.hermitagemuseum.org/html_En/03/hm3_6_8b.html
>http://www.ugkc.lviv.ua/Gallery/Room6.html(scroll down to #22 and
>click on the image)
>
>Contemporary renderings at
>http://www.stgabriel.com/holypix.html (scroll down)
>http://icons.virtualave.net/diptih.html
>http://www.comeandseeicons.com/phf07.htm
>
>I'm sure there are more, but that should do to go on for now.
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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From: "Anne Moeller" <ladyanne@quik.com>
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Subject: RE: [h-cost] Commercial pattern question
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Date: Sat, 8 Jun 2002 00:44:33 -0400
Status: RO

OK, just where are those PVC Elizabethans?

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Theresa Eacker
Sent: Friday, June 07, 2002 5:09 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Commercial pattern question


To Brenna-

A great many of your questions are answered on the Greater Bay Area's
Great Pattern Review site:

http://www.gbacg.org/Patterns/index.html

Margo's patterns aren't covered, but they have a considerable amount of
feedback within the community already.  

There are pictures of results, including a pair in PVC Elizabethans:
totally accurate look in totally shiny PVC!!!!

Enjoy, 

Theresa Eacker

Brenna wrote:(Pruning ensues)
 
> What do folks (who've used them) think of the various Elizabethan-era
> (1550-1600) patterns that are currently available?
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From h-costume-admin@indra.com  Sat Jun  8 01:50:02 2002
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From: "Katherine" <kcg@sprynet.com>
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Date: Fri, 7 Jun 2002 22:46:11 -0700
Status: RO

They're under Simplicity in the Great Patten Review.  It's costume 8881, 
the Shakespeare in Love dress.  Enjoy!

Katherine

On 8 Jun 2002, at 0:44, Anne Moeller wrote:

> OK, just where are those PVC Elizabethans?
> 
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
> Behalf Of Theresa Eacker
> Sent: Friday, June 07, 2002 5:09 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Commercial pattern question
> 
> 
> To Brenna-
> 
> A great many of your questions are answered on the Greater Bay Area's
> Great Pattern Review site:
> 
> http://www.gbacg.org/Patterns/index.html
> 
> Margo's patterns aren't covered, but they have a considerable amount of
> feedback within the community already.  
> 
> There are pictures of results, including a pair in PVC Elizabethans:
> totally accurate look in totally shiny PVC!!!!
> 
> Enjoy, 
> 
> Theresa Eacker
> 
> Brenna wrote:(Pruning ensues)
> 
> > What do folks (who've used them) think of the various Elizabethan-era
> > (1550-1600) patterns that are currently available?
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> _______________________________________________
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Subject: [h-cost] PVC Elizabethans
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Date: Fri, 7 Jun 2002 23:09:47 -0700 (PDT)
Status: RO



Actually, they're latex.  I thought so from the photos, then I found it in
the text.  Latex clings to the body much more than PVC.
It's partway down the Simplicity pattern review page:
http://www.gbacg.org/Patterns/simplicity.htm

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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From h-costume-admin@indra.com  Sat Jun  8 02:21:04 2002
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Subject: [h-cost] Developing a Class
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Date: Sat, 8 Jun 2002 02:11:13 -0400
Status: RO

Feedback needed:

We have a new instructor who is coming aboard at the Costume Classroom.  He
is a master pattern drafter for a NYC couture designer.  On the side, he
runs his own couture business.  He specializes in making those beautiful
1950s ball gowns.  He can make them either authentic or with modern
adaptations.

For an example of type of 50s ball gowns go to
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2109250887

We are going to offer this as a class.  Because this would involve making a
gown and documenting making the gown, we would like some feedback on what
people would be interested in learning in the class.

Please answer the questions below:

1. Would you be interested in making an authentic '50s gown or a gown based
on the 1950s and adapted for modern fashion.

2.  Do you want to use period dressmaking techniques or current day methods?

3.  Would you be interested in taking a class to make a 1950s ball gown?

4.  What level of sewing experience do you have?

5. Would you want to learn how to make a pattern or purchase a ready made
pattern?

6. Would you be interested in learning to make a gown from a photo or
illustration?

Please email me your response personally at penny@costumegallery.com

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Sat Jun  8 02:55:07 2002
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Date: Sat, 8 Jun 2002 02:45:03 -0400
Status: RO

I am sorry I sent out the wrong URL for the 50s ball gown.  Her it is
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2109250887

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
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http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Sat Jun  8 12:15:21 2002
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Subject: Re: [h-cost] help!!! period patterns 21 & 41
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Date: Sat, 08 Jun 2002 10:13:31 -0600
Status: RO

Hi.  I know I've got the ItalianRen gown one (although it's in bad shape
<g>), and will check on the cotehardie/surcoat one.
--sue

Christianna Del oro wrote:
> 

> They are mediaeval miscallanea period patterns:
> 
> 
> #21 is  Cotehardies & Sideless Surcoat
> 
> 14th & 15th c.  sizes 6 -20
> 
> 
> #41  is Italian Renaissance Gowns
> 
>  C 1470 - 1505  sizes 8 - 18
> 
> 
> If you have them that would BE GREAT !!!
> If you need any more info  I will probably checking my email till 2:00
> am
> 
> Thanks a bunch
> 
> christianna
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From: "Anne Moeller" <ladyanne@quik.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] help!!! period patterns 21 & 41
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Date: Sat, 8 Jun 2002 12:28:41 -0400
Status: RO

I tried to send a message directly to your email address but I am not
sure it got there.  Anyway, I have both patterns and can get the pages
you need.  Let me know if you still want them. I am not sure about
scanning but I can definitely Xerox and mail.  Anne

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Sue Clemenger
Sent: Saturday, June 08, 2002 12:14 PM
To: h-costume@indra.com
Subject: Re: [h-cost] help!!! period patterns 21 & 41


Hi.  I know I've got the ItalianRen gown one (although it's in bad shape
<g>), and will check on the cotehardie/surcoat one. --sue

Christianna Del oro wrote:
> 

> They are mediaeval miscallanea period patterns:
> 
> 
> #21 is  Cotehardies & Sideless Surcoat
> 
> 14th & 15th c.  sizes 6 -20
> 
> 
> #41  is Italian Renaissance Gowns
> 
>  C 1470 - 1505  sizes 8 - 18
> 
> 
> If you have them that would BE GREAT !!!
> If you need any more info  I will probably checking my email till 2:00

> am
> 
> Thanks a bunch
> 
> christianna
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Subject: Re: [h-cost] Commercial pattern question
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Date: Sat, 8 Jun 2002 12:56:50 EDT
Status: RO


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In a message dated 6/7/2002 1:31:42 PM Pacific Daylight Time, 
maggiros@hotmail.com writes:


> THE best Elizabethan pattern I've seen is Margo Anderson's "Elizabethan 
> Lady's Wardrobe".  Yes, THE Margo Anderson. ;-)
> 

My venue is theatrical costumes, so authenticity (in construction anyway) 
isn't nearly as important to me as ease and the ability to make the garments, 
and make as many sizes from one pattern. Margo thought of simply 
EVERYTHING...  I have used them and I love them.  Margo's patterns are both 
authentic and easy to use/follow. They are well documented and fun because 
they are well thought out.  I must admit I am an experienced seamstress, but 
I recognize impediments to ease of use, and none were encountered here.  I 
doubt your Renn Faire clients would be anything less than amazed and 
thrilled.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"All the world's a stage, 
and all the men and women merely players.
They have their exits and their entrances; 
and one man in his time plays many parts."
W. Shakespeare 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/7/2002 1:31:42 PM Pacific Daylight Time, maggiros@hotmail.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">THE best Elizabethan pattern I've seen is Margo Anderson's "Elizabethan <BR>
Lady's Wardrobe".&nbsp; Yes, THE Margo Anderson. ;-)<BR>
</BLOCKQUOTE><BR>
<BR>
My venue is theatrical costumes, so authenticity (in construction anyway) isn't nearly as important to me as ease and the ability to make the garments, and make as many sizes from one pattern. Margo thought of simply EVERYTHING...&nbsp; I have used them and I love them.&nbsp; Margo's patterns are both authentic and easy to use/follow. They are well documented and fun because they are well thought out.&nbsp; I must admit I am an experienced seamstress, but I recognize impediments to ease of use, and none were encountered here.&nbsp; I doubt your Renn Faire clients would be anything less than amazed and thrilled.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"All the world's a stage, <BR>
and all the men and women merely players.<BR>
They have their exits and their entrances; <BR>
and one man in his time plays many parts."<BR>
W. Shakespeare</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> 
</FONT></HTML>
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From h-costume-admin@indra.com  Sat Jun  8 17:38:07 2002
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From: Deredere & Owen Iskander <triade@kabelfoon.nl>
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Subject: [h-cost] Civil war Simplicity 9761/9769/9764
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Date: Sat, 08 Jun 2002 23:31:33 +0200
Status: RO

Hi,

I just bought the Civil war Simplicity 9761/9769/9764 patterns and I was 
qurious if someone alredy used these patterns.
Are they accurate? I don't now anything aboud civil warr dresses. But I 
fell in love with diss pattern.

Greetings,
        Deredere


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From h-costume-admin@indra.com  Sat Jun  8 19:38:55 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Civil war Simplicity 9761/9769/9764
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Date: Sat, 08 Jun 2002 16:32:25 -0700
Status: RO


>I just bought the Civil war Simplicity 9761/9769/9764 patterns and I was 
>curious if someone already used these patterns.
>Are they accurate? I don't know anything about civil war dresses.

I saw 9761 made up several times by the female members of a group at 
Dickens' Fair last year.  The pattern was designed to only fit over a 
corset, and these women were all wearing corsets when I saw them.  Each one 
of them had changed the pattern so they wouldn't all have the same 
dress.  They said the pattern was OK to work with, but they had to do the 
fittings, they couldn't just make the dresses without fittings.  None of 
them had anything bad to say about the pattern, and I expect I would have 
heard if there was anything really bad about it.

My only objection was that the pattern took so much fabric, and only wanted 
silk.  I think I can get a day bodice and an evening bodice out of that 
much fabric, and I won't be using silk.  But I will lay mine out 
differently than they say to do it, and will do different sleeves.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
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Subject: [h-cost] Simplicity 9769/9764
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Date: Sat, 08 Jun 2002 21:15:23 -0700
Status: RO


>I just bought the Civil war Simplicity 9761/9769/9764 patterns

I own 9761, the dress with the flounces, 7215, the second pattern with a 
corset, 7216, the a-symmetric hoops, and 7212, the second dress, with no 
flounces.  Which ones are 9769 and 9764?  Are they the 
corset/chemise/drawers pattern (I own that, can't find it for the number) 
and the petticoat pattern?


Kayta

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From h-costume-admin@indra.com  Sun Jun  9 07:27:51 2002
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Subject: Re: [h-cost] Simplicity 9769/9764
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Date: Sun, 09 Jun 2002 13:21:09 +0200
Status: RO

Hi,

The 9769 is the corset/chemise/drawers pattern and 9764 is the hoopskirt 
and petticoat pattern.


I also found out that I have to take a much smaller size than Simplicity 
tells me to take.
I don't understand wy the sizes are completely wrong. It's stupid. But I 
like the patterns because there easy.

I don't like the sleaves either. Think I am going to look for some 
pictures before I decide how to make the dress.
Do you now any websithes with pictures of these dresses?

Greetings,
        Deredere

Carolyn Kayta Barrows wrote:

>
>> I just bought the Civil war Simplicity 9761/9769/9764 patterns
>
>
> I own 9761, the dress with the flounces, 7215, the second pattern with 
> a corset, 7216, the a-symmetric hoops, and 7212, the second dress, 
> with no flounces.  Which ones are 9769 and 9764?  Are they the 
> corset/chemise/drawers pattern (I own that, can't find it for the 
> number) and the petticoat pattern?
>
>
> Kayta
>
>    //// \\\
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>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
> /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Sun, 09 Jun 2002 15:52:25 +0000
Status: RO

>But I will lay mine out
>differently than they say to do it, and will do different sleeves.

Most of the times anyway, with Simplicity patterns, you can rethink the way 
you lay out the pieces and save as much as a third of what they made you 
buy... Sometimes even almost half of it, when it's small pieces (ex. stuffed 
animal pillows)

I always say I should lay out my pieces on the floor before going out to buy 
the fabric, but it's just too much trouble...

BTW, I just LOVE that pattern too. I'm very glad to hear it's not too bad 
after all :-)

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Simplicity 9769/9764
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Date: Sun, 09 Jun 2002 11:45:43 -0700
Status: RO




>I don't like the sleaves either. Think I am going to look for some
>pictures before I decide how to make the dress.
>Do you now any websithes with pictures of these dresses?
>
>Greetings,
>        Deredere
>

http://www.costumes.org/pages/timelinepages/timeline.htm

Look at the area of time you're interested in on the main page and you'll go 
to dozens of great pictures!!  This is the site where I found my dream dress 
pictures to use for designing my only hugely hooped gown.  Good luck with 
your project.  :)


Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi


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Subject: [h-cost] French Revolution--new system for numbering the years
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Date: Sun, 9 Jun 2002 17:34:15 EDT
Status: RO

I would appreciate some help in dating the French fashion plates from the 
Consulat-Directoire period.  What was year one?  When did they start 
renumbering as "ans I, ans II, ans III, ans IV [in Roman numerals]?  I really 
need to try to pinpoint some probable dates during this period.
Thanks.
Ann Wass
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From h-costume-admin@indra.com  Sun Jun  9 18:36:57 2002
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Subject: Re: [h-cost] French Revolution--new system for numbering the years
From: Agnes G <countess11@mac.com>
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Date: Sun, 09 Jun 2002 15:30:26 -0700
Status: RO

1792 is year one 1804 is year 12 when it was abandoned by Napoleon.
> From: AnnBWass@aol.com
> Reply-To: h-costume@indra.com
> Date: Sun, 9 Jun 2002 17:34:15 EDT
> To: h-costume@indra.com
> Subject: [h-cost] French Revolution--new system for numbering the years
> 
> I would appreciate some help in dating the French fashion plates from the
> Consulat-Directoire period.  What was year one?  When did they start
> renumbering as "ans I, ans II, ans III, ans IV [in Roman numerals]?  I really
> need to try to pinpoint some probable dates during this period.
> Thanks.
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Sun, 9 Jun 2002 18:41:05 EDT
Status: RO

Thanks.  That's what I needed.
Ann Wass
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From h-costume-admin@indra.com  Sun Jun  9 21:38:54 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Sun, 9 Jun 2002 20:55:04 -0500 (CDT)
Status: RO


Anyone know what happened to the "Sewing the Seeds of Rebellion" site, run
by Sarah someone -- I think Sarah Goodman? (She has posted to this list
occasionally.)

My own bookmark doesn't work. I keep finding links to it on other costume
sites, but none of those work, either, though they lead to several
different URLs. Obviously this page has moved around a lot!

--Robin

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From h-costume-admin@indra.com  Sun Jun  9 21:46:40 2002
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Date: Sun, 9 Jun 2002 18:43:34 -0700
Status: RO

This isn't much of a help, but I bookmarked the page about a month ago 
with this address:

http://homepage.mac.com/lithiate/

All that comes up is a message that says either the page moved or 
exceeded its bandwidth.  So, if it's the bandwidth it may be back soon?  

Katherine

On 9 Jun 2002, at 20:55, Robin Netherton wrote:

> 
> Anyone know what happened to the "Sewing the Seeds of Rebellion" site, run
> by Sarah someone -- I think Sarah Goodman? (She has posted to this list
> occasionally.)
> 
> My own bookmark doesn't work. I keep finding links to it on other costume
> sites, but none of those work, either, though they lead to several
> different URLs. Obviously this page has moved around a lot!
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: [h-cost] Re: pleats
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Date: Sun, 09 Jun 2002 21:47:37 -0400
Status: RO

Ooops.. forgot to mention that the skirt is part of a dress for the Ren. 
Fest. (though I've another, same period (1st half 1500s) in the works 
for SCA).

It does need to look period.... very much so, since I'm in a reenactment 
guild at my faire, so yokes are out.

One who sent a suggestion mentioned that sometimes a fabric tape was 
used to tack to at hip level while creating pleats in Germany 
somewhere/when.  (I read it a few moments ago, and the details have 
slipped already).

Guess what I'll try, if no other suggestions come up is to use two 
tapes, one waist sized, one hip, and then work out the pleats on them, 
marking before folding.

Hmm... that might almost be easier, even with the pleat size change top 
and hip, than my "usual" method of using a piece of cardboard cut to 
appropriate width (fast, but sometimes fiddly)


Thanks,
-Elisabeth

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Subject: Re: [h-cost] Lost a link
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Date: Sun, 09 Jun 2002 21:57:33 -0600
Status: RO

Dang...something must be wrong.  I just tried *my* bookmark, and the
link from Drea's website, and neither work. I keep getting error
messages.
Perhaps she's moving it again or something? Lets hope it gets fixed
soon!
--sue, in very rainy Montana (kept me indoors this weekend, but playing
computer games <g> instead of sewing, like a good girl!)

Robin Netherton wrote:
> 
> Anyone know what happened to the "Sewing the Seeds of Rebellion" site, run
> by Sarah someone -- I think Sarah Goodman? (She has posted to this list
> occasionally.)
> 
> My own bookmark doesn't work. I keep finding links to it on other costume
> sites, but none of those work, either, though they lead to several
> different URLs. Obviously this page has moved around a lot!
> 
> --Robin
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Date: Sun, 09 Jun 2002 21:04:42 -0700
Status: RO

Hi there-

This is what you're looking for:

===

http://www.elizabethanlady.com/

===

Theresa Eacker

Robin Netherton wrote:
> 
> Anyone know what happened to the "Sewing the Seeds of Rebellion" site, run
> by Sarah someone -- I think Sarah Goodman? (She has posted to this list
> occasionally.)
> 
> My own bookmark doesn't work. I keep finding links to it on other costume
> sites, but none of those work, either, though they lead to several
> different URLs. Obviously this page has moved around a lot!
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Date: Sun, 9 Jun 2002 23:29:49 -0500 (CDT)
Status: RO



On Sun, 9 Jun 2002, Theresa Eacker wrote:

> This is what you're looking for:
> 
> http://www.elizabethanlady.com/

Great! How did you find that?

I sure hope the 657 other sites that link to hers get the word...

--Robin

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Date: Sun, 09 Jun 2002 21:45:50 -0700
Status: RO

To Robin-

There was a thread about costume interns on h-cost, which was referenced
at margospatterns, that she posted on.  I dug around in my trash for it,
because I remembered thinking that "Oh, she changed from a really cool
name (Sewing....) to  one in yet another in the myriads of That Queen's
Overused Name (Eliza...)".

Obviously, I'm spending way too much time at the computer and not enough
at the sewing machine!!!

Robin Netherton wrote:

> Great! How did you find that?
> 
> I sure hope the 657 other sites that link to hers get the word...
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Subject: [h-cost] Re: Bag Hats & Stocking Caps
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Date: Sun, 9 Jun 2002 23:43:44 -0700
Status: RO

At 9:26 AM -0400 6/6/02, leigh tartaglio wrote:
>Hi. There are some cultures that use what you seem to be describing. The
>Janissary troops of the Ottoman Sultan use a sort of cylindrical hat that
>flops backwards, almost like the bag you mention, and Polish hats of the
>late 16th cent. have elements like that (perhaps the Eastern influence?)
>similar to the tapered variant....[snip]

Thanks, Mike. Sorry not to provide enough detail to begin with. 
Here's my reasoning.

I'm working on a historical knitting booklet, and it's going to 
include about half a dozen patterns for Medieval to Renaissance 
knitted items (mostly bags, caps and socks, I think) appropriate for 
sometime in the years 1400-1600. I'm trying to figure out how to 
include a REALLY SIMPLE starting project to encourage people to try 
knitting in the round -- which is kind of like breadmaking :) in that 
it's really not as hard as it looks, you just have to get up your 
nerve to try it. Knitting in the round is a skill that's required for 
all of the other projects I want to include, since that's the way 
they were done, historically, but it's something a lot of modern 
knitters haven't learned to do, and I want to encourage them.

I'd really rather the Really Simple Project was _not_ a bag (purse or 
pouch), since I'm probably including two other bags among the 
projects -- a reproduction of the Gunnister purse (which is 
post-1600, I know, but plausible before that...) and a pouch with 
medieval Islamic color patterns. I know I'm going to include a simple 
"pudding bowl" cap, at least one pair of stockings, and probably a 
beret-style hat (Elizabethan "flat hat" or Scotch bonnet).

I'm hoping I can find a way to justify a project that is a simple 
cylinder of knitting -- no color patterns, no increases and 
decreases, just plain knitting around and around, and at least 6 or 7 
inches in diameter so that people can use a circular needle if they 
want (un-historical, but less scary for beginners than a set of 
double-points).

I know that various kinds of "tube hats", ranging from a cylinder 
gathered to a pompom at the top, to the classic "stocking cap" which 
is basically an elongated tube that eventually decreases to a point, 
are "traditional" (whatever that means) at various places in Western 
Europe. A simple cylinder is an appealing kind of hat, because it can 
be seamed straight across the top and worn various ways -- with the 
seam running sideways or front-to-back, folded and tacked to form a 
square or tapered top, et cetera.

What I _don't_ know is how far back these hats go.

Although you can't usually tell from a painting whether a garmet is 
knitted or woven, I'm looking for something on the order of pointers 
to Breughel paintings (?) or other sources where people might be 
pictured wearing caps of the right shape.

So I guess what I'm asking is whether anyone has (a) noticed such a 
cap, and if so, where, or (2) whether people can suggest particular 
sites or paintings I should look at.

(Oh no -- I've been struck by a horrible thought! What if this should 
turn into yet another research project???!?! Maybe even a paper 
!!?!?!? <vbg>)

-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")
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Date: Mon, 10 Jun 2002 10:14:55 +0000 (GMT)
Status: RO


> I have seen a photo were you looked like a diva.  <<<<running away
> fast>>>> But you looked damn good!

Penny Ladnier

Where??!?!?!?




Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Braid for Saxon tunic
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Date: Mon, 10 Jun 2002 10:24:01 +0000 (GMT)
Status: RO


> Tablet weaving is correct see www.maering.co.uk there are examples
> of there. 
> 
> Bought braid looks aweful
 
Unfortunately, Mel, bough braid is what they're after.  It doesn't need 
to be highly accurate (you were at my coronation, you saw the 
general level of such things....<g>) but they'd liek to know the sort 
of patterns to look out for so that it's not *completely* out of place.

> A good place to start might be looking at inkle weaving pages on the
> web. This is a common method for applying and making braids and trims
> in the AS period.   There are some very subtle and sophisticated
> patterns available.
> 
> Short of that ....  I'd vote for a simple geometric,  checky, fretty,
> diamonds etc.

Thanks, Mari.  I'll pass that on.




Teddy
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From h-costume-admin@indra.com  Mon Jun 10 05:38:39 2002
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Subject: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 05:28:49 -0400
Status: RO

For those of you who have costume websites and are tired of people linking
into your imagebase that you are paying for... let me show you a trick.

I caught another rat in the trap directly linking into my imagebase.  Some
of you might remember when I did this to a Korean site last year.  Well I
have been battling this place called livejournal.com .  It is a place where
people have live online journals and they seem to love to directly link to
my images.  So I left a present for the thief by switching the image.
<<<evil laugh>> Go to
http://www.livejournal.com/users/annahsophia/ and see the present I left for
the rat in the trap.

A couple of months ago, I talked with livejournal.com and they said, "They
can't control what people put in their journals."  So I guess I will keep on
setting rat traps until all my images are split up on my website.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: Re: [h-cost] Braid for Saxon tunic
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Date: Mon, 10 Jun 2002 10:33:20 BST
Status: RO

Teddy <teddy1@mdx.ac.uk> wrote :

> Unfortunately, Mel, bough braid is what they're after.  It doesn't need 
> to be highly accurate (you were at my coronation, you saw the 
> general level of such things....) but they'd liek to know the sort 
> of patterns to look out for so that it's not *completely* out of place.

This is Far Isles, then?

Try Herts Fabrics. He knows what's right for what period, and sells some tablet weaving, though may not have quite what you (they) want.

Somewhere at home in my filing system are the names of various people who do Saxon tablet weaving, but the specialist stuff does tend to be pricey. No promises, but I'll see what I can find.





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Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")
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Date: Mon, 10 Jun 2002 05:41:43 -0400
Status: RO

I saw it on someone's website... I think the person was on h-costume.  You
are in a long costume gown with an unusual hat.  We were discussing the
costume on the list.  Yes, you were the diva!  No one could touch you in
that costume.  BTW, the make-up was great!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com


----- Original Message -----
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Monday, June 10, 2002 6:14 AM
Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")


>
> > I have seen a photo were you looked like a diva.  <<<<running away
> > fast>>>> But you looked damn good!
>
> Penny Ladnier
>
> Where??!?!?!?
>
>
>
>
> Teddy
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>




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Subject: Re: [h-cost] Lost a link
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Date: Mon, 10 Jun 2002 05:58:46 -0400
Status: RO

Try www.elizabethanlady.com    .

Dianne
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Sunday, June 09, 2002 9:55 PM
Subject: [h-cost] Lost a link


>
> Anyone know what happened to the "Sewing the Seeds of Rebellion" site, run
> by Sarah someone -- I think Sarah Goodman? (She has posted to this list
> occasionally.)
>
> My own bookmark doesn't work. I keep finding links to it on other costume
> sites, but none of those work, either, though they lead to several
> different URLs. Obviously this page has moved around a lot!
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Subject: Re: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 11:00:57 +0100 (BST)
Status: RO

Penny, how do you actually find the direct linkers? This web host of mine has
lovely statistics, but not the ones anymore that the last one had where I could
see if someone linked directly. Is there another way?

Cheers
Nicole

 --- Penny Ladnier <penny@costumegallery.com> wrote: > For those of you who
have costume websites and are tired of people linking
> into your imagebase that you are paying for... let me show you a trick.
> 
> I caught another rat in the trap directly linking into my imagebase.  Some
> of you might remember when I did this to a Korean site last year.  Well I
> have been battling this place called livejournal.com .  It is a place where
> people have live online journals and they seem to love to directly link to
> my images.  So I left a present for the thief by switching the image.
> <<<evil laugh>> Go to
> http://www.livejournal.com/users/annahsophia/ and see the present I left for
> the rat in the trap.
> 
> A couple of months ago, I talked with livejournal.com and they said, "They
> can't control what people put in their journals."  So I guess I will keep on
> setting rat traps until all my images are split up on my website.
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> 
> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
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Subject: Re: [h-cost] Braid for Saxon tunic
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Date: Mon, 10 Jun 2002 11:12:35 +0100
Status: RO

>Unfortunately, Mel, bough braid is what they're after.  It doesn't need
to be highly accurate (you were at my coronation, you saw the
general level of such things....<g>) but they'd liek to know the sort
of patterns to look out for so that it's not *completely* out of place.

There are some examples on www.maering.co.uk pages, under tablet weaving

They could also try buying tablet weaving there are quite a few people who
will sell it

Mel

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To: <h-costume@indra.com>
Subject: Re: [h-cost] A Rat in the Trap
From: Jane Williams <jane@williams.nildram.co.uk>
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Date: Mon, 10 Jun 2002 11:10:47 BST
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote :

> Penny, how do you actually find the direct linkers? This web host of mine has
> lovely statistics, but not the ones anymore that the last one had where I
> could
> see if someone linked directly. Is there another way?

Google advanced search will look for links to a specific page.

http://www.google.com/advanced_search?hl=en

and scroll down to the bottom.



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From h-costume-admin@indra.com  Mon Jun 10 06:21:33 2002
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Subject: Re: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 06:15:08 -0400
Status: RO

Nicole,

The place I have plug-it.com has the best stats I have ever seen.  They have
a section that you can find out to the minute, who are new places that are
linking to your website.  You can also find out how many people used what
keyword from what search engine to get to your site. Another feature is what
locations by country and in the Us. by state are visiting your site.  It is
a great marketing tool.

I want to thank you again, for telling me about split image.  Susan and I
have been splitting up images like crazy.  Now we are putting all of it
index pages to have popups from the thumbnails.  Then the people can't view
source.  Here is one site, I just finished...
http://www.costumegallery.com/LadysFriend/  Click on the Bathing Suit.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com

----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Monday, June 10, 2002 6:00 AM
Subject: Re: [h-cost] A Rat in the Trap


> Penny, how do you actually find the direct linkers? This web host of mine
has
> lovely statistics, but not the ones anymore that the last one had where I
could
> see if someone linked directly. Is there another way?
>
> Cheers
> Nicole
>
>  --- Penny Ladnier <penny@costumegallery.com> wrote: > For those of you
who
> have costume websites and are tired of people linking
> > into your imagebase that you are paying for... let me show you a trick.
> >
> > I caught another rat in the trap directly linking into my imagebase.
Some
> > of you might remember when I did this to a Korean site last year.  Well
I
> > have been battling this place called livejournal.com .  It is a place
where
> > people have live online journals and they seem to love to directly link
to
> > my images.  So I left a present for the thief by switching the image.
> > <<<evil laugh>> Go to
> > http://www.livejournal.com/users/annahsophia/ and see the present I left
for
> > the rat in the trap.
> >
> > A couple of months ago, I talked with livejournal.com and they said,
"They
> > can't control what people put in their journals."  So I guess I will
keep on
> > setting rat traps until all my images are split up on my website.
> >
> > Penny Ladnier
> > Owner, The Costume Gallery & Costume Classroom
> > http://www.costumegallery.com
> > http://www.costumeclassroom.com
> >
> >
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
> =====
> Nicole Kipar M.A.
> Leader - L'Age d'Or & Kirke's Lambs
> Baroque Living History Society 1660-1715
> URL: http://www.kipar.org/
> Email: marquis@kipar.org
>
> __________________________________________________
> Do You Yahoo!?
> Everything you'll ever need on one web page
> from News and Sport to Email and Music Charts
> http://uk.my.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>




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Date: Mon, 10 Jun 2002 06:20:07 -0400
Status: RO

Sorry about that, I thought Nicole wrote me personally.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com


----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Monday, June 10, 2002 6:15 AM
Subject: Re: [h-cost] A Rat in the Trap


> Nicole,
>
> The place I have plug-it.com has the best stats I have ever seen.  They
have
> a section that you can find out to the minute, who are new places that are
> linking to your website.  You can also find out how many people used what
> keyword from what search engine to get to your site. Another feature is
what
> locations by country and in the Us. by state are visiting your site.  It
is
> a great marketing tool.
>
> I want to thank you again, for telling me about split image.  Susan and I
> have been splitting up images like crazy.  Now we are putting all of it
> index pages to have popups from the thumbnails.  Then the people can't
view
> source.  Here is one site, I just finished...
> http://www.costumegallery.com/LadysFriend/  Click on the Bathing Suit.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
>
> ----- Original Message -----
> From: "N Kipar" <nicolas_fouquet@yahoo.com>
> To: <h-costume@indra.com>
> Sent: Monday, June 10, 2002 6:00 AM
> Subject: Re: [h-cost] A Rat in the Trap
>
>
> > Penny, how do you actually find the direct linkers? This web host of
mine
> has
> > lovely statistics, but not the ones anymore that the last one had where
I
> could
> > see if someone linked directly. Is there another way?
> >
> > Cheers
> > Nicole
> >
> >  --- Penny Ladnier <penny@costumegallery.com> wrote: > For those of you
> who
> > have costume websites and are tired of people linking
> > > into your imagebase that you are paying for... let me show you a
trick.
> > >
> > > I caught another rat in the trap directly linking into my imagebase.
> Some
> > > of you might remember when I did this to a Korean site last year.
Well
> I
> > > have been battling this place called livejournal.com .  It is a place
> where
> > > people have live online journals and they seem to love to directly
link
> to
> > > my images.  So I left a present for the thief by switching the image.
> > > <<<evil laugh>> Go to
> > > http://www.livejournal.com/users/annahsophia/ and see the present I
left
> for
> > > the rat in the trap.
> > >
> > > A couple of months ago, I talked with livejournal.com and they said,
> "They
> > > can't control what people put in their journals."  So I guess I will
> keep on
> > > setting rat traps until all my images are split up on my website.
> > >
> > > Penny Ladnier
> > > Owner, The Costume Gallery & Costume Classroom
> > > http://www.costumegallery.com
> > > http://www.costumeclassroom.com
> > >
> > >
> > >
> > >
> > >
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> >
> > =====
> > Nicole Kipar M.A.
> > Leader - L'Age d'Or & Kirke's Lambs
> > Baroque Living History Society 1660-1715
> > URL: http://www.kipar.org/
> > Email: marquis@kipar.org
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Everything you'll ever need on one web page
> > from News and Sport to Email and Music Charts
> > http://uk.my.yahoo.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>




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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 11:22:42 +0100 (BST)
Status: RO

 --- Jane Williams <jane@williams.nildram.co.uk> wrote: > 
> Google advanced search will look for links to a specific page.
> 
> http://www.google.com/advanced_search?hl=en
> 
> and scroll down to the bottom.

Thank you! I searched for the root web site, oh boy! That's going to take me
ages, never knew I had close to 800 links. ;-)

Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")
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Date: Mon, 10 Jun 2002 06:26:18 -0400
Status: RO

Looks damn good in his Rocky Horror Picture Show costume too!

Dianne
----- Original Message ----- 
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Monday, June 10, 2002 6:14 AM
Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")


> 
> > I have seen a photo were you looked like a diva.  <<<<running away
> > fast>>>> But you looked damn good!
> 
> Penny Ladnier
> 
> Where??!?!?!?
> 
> 
> 
> 
> Teddy
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Date: Mon, 10 Jun 2002 06:45:21 -0400
Status: RO

I haven't seen that one!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com




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Subject: Re: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 06:49:42 -0400
Status: RO

No, please don't apologize.  I want to thank you for bringing this up.
There are pictures of me in clothes that I have made at the Fashions in Time
web site.    And I know for a fact that people "borrow" them, particularly
me in a red dress.  I just didn't know how to stop it, or what  could be
done about it.
  I don't mind some uses of it,  but I do mind people using it on their own
web sites, to define what they "are", etc.
Rowena
----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Monday, June 10, 2002 6:15 AM
Subject: Re: [h-cost] A Rat in the Trap


> Nicole,
>
> The place I have plug-it.com has the best stats I have ever seen.  They
have
> a section that you can find out to the minute, who are new places that are
> linking to your website.  You can also find out how many people used what
> keyword from what search engine to get to your site. Another feature is
what
> locations by country and in the Us. by state are visiting your site.  It
is
> a great marketing tool.
>
> I want to thank you again, for telling me about split image.  Susan and I
> have been splitting up images like crazy.  Now we are putting all of it
> index pages to have popups from the thumbnails.  Then the people can't
view
> source.  Here is one site, I just finished...
> http://www.costumegallery.com/LadysFriend/  Click on the Bathing Suit.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
>
> ----- Original Message -----
> From: "N Kipar" <nicolas_fouquet@yahoo.com>
> To: <h-costume@indra.com>
> Sent: Monday, June 10, 2002 6:00 AM
> Subject: Re: [h-cost] A Rat in the Trap
>
>
> > Penny, how do you actually find the direct linkers? This web host of
mine
> has
> > lovely statistics, but not the ones anymore that the last one had where
I
> could
> > see if someone linked directly. Is there another way?
> >
> > Cheers
> > Nicole
> >
> >  --- Penny Ladnier <penny@costumegallery.com> wrote: > For those of you
> who
> > have costume websites and are tired of people linking
> > > into your imagebase that you are paying for... let me show you a
trick.
> > >
> > > I caught another rat in the trap directly linking into my imagebase.
> Some
> > > of you might remember when I did this to a Korean site last year.
Well
> I
> > > have been battling this place called livejournal.com .  It is a place
> where
> > > people have live online journals and they seem to love to directly
link
> to
> > > my images.  So I left a present for the thief by switching the image.
> > > <<<evil laugh>> Go to
> > > http://www.livejournal.com/users/annahsophia/ and see the present I
left
> for
> > > the rat in the trap.
> > >
> > > A couple of months ago, I talked with livejournal.com and they said,
> "They
> > > can't control what people put in their journals."  So I guess I will
> keep on
> > > setting rat traps until all my images are split up on my website.
> > >
> > > Penny Ladnier
> > > Owner, The Costume Gallery & Costume Classroom
> > > http://www.costumegallery.com
> > > http://www.costumeclassroom.com
> > >
> > >
> > >
> > >
> > >
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> >
> > =====
> > Nicole Kipar M.A.
> > Leader - L'Age d'Or & Kirke's Lambs
> > Baroque Living History Society 1660-1715
> > URL: http://www.kipar.org/
> > Email: marquis@kipar.org
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Everything you'll ever need on one web page
> > from News and Sport to Email and Music Charts
> > http://uk.my.yahoo.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 07:18:52 -0400
Status: RO

Rowena,

If they are directly linking into your imagebase, it is called bandwidth
stealing.  I pay for my three websites by space and by how much bandwidth
transfer there is.  Since website hosts have started charging larger or
popular sites for bandwidth about a year and a half ago, this can really add
up.

This place livejournal.com really makes me mad, because when one person
links into my database, the image will automatically show up in everyone's
webpage that is associated with the thief.  This image shows up on several
people's journal webpages.  But I found the original thief.

I am so tired of people writing me saying "give me an image." (those exact
words)  We have decided to start charging for loaning images.  I also made
up this webpage last week,
http://www.costumegallery.com/LadysFriend/howto.htm  and a link to it is
going up on every webpage we have.  The link says, "Please read before
asking to borrow an image."

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Date: Mon, 10 Jun 2002 08:18:51 -0700
Status: RO

Penny,  nice work.  Don't know about the legal end of things -  but oh well
I'm not a lawyer.  Mind sharing that bit of code?   I've got a couple of
images I would like to protect.

Thanks,
Mari


>For those of you who have costume websites and are tired of people linking
>into your imagebase that you are paying for... let me show you a trick.
>
>I caught another rat in the trap directly linking into my imagebase.  Some
>of you might remember when I did this to a Korean site last year.  Well I
>have been battling this place called livejournal.com .  It is a place where
>people have live online journals and they seem to love to directly link to
>my images.  So I left a present for the thief by switching the image.
><<<evil laugh>> Go to
>http://www.livejournal.com/users/annahsophia/ and see the present I left for
>the rat in the trap.
>
>A couple of months ago, I talked with livejournal.com and they said, "They
>can't control what people put in their journals."  So I guess I will keep on
>setting rat traps until all my images are split up on my website.
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com
>
Mari Stewart,  Cornell University,  Ithaca NY
M. Stewart <ms154@cornell.edu>
Webmaster/Electronic Communications
BCERF  / Cornell University
101 Rice Hall


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Date: Tue, 11 Jun 2002 00:28:33 +1200
Status: RO

> This place livejournal.com really makes me mad, because when one person
> links into my database, the image will automatically show up in everyone's
> webpage that is associated with the thief.  This image shows up on several
> people's journal webpages.  But I found the original thief.

Can lj stop people from linking to images though? I mean that would then
mean people cannot link to images on their own sites.

I have two journals there and it's an excellent way to keep people up to
date with the hell that is my life;). just started a costuming journal
actually:).

The most they could do is warn then suspend a user for stealing an image...
I know they do suspend people for harassment etc etc. .. maybe if you can
get some legal backing you can get them to add bandwidth stealing to their
policy?

On stopping people stealing directly... does your server have coding or the
ability to stop people direct linking to the images?
This has come up on a message board I frequent...
http://www.kate-winslet.org/community/messageboard/showthread.php?s=&threadi
d=5722&highlight=bandwidth+image
You could email Rich and ask him about the codes he mentions.

And as for images in a pop up window to not view the sourse.. there is a
very easy way around that. I won't say as people either know it or don't and
those that don't may as well stay that way;). So the breaking up of images
sounds like the best way. There is a Gone With The Wind page that has lovely
images of the costumes/recreations and they are split into three or more
pieces. It can't stop people saving the images and reassembling them, but it
does make it harder. And of course rather more trouble than most bandwidth
stealers are willing to go to in order to direct link.
The harder it is to direct link or copy an image the better, but there
really is no way to stop people seeing the code.

> I am so tired of people writing me saying "give me an image." (those exact
> words)  We have decided to start charging for loaning images.

Now that is just plain rude on their part! And as it costs you to store,
host, upkeep and create the images I don't blame you!

michaela


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Subject: Re: [h-cost] A Rat in the Trap
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Date: Mon, 10 Jun 2002 15:05:50 +0000 (GMT)
Status: RO

Penny E Dunlap Ladnier said:

>  Well I have been battling this place called livejournal.com .  It
> is a place where people have live online journals and they seem to
> love to directly link to my images.  So I left a present for the
> thief by switching the image. <<<evil laugh>> Go to
> http://www.livejournal.com/users/annahsophia/ and see the present
> I left for the rat in the trap. 
> 
> A couple of months ago, I talked with livejournal.com and they said,
> "They can't control what people put in their journals."  So I guess I
> will keep on setting rat traps until all my images are split up on my
> website.

I've had some recent dealings with them too.  Someone copied a 
picture from my website directly onto their livejournal site in a 
"caption this" section.

If they'd *asked* (and offered to put the appropriate credits, 
possibly a link to my webpage), I'd have happily given them 
permission to use it but they didn't.  Fortunately, another 
listmember recognized it and let me know it was there.

I e-mailed the girl directly and e-mailed the livejournal people 
informed me they had instructed her to remove the image and 
warned her not to do it again - I never got any reply from the girl 
herself.  It looks like she encourages anyone interested to just send 
her pictures for the "caption this" page and uses them regardless 
of where they came from and whose permission should be obtaied 
before using them.

<sigh>






Teddy
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Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")
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Date: Mon, 10 Jun 2002 15:15:12 +0000 (GMT)
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> I saw it on someone's website... I think the person was on
> h-costume. You are in a long costume gown with an unusual hat.  We
> were discussing the costume on the list.  Yes, you were the diva! 
> No one could touch you in that costume.  BTW, the make-up was
> great! 

Ah, that's probably me in the Tanu costume from Maggie and Mike 
Percival's Best in Show winning entry in the WorldCon Masquerade 
back in 1995.... never thought of that look as Diva - I'm meant to be 
an *alien*.

If it's the one you're thinking of, it's on the Costume guild UK pages 
at:

http://www.ireadh.demon.co.uk/cguk/ccxvdisp/page5.html

and on Mike and Maggie's costume pages at:

http://www.ireadh.demon.co.uk/costumes/teddy.htm

with the rest of the costumes in that set listed at;

http://www.ireadh.demon.co.uk/costumes/





Teddy
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Subject: Re: [h-cost] Braid for Saxon tunic
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> There are some examples on www.maering.co.uk pages, under tablet
> weaving

Ooops!  I should have scrolled further down than I did!!!

<thwacks head with flat of hand>... Doh!
 
> They could also try buying tablet weaving there are quite a few
> people who will sell it 

But for those people to get what it's worth in terms of the time taken 
making it, the prices are usually high - and this person wants quite 
a lot of it.  I'll pass on the info, however, so they have the choice, 
Thanks.

Teddy

P.S
Yes, Jane, it is likely to appear at Far-Isles, and though it's primarily 
for a T.S. person who is thinking of joining the Far Isles.  i'll mention 
Ally at Herts Fabrics to them.

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Date: Mon, 10 Jun 2002 15:42:57 +0100 (BST)
Status: RO

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Tablet braid and inkle braid are obviously both correct - I agree that using modern bought braid looks awful (and would be an abomination!).

I know of two suppliers of tablet braid, (of whom only one will deal with anybody they don't know).  Tanya, of Tanya's Tablet Weave.  Last time I bought braid from her she had a waiting list of around 3 months and cost Ł50 for a tunic length of 20ft.  She's listed in Call to Arms.



---------------------------------
Sign up to watch the FIFA World Cup video highlights from your desk!

http://fifaworldcup.yahoo.com/fc/en
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<P>Tablet braid and inkle braid are obviously both correct - I agree that using modern bought braid looks awful (and would be an abomination!).</P>
<P>I know of two suppliers of tablet braid, (of whom only one will deal with anybody they don't know).&nbsp; Tanya, of Tanya's Tablet Weave.&nbsp; Last time I bought braid from her she had a waiting list of around 3 months and cost Ł50 for a tunic length of 20ft.&nbsp; She's listed in Call to Arms.</P><p><br><hr size=1><b><a href=http://uk.yahoo.com/mail/tagline_vip/?http://fifaworldcup.yahoo.com/fc/en/spl>Sign up to watch the FIFA World Cup video highlights from your desk!</a></b><br><br>

<a href=http://uk.yahoo.com/mail/tagline_fifa/?http://fifaworldcup.yahoo.com/fc/en>http://fifaworldcup.yahoo.com/fc/en</a>
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Date: Mon, 10 Jun 2002 10:14:32 -0500 (CDT)
Status: RO


Penny, the technical talk has me a little confused. For us
non-technicians, can you clarify what's acceptable use and what is not?

My understanding is this: If someone lifts a picture from your page and
makes it appear on theirs, that's verboten. That can happen if they
actually make a copy of the image and give it a new filename on their own
site. Or it can happen if they create a window on their page and link it
to your site in such a way that the image appears on their page. (I gather
that's what the livejournal person did.) Do I have that correct?

However, I also have the understanding that it's OK to include a link to
an image on someone else's site, which people can then follow *to* the
other site, where they can view the image. This, I figure is not just
courtesy, it's good publicity, in that it brings more viewers to the other
site.

On my own not-quite-a-webpage, I have a link to my photo in your Online
Costume Ball. That's OK, right? The image itself doesn't appear on my
site. Of course, the photo's mine, so I could have just posted it
directly, but I thought it would be nicer to send people over to you, so
they could see your site and the rest of the Ball as well.

Perhaps a better parallel: I see plenty of costume sites in which someone
describes a fashion and then, for an example, refers people via a link to
a museum website or art database. I figure that as long as people have to
follow the link, and know where they're going, and the image does not
appear on the individual's page, that's OK.

In contrast, people who grab an image off another site and have it appear
on their own page without permission -- so the viewer does not need to
follow a link elsewhere -- are in violation. Unfortunately, we see a lot
of that on costume websites too. (And it's also a violation of copyright
law to reproduce a published image from an in-copyright book without
permission, but that's so common I don't think there's any hope of
changing that, and at least there are often mitigating factors such as the
book of being out of print, or the purpose of the posting being academic
discussion. That doesn't make it legal, but it does mean that if there is
a suit, you probably wouldn't pay damages.)

So, my questions:

1. Are my distinctions consistent with yours?

2. Does this tracking software make a distinctin between people who simply
include a link to your site, or people who actually are showing your
image?

Thanks!

--Robin


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Date: Mon, 10 Jun 2002 12:21:50 EDT
Status: RO

Audrey writes:

<< I've been wondering, since gloves and hats are very rarely worn these days 
 (I mean, not the ones to keep warm, the ones to look nice), when should they 
 be kept on and when should we take them off?
 
 I've always found it weird that you kept your hat on at church... Do you 
 have to take it off the moment you walk into a house? I know it's that way 
 for men, but for women?
 
 And what about gloves? I guess you take them off when you eat? >>

At the Ogden Mills mansion in Staatsburg, NY, the tour guides mentioned that 
Victorian women were allowed to keep their hats on at formal dinner parties.  
This was partly to allow them to do up their hairdos around the hat and not 
mess up the style by taking the hat off... and partly because head lice was 
deemed a a real appetite deterrent.

As for gloves, I gotta share this story.:  I once went to Christmas Eve 
service in a one-piece pant-dress with a spaghetti-strap black velvet bodice 
and green double georgette palazzos.  For both style and warmth, I wore a 
pair of opera-length black stretch velvet gloves.  I thought I looked fab  -- 
until I reached out my gloved hands to accept communion!  I got a terrible 
glare from the priest, and there was this awkward pause during which time I 
suppose he expected me to remove my gloves.  I had no where to put them, 
though, and taking off opera-length gloves takes time.  I also thought, "If 
the whole church sees me suddenly removing my gloves, they'll all know I made 
a mistake and it's all I'll hear about all night!"  I gave the priest a 
discreet pleading look.  He finally gave in, but wasn't happy with me at all. 
 To my knowledge, though, only my mother who was next in line for the wafer 
ever realized what happened.

--Gillian
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Date: Mon, 10 Jun 2002 12:31:27 US/Eastern
Status: RO

I can't think of a way to make this on topic, but 
for those who read the posts on the TV show
Changing Rooms, you might find today's
Herdthinners amusing :

http://www.herdthinners.com


Christine

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Date: Mon, 10 Jun 2002 09:40:05 -0700
Status: RO

>
>
> However, I also have the understanding that it's OK to include a link to
> an image on someone else's site, which people can then follow *to* the
> other site, where they can view the image. This, I figure is not just
> courtesy, it's good publicity, in that it brings more viewers to the other
> site.

The problem with people linking to images on a site is this  increases the
traffic to the site being linked from. However, just linking to an image does
not usually bring visitors to the site being linked from in a useful way. It's
not like linking to that site's main web page and encouraging visitors to go
there. And if there is a great deal of new traffic due to the image linking,
it may slow down the site being linked from and even increase bandwidth to the
extent that the site owner has to pay their ISP extra.

There is some legal  information on "deep linking" on this web page:

http://www.ivanhoffman.com/linking.html


(And it's also a violation of copyright

> law to reproduce a published image from an in-copyright book without
> permission, but that's so common I don't think there's any hope of
> changing that, and at least there are often mitigating factors such as the
> book of being out of print, or the purpose of the posting being academic
> discussion. That doesn't make it legal, but it does mean that if there is
> a suit, you probably wouldn't pay damages.)

I've never seen anything in copyright law that says you don 't pay damages for
violating the copyright of a book just because it's out of print.  Also,
"educational use" has distinct limits--one of them being classroom use in a
formal educational institution.  "Academic discussion" on a mailing list or
web site does not qualify legally as "educational."

Fran Grimble



>
>
> So, my questions:
>
> 1. Are my distinctions consistent with yours?
>
> 2. Does this tracking software make a distinctin between people who simply
> include a link to your site, or people who actually are showing your
> image?
>
> Thanks!
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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---------------------------------------------
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Date: Mon, 10 Jun 2002 12:57:17 EDT
Status: RO

Laura wrote:

<<for a summer project, I'm supposed to make 
foundation garments for such a dress, and this is where I'm somewhat lost.  
I'm more familliar with Victorian corsetry than Elizabethan, and more 
familliar with Elizabethan than Rococo...  Basically, I have *No* clue where 
to start with this one.  So here I am, asking for help and suggestions. :)

Can anyone reccomend a good pattern for me?  Should I be looking for 
something boned, or one of the cord or reed stuffed stays?  Does anyone have 
any tips or suggestions on construction, materials, etc?  I've got a yard of 
60" natural-colored cotton duck all happily pre-shrunk and waiting for me, 
but I'm not sure if that's a suitable substitute for coutil.  Can anyone 
advise me?>>

I can help!  Check out this webpage:

http://www.farthingales.on.ca/corset.htm

That page discusses the evolution from Elizabethan through the era you need.  
Also, click on the Catalog button at top, then "fabrics" under "corsetting" 
to buy coutil.  Heck, just tour the whole site!  The construction advice is 
so worth it, and they sell patterns and all sorts of groovy supplies for 
historic costuming.

--Gillian
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From: "Brenna" <brenna@robewarriors.com>
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Date: Mon, 10 Jun 2002 10:28:08 -0700
Status: RO

I thank you all for the input.  It's been very valuable.

A special thank you to the GBACG for their pattern-critiquing page:

http://www.gbacg.org/Patterns/index.html

I hope more people make use of it both in posting and reading.  (I know I'm
going to put a link from our guild site to it.  I just have to figure out
where. <g>)

Thanx again.

Brenna
B Sharp Fabrics
(also GPACG - www.robewarriors.com)



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Date: Mon, 10 Jun 2002 12:44:06 -0500
Status: RO



 >And what about gloves? I guess you take them off when you eat? >>

Victorian women NEVER wore gloves at the table. I suspect the same rule
holds today, if anyone is paying attention.

Kim

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From h-costume-admin@indra.com  Mon Jun 10 14:07:50 2002
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Date: Mon, 10 Jun 2002 14:00:59 EDT
Status: RO

<< A great many of your questions are answered on the Greater Bay Area's
 Great Pattern Review site:
 
 http://www.gbacg.org/Patterns/index.html>>

Never knew this existed.  Thanks!  This will help me greatly.
 
 <<There are pictures of results, including a pair in PVC Elizabethans:
 totally accurate look in totally shiny PVC!!!! >>

Oh no!  Temptation!  My 2 loves are modern Goth fetish and Elizabethan 
costume...  My fiance' thinks it's hysterical that I'm always wearing too 
much clothe or not enough.

--Gillian
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From: "Chiara" <chiara@io.com>
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Subject: Re: [h-cost] Glove etiquette
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Date: Mon, 10 Jun 2002 13:05:04 -0500
Status: RO

Actually, they tucked their gloves into that little opening at the wrist. So
they did not really wear them but at the same time they did. ;)

Sincerely,
Chiara Francesca Arianna d'Onofrio
Steppes, Ansteorra
      `°ş¤ř,¸¸,ř¤ş°`

----- Original Message -----
From: "Kim Baird" <kbaird@cableone.net>
To: <h-costume@indra.com>
Sent: Monday, June 10, 2002 12:44 PM
Subject: [h-cost] Glove etiquette


>
>
>  >And what about gloves? I guess you take them off when you eat? >>
>
> Victorian women NEVER wore gloves at the table. I suspect the same rule
> holds today, if anyone is paying attention.
>
> Kim
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-admin@indra.com  Mon Jun 10 14:13:04 2002
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Subject: Re: [h-cost] French Revolution--new system for numbering the years
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Date: Mon, 10 Jun 2002 13:07:51 -0500
Status: RO

Try checking Aileen Riberio's book. I think it is entitled Fashion during
the French Revolution. I'm probably wrong, but I think the revolutionary
gov't backdated year I to 1789. Any good book on the French
Revolution("Citizens" is excellent and readily available) should give you
the info you need. Unfortunately, most of the books on the Directorie are in
French.  The "Gallery of Fashion"(English periodical) published from
c1793-1804 and up to 1800 can be viewed in black and white(the original
plates were in color) on microfilm as part of the series "The History of
Women Card Catalog" This series contains thousands of publications preserved
on microfilm, most old and rare works of interest to those in women's
studies.  The "Gallery of Fashion" would be a prime work for Dover
Publications to reproduce the best plates in color, especially as those in
the "Gallery" were supposed to be of "actually existing fashions" as worn by
Englishwomen.

Hope this helps!
Cindy Abel
ILL Coordinator
Health Sciences Library
Creighton University
2500 California Plaza
Omaha NE 68178-0210
Phone: 402. 280-5144
Fax:     402.280-5134
----- Original Message -----
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Sunday, June 09, 2002 4:34 PM
Subject: [h-cost] French Revolution--new system for numbering the years


> I would appreciate some help in dating the French fashion plates from the
> Consulat-Directoire period.  What was year one?  When did they start
> renumbering as "ans I, ans II, ans III, ans IV [in Roman numerals]?  I
really
> need to try to pinpoint some probable dates during this period.
> Thanks.
> Ann Wass
> _______________________________________________
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Date: Mon, 10 Jun 2002 18:32:08 -0400
Status: RO

I second the advice to check out Farthigale's! They have wonderful 
stuff, and they're FAST- even though they're in Canada and I'm in the 
US, when I've ordered I've gotten the stuff within a week. If you're 
US too, remember that the prices are listed in Canadian dollars and 
correct for that. :)

-Amanda
not affiliated, just a happy customer
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To: h-costume@indra.com
From: Danielle Nunn-Weinberg <dannw@attbi.com>
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Subject: [h-cost] want to drool at jewellery?
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Date: Mon, 10 Jun 2002 17:50:52 -0500
Status: RO

Greetings,

For those of you who collect period jewellery - there is some up for 
auction by the Dupuis auction company.  I have happily bought stuff from 
them before and highly recommend them.  You can search the site fairly 
easily but here are some interesting pieces I've found.

Here is the main page:
http://dupuis.ca/home/

Here are some of the more inexpensive period items:

http://dupuis.ca/home/search_details.php?id=72&category=2&page=2
http://dupuis.ca/home/search_details.php?id=73&category=2&page=2
http://dupuis.ca/home/search_details.php?id=737&category=2&page=19
http://dupuis.ca/home/search_details.php?id=365&category=2&page=10
http://dupuis.ca/home/search_details.php?id=542&category=2&page=15
http://dupuis.ca/home/search_details.php?id=728&category=2&page=18
http://dupuis.ca/home/search_details.php?id=740&category=2&page=19

Cheers,
Danielle

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Subject: [h-cost] Rat in trap/deep linking thought
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I've only now started to read the messages about Penny's problem with folks
linking to her pages without credit. I do have a suggestion:

Embed your home URL somewhere on the image - either as a watermark or in the
corner. Many large companies do this because they don't have the time to go
running down every individual who tries to steal/link to an image. It does
take time but it does mean that any deep linking will have a reference back
to the main page. IMHO it's the same philosophy as providing a link back to
the home page from every second-level page on the site.

Frankly, I think that people linking to your site - even if it's just one
image - is a GOOD THING - it brings more traffic to the site and hopefully
they will want to look around at more than just that one photo. Providing
the home page URL in the image will tell them where to go for more content.

Allison

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charset=3DWindows-1252">
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6.0.4417.0">
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<P><FONT SIZE=3D2>I've only now started to read the messages about =
Penny's problem with folks linking to her pages without credit. I do =
have a suggestion:</FONT></P>

<P><FONT SIZE=3D2>Embed your home URL somewhere on the image - either as =
a watermark or in the corner. Many large companies do this because they =
don't have the time to go running down every individual who tries to =
steal/link to an image. It does take time but it does mean that any deep =
linking will have a reference back to the main page. IMHO it's the same =
philosophy as providing a link back to the home page from every =
second-level page on the site.</FONT></P>

<P><FONT SIZE=3D2>Frankly, I think that people linking to your site - =
even if it's just one image - is a GOOD THING - it brings more traffic =
to the site and hopefully they will want to look around at more than =
just that one photo. Providing the home page URL in the image will tell =
them where to go for more content.</FONT></P>

<P><FONT SIZE=3D2>Allison</FONT>
</P>

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Subject: [h-cost] An Explanation about Image and some tips (long)
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Date: Tue, 11 Jun 2002 01:23:31 -0400
Status: RO

I have been swamped with email about this... one big request is to explain
in this in layman terms.  So I will try to explain, I used to teach this
class in school, so I will try to keep it simple.

Bandwidth is a transfer of files on the internet.  Some files are large and
some small.  When you go to the front of my Gallery website, 18 files load,
each varying in size.  The largest file is the Lady Penny image, the
smallest being the books.  Every time a visitor clicks that webpage, the 18
files start to load... transferring the files from our website's host to the
visitor's computer.  This act is called bandwidth transfer.  The master html
file for the front page of the Gallery was opened 735 times today and we are
in our summer slow down time because school is out.  On an average day when
school is in that one file averages over 1,000 times opened.
TERMS:
Host (landlord of webspace)
Server (the actual machine/computer/hardware that holds all the files for a
website and transfers the files over the internet when requested)
Hosting (act of renting out web space)

Up until a two years ago, large websites paid a modest fee to have their
website hosted based on how much space your files take up on the web.  Two
years ago, website hosts decided they wanted to make more money, so they
started charging for the web space hosting and the bandwidth transfer for
large or popular websites.

This was when you saw a lot of large free websites bite the dust or turn
over to pay sites. This was also when you saw a lot of websites go to those
annoying pop-up and pop-under ads trying to generate funds.

Two years ago was when the hosting prices for my websites went up
dramatically, from a small amount to big $$$.  Why because? Because my sites
were popular and used a lot of  bandwidth transfer because of all the
images.   I am not the only one who had this problem... costumes.org faced
the same problem I did at the same time.  Talk about panic.  With the new
way the hosts charge, you are given an allotment of bandwidth transfer per
month.  If you go over the allotment, you start paying BIG, BIG $$$.  It can
go up in the thousands.  This kill a small business very quickly.  So
everyone with large sites keeps a tight hold on the amount of bandwidth
transfer.

Now when someone is bandwidth stealing as this person on livejournal is
doing, they were making a link from their website directly to one of my
images.  Every time my image comes up on their webpage, I paid for the image
transferring from my host site to their webpage.  The person never asked
could they borrow the image, gave a credit link to my website on their
website ... they just stole it.  The biggest places that do bandwidth
stealing is messageboards and these livejournal sites.  Now this person who
stole my image, is on a kind of webring (for lack of words).  When she
posted my image in a journal, the image also posted on all of her friends'
journals... about 10 different people.  This does add up in bandwidth
transfer.

How I found out people are stealing my bandwidth:

My website host has software on my site that tell me everyone who is linked
to my website.  I can do a type of search in the software to find out what
webpages have added new links to my site.  Every URL that pops up that I
don't recognize, I go to their website to see what they are linked to...
this is how I find the bandwidth thieves.

I also check the sites linked to me to make sure it is not a site that I do
not want to be associated with... like a porn or fetish site.

Now if you want to see a demo of the stat software we use go to
http://www.deepmetrix.com/livestats6_corp/pdfs.asp
You can click on the demo and  play with or download a trial version.  My
version is a little older than this version.

SOME WAYS TO PROTECT YOUR IMAGES:
As for splitting images that Nicole and I were talking about this morning:
There is a free software called Split Image,
http://www.thecastle.com/software.html .  This will split your images into
sections for you to put on the web.  This way if someone clicks on you image
to save, they will only get a piece of the image and not the whole thing.
Some of my expensive images, I have split into 10-12 pieces.   Now, you will
have to put the images back together in what is called a table.  We also
send pieces of the images to different locations on our three websites...
kinda like hide and seek.

We had put the JavaScript "no right click" on our website.  This only works
if the viewer has JavaScript working (tech word enabled) in their browser.
This would stop people from doing a right click on their mouse to copy or
save the image.  But not all people have JavaScript turned on in their
browser.

Last month we decided to make people have their Javascript turned on to view
the enlarged images on our webpages.  When someone clicks on the thumbnail
(small image) a pop-up box will appear.  You need to have Javascript working
on your browser for the pop-up to work.  Otherwise, you just get an error
message.  Now in our pop-ups the menu task bar will not appear.  If you go
to the Javascript websites, you want to make sure you get the pop-up code
that doesn't have the menu bar.

A couple of people wrote with the concern that they will not be able to
print from our pop-ups.  We will start adding that option tomorrow.  We will
receive that JavaScript code in the morning and will start adding it to the
pop-ups.

People wanted to know why do we go to such extremes to protect our images.
People tend to forget that The Costume Gallery is a business, not a
non-profit.  We are here to provide a service and make a profit.  We thought
about charging people to go into the Gallery's Library.  But I do not want
to stop access to people in second and third world countries from our
information.  Right now, we have a whole bunch of students from Argentina
learning about costume history from the site.  I receive on average 20
requests for my images a day.  I can't keep giving this away for free.

What is involved in making these images:
Most people don't realize the amount of time and money that go into these
images on our website. Go to
http://www.costumegallery.com/LadysFriend/Petticoats/pettbad.jpg  This is a
typical image that we start out with.  The ink on the backside page had
bleed through the front side. It took 5 hours of my time in restoring this
image to look like this
http://www.costumegallery.com/LadysFriend/Petticoats/  click on the first
two petticoat thumbnails.  It took me three decades of college to learn how
to make all this.  Not counting the time it took to make the article's
webpage, restore the third graphic on the page, and the time to find and
purchase the magazine.  Now think that we have between 3,000 to 4,000 images
on my websites.  Now you know why I am online all the time.

The two magazines that the articles in A Year in Fashion: 1912
http://www.costumegallery.com/Delineator/May_1912/Magazine.htm cost me over
$200 to purchase.  Susan and I have spent two years making this one section
of the Gallery and are still adding articles to this section today.

So as of last month, anyone who wants our images, they are going to have to
pay for them.  The fee per image is low if you are wanting it for research
or a school paper.  But if it is going to be published... we get publishers'
rates.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: [h-cost] Re: A Rat in the Trap
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Date: Mon, 10 Jun 2002 20:35:43 -0700
Status: RO

At 6:15 AM -0400 6/10/02, Penny Ladnier wrote:
>Nicole,
>
>I want to thank you again, for telling me about split image.  Susan and I
>have been splitting up images like crazy.  Now we are putting all of it
>index pages to have popups from the thumbnails.  Then the people can't view
>source.

Penny (or Nicole) what's a split image, and how does it prevent 
people from viewing the source? Or do you mean it prevents them from 
getting the source's filename and location so they can't download it? 
Or what?

ObCostume (related): PieceWork magazine is having lots of fun (?) 
trying to track down reprint permission for a couple of the photos 
they want to use for my upcoming article (Medieval Islamic Knitting, 
Sept/Oct issue). The editor's latest comment was "Too bad I don't get 
paid private detective's rates for this!!" The actual knitted pieces 
started out in a private collection, were given to a European museum 
where they were on display, then from there went to yet _another_ 
museum in one of the Islamic countries. The European museum has 
photos, but can't release them without permission from the Islamic 
museum, which actually holds the pieces. At least they're in a 
country that's not currently at war or anything.....!
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Tue, 11 Jun 2002 02:35:56 -0400
Status: RO

Fran,

Thank you for the article link.  It is a really good article.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] An Explanation about Image and some tips (long)
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Date: Tue, 11 Jun 2002 08:09:50 +0100 (BST)
Status: RO

 --- Penny Ladnier <penny@costumegallery.com> wrote: > 
*huge snippage*

Just one question, does everyone in the US charge via bandwidth? It's
interesting, because I pay over 300 pounds per year for my web site hosting
(and yes _I_ pay it out of _MY_ pockets and I am totally uncommercial and do
not ask anyone for anything back, because I'm an academic, not a business) but
I do NOT pay for bandwidth at all. I can have any transfer and it doesn't
matter thusly I can slap as many pix and graphics on as I want. They even gave
me 50 additional Meg space for free because they are sweeties and I am one of
their rather few completely uncommercial sites who are mad enough to pay for
nuffin'.
They are great, the service is amazing and the reliability as well, their
support guarantees and answer within 3 hours and it is true, they do. They are
located in England. Their fee appears to be high, but in the end, listening to
all these bandwidth payments, it isn't.

http://www.positive-internet.com

Not affiliated, just a very happy customer for years.

Nicole
(who still goes just as bonkers and mad when someone links directly to images)

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: [h-cost] Learn from the Masters
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Date: Tue, 11 Jun 2002 03:17:37 -0400
Status: RO

I just got this today from another list. Hey if you have the money... go for
it:

Announcing:

A Master Class in Costume Design
with Constance Hoffman
At the Kennedy Center, from July 14-27.

This intensive master class will explore the costume design process using
The Tempest and Brecht/Weill’s The Rise and Fall of the City of Mahagonny,
And project work from Ovid’s Metamorphosis, Shakespeare’s Sonnets,
Glass/Wilson’s The Civil WarS.

Class times:
10am-6pm, Monday 15th through Saturday 20th, Sunday 21st off , 10am-6pm
Monday 22nd thru Friday 26th .

Participation:
12 designers, made up of faculty and students, will be accepted.

Tuition:
$800 for the master class
$750 for faculty or students from Kennedy Center American College Theater
Festival participating institutions or members of USITT

$700 for faculty and students whose home institutions are offering
scholarship or professional development support for this opportunity

Housing:
Is not included in the tuition, but is available on a
first-come-first-served basis for those who need it, at a rate of $35 per
night- or $455 for the entire master class period- shared lodging- in the
George Washington University Residence Halls, within easy walking distance
to the Kennedy Center.

Sondheim Celebration Tickets:
Passion and Merrily We Roll Along tickets are available to participants of
this master class at a special rate of $40 each.

The Teacher:
Constance Hoffman.
Current- Seascape, Hartford Stage
Upcoming- When You Wish- Disney Theatricals.
With Julie Taymor: Titus Andronicus, The Flying Dutchman, The Green Bird
(Tony Nomination, Outer Critics Circle Award).
Opera: Tosca, Madama Butterfly, L’Etoile, Acis and Galatea, Tosca, Paul
Bunyan, The Abduction from the Seraglio, Lizzie Borden (Glimmerglass/NYCO);
Rigoletto (San Francisco); The Merchant of the Pauper (Opera Theatre of St.
Louis); La Traviata (Houston Grand/New Israeli); Giulio Cesare (Florida
Grand/Virginia), Little Vixen (Portland); Queen of Spades (Bavarian State
Opera)
NY Theatre: Macbeth, Richard II, Richard III, Measure for Measure, Henry VI
(Theatre for a New Audience); Henry VI (Public Theatre). Tiny Alice (Second
Stage)
Regional: Center Stage, Hartford Stage, Alley Theatre.
Theatre Development Fund Irene Sharaff Young Master Award in 2000. MFA,
Tisch School of the Arts.

To Apply-
Designers:
-A letter stating and detailing your interest in participating in the master
class
-A resume detailing your design and related experience
-Up-to six color Xeroxes or digital photos from your portfolio that best
represents your work

Send to:
Gregg Henry
Department of Education
The Kennedy Center
Box 10808
Arlington, Virginia 22210

Or to:
ghenry@kennedy-center.org

by: Wednesday, June 19. Participants will be notified by June 21 .





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Subject: Re: [h-cost] Teddy-diva?? (WAS: Usage of "the")
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Date: Tue, 11 Jun 2002 03:32:25 -0400
Status: RO

Teddy,

It was the Tanu photo on Maggie's site.  I love that photo!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From: Teddy <teddy1@mdx.ac.uk>
Subject: [h-cost] Re: braid for saxon tunic
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Date: Tue, 11 Jun 2002 09:27:54 +0000 (GMT)
Status: RO


> Tablet braid and inkle braid are obviously both correct - I agree
> that using modern bought braid looks awful (and would be an
> abomination!). 
> 
> I know of two suppliers of tablet braid, (of whom only one will
> deal with anybody they don't know).  Tanya, of Tanya's Tablet
> Weave.  Last time I bought braid from her she had a waiting list of
> around 3 months and cost Ł50 for a tunic length of 20ft.  She's
> listed in Call to Arms. 
 
Thanks, I'll pass that on.



Teddy
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Subject: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 08:19:23 -0500
Status: RO

I am on another list and a discussion is going on regarding the use of commercial 
patterns, copyright, and whether it is legal to charge someone for creating an item from 
the pattern.

It came up actually when others were discussing Drea's Corset pattern generator. I said I 
did not think it was legal for someone to use her pattern generator to create patterns and 
then get paid for making the item. And others said it is fine as long as you are selling 
the service of a custom made garment as a seamstress.

Sometime in my past...I was told that it is "technically" illegal to use a commercial 
pattern, for personal profit.  You can use it for your own personal use, but not for 
profit.  Or does that pertain only to the actual purchase of the pattern.  Such as, you 
could make the item, if a seperate purchase of it is made for each individual item you 
make for someone?

My question, is this a violation of copyright law or not?
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: Re: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 09:50:45 -0700
Status: RO

Hi Linda...   and all....

It is not illegal to use your pattern that you purchased to make a garment
to give or to sell to someone else.    The garment is a product of your
work,  and the pattern is a tool that you used to make it.

Allow me to go into computer lingo for a minute

I use Flash, a software program,  as a tool in my work.  I have made
several pieces for different customers,  and only one copy of flash.   I am
not obliged to buy a new copy for every customer.  Just as a carpenter is
not obliged to buy a new hammer for every job.   They are the tools of our
trades...

Hope this helps.
Also there is a short course on copyright at the following URL:
http://www.utsystem.edu/OGC/IntellectualProperty/cprtindx.htm

Mari


>Sometime in my past...I was told that it is "technically" illegal to use a
>commercial
>pattern, for personal profit.  You can use it for your own personal use,
>but not for
>profit.  Or does that pertain only to the actual purchase of the pattern.
>Such as, you
>could make the item, if a seperate purchase of it is made for each
>individual item you
>make for someone?
>
>My question, is this a violation of copyright law or not?


Mari Stewart,  Cornell University, Ithaca, NY
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Date: Tue, 11 Jun 2002 09:28:07 -0700
Status: RO

>

All US ISPs have different "deals" in terms of prices for web hosting, dial-up,
message mailboxes, domain name registration, software that trcks web traffic, etc.
Some ISPs are national, some more local. If you need a new  ISP you have to shop
around and talk to them about what package of services you want.  If you want your
web host to also provide your dial-up services (which in my opinion is more
convenient), they have to have a dial-up number within  your local phone area
(which probably eliminates European ISPs for US customers).

Our ISPs have always sold us packages with a certain amount of web host space and
a certain amount of bandwidth. We can use any amount of web space or bandwidth
within those limits. If we exceed the web space or bandwidth, our ISP will bump us
up to a more expensive monthly package/rate.  Although we can certainly control
how large our site is (and we could make it much larger without exceeding our
limit)  we can't control how many people access it.

It seems fair to me that ISPs charge for more usage.  But, it doesn't seem fair
that the site owner has to pay for more bandwidth that consists only of someone
else  "using" their images by linking to the image files only. This does not
actually generate any traffic to the rest of the site hosting the images.   The
people browsing the images probably don't even know where they come from.

Which is why it's generally considered discourteous to link to images only.
Linking to separate images  is really a very different issue from linking to the
main web page of a site, or even a subpage with something on it besides one image.

The ISP fees you are paying seem roughly comparable to ones in the US, given the
size of your site.

Fran


>
>
> Just one question, does everyone in the US charge via bandwidth? It's
> interesting, because I pay over 300 pounds per year for my web site hosting
> (and yes _I_ pay it out of _MY_ pockets and I am totally uncommercial and do
> not ask anyone for anything back, because I'm an academic, not a business) but
> I do NOT pay for bandwidth at all. I can have any transfer and it doesn't
> matter thusly I can slap as many pix and graphics on as I want. They even gave
> me 50 additional Meg space for free because they are sweeties and I am one of
> their rather few completely uncommercial sites who are mad enough to pay for
> nuffin'.
> They are great, the service is amazing and the reliability as well, their
> support guarantees and answer within 3 hours and it is true, they do. They are
> located in England. Their fee appears to be high, but in the end, listening to
> all these bandwidth payments, it isn't.
>
> http://www.positive-internet.com
>
> Not affiliated, just a very happy customer for years.
>
> Nicole
> (who still goes just as bonkers and mad when someone links directly to images)
>
> =====
> Nicole Kipar M.A.
> Leader - L'Age d'Or & Kirke's Lambs
> Baroque Living History Society 1660-1715
> URL: http://www.kipar.org/
> Email: marquis@kipar.org
>
> __________________________________________________
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Date: Tue, 11 Jun 2002 10:23:26 -0700
Status: RO

To Nicole-

When one of the URLS to your images gets posted to the list with a
historical/period attire question attached, does that mean we've (the
liste) infringed on your copyright and that we should ask you first
before we do this?

Cowering, 

Theresa Eacker

N Kipar wrote:(Massive pruning):
 Nicole
> (who still goes just as bonkers and mad when someone links directly to images)
> 
> =====
> Nicole Kipar M.A.
> Leader - L'Age d'Or & Kirke's Lambs
> Baroque Living History Society 1660-1715
> URL: http://www.kipar.org/
> Email: marquis@kipar.org
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Date: Tue, 11 Jun 2002 10:37:08 -0700
Status: RO

As several people have explained, this is not a copyright issue.

I certainly think it would be courteous and reasonable to ask permission to do
anything likely to increase someone's montly ISP payments, such as deep linking to
their images on your site.

BTW, I don't know the name of this software but--there is software that will route
people to your main web page (or whichever you specify) rather than image or page
that was actually linked to.

Fran

Theresa Eacker wrote:

> To Nicole-
>
> When one of the URLS to your images gets posted to the list with a
> historical/period attire question attached, does that mean we've (the
> liste) infringed on your copyright and that we should ask you first
> before we do this?
>
> Cowering,
>
> Theresa Eacker

nce


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Subject: Re: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 11:20:07 -0700
Status: RO


>It is not illegal to use your pattern that you purchased to make a garment
>to give or to sell to someone else.    The garment is a product of your
>work,  and the pattern is a tool that you used to make it.
>
>Allow me to go into computer lingo for a minute
>
>I use Flash, a software program,  as a tool in my work.  I have made
>several pieces for different customers,  and only one copy of flash.   I am
>not obliged to buy a new copy for every customer.  Just as a carpenter is
>not obliged to buy a new hammer for every job.   They are the tools of our
>trades...
>
>Hope this helps.
>Also there is a short course on copyright at the following URL:
>http://www.utsystem.edu/OGC/IntellectualProperty/cprtindx.htm

OTOH, I have seen some patterns for things, like jackets and cloth dolls, 
where the designer says, right on the envelope, that they only give 
permission for selling a certain number of items made from that pattern, or 
that they give no permission to do so at all.  Please explain this?


Kayta

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Date: Tue, 11 Jun 2002 11:43:36 -0700
Status: RO



> >It is not illegal to use your pattern that you purchased to make a garment
> >to give or to sell to someone else.    The garment is a product of your
> >work,  and the pattern is a tool that you used to make it.

I have seen web postings by some major pattern companies explaining their
licensing agreements. The ones I have seen have different rules for making a
garment for yourself with one copy of a pattern (OK) as opposed to multiple uses
of the same pattern for paying customers (not OK). It is necessary to find out
what rules for use are imposed by that pattern company.

>
> >
> >Allow me to go into computer lingo for a minute
> >
> >I use Flash, a software program,  as a tool in my work.  I have made
> >several pieces for different customers,  and only one copy of flash.   I am
> >not obliged to buy a new copy for every customer.  Just as a carpenter is
> >not obliged to buy a new hammer for every job.   They are the tools of our
> >trades...
> >

I  use  a variety of graphics software and fonts for my publishing business.
Different companies have different licensing agreements. I am allowed to install
some software on only one computer, some other software on up to five computers.
I have fonts that I am allowed to send to a book printer for termporary use for
my job, but not for them to keep permanently.

What is legally required is not that "all software can be installed on X number
of machines" but  that "users have to abide by the licensing agreement they made
with that software company,"  You'll note that when you install software, you
often have to click on a box saying you abide by the licensing agreement before
you can proceed with the installation.

Fran

---------------------------------------------
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Date: Tue, 11 Jun 2002 11:45:43 -0700
Status: RO

Hello all,

I've been digging and digging on this topic and thought I would see if anyone on the list had additional information or suggestions on where to find more documentation on 14th century Italian chemises.

I have the Bohemian Bathhouse babes (from Sronkova's Gothic Woman's Fashion) and I have the extant chemise shown in Kohler's book - neither of which is Italian.  I'm checking literary sources of the time (Boccaccio, at the moment and have been working through both The Merchant of Prato and The Book of the Knight of the Tower).  I've looked at what seems to be just about every painting or fresco that has been published from the time period - that list is too long to add here.  I also have the Museum of London series, Fashion in the Age of the Black Prince, and a Visual History of Costume - 14th and 15th Centuries.

Any other sources that I should be looking at?  Any major ones that I've missed?  I'm trying to finish this part of the research up, so that I can get the chemise made and get on with the dress.

Thanks in advance for any help/suggestions.

Colleen

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Date: Tue, 11 Jun 2002 11:53:50 -0700
Status: RO

BTW, just to make it clear, making garments from a pattern (as opposed to making
copies of the paper pattern per se) is not a copyright issue. Garments are not
copyrightable. However, pattern companies can and do legally impose restrictions on
commercial use of their patterns for making garments.

Fran


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Subject: Re: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 15:35:57 -0700
Status: RO

Hi Katya...  and all...

I'm  not  a copyright expert...   I've had some exposure in my job,  and in
my family...
so that said here goes...

I have had copyright law described to me as a pendulum,  moving back and
forth between the public/user  and the creator/author.    It seems like a
good metaphor to explain the changes in copyright law in the past 70 years.


Initially (at the founding of the nation) copyright law was heavily
designed to protect the user.   So that satires,  quotes,  derivative works
and the like could be freely produced.   Over the last 100 odd years,
these expansive rights have been eroded, and the pendulum has moved
steadily towards protecting the monetary earning potential of a work.  (I'm
going to cut to the chase here...  this could get WAY too long).

>OTOH, I have seen some patterns for things, like jackets and cloth dolls,
>where the designer says, right on the envelope, that they only give
>permission for selling a certain number of items made from that pattern, or
>that they give no permission to do so at all.  Please explain this?

This case it sounds like an effort being made to license the product.
There is an analogy in the computer world,  large companies that buy
software.  Often a company has many workers who need a piece of software,
like a word processing program.   The company may buy from the software
manufacturer a single copy of the software,  and then all the licences it
needs in order to give everyone in the office a "Legal" installation of
that software.

This is where copyright law,  legal tradition, technology and morals
collide.    Some will argue using the hammer analogy,  that what people
have made is a tool, and therefore you only need to buy one.   Others will
argue "fair use" and say that you may make copies for yourself but no one
else.  Another angle is derivative creations from a single source,  and how
much of your creativity places you in the author's seat.

Look at that link on copyright law...  or pick up a copy of Copyright Law
In a Nutshell.

Mari



Mari Stewart, Cornell University, Ithaca NY
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] 14th century Italian chemise documentation
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Date: Tue, 11 Jun 2002 15:19:56 -0500 (CDT)
Status: RO


On Tue, 11 Jun 2002, Colleen McDonald wrote:

> I've been digging and digging on this topic and thought I would see if
> anyone on the list had additional information or suggestions on where
> to find more documentation on 14th century Italian chemises.

As you noted in your post, none of the sources you've found are Italian.
I'm afraid I can't help much in that respect, as I don't spend a lot of
time with Italian sources myself. However, I do collect images of chemises
from Western Europe, and I can add to your collection of those, and maybe
offer you some new avenues of research for your Italian sources.

My favorite source for chemises (and many other things) is a wonderful
coffee-table edition of a Flemish manuscript of Boccaccio's Decameron from
about 1430. My edition was published by Pognon in the Illuminated
Manuscripts series (mid-1970s) under the title _Boccaccio's Decameron_;
you might find it in a library. The original manuscript is in the
Bibliotheque l"Arsenal in Paris, ms. 5070. It has about 200 illustrations
(2 per story), nearly all of them showing Regular People from a range of
social classes. Since some of the tales involve bawdy activities or
marital infedelity, there are a handful of images of women (and men!) in
underwear. Women's chemises are invariably calf-length, narrow-bodied, and
scoop-necked and have narrow full-length sleeves.

I also have picked up a few images from scenes of martyrdoms -- e.g. Joan
of Arc at the stake. In many cases, female martyrs are shown in their
shifts. For these, look through books of hours. Lots of them!

Finally, I keep my eye out for books on the history of medicine and also
books covering childbirth and women's health. Sometimes you find an
illumination of a woman in childbed or being examined by a doctor. Some of
these women are in shifts.

For Italian, I think you can apply the same strategies: Martyrdoms,
illustrations of bawdy tales, medical miniatures.

The only sleeveless chemises I have seen are in Sronkova, so I don't know
if that's something specific to bathhouse attendents, Bohemia, or the
Wenceslaus Bible artist.

The chemise I use for 14th and 15th century has mostly straight seam
construction. The body is slightly trapezoidal -- visually it looks like a
rectangle -- with narrow skirt gores starting at the waist (two in each
side seam). The sleeves are as narrow as I can manage and still flex my
arm, because they are to go under narrow-sleeved fitted dresses. I use
gussets under the arms; this also gives me necessary expansion in the bust
without adding bulk at the waist. For the neck, I cut a scoop (shallow in
the back, deeper in the front so it won't show from under my fitted dress
necklines), and then, while wearing it, I finger-pleat (and pin) a few
tucks into the scoop so it lies exactly flat on my body. It takes four or
five tiny pinches in the back neck, about seven in the front. I then bind
the neckline with a strip of linen. You can see similar tucks and binding
in some of the chemise images.

All the pieces come out of a pretty narrow piece of linen, with
essentially no waste except for what's cut out of the neckline hole.

One of the tricks is to not try to cut the shoulder width to your shoulder
size -- you cut it wider, and adjust that with the finger-pleating. That
way you don't need a huge angle on the front and back pieces to get the
necessary width at the bust.

--Robin

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Date: Tue, 11 Jun 2002 13:40:14 -0700
Status: RO

Thanks for the great ideas, Robin.  I've already put holds on just about every book on illumination in our local library system and they had the Decameron that you recommended as well.

<snips>
<<The only sleeveless chemises I have seen are in Sronkova, so I don't know
if that's something specific to bathhouse attendents, Bohemia, or the
Wenceslaus Bible artist.>>

There is also the extant 14th century sleeveless chemise shown in Kohler's book.  It actually comes from a book by Moriz Heyne, published in 1903, and was found at Castle Rahnis in what was East Germany in 1867.  I've written to the museum at the Castle and it vanished after the Russians came through at the end of the war.  I have some contacts in Russia checking to see if it has shown up anywhere in the Moscow museums.

more snips
<<The sleeves are as narrow as I can manage and still flex my
arm, because they are to go under narrow-sleeved fitted dresses.>>

For the stuff that I've been researching, there seem to be two dresses that go over the chemise as opposed to lining one dress and I'm wondering if I'm going to be able to flex my arm with three layers of fabric at the elbow.  That's why the sleeveless chemises were intriguing to me.

more snips
<<One of the tricks is to not try to cut the shoulder width to your shoulder
size -- you cut it wider, and adjust that with the finger-pleating. That
way you don't need a huge angle on the front and back pieces to get the
necessary width at the bust.>>

Robin, is this assuming a fairly ample bustline?  I have an underdress that I made
for my last outfit that I was able to fit snugly at the bustline without lacing and without pleating extra fabric in at the neckline - I am not amply proportioned there.

Thanks again for the help!

Colleen
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: RE: [h-cost] 14th century Italian chemise documentation
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Date: Tue, 11 Jun 2002 17:04:43 -0500 (CDT)
Status: RO


On Tue, 11 Jun 2002, Colleen McDonald wrote:

> <<The only sleeveless chemises I have seen are in Sronkova, so I don't
> know if that's something specific to bathhouse attendents, Bohemia, or
> the Wenceslaus Bible artist.>>
> 
> There is also the extant 14th century sleeveless chemise shown in
> Kohler's book.  It actually comes from a book by Moriz Heyne,
> published in 1903, and was found at Castle Rahnis in what was East
> Germany in 1867.  I've written to the museum at the Castle and it
> vanished after the Russians came through at the end of the war.  I
> have some contacts in Russia checking to see if it has shown up
> anywhere in the Moscow museums.

Well, you have found more than I have, then! I have never felt comfortable
using this based on the little in Kohler because so much of what is in
Kohler doesn't hold up, or was wrongly interpreted. So, without some
better background, I have to wonder, for example, on what basis it was
determined that this item was 14th century, and whether we can be sure it
is a woman's chemise, and whether it underwent any restoration or
reworking. Perhaps some of this is in Heyne's book? I haven't seen that.  
If you do find out anything concrete, let us know!

In any case, it's apparently German, which could put it in the same
tradition as the Bohemian sleeveless shifts -- and a different type than
the long-sleeved ones I'm more interested in, that appear in the
manuscripts from England/France/Flanders. I don't know whether Italy would
have been more likely to go one way or the other.

> <<The sleeves are as narrow as I can manage and still flex my
> arm, because they are to go under narrow-sleeved fitted dresses.>>
> 
> For the stuff that I've been researching, there seem to be two dresses
> that go over the chemise as opposed to lining one dress and I'm
> wondering if I'm going to be able to flex my arm with three layers of
> fabric at the elbow.  That's why the sleeveless chemises were
> intriguing to me.

Speaking for myself, I have had absolutely no trouble with mobility while
wearing three or more layers over the elbow. But I also fit my dress
sleeves around the elbow, with my arm at mid-flex as a neutral (default)
position, so I have some leeway both to flex further and to straighten.
And of course I fit over the chemise.

I like having the chemise sleeves. I think they make the fitted sleeves
more comfortable to wear, just like socks make shoes more comfortable.

> <<One of the tricks is to not try to cut the shoulder width to your
> shoulder size -- you cut it wider, and adjust that with the
> finger-pleating. That way you don't need a huge angle on the front and
> back pieces to get the necessary width at the bust.>>
> 
> Robin, is this assuming a fairly ample bustline?  I have an underdress
> that I made for my last outfit that I was able to fit snugly at the
> bustline without lacing and without pleating extra fabric in at the
> neckline - I am not amply proportioned there.

I am definitely ample, or -- perhaps more important -- I have a striking
difference between shoulder and bust widths. If I did not, I suppose I
might not want the tucks. Still, "pleating extra fabric" is actually an
overstatement, as it brings to my mind large quantities of excess. In my
case, the tucks at the neckline are very tiny, and serve mostly to shape
the neckline to lie smoothly along the top of my bust. I started doing it
this way because I saw it in images, and I found it eliminated the bumps
and lumps my earlier chemises formed under the fitted dress, as they
struggled to cope with the sudden expansion between my shoulder and bust
measurement.

--Robin

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Subject: Re: [h-cost] 14th century Italian chemise documentation
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Date: Wed, 12 Jun 2002 07:55:51 -0700
Status: RO



Colleen McDonald wrote:

> more snips
> <<The sleeves are as narrow as I can manage and still flex my
> arm, because they are to go under narrow-sleeved fitted dresses.>>
>
> For the stuff that I've been researching, there seem to be two dresses that go over the chemise as opposed to lining one dress and I'm wondering if I'm going to be able to flex my arm with three layers of fabric at the elbow.  That's why the sleeveless chemises were intriguing to me.
>

For what it's worth, from experience, not a problem.
I've worn a sleeved chemise with a kirtle and cote-hardie over the top,
all with fairly close-fitting sleeves, with no trouble. I expect it would be easier if
you fit your sleeve well, perhaps with a curve at the elbow.

Claire

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Subject: Re: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 15:28:51 -0700
Status: RO

As I mentioned, the issue of how many garments can be made from the same copy of
a pattern is _not_ a copyright issue. It is a licensing issue, it may be a
patent issue, but it is not a copyright issue.  However illogical it may seem,
paper patterns are covered by copyright law, which governs copying the _pattern_
itself--but has nothing to do with _garments_ made from the pattern.

I would strongly suggest contacting the manufacturer of the pattern in question
to see what their licensing agreement is for use of their patterns.

To explicitly clarify something people seem confused about--there are laws other
than copyright law governing the use of printed matter, software, and other
forms of information. They may exist instead of or in addition to copyright
protection, depending on the situation. These include patent laws, laws
regarding ownership of a physical object (such as a painting in a museum),
contract laws, slander and libel laws, and others.  A knowledge of copyright
law  is really of no use whatever in interpreting other laws.

Fran

This is where copyright law,  legal tradition, technology and morals

> collide.    Some will argue using the hammer analogy,  that what people
> have made is a tool, and therefore you only need to buy one.   Others will
> argue "fair use" and say that you may make copies for yourself but no one
> else.  Another angle is derivative creations from a single source,  and how
> much of your creativity places you in the author's seat.
>

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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From: "Betsy Marshall" <betsy@softwareinnovation.com>
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Subject: RE: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 19:21:34 -0500
Status: RO

and, just to chime in, the price of the pattern is probably fairly small
compared to the total charge for professional custom dressmaking. just
include it under material expenses and give it to the customer?(all
customized for her and everything?)
Just my $.02. Betsy

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Lavolta Press
Sent: Tuesday, June 11, 2002 5:29 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Sewing legality question....


As I mentioned, the issue of how many garments can be made from the same
copy of
a pattern is _not_ a copyright issue. It is a licensing issue, it may be a
patent issue, but it is not a copyright issue.  However illogical it may
seem,
paper patterns are covered by copyright law, which governs copying the
_pattern_
itself--but has nothing to do with _garments_ made from the pattern.

I would strongly suggest contacting the manufacturer of the pattern in
question
to see what their licensing agreement is for use of their patterns.

To explicitly clarify something people seem confused about--there are laws
other
than copyright law governing the use of printed matter, software, and other
forms of information. They may exist instead of or in addition to copyright
protection, depending on the situation. These include patent laws, laws
regarding ownership of a physical object (such as a painting in a museum),
contract laws, slander and libel laws, and others.  A knowledge of copyright
law  is really of no use whatever in interpreting other laws.

Fran

This is where copyright law,  legal tradition, technology and morals

> collide.    Some will argue using the hammer analogy,  that what people
> have made is a tool, and therefore you only need to buy one.   Others will
> argue "fair use" and say that you may make copies for yourself but no one
> else.  Another angle is derivative creations from a single source,  and
how
> much of your creativity places you in the author's seat.
>

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


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From h-costume-admin@indra.com  Tue Jun 11 21:12:42 2002
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Subject: Re: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 21:06:13 -0400
Status: RO

Fran said:

>As I mentioned, the issue of how many garments can be made from the 
>same copy of
>a pattern is _not_ a copyright issue. It is a licensing issue, it may be a
>patent issue, but it is not a copyright issue.  However illogical it may seem,
>paper patterns are covered by copyright law, which governs copying 
>the _pattern_
>itself--but has nothing to do with _garments_ made from the pattern.

Is there a specific legal exemption for garments then? Because 
otherwise under copyright law a garment made from a pattern would be 
covered under copyright as a "derivative work"- a work made from or 
by using a copyrighted work.

None of the copyright info I've read, though, discusses clothing per 
se, and I know there are some exceptions built in- like typefaces. No 
one can copyright a typeface BUT they can copyright the lead bits or 
the computer code that makes it usable for printing; it doesn't stop 
someone from starting from scratch and doing one that looks just like 
it, though. But type is a specific exception to the norm (as are 
recipes, BTW!).

So I'm curious about whether garments have such an exception written in.

Licensing also comes into it, of course, as potentially do trademark, 
patents, and possibly even design patents. Truly complex...

-Amanda
curious
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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] pattern question
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Date: Tue, 11 Jun 2002 21:14:14 -0400
Status: RO



Folks: 

Can anyone help with the forwarded message below? Please reply to the list
or to me, and I'll forward to the writer. I did look at the pattern-review
page so helpfully posted yesterday (when I got this!) but there was no name
like this on it.

Forwarded message:

I have a question for the people who sew in our group. I just received
my new Smoke and Fire catalog and in it I found a set of medieval
patterns that I have not run across before. I am just curious if anyone
else has seen or used these patterns and could tell me if they are at
all accurate historically and how difficult that are to use. The name of
the company seems to be La Fleur de Lyse (sp?) and the patterns are
called: Women of the Medieval Romanesque Period years 1060  and 1150,
Men of Medieval Romanesque Period Years 1060 and 1150, and Medieval
Accessories Men and Women 11th to 15th centuries. Thank you for anyone
that could help me with this. The patterns are rather expensive and I
don't want to buy them if they have major problems. Galiena

Thanks -- Gail Finke


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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 18:41:00 -0700
Status: RO




>
>This is where copyright law,  legal tradition, technology and morals
>
> > collide.    Some will argue using the hammer analogy,  that what people
> > have made is a tool, and therefore you only need to buy one.   Others 
>will
> > argue "fair use" and say that you may make copies for yourself but no 
>one
> > else.  Another angle is derivative creations from a single source,  and
>how
> > much of your creativity places you in the author's seat.
> >
>
Generally speaking I always, ALWAYS make changes to the original patterns 
and then reproduce what I end up with.  Sometimes it's just a sleeve or 
neckline change and sometimes I use one piece of the original and work out 
from there.  How does that play into this thread?  Not repros of the 
original design, but the altered one.

Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi


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From h-costume-admin@indra.com  Tue Jun 11 21:58:21 2002
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Subject: Re: [h-cost] Sewing legality question....
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Date: Tue, 11 Jun 2002 18:55:40 -0700
Status: RO

Garments are not copyrightable objects, and not covered by copyright law at all.  I
think they may be  patentable but that is a significantly different body of law.

Fran

sustre@pixelations.com wrote:

> Fran said:
>
> >As I mentioned, the issue of how many garments can be made from the
> >same copy of
> >a pattern is _not_ a copyright issue. It is a licensing issue, it may be a
> >patent issue, but it is not a copyright issue.  However illogical it may seem,
> >paper patterns are covered by copyright law, which governs copying
> >the _pattern_
> >itself--but has nothing to do with _garments_ made from the pattern.
>
> Is there a specific legal exemption for garments then? Because
> otherwise under copyright law a garment made from a pattern would be
> covered under copyright as a "derivative work"- a work made from or
> by using a copyrighted work.
>
> None of the copyright info I've read, though, discusses clothing per
> se, and I know there are some exceptions built in- like typefaces. No
> one can copyright a typeface BUT they can copyright the lead bits or
> the computer code that makes it usable for printing; it doesn't stop
> someone from starting from scratch and doing one that looks just like
> it, though. But type is a specific exception to the norm (as are
> recipes, BTW!).
>
> So I'm curious about whether garments have such an exception written in.
>
> Licensing also comes into it, of course, as potentially do trademark,
> patents, and possibly even design patents. Truly complex...
>
> -Amanda
> curious
> _______________________________________________
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Date: Tue, 11 Jun 2002 18:57:45 -0700
Status: RO

>

Why don't  you consult the pattern company and ask them how that fits into
their licensing?

Fran


>
> >
> Generally speaking I always, ALWAYS make changes to the original patterns
> and then reproduce what I end up with.  Sometimes it's just a sleeve or
> neckline change and sometimes I use one piece of the original and work out
> from there.  How does that play into this thread?  Not repros of the
> original design, but the altered one.
>

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re:  [h-cost] Re: braid for saxon tunic
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Date: Wed, 12 Jun 2002 09:31:31 +0000 (GMT)
Status: RO


> > I know of two suppliers of tablet braid, (of whom only one will deal
> > with anybody they don't know).  Tanya, of Tanya's Tablet Weave. 
> > Last time I bought braid from her she had a waiting list of around 3
> > months and cost Ł50 for a tunic length of 20ft.  She's listed in
> > Call to Arms. 
> 
> Thanks, I'll pass that on.

Well, I passed it on and it looks like they're going to go for simple 
embroidery instead. 

Thanks for all the info.


Teddy
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Date: Wed, 12 Jun 2002 07:31:08 -0400
Status: RO

<lurk mode="off">
Well, in doing a quick online search, I found that Five Rivers Chapmanry also carries this line of patterns.

 From the website: 

Medieval & 18th Century New France
We're pleased to present La Fleur de Lyse, a limited but excellent array of patterns specifically for those interpreting New France and early Medieval, researched and developed by Canada's own renowned Suzanne Gousse and Evelyne Bouchard. Highly recommended. 

And for the patterns you mentioned in particular:

Women of Medieval Romanesque Period
A complete set of women's clothing for early medieval interpretation, including noble and peasant ensembles for 1060 and 1150. Historical notes about fabrics, colours, dwing stitches, hairstyling and trims. Multi-sized small through xlg (bust 36"-42") inclusive.

Men of Medieval Romanesque Period
A complete ensemble of men's clothing for noble and peasant interpretations, 1060 and 1150. Pattern includes shainse (shirt), cotte (tunic), bliaut (over-tunic), fretes (crossed gatering), mantle (cape), coif (cap) and circlet (crown). Historical notes regarding fabrics, colours, trims, sewing stitches, hair and beard. Multi-sized small through xlg (chest 38"-44") inclusive.


Sister Fionnseach du Lochielle     mka. Judith Taylor
Shire of Dernehealde                  Athens, OH
Barony Middle Marches
Middle Kimgdom

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Date: Sun, 09 Jun 2002 00:26:21 -0400
Status: RO

I just found this neat web site called Shoeschool in
Port Townsend, Washington.
They offer a plethora of shoe-making related items,
as well as a distance learning program in shoe construction.
Does anyone have any experience
with this company?
http://www.shoeschool.com/

I think I want to learn shoemaking...
Deb R.



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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Sewing legality question....
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Date: Wed, 12 Jun 2002 09:14:29 -0400 (EDT)
Status: RO

On Tue, 11 Jun 2002, Linda J. Thompson wrote:
> I am on another list and a discussion is going on regarding the use of commercial
> patterns, copyright, and whether it is legal to charge someone for creating an item from
> the pattern.
>
> It came up actually when others were discussing Drea's Corset pattern generator. I said I
> did not think it was legal for someone to use her pattern generator to create patterns and
> then get paid for making the item. And others said it is fine as long as you are selling
> the service of a custom made garment as a seamstress.

Well, Drea's corset pattern generator isn't a pattern, per se; it's a
device you can use to have the measurements turned into a template to make
a pattern.  She also gives you the directions to take your own
measurements and make a corset without the generator.  I've been sewing
18th c. women's stays based on these instructions (with my own
modifications and a custom fitting, for 18th c. styles), and Drea knows
about it; I'm also working on a small instruction booklet for doing this
(taking your own measurements and making an 18th c. corset), and asked
Drea's permission to include a link to her site and credit for the
instructions.  She's seen my first draft.  So... since I'm working with
her permission, I figure I'm ok <g>.

On the other hand, I have Janice Ryan's ladies' jacket pattern.  Do I make
jackets for other people using that pattern?  No.  She has specific
language on the pattern about NOT doing this; if you want to use her
pattern to make jackets for customers, you need to contact her regarding
licensing.  That's fair.  If I did start sewing jackets for customers
(something I do NOT plan on doing, as I simply don't have the time!), I'd
do the legally correct thing and get a license.

-- Mara

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Subject: Re: [h-cost] 14th century Italian chemise documentation
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Date: Wed, 12 Jun 2002 09:23:42 -0500
Status: RO

Colleen McDonald wrote:
> 
> Hello all,
> 
> I've been digging and digging on this topic and thought I would see if anyone on the list had additional information or suggestions on where to find more documentation on 14th century Italian chemises.

I have a source that may or may not be of help to you, being slightly
later than the 14th century.  It is a fresco circa 1411-16 found in
Piedmont, in the Castello di Manta.  (Piedmont is at the northern end of
modern Italy--I'm not sure how one defines "Italy" in the 14th century.)
 It depicts the Fountain of Youth, with people on the left getting
undressed and jumping in and on the right climbing out and getting
dressed (and people in the Fountain itself getting rather frisky). 
There are two people wearing chemise-like things, both ankle-length and
with some fullness around the body, though not much.  The garments seem
to be cut straight, though it's hard to tell.  They definitely do not
dip in towards the waist.   One has 3/4 length sleeves and the other
short sleeves, both with scoop necks.  There seems to be rather more
fullness just under the scoop than would seem likely with a flat
neckline, but there does not appear to be gathering.  The way the
garments fall is consistent with a rectangular cut at the shoulders and
sleeves.  There is the tiniest suggestion of an neckline edge binding on
one, but I'd want to see the fresco in person to confirm that.  I'm
assuming these are ladies because of several similarities to other, more
definite females in the fresco.  

The copy I have comes from _Italian Frescos:  The Early Renaissance
1400-1470_ by Steffi Roettgen ISBN 0-7892-0139-9, plate 13 on page 52. 
A wonderful detail of a man pulling off his hose appears on plate 16. 
This is a beautiful book, by the way, which I would recommend to anyone
doing this period and place.

Though not to the point of the original question, for those interested
in the question of Renaissance women's underwear, I will mention that
the chemise of the lady on the left is somewhat translucent, allowing us
to see that she's got undies on beneath it.  Though it's hard to tell,
they look very similar to the hipster model the men wear.  Because the
left side is the old people (pre-Fountain), it seems unlikely that she's
wearing them for menstrual reasons, though they could be for incontinence.

Enjoy!
Melanie Schuessler
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Subject: [h-cost] Re: Sewing Legality Question
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Date: Wed, 12 Jun 2002 08:40:41 -0500
Status: RO

What I have always done when someone wants me to sew an item from a pre-made pattern, is I 
  have them purchase the pattern or I do, and when I am done they get the pattern.  That 
way I figure I can not possibly be infringing on any rights.  I have read on the backs of 
numerous patterns the "for your own personal use" things and stuff so just assumed that 
carried through in all matters for patterns.  Never thought that it might not be a 
copyright issue.  Thanks Fran for pointing that out.

As for software/program restrictions... I have found in developing my online store, that 
each company comes up with its own restrictions.  So I always read the fine print, since I 
help others do some online stuff.  Some companies sell "developer" packages, that give you 
the ability to use or distribute a program a set number of times, and thats it, then you 
have to purchase another package.

All the information has been very helpful.
Thanks
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: [h-cost] Re: 14th century italian chemise documentation
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Date: Wed, 12 Jun 2002 08:47:30 -0500
Status: RO

Colleen,

One of my employees spent a semester abroad in Italy this past year.  She bought me a book 
that is in Italian.  It was a book that had pictures of Fresco's in it, and the author 
would pick a particular character and then do a pattern layout of the items of clothing 
the character wears.  I do not have it at my side, but will look for it later and see if 
they have anything with a chemise layout in it.

It is completely in Italian, so I have absolutely no idea if it is a theatrical leaning 
book or historical, but the layouts look suspiciously like "historical studies".

I will type in the name of the book, and the publishing information later today, if you 
want to see if it is a viable source?
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: Re: [h-cost] 14th century Italian chemise documentation
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Date: Wed, 12 Jun 2002 09:39:02 -0500 (CDT)
Status: RO


On Wed, 12 Jun 2002, Melanie Schuessler wrote:

> I have a source that may or may not be of help to you, being slightly
> later than the 14th century.  It is a fresco circa 1411-16 found in
> Piedmont, in the Castello di Manta.  (Piedmont is at the northern end
> of modern Italy--I'm not sure how one defines "Italy" in the 14th
> century.)
>  It depicts the Fountain of Youth, with people on the left getting
> undressed and jumping in and on the right climbing out and getting
> dressed (and people in the Fountain itself getting rather frisky).

There's a detail from this at the bottom of the April page of the 2000
Medieval Woman calendar. I remember spending a long time looking at that
detail! It's frustrating because you can't see all the figures outside the
fountain -- just parts of some of them. But what I do see doesn't seem to
have a clear left-right progression -- there's a young man dressing and an
old person climing in visible on the left, for instance, and what looks
like an old man being pulled in frm the right, an old woman getting in
from the right, and a young man exiting at the right.

Of the two chemised figures, one is on the left, and one is on the right.
Both appear old.

> There are two people wearing chemise-like things, both ankle-length and
> with some fullness around the body, though not much.  The garments seem
> to be cut straight, though it's hard to tell.  They definitely do not
> dip in towards the waist.   One has 3/4 length sleeves and the other
> short sleeves, both with scoop necks.  There seems to be rather more
> fullness just under the scoop than would seem likely with a flat
> neckline, but there does not appear to be gathering.  The way the
> garments fall is consistent with a rectangular cut at the shoulders and
> sleeves.  There is the tiniest suggestion of an neckline edge binding on
> one, but I'd want to see the fresco in person to confirm that.  I'm
> assuming these are ladies because of several similarities to other, more
> definite females in the fresco.  

I see the problem there -- I can't tell from my copy whether they're women
or men, and I don't have the other frescos to compare.

I also see that hint of neckline binding even on this reproduction -- at
the right shoulder of the right chemised figure.

> Though not to the point of the original question, for those interested
> in the question of Renaissance women's underwear, I will mention that
> the chemise of the lady on the left is somewhat translucent, allowing
> us to see that she's got undies on beneath it.  Though it's hard to
> tell, they look very similar to the hipster model the men wear.  
> Because the left side is the old people (pre-Fountain), it seems
> unlikely that she's wearing them for menstrual reasons, though they
> could be for incontinence.

Your version is clearer than mine, as all I can see on the chemised figure
to the left (whom we view from the back) is the chemise, with what appears
to be a small crack in the painting that might indicate the lower edge of
the right leg opening if there were briefs underneath. The sex of the
person is definitely in doubt, though -- we see only a bit of the back of
the head, which is wrapped or capped.

Worth noting is that the only other underwear I see in the image is on the
men, both young and old, who seem universally briefed. The undressed women
I can see are all naked at the hips, or hidden under water (perhaps
because they are naked). Also, the figures that are clearly women all wear
fancy headdresses, including an evil-looking crone climbing in from the
right, save for one maiden with long loose hair. Based on these trends of
headdress and underwear alone, that would suggest that the chemised
figures are men, but I wouldn't want to exclude the possibility of women,
particularly for the right-hand chemised figure, who is wearing a
turbanlike wrap I do not see elsewhere in my portion of the image. I also
can't see the upper halves of the standing figures, bleah.

I'm personlly wishing I had more of the figure to the left, who is wearing
a lace-up gown that has a waistline seam and is brown on the top and green
below the waist. Melanie, is it male or female, young or old, and what
does the top look like?

--Robin


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Date: Wed, 12 Jun 2002 07:41:58 -0700
Status: RO

Linda Thompson wrote:

<<I will type in the name of the book, and the publishing information later today, if you want to see if it is a viable source?>>

Yes, please!

Thank you!

Colleen

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] An Explanation about Image and some tips (long)
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Date: Wed, 12 Jun 2002 15:46:47 +0100 (BST)
Status: RO

 --- Theresa Eacker <theresa@misc.com> wrote: > 

Though I know this is way off topic, just quickly:

> When one of the URLS to your images gets posted to the list with a
> historical/period attire question attached, does that mean we've (the
> liste) infringed on your copyright and that we should ask you first
> before we do this?

Oh no, no, don't worry. I can see when this happens because the image is being
pulled uip from a certain URL (mailing list) but this s not a problem at all,
after all, how else would one show a particular image/photo?  What I meant is
when someone lnks directly so they steal bandwidth, because an image hosted on
my server appears on theirs. I don't like it either when people link to just an
image with a text link (while not actually stealing bandwidth in the usual
sense) to my site, as agreed by many this is vey discourteous and I do write to
thse people asking them to menton my actual site. I am happy if someone says
'insert name of piccie or url here, which islinked to piccie' from L'Age d'or
(which is linked to the main site).

Hope that clarifies it.

All the best
Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Wed, 12 Jun 2002 11:14:57 -0500
Status: RO

Robin Netherton wrote:
> 
> There's a detail from this at the bottom of the April page of the 2000
> Medieval Woman calendar.

So there is!  I hadn't remembered that.  What's interesting is that the
calendar has the picture reversed--that is, mirror-image--compared to
the one in my fresco book.

> But what I do see doesn't seem to
> have a clear left-right progression -- there's a young man dressing and an
> old person climing in visible on the left, for instance, and what looks
> like an old man being pulled in frm the right, an old woman getting in
> from the right, and a young man exiting at the right.

When you can see the whole thing, and it's reversed from what the
calendar shows, there's a general taking-off of clothes by old people on
the left and a general putting-on of clothes by young people on the
right.  The only exception I see might be the chemised person next to
the red-and-green gown, who seems to be climbing in (from the right in
the book) with the help of the guy standing on the rim.

> Of the two chemised figures, one is on the left, and one is on the right.
> Both appear old.

The chemised person with the yellow thing over their shoulder is on the
old side, and has definite lines on their face.  The other one might be
old--the only evidence for this would be the visibility of vertebra at
the back of their neck.

> I see the problem there -- I can't tell from my copy whether they're women
> or men, and I don't have the other frescos to compare.

The reasons I think they're women:
1.  The two chemised figures have very pale skin.  
In this fresco, most of the men, young or old, have a ruddier skin tone,
whereas those figures which are definitely female have very pale, almost
white, skin.  The only definite exception to this is the pale-skinned
guy in shirt and briefs being helped on with his 'doublet' (not sure
what the proper word is in this context) by a person in red with black
and grey dags.

2.  They have headwraps similar to other women in the fresco.  
A.  I think the person in the red-and-green is a woman because the
red-and-green looks like a woman's gown to me.  I can't think of any
male garment that looks like that (see description below).  This person
is wearing a headwrap identical to the two chemised figures, including
the strip of decor evident on the one being helped into the fountain.
B.  Not shown in the calendar is a very old lady with pendulous breasts,
on hands and knees acting as a step-stool for the old guy getting in
with the help of the curly redhead.  She's naked but for her headwrap,
which is similar to though definitely not identical to that of the two
chemised figures and the red-and-green person.  This headwrap has a band
going under the chin, some kind of knot at the side, and a tail of some
kind, all in white.

3.  One has breasts.
In my reproduction, it looks like the chemised person with the yellow
drape has breasts, though again it's hard to tell because the chemise is
only barely translucent.
  
4.  The men wear shirts instead of chemises.
All of the people who are definitely male and partly or fully undressed
are wearing either briefs or briefs and a short shirt.

> I also see that hint of neckline binding even on this reproduction -- at
> the right shoulder of the right chemised figure.

On the left shoulder of the left chemised figure in my book.  This is
the person with the possible briefs on, but the calendar cuts off at the ribcage.

> I'm personlly wishing I had more of the figure to the left, who is wearing
> a lace-up gown that has a waistline seam and is brown on the top and green
> below the waist. Melanie, is it male or female, young or old, and what
> does the top look like?

Young, I think female.  Has a headwrap just like the two chemised
figures.  The sleeves are fullish then gather? pleat? to wide cuffs that
fasten with five or six buttons and buttonholes.  It looks pretty narrow
through the body, though the skirt is fuller.  It has a scoop neck, and
the lacing continues up to the neckline.  Because the person doesn't
have it all the way down to their shoulders yet, it's hard to tell how
low the neckline is.  The thing that confuses me (besides the
contrasting halves) is that when the dress is all the way on, the
"waistline" looks like it will end up at the low hip, but this may just
be Painter's License in action.

Melanie
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] 14th century Italian chemise documentation
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Date: Wed, 12 Jun 2002 10:48:26 -0500 (CDT)
Status: RO


Thank you for the detail! I don't do Italian, but now I want that book.

--Robin

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Date: Tue, 11 Jun 2002 16:56:57 -0700
Status: RO

At 1:40 PM -0700 6/11/02, Colleen McDonald wrote:
>Thanks for the great ideas, Robin.  I've already put holds on just 
>about every book on illumination in our local library system and 
>they had the Decameron that you recommended as well.
>
><snips>
><<The only sleeveless chemises I have seen are in Sronkova, so I don't know
>if that's something specific to bathhouse attendents, Bohemia, or the
>Wenceslaus Bible artist.>>
>
>There is also the extant 14th century sleeveless chemise shown in 
>Kohler's book.  It actually comes from a book by Moriz Heyne, 
>published in 1903, and was found at Castle Rahnis in what was East 
>Germany in 1867.  I've written to the museum at the Castle and it 
>vanished after the Russians came through at the end of the war.  I 
>have some contacts in Russia checking to see if it has shown up 
>anywhere in the Moscow museums.

Ah, that's useful information, since the item is on my (very long) 
list of garments to try to track down at some point.  You wouldn't 
happen to have any further information on the Heyne book, would you?

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
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Date: Wed, 12 Jun 2002 09:36:59 -0700
Status: RO

Heather Rose Jones wrote:

<<Ah, that's useful information, since the item is on my (very long)list of garments to try to track down at some point.  You wouldn't 
happen to have any further information on the Heyne book, would you?>>

Here's the citation for the book:

Heyne, Moriz.  Fünf Bücher Deutscher Hausaltertümer von den Ältesten Geschichtlichen Zeiten Bis Zum 16. Jahrhundert.  Leipzig: Verlag von S. Hirzel, 1903.  

It's in German and I've had the relevant passages translated by two different people.  There is a photo of the chemise (which is the one that Kohler used for his book).  It's in the last third of the book.  

The details in the text of the Heyne book don't say much at all - that it was found with other items from the early 14th century, it is 70 cm long and that it is a woman's garment.  (Doesn't say how they determined that.)

I have a letter from the museum in response to my query and two small articles that they sent me (in German) and I'm waiting for my translator to return from vacation.  The general gist of it is that the castle was privately owned prior to WWII, which could be the "private collection" that Kohler refers to.  At the end of the war, the Russian came through and cleaned the museum out, according to the letter, and the current curator doesn't have any more information about the chemise after that point.

I had actually figured that it was probably bombed into oblivion during the war, but apparently the region surrounding the castle was not badly damaged during the war, so that was news.

I have a contact in Moscow who is doing some checking there to see if by some miracle that it still exists and is in one of the collections in the museums there. (One good thing about a highly centralized system, I suppose, is that artifacts and war booty pretty much stayed in Moscow.)  I'm afraid that the soldiers would have had no idea what this little scrap of fabric was and it ended up as a bandage or in the garbage or was destroyed.  

If anyone else has more details to add to the story of this chemise, I would love to hear them!

Regards,

Colleen




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In a message dated 6/11/02 8:23:46 PM Eastern Daylight Time, Colleen McDonal=
d=20
writes:

> I've been digging and digging on this topic and thought I would see if=20
> anyone on the list had additional information or suggestions on where to=20
> find more documentation on 14th century Italian chemises.
>=20

Colleen,

I've been researching Italian costume for a while now.  Chemises are a=20
difficult garment to track until around about the early 16th century when it=
=20
became the fashion to show off your chemise.  Robin's suggestions for source=
s=20
are good ones (some of the examples I have). One of the things to keep in=20
mind is "when" in the 14th century are you looking for documentation for=20
chemises.  Fashions changed fairly dramatically during this period, going=20
from loose tunic-like garments to an Italian version of International Gothic=
.=20
 The examples I have been able to find are primarily late 14th century.

Since you seemed from some of your postings to also be interested in 15th=20
century documentation, I do have some references that you may want to look=20
at.  Unfortunately I do not know if they're on the web, but I have tried to=20
list the reference in a manner that would help you find it (my scanner is=20
down at the moment). =20

The first book I think you should look at is the Tacuinam Sanitatis or=20
Medieval Health Handbook (ISBN 0-8076-1277-4, paperback) which is a=20
compendium of five manuscripts from around the end of the 14th century, goin=
g=20
into the 15th.  Almost all the depictions of women in their chemises are ver=
y=20
similar to those Robin described from other areas in Europe, although the=20
chemises are not always long-sleeved.  However, in the Tacuinam of Li=E8ge,=20
there is a drawing of two women wearing shifts similar to the Bathhouse Babe=
s=20
(#81 The Northerly Wind).  These shifts are tabardlike with fastenings along=
=20
the side at two points.  Interestingly, this manuscript has been attributed=20
mainly to Giovannino dei Grassi after his return from Bohemia! =20

The next images I've noted are from a two-part series on Italian frescoes by=
=20
Stefan Roettgen.=20

>From Italian Frescoes: The Early Renaissance, ISBN 0-7892-0139-9: =20
       Castello del Buon Consiglio in Trent, dated before 1407, fresco for=20
July showing women working in the field=20

       Castello di Manta, dated 1411-16, fresco of The Fountain of Youth. =20
One of my favorites!  Not only are there women in chemises (3/4 sleeves and=20
short sleeves), but you can also see that the woman in the short sleeved=20
chemise has underwear on!  It appears to be the same style as the man in the=
=20
fountain.

       Cathedral of Santo Stefano (Prato) dated 1452-65, fresco of the Birth=
=20
of St. Stephen.  Woman in bed (Stephen's mother?) has chemise with long=20
sleeves and a higher neckline that appears to be draping somewhat cowl-like=20
in the front.  Most of the chemises in this period (mid 15th to later 15th)=20
appear to be loosely pleated along the front neckline, but the pleats are no=
t=20
sewn down, more like they put the gown over top of the chemise and=20
artistically arranged the chemise.  Note: if any one finds pictures of=20
chemises without the gown over top, please let me know!  I've been trying to=
=20
resolve this chemise structure for years!

>From Italian Frescoes: The Flowering of the Renaissance, ISBN 0-7892-0221-2)=
:
       San Giacomo Maggiore - Oratory of St. Cecilia, Bologna, dated 1514-16=
.=20
 I include this (rather late period) reference because the burial of St.=20
Cecilia shows her wearing a shift very similar to the Bathhouse Babes.  Note=
=20
that in the earlier pictures of this cycle she is wearing more voluminous=20
garments than those of her ladies, who appear to be dressed in contemporary=20
styles (which by this time are more constrictive and a case can be argued fo=
r=20
some type of restrictive garment; a shift might possibly have been worn unde=
r=20
this type of garment to reduce the amount of exposure to perspiration and to=
=20
prevent any chafing).

Getting back to the 15th century, in the background of Carpaccio's Healing o=
f=20
the Possessed Man (1490's, Venice, Academia) there is a garment hanging from=
=20
a line which appears to be a sleeveless shift.  There are also long sleeved=20
chemises hanging from the line.

I hope those help.  If anyone has references to other pictures from the book=
=20
that has the Bathhouse Babes that shows them dressed in "outerwear", I would=
=20
really like to see them.  I want to try to put their bath attire in context=20
with what was worn on the streets since a lot of the discussion surrounding=20
those images is about the possibility that those clothes were worn under all=
=20
their other garments.

Thanks for asking the question - it did a great job in distracting me from=20
painting the back door!

Nancy Stengel Ulmer
(mka Maddalena Salutati)


--part1_140.fd8e889.2a38d630_boundary
Content-Type: text/html; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable

<HTML><FONT FACE=3Darial,helvetica><FONT  SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=
=3D"Arial" LANG=3D"0">In a message dated 6/11/02 8:23:46 PM Eastern Daylight=
 Time, Colleen McDonald writes:<BR>
<BR>
<BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT=
: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I've been digging and digging o=
n this topic and thought I would see if anyone on the list had additional in=
formation or suggestions on where to find more documentation on 14th century=
 Italian chemises.<BR>
</BLOCKQUOTE><BR>
<BR>
Colleen,<BR>
<BR>
I've been researching Italian costume for a while now.&nbsp; Chemises are a=20=
difficult garment to track until around about the early 16th century when it=
 became the fashion to show off your chemise.&nbsp; Robin's suggestions for=20=
sources are good ones (some of the examples I have). One of the things to ke=
ep in mind is "when" in the 14th century are you looking for documentation f=
or chemises.&nbsp; Fashions changed fairly dramatically during this period,=20=
going from loose tunic-like garments to an Italian version of International=20=
Gothic.&nbsp; The examples I have been able to find are primarily late 14th=20=
century.<BR>
<BR>
Since you seemed from some of your postings to also be interested in 15th ce=
ntury documentation, I do have some references that you may want to look at.=
&nbsp; Unfortunately I do not know if they're on the web, but I have tried t=
o list the reference in a manner that would help you find it (my scanner is=20=
down at the moment).&nbsp; <BR>
<BR>
The first book I think you should look at is the Tacuinam Sanitatis or Medie=
val Health Handbook (ISBN 0-8076-1277-4, paperback) which is a compendium of=
 five manuscripts from around the end of the 14th century, going into the 15=
th.&nbsp; Almost all the depictions of women in their chemises are very simi=
lar to those Robin described from other areas in Europe, although the chemis=
es are not always long-sleeved.&nbsp; However, in the Tacuinam of Li=E8ge, t=
here is a drawing of two women wearing shifts similar to the Bathhouse Babes=
 (#81 The Northerly Wind).&nbsp; These shifts are tabardlike with fastenings=
 along the side at two points.&nbsp; Interestingly, this manuscript has been=
 attributed mainly to Giovannino dei Grassi <I>after</I> his return from Boh=
emia!&nbsp; <BR>
<BR>
The next images I've noted are from a two-part series on Italian frescoes by=
 Stefan Roettgen. <BR>
<BR>
>From Italian Frescoes: The Early Renaissance, ISBN 0-7892-0139-9:&nbsp; <BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Castello del Buon Consiglio in Trent, d=
ated before 1407, fresco for July showing women working in the field <BR>
<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Castello di Manta, dated 1411-16, fresc=
o of The Fountain of Youth.&nbsp; One of my favorites!&nbsp; Not only are th=
ere women in chemises (3/4 sleeves and short sleeves), but you can also see=20=
that the woman in the short sleeved chemise has underwear on!&nbsp; It appea=
rs to be the same style as the man in the fountain.<BR>
<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cathedral of Santo Stefano (Prato) date=
d 1452-65, fresco of the Birth of St. Stephen.&nbsp; Woman in bed (Stephen's=
 mother?) has chemise with long sleeves and a higher neckline that appears t=
o be draping somewhat cowl-like in the front.&nbsp; Most of the chemises in=20=
this period (mid 15th to later 15th) appear to be loosely pleated along the=20=
front neckline, but the pleats are not sewn down, more like they put the gow=
n over top of the chemise and artistically arranged the chemise.&nbsp; Note:=
 if any one finds pictures of chemises without the gown over top, please let=
 me know!&nbsp; I've been trying to resolve this chemise structure for years=
!<BR>
<BR>
>From Italian Frescoes: The Flowering of the Renaissance, ISBN 0-7892-0221-2)=
:<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; San Giacomo Maggiore - Oratory of St. C=
ecilia, Bologna, dated 1514-16.&nbsp; I include this (rather late period) re=
ference because the burial of St. Cecilia shows her wearing a shift very sim=
ilar to the Bathhouse Babes.&nbsp; Note that in the earlier pictures of this=
 cycle she is wearing more voluminous garments than those of her ladies, who=
 appear to be dressed in contemporary styles (which by this time are more co=
nstrictive and a case can be argued for some type of restrictive garment; a=20=
shift might possibly have been worn under this type of garment to reduce the=
 amount of exposure to perspiration and to prevent any chafing).<BR>
<BR>
Getting back to the 15th century, in the background of Carpaccio's Healing o=
f the Possessed Man (1490's, Venice, Academia) there is a garment hanging fr=
om a line which appears to be a sleeveless shift.&nbsp; There are also long=20=
sleeved chemises hanging from the line.<BR>
<BR>
I hope those help.&nbsp; If anyone has references to other pictures from the=
 book that has the Bathhouse Babes that shows them dressed in "outerwear", I=
 would really like to see them.&nbsp; I want to try to put their bath attire=
 in context with what was worn on the streets since a lot of the discussion=20=
surrounding those images is about the possibility that those clothes were wo=
rn under all their other garments.<BR>
<BR>
Thanks for asking the question - it did a great job in distracting me from p=
ainting the back door!<BR>
<BR>
Nancy Stengel Ulmer<BR>
(mka Maddalena Salutati)<BR>
<BR>
</FONT></HTML>
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Subject: Re: [h-cost] 14th century Italian chemise documentation
From: randl <randl@adelphia.net>
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Date: Wed, 12 Jun 2002 13:42:14 -0400
Status: RO

on 6/12/02 12:14 PM, Melanie Schuessler at melanie@faucet.net wrote:

Hi all, 
found this image online:
http://www.lycos.it/webguides/arte/fai/manta.html#
the thumbnail is down towards the bottom.
laurie

> Robin Netherton wrote:
>> 
>> There's a detail from this at the bottom of the April page of the 2000
>> Medieval Woman calendar.
> 
> So there is!  I hadn't remembered that.  What's interesting is that the
> calendar has the picture reversed--that is, mirror-image--compared to
> the one in my fresco book.
> 
>> But what I do see doesn't seem to
>> have a clear left-right progression -- there's a young man dressing and an
>> old person climing in visible on the left, for instance, and what looks
>> like an old man being pulled in frm the right, an old woman getting in
>> from the right, and a young man exiting at the right.
> 
> When you can see the whole thing, and it's reversed from what the
> calendar shows, there's a general taking-off of clothes by old people on
> the left and a general putting-on of clothes by young people on the
> right.  The only exception I see might be the chemised person next to
> the red-and-green gown, who seems to be climbing in (from the right in
> the book) with the help of the guy standing on the rim.
> 
>> Of the two chemised figures, one is on the left, and one is on the right.
>> Both appear old.
> 
> The chemised person with the yellow thing over their shoulder is on the
> old side, and has definite lines on their face.  The other one might be
> old--the only evidence for this would be the visibility of vertebra at
> the back of their neck.
> 
>> I see the problem there -- I can't tell from my copy whether they're women
>> or men, and I don't have the other frescos to compare.
> 
> The reasons I think they're women:
> 1.  The two chemised figures have very pale skin.
> In this fresco, most of the men, young or old, have a ruddier skin tone,
> whereas those figures which are definitely female have very pale, almost
> white, skin.  The only definite exception to this is the pale-skinned
> guy in shirt and briefs being helped on with his 'doublet' (not sure
> what the proper word is in this context) by a person in red with black
> and grey dags.
> 
> 2.  They have headwraps similar to other women in the fresco.
> A.  I think the person in the red-and-green is a woman because the
> red-and-green looks like a woman's gown to me.  I can't think of any
> male garment that looks like that (see description below).  This person
> is wearing a headwrap identical to the two chemised figures, including
> the strip of decor evident on the one being helped into the fountain.
> B.  Not shown in the calendar is a very old lady with pendulous breasts,
> on hands and knees acting as a step-stool for the old guy getting in
> with the help of the curly redhead.  She's naked but for her headwrap,
> which is similar to though definitely not identical to that of the two
> chemised figures and the red-and-green person.  This headwrap has a band
> going under the chin, some kind of knot at the side, and a tail of some
> kind, all in white.
> 
> 3.  One has breasts.
> In my reproduction, it looks like the chemised person with the yellow
> drape has breasts, though again it's hard to tell because the chemise is
> only barely translucent.
> 
> 4.  The men wear shirts instead of chemises.
> All of the people who are definitely male and partly or fully undressed
> are wearing either briefs or briefs and a short shirt.
> 
>> I also see that hint of neckline binding even on this reproduction -- at
>> the right shoulder of the right chemised figure.
> 
> On the left shoulder of the left chemised figure in my book.  This is
> the person with the possible briefs on, but the calendar cuts off at the
> ribcage.
> 
>> I'm personlly wishing I had more of the figure to the left, who is wearing
>> a lace-up gown that has a waistline seam and is brown on the top and green
>> below the waist. Melanie, is it male or female, young or old, and what
>> does the top look like?
> 
> Young, I think female.  Has a headwrap just like the two chemised
> figures.  The sleeves are fullish then gather? pleat? to wide cuffs that
> fasten with five or six buttons and buttonholes.  It looks pretty narrow
> through the body, though the skirt is fuller.  It has a scoop neck, and
> the lacing continues up to the neckline.  Because the person doesn't
> have it all the way down to their shoulders yet, it's hard to tell how
> low the neckline is.  The thing that confuses me (besides the
> contrasting halves) is that when the dress is all the way on, the
> "waistline" looks like it will end up at the low hip, but this may just
> be Painter's License in action.
> 
> Melanie
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Subject: Re: [h-cost] Re: Italian 14th century chemises
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Date: Wed, 12 Jun 2002 13:36:30 -0500 (CDT)
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On Wed, 12 Jun 2002 MaddNancy@aol.com wrote:

> The first book I think you should look at is the Tacuinam Sanitatis or
> Medieval Health Handbook (ISBN 0-8076-1277-4, paperback) which is a
> compendium of five manuscripts from around the end of the 14th
> century, going into the 15th.

I should have thought of that one too. Some added notes: The five
manuscripts are related but in different museums/collections -- the
"compendium" is the modern book, which has samples from most of the five,
many in color, plus more in b/w. You can see more images from one of those
manuscripts in "The Four Seasons of the House of Cerruti." And sometimes
images from these manuscripts appear in the Medieval Woman books (e.g. in
the addressbook or the book of days), so sometimes you can find a color
version of something that b/w in the Helath Handbook. It's useful to
compare images on the same topic from several of the manuscripts.

Another thing to remember is that some if not all of these manuscripts
were made in the Po Valley, which is very much Northern Italy and very
unlike much of what we consider "Italian." In some of the manuscripts, the
fashions look a lot more French than Italian Renaissance. Others are more
recognizably Italian. This may reflect the personal experience of the
specific illuminators.

I'd have to go back to the books to remember which of the five were most
Italianate, which were done where, etc. but most of the distinctions are
summarized well in the Medieval Health Handbook volume.

> I hope those help.  If anyone has references to other pictures from
> the book that has the Bathhouse Babes that shows them dressed in
> "outerwear", I would really like to see them.  I want to try to put
> their bath attire in context with what was worn on the streets since a
> lot of the discussion surrounding those images is about the
> possibility that those clothes were worn under all their other
> garments.

There are quite a few images of fully dressed women in the same
manuscript, and many are reproduced in Olga Sronkova's "Gothic Women's
Fashion." I don't think any of the fully dressed women are specifically
identified as bathwomen, although Sronkova refers to one fully-dressed
female as a "bath attendant in holiday dress" or something like that. I
have no idea why Sronkova calls her that. She could be any random female
as far as I can tell.

It's important to note that the bathhouse babes are all marginals, and
occupy the same role on the manuscript as grotesques and other humorous
caricatures. Their depiction also has some elements that seem to evoke
iconographical display of saints, probably meant in a satiric way. I have
elaborated on some of the issues involved in using these ladies as sources
in earlier postings -- search in the archives under the subject line
"Cotehardie Conundrum/Bohemian Bath Attendants" in July 1999. The whole
thread is worth reading, but my posting of July 9 covers this
specifically.

My personal thought is that the shifts are probably similar to what was
worn by the bath attendants (favored by the King for whom the ms was made)
but that their depiction is romanticized/sexualized rather than realistic,
particularly in silhouette. Thus I wouldn't use these images to document,
say, chemises with boning or other infrastructure to elevate the bosom.
The women were just drawn to be attractive, with the same silhouette as
was used for the clothed women in the book.

I think I'd better do a paper on bathhouse ladies. It keeps coming up, and
I keep collecting more bits and pieces!

--Robin

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Date: Wed, 12 Jun 2002 11:56:27 -0700
Status: RO

Nancy Stengel Ulmer wrote:
<<One of the things to keep in mind is "when" in the 14th century are you looking for documentation for chemises.  Fashions changed fairly dramatically during this period, going from loose tunic-like garments to an Italian version of International Gothic.  The examples I have been able to find are primarily late 14th century.>>

Good point - I'm focusing on the period from 1340 to 1380 and within that, around 1365 in Florence.  (I'm still keeping all of the info on later periods for other projects!)

I have the Tacuinam Sanitatis - thanks for reminding me to look there also.  

The other thing that I've been trying to do is locate written sources (in addition to the visual ones in paintings and manuscripts).  Does anyone have any good suggestions for a literary source?

Thanks for the all of the help - I'm learning a lot!

Colleen
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Date: Wed, 12 Jun 2002 15:09:38 -0500
Status: RO

Where can someone go in Houston for really great buttons and in bulk?


Sincerely,
Franchesca Vecchio Havas
McKinney, Texas
  `°ş¤ř,¸¸,ř¤ş°`


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From: Cin <hysteria95126@yahoo.com>
Subject: Re: [h-cost] Re: 14th century italian chemise documentation
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Date: Wed, 12 Jun 2002 14:21:25 -0700 (PDT)
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--- "Linda J. Thompson" <LindaJThompson@comcast.net> wrote:
> One of my employees spent a semester abroad in Italy this past year.  She
> bought me a book 
> that is in Italian.  It was a book that had pictures of Fresco's in it, and
> the author 
> would pick a particular character and then do a pattern layout of the items
> of clothing the character wears. 

Sounds like the Issogne Castle book.  6 frescos from a castle (14th c) near the
Piedmont/Aosta border. 

Off the top of my head (the book is still in storage): Some university, I think
Milan, did an exhibit on poupees ~0.5m tall.  Everything was in solid fabrics
pieced into stripes or checks shown in the original frescos.  While the result
is fun to look at, take the "historical" patterns with a grain of salt.  IIRC,
the "original" hose shown in the book are from the 19th c for a festival rather
like the Palia of Siena or the orange throwing festival of Ivrea.

It's still a fun book.  Enjoy it!

=====
--cin
Cynthia
hysteria95126@yahoo.com

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Date: Wed, 12 Jun 2002 14:44:00 -0700 (PDT)
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www.cnn.com/2002/TECH/science/06/12/ancient.trade.ap/index.html
With a nifty piece of figured Indian cotton circa from a Roman era deposit.


=====
--cin
Cynthia
hysteria95126@yahoo.com

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Date: Wed, 12 Jun 2002 15:49:47 -0700
Status: RO

To N Kipar-

Thank you so much, that is great clarification on this matter!!

Theresa Eacker

N Kipar wrote: (Major pruning ensues)
> > When one of the URLS to your images gets posted to the list with a
> > historical/period attire question attached, does that mean we've (the
> > liste) infringed on your copyright and that we should ask you first
> > before we do this?
> 
> Oh no, no, don't worry. I can see when this happens because the image is being
> pulled uip from a certain URL (mailing list) but this s not a problem at all,
> after all, how else would one show a particular image/photo?
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Subject: RE: [h-cost] 14th century Italian chemise documentation
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Date: Wed, 12 Jun 2002 15:56:26 -0700
Status: RO

At 9:36 AM -0700 6/12/02, Colleen McDonald wrote:
>Heather Rose Jones wrote:
>
><<Ah, that's useful information, since the item is on my (very 
>long)list of garments to try to track down at some point.  You 
>wouldn't
>happen to have any further information on the Heyne book, would you?>>
>
>Here's the citation for the book:
>
>Heyne, Moriz.  Fünf Bücher Deutscher Hausaltertümer von den Ältesten 
>Geschichtlichen Zeiten Bis Zum 16. Jahrhundert.  Leipzig: Verlag von 
>S. Hirzel, 1903.


Thanks!  That saves me quite a bit of tracking down.


Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Thu, 13 Jun 2002 16:00:10 EDT
Status: RO


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In a message dated 6/13/02 2:04:09 PM Eastern Daylight Time, Robin Netherton 
writes:


> There are quite a few images of fully dressed women in the same
> manuscript, and many are reproduced in Olga Sronkova's "Gothic Women's
> Fashion." I don't think any of the fully dressed women are specifically
> identified as bathwomen, although Sronkova refers to one fully-dressed
> female as a "bath attendant in holiday dress" or something like that. I
> have no idea why Sronkova calls her that. She could be any random female
> as far as I can tell.
> 
> It's important to note that the bathhouse babes are all marginals, and
> occupy the same role on the manuscript as grotesques and other humorous
> caricatures. Their depiction also has some elements that seem to evoke
> iconographical display of saints, probably meant in a satiric way. I have
> elaborated on some of the issues involved in using these ladies as sources
> in earlier postings -- search in the archives under the subject line
> "Cotehardie Conundrum/Bohemian Bath Attendants" in July 1999. The whole
> thread is worth reading, but my posting of July 9 covers this
> specifically.
> 

Thanks for the feedback.  I'll check on getting that book.

BTW, could someone send me Digest #989 and #990.  For some reason they did 
not show up!  (it's always nice to know that one's post got through...)

Thanks

Nancy

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 6/13/02 2:04:09 PM Eastern Daylight Time, Robin Netherton writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">There are quite a few images of fully dressed women in the same<BR>
manuscript, and many are reproduced in Olga Sronkova's "Gothic Women's<BR>
Fashion." I don't think any of the fully dressed women are specifically<BR>
identified as bathwomen, although Sronkova refers to one fully-dressed<BR>
female as a "bath attendant in holiday dress" or something like that. I<BR>
have no idea why Sronkova calls her that. She could be any random female<BR>
as far as I can tell.<BR>
<BR>
It's important to note that the bathhouse babes are all marginals, and<BR>
occupy the same role on the manuscript as grotesques and other humorous<BR>
caricatures. Their depiction also has some elements that seem to evoke<BR>
iconographical display of saints, probably meant in a satiric way. I have<BR>
elaborated on some of the issues involved in using these ladies as sources<BR>
in earlier postings -- search in the archives under the subject line<BR>
"Cotehardie Conundrum/Bohemian Bath Attendants" in July 1999. The whole<BR>
thread is worth reading, but my posting of July 9 covers this<BR>
specifically.<BR>
</BLOCKQUOTE><BR>
<BR>
Thanks for the feedback.&nbsp; I'll check on getting that book.<BR>
<BR>
BTW, could someone send me Digest #989 and #990.&nbsp; For some reason they did not show up!&nbsp; (it's always nice to know that one's post got through...)<BR>
<BR>
Thanks<BR>
<BR>
Nancy</FONT></HTML>

--part1_151.f3d0b7e.2a3a53ca_boundary--
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Subject: Re: [h-cost] Re: h-costume digest, Vol 1 #991 - 7 msgs
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Date: Thu, 13 Jun 2002 17:12:15 -0500
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I wish I could accept the credit, but I'm afraid this wasn't me!

**********************
Rebecca Schmitt
aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
Bristol,
BRF FOF

So many books, so little time

lotsofteapots@charter.net
**********************

----- Original Message -----
From: <MaddNancy@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, June 13, 2002 3:00 PM
Subject: [h-cost] Re: h-costume digest, Vol 1 #991 - 7 msgs


> In a message dated 6/13/02 2:04:09 PM Eastern Daylight Time, Robin
Netherton
> writes:
>
>
> > There are quite a few images of fully dressed women in the same
> > manuscript, and many are reproduced in Olga Sronkova's "Gothic Women's
> > Fashion." I don't think any of the fully dressed women are specifically
> > identified as bathwomen, although Sronkova refers to one fully-dressed
> > female as a "bath attendant in holiday dress" or something like that. I
> > have no idea why Sronkova calls her that. She could be any random female
> > as far as I can tell.
> >
> > It's important to note that the bathhouse babes are all marginals, and
> > occupy the same role on the manuscript as grotesques and other humorous
> > caricatures. Their depiction also has some elements that seem to evoke
> > iconographical display of saints, probably meant in a satiric way. I
have
> > elaborated on some of the issues involved in using these ladies as
sources
> > in earlier postings -- search in the archives under the subject line
> > "Cotehardie Conundrum/Bohemian Bath Attendants" in July 1999. The whole
> > thread is worth reading, but my posting of July 9 covers this
> > specifically.
> >
>
> Thanks for the feedback.  I'll check on getting that book.
>
> BTW, could someone send me Digest #989 and #990.  For some reason they did
> not show up!  (it's always nice to know that one's post got through...)
>
> Thanks
>
> Nancy
>

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Date: Thu, 13 Jun 2002 19:03:43 EDT
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I just wanted to let everyone know that our early 19th century costume 
exhibit, "Dressing the Federal City," is being extended through July 7.  Open 
hours are Fridays and Sundays, noon to 4:00 p.m.  There is a small admission 
fee.
Ann Wass
Riversdale House Museum
4811 Riverdale Rd.
Riverdale Park MD 20737
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Subject: Re: [h-cost] An Explanation about Image and some tips (long)
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Date: Fri, 14 Jun 2002 02:57:54 -0400
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Last word, I promise.  I do not care if people link to our webpages.  I do
care if people link to our images only.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: [h-cost] Port Royal & wedding shoes
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Date: Thu, 13 Jun 2002 23:15:14 -0400
Status: RO

This evening on CBC radio, there was a program on the Order of Good
Cheer, about Samuel de Champlain and his method of improving health over
the winter in Nova Scotia back in the 17th century.  There are recipes
on the web site, that may be of interest to some :

http://www.radio.cbc.ca/programs/ideas/cheer

Not yet on the website, but will be shortly I would imagine, is an
exhibit called "The Perfect Pair: Traditional Wedding Shoes from Around
the World", which opens June 19 at the Bata Shoe Museum in Toronto,
Canada.

http://www.batashoemuseum.ca

If you do visit Toronto, the Royal Ontario Museum finally has a small
clothing and textile exhibit again.  The two pink men's suits, one from
the 18th century and the other quite recent, are particularly memorable.
The proper home will be finished soon.

And while you're in Toronto, don't forget to come out English Country
dancing, costumes strictly optional.


Christine
ECD in TO
http://www.interlog.com/~cedar
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Date: Fri, 14 Jun 2002 20:17:23 +1200
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You bloody well dream about him! Well at least about a web page of that Tanu
costume. There was even a video of the beading process...

So there you go Teddy.

Ok so to make this costume related. I've managed to finish two projects
lurking at the bottom of my wardrobe and am about to complete another
costume: The Pink Diamonds costume from Moulin Rouge. I'm in the middle of
my second flare of RA so sewing has beena hodgepodge affair and really
fricking painful, but it's going to be finished soon. And I'm going to have
to pretty up my costume pages to make room for these new items.

My next project will be using my orange wool to make a wonderful set of coat
shell top and hopefully some garb out of the remainder:)

And I want to start an 1840s white dress as I've just read Jane Eyre again
(sap that I am I cried while reading it...).

So my life in short has been rather hectic. Last thing I needed was Teddy
invading my sleep;)

michaela


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Subject: [h-cost] hairnets, 6th to 16th century C.E.
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This is an in-progress bibliography on hairnets from the 6th to 16th century 
in Europe, with some sprang from Egypt.  (It does not include any of the 
Bronze Age hairnets from Scandinavia.)  I would appreciate learning about any 
other citations or existence of other hairnets.  Information about 
illuminations that show hairnets would also be welcome.  Thank you.

Nancy Spies
Mistress Ingvild Josefsdatter
Atlantia

<< Fleury-Lemberg, Mechthild.  "Textile Conservation and Research."  Bern:  
Abegg Stiftung, 1988: 262, 486.  A child's hairnet frm the 16th-century tombs 
of the Counts von Stubenberg is shown.  It is made of gold threads knotted 
together into hexagons with a knotted decorative silk ribbon, trimmed  with 
seed pearls and gold plaques, attached to the bottom of the hairnet and 
knotted at the back.
 
 Wyss, Robert L.  'Die Handarbeiten der Maria.'  "Artes Minores:  Dank an 
Werner Abegg."  121-123.  Bern:  Verlag Staempfli & Cie, 1973.  Among many 
period pictures of Mary doing textile work is a painting, ca. 1460, showing a 
lady doing netting and an illustration of how to do netting.
  
  Crowfoot, Elisabeth, Frances Pritchard, and Kay Staniland.  "Textiles and 
Clothing c. 1150 - c. 1450.  HMSO:  London, 1992:  145-149.  Four examples of 
plain silk hairnets from 13th- and 14th-century London excavations are shown 
with pictures of the hairnets, illustrations showing the technique used, two 
extant netting needles, and technical data.
  
  Sorber, Frieda.  'The St.-Truiden Textiles:  Embroidered Net, Tabletwoven 
Borders, Braided and Knotted Trim.'  "Medieval Textiles, Particularly in the 
Meuse-Rhine Area," 51-59.  Saint Truiden:  Provinciaal Museum voor Religieuze 
Kunst, 1991.  
  Pieces of seven embroidered nets are preserved among the large number of 
medieval textiles discovered at St. Truiden, Belgium, all dating from the 
13th, 14th, and 15th centuries.  Six are complete or nearly complete hairnets 
while the seventh is too small to determine its function.  They are all made 
of silk with the number of meshes varying from 9 to 64 per square centimeter. 
 They are all worked in the round, and in some of the hairnets remains of 
braided or woven drawstrings remain.  The embroidery on all the hairnets is 
similar:  the small designs in horizontal rows are birds on four nets and 
geometrical designs on two nets.  One of the bird-embroidered hairnets is 
shown.  The embroidery stitches used are darning with additional elements in 
chainstitch and wrapping.  The embroidery differs from the common type of 
embroidered nets in that the darning on these hairnets is only connected to 
the knotted ground at the outlines of the design elements rather than 
incorporating the meshes of the net in the darning process.  
  
  Mittler, Elmar and Wilfried Werner.  "Codex Manesse" (Katalog zur 
Ausstellung).  Heidelberg:  Edition Braus, 1988.  Two very interesting 
14th-century hairnets are shown in this catalogue:  one is a circular net 
worked in alternating rows of white and green silk with 38 shields with 
different devices, made apparently of leather/suede, attached in circular 
rows, with a rose, again apparently in leather/suede, at the center of the 
hairnet.  The other hair net is made up of narrow strips of leather/suede, 
all attached at one end around a ring, then formed into a lattice with small 
?flowers of leather/suede at each intersection.  The catalogue numbers for 
these two hairnets are C48 and C49, and the hairnets are shown in color.  
(The catalogue is incorrect in saying that this second hairnet is made of 
silk, by the way.)
  
  Vassilika, Eleni.  "Greek and Roman Art."  Cambridge:  Cambridge University 
Press, 1998, 130-131.  A fourth-sixth-century Coptic hairnet/headcovering 
made in sprang is shown.
  
  Rutschowscaya, Marie-Helene.  "Coptic Fabrics."  Paris:  Adam Biro, 1990.  
A "head net" in linen sprang from Coptic Egypt is shown.
  
  Stauffer, Annemarie.  "Textiles of Late Antiquity."  New York:  
Metropolitan Museum of Art, 1995.  Two sprang "hats" from ?5th-8th century 
Egypt are shown in color on p. 29 with the catalogue entries on p. 46.
  
  Pritchard, Frances.  'Silk Braids and Textiles of the Viking Age from 
Dublin.' In "Archaeological Textiles" (NESAT II), edited by Lise Bender 
Joergensen, Bente Magnus, and Elisabeth Munksgaard, 155-156.  Copenhagen:  
Arkaeologisk Institut, 1988.  The author mentions that at least seven knotted 
mesh filets were found in excavations in Dublin, all made of silk, as well as 
one sprang fragment, also in silk, for which there is not given a function.
  
  Zanni, Annalisa.  'The Little Net Bonnet in Museo Poldi Pezzoli in Milan.'  
In "Interdisciplinary Approach to the Study and Conservation of Medieval 
Textiles," edited by Rosalia Varoli-Piazza, 196.  Rome:  Il Mondo 3 Edizioni, 
1998.  A 9th-century hairnet, of unknown origin, made of beige linen threads 
with red and ochre wool threads in sprang is shown with drawings showing the 
construction of the hairnet.
  
  Petrascheck-Heim, Ingeborg.  "Ausgewaehlte Textilien aus den neuzeitlichen 
Graebern der Leechkirche."  Vienna:  Fundberichte aus Oesterreich, 1996.  
There is a fragment of a ?16th-century silk hairnet is shown.
  
  Henshall, A.S., S. Maxwell, and others.  'Early Textiles Found in 
Scotland.'  "Proceedings of the Society of Antiquaries of Scotland" LXXXVI 
and LXXXVIII (1951-56): 2.  The authors mention three or four examples of 
sprang in "the museum", all made in sprang and all dating from the Viking age 
or earlier.
  
  Spies, Nancy.  "Ecclesiastical Pomp and Aristocratic Circumstance:  A 
Thousand Years of Brocaded Tabletwoven Bands."  Jarrettsville MD:  Arelate 
Studio, 2000:  40.  A line drawing of an embroidered silk mesh hairnet, from 
the 12th-13th-century tomb of a Hessian "landgrave" in the church of St. 
Elisabeth in Marburg, Germany, is shown.  The hairnet has been divided into 
large diamonds with a thicker thread in a chain or stem stitch.  Alternating 
rows of diamonds are embroidered with large geometric designs.  At the bottom 
edge of the hairnet is a fragment of a brocaded tabletwoven band woven with 
green silk and gold thread.
  
  Victoria and Albert Museum.  I have a black-and-white photograph of an 
embroidered mesh net that may have been head gear but could also have been a 
tie on a cloak a la the Mammen cloak.  I have no date or provenance for this 
item as the negative was misnumbered and came with no information!  (A letter 
has been sent to the V & A asking for the missing informaiton.)  It is made 
up of two pieces which appear to have been cut from larger pieces:  a long 
thin piece embroidered entirely with shields with different devices in 15 
rows of four shields in each row.  The second piece is trapezoidal in shape 
and is embroidered with shields and "cross crosslets" alternating across each 
row, there being 8 remaining rows.  All the shields have the same device. >>
  >>


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Subject: Fwd: [HNW] Re:darned netting technique (Ingvild)
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Fleury-Lemberg, Mechthild.  "Textile Conservation and Research."  Bern:  
Abegg Stiftung, 1988: 262, 486.  A child's hairnet frm the tombs of the 
Counts von Stubenberg is shown.  It is made of gold threads knotted together 
into hexagons with a knotted decorative silk ribbon, trimmed  with seed 
pearls and gold plaques, attached to the bottom of the hairnet and knotted at 
the back.

Wyss, Robert L.  'Die Handarbeiten der Maria.'  "Artes Minores:  Dank an 
Werner Abegg."  121-123.  Bern:  Verlag Staempfli & Cie, 1973.  Among many 
period pictures of Mary doing textile work is a painting, ca. 1460, showing a 
lady doing netting and an illustration of how to do netting.
 
 Crowfoot, Elisabeth, Frances Pritchard, and Kay Staniland.  "Textiles and 
Clothing c. 1150 - c. 1450.  HMSO:  London, 1992:  145-149.  Four examples of 
plain silk hairnets from 13th- and 14th-century London excavations are shown 
with pictures of the hairnets, illustrations showing the technique used, two 
extant netting needles, and technical data.
 
 Sorber, Frieda.  'The St.-Truiden Textiles:  Embroidered Net, Tabletwoven 
Borders, Braided and Knotted Trim.'  "Medieval Textiles, Particularly in the 
Meuse-Rhine Area," 51-59.  Saint Truiden:  Provinciaal Museum voor Religieuze 
Kunst, 1991.  
 Pieces of seven embroidered nets are preserved among the large number of 
medieval textiles discovered at St. Truiden, Belgium, all dating from the 
13th, 14th, and 15th centuries.  Six are complete or nearly complete hairnets 
while the seventh is too small to determine its function.  They are all made 
of silk with the number of meshes varying from 9 to 64 per square centimeter. 
 They are all worked in the round, and in some of the hairnets remains of 
braided or woven drawstrings remain.  The embroidery on all the hairnets is 
similar:  the small designs in horizontal rows are birds on four nets and 
geometrical designs on two nets.  One of the bird-embroidered hairnets is 
shown.  The embroidery stitches used are darning with additional elements in 
chainstitch and wrapping.  The embroidery differs from the common type of 
embroidered nets in that the darning on these hairnets is only connected to 
the knotted ground at the outlines of the design elements rather than 
incorporating the meshes of the net in the darning process.  
 
 Mittler, Elmar and Wilfried Werner.  "Codex Manesse" (Katalog zur 
Ausstellung).  Heidelberg:  Edition Braus, 1988.  Two very interesting 
14th-century hairnets are shown in this catalogue:  one is a circular net 
worked in alternating rows of white and green silk with 38 shields with 
different devices, made apparently of leather/suede, attached in circular 
rows, with a rose, again apparently in leather/suede, at the center of the 
hairnet.  The other hair net is made up of narrow strips of leather/suede, 
all attached at one end around a ring, then formed into a lattice with small 
?flowers of leather/suede at each intersection.  The catalogue numbers for 
these two hairnets are C48 and C49, and the hairnets are shown in color.  
(The catalogue is incorrect in saying that this second hairnet is made of 
silk, by the way.)
 
 Vassilika, Eleni.  "Greek and Roman Art."  Cambridge:  Cambridge University 
Press, 1998, 130-131.  A fourth-sixth-century Coptic hairnet/headcovering 
made in sprang is shown.
 
 Rutschowscaya, Marie-Helene.  "Coptic Fabrics."  Paris:  Adam Biro, 1990.  A 
"head net" in linen sprang from Coptic Egypt is shown.
 
 Stauffer, Annemarie.  "Textiles of Late Antiquity."  New York:  Metropolitan 
Museum of Art, 1995.  Two sprang "hats" from ?5th-8th century Egypt are shown 
in color on p. 29 with the catalogue entries on p. 46.
 
 Pritchard, Frances.  'Silk Braids and Textiles of the Viking Age from 
Dublin.' In "Archaeological Textiles" (NESAT II), edited by Lise Bender 
Joergensen, Bente Magnus, and Elisabeth Munksgaard, 155-156.  Copenhagen:  
Arkaeologisk Institut, 1988.  The author mentions that at least seven knotted 
mesh filets were found in excavations in Dublin, all made of silk, as well as 
one sprang fragment, also in silk, for which there is not given a function.
 
 Zanni, Annalisa.  'The Little Net Bonnet in Museo Poldi Pezzoli in Milan.'  
In "Interdisciplinary Approach to the Study and Conservation of Medieval 
Textiles," edited by Rosalia Varoli-Piazza, 196.  Rome:  Il Mondo 3 Edizioni, 
1998.  A 9th-century hairnet, of unknown origin, made of beige linen threads 
with red and ochre wool threads in sprang is shown with drawings showing the 
construction of the hairnet.
 
 Petrascheck-Heim, Ingeborg.  "Ausgewaehlte Textilien aus den neuzeitlichen 
Graebern der Leechkirche."  Vienna:  Fundberichte aus Oesterreich, 1996.  
There is a fragment of a ?16th-century silk hairnet is shown.
 
 Henshall, A.S., S. Maxwell, and others.  'Early Textiles Found in Scotland.' 
 "Proceedings of the Society of Antiquaries of Scotland" LXXXVI and LXXXVIII 
(1951-56): 2.  The authors mention three or four examples of sprang in "the 
museum", all made in sprang and all dating from the Viking age or earlier.
 
 Spies, Nancy.  "Ecclesiastical Pomp and Aristocratic Circumstance:  A 
Thousand Years of Brocaded Tabletwoven Bands."  Jarrettsville MD:  Arelate 
Studio, 2000:  40.  A line drawing of an embroidered silk mesh hairnet, from 
the 12th-13th-century tomb of a Hessian "landgrave" in the church of St. 
Elisabeth in Marburg, Germany, is shown.  The hairnet has been divided into 
large diamonds with a thicker thread in a chain or stem stitch.  Alternating 
rows of diamonds are embroidered with large geometric designs.  At the bottom 
edge of the hairnet is a fragment of a brocaded tabletwoven band woven with 
green silk and gold thread.
 
 Victoria and Albert Museum.  I have a black-and-white photograph of an 
embroidered mesh net that may have been head gear but could also have been a 
tie on a cloak a la the Mammen cloak.  I have no date or provenance for this 
item as the negative was misnumbered and came with no information!  (A letter 
has been sent to the V & A asking for the missing informaiton.)  It is made 
up of two pieces which appear to have been cut from larger pieces:  a long 
thin piece embroidered entirely with shields with different devices in 15 
rows of four shields in each row.  The second piece is trapezoidal in shape 
and is embroidered with shields and "cross crosslets" alternating across each 
row, there being 8 remaining rows.  All the shields have the same device. >>


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Date: Mon, 10 Jun 2002 18:28:17 EDT
Subject: Re: [HNW] Re:darned netting technique (Ingvild)
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<< Would you care to share your sources?  :)  I teach the base netting and am
 always on the lookout for more pictures  ;) >>

OK, here is what I have on hairnets.  It is a barely-begun work-in-progress, 
and I would really appreciate any other citations that folks can contribute.  
I do not include on this list any of the Bronze Age hairnets shown in Hald 
(contact me if you want these citations), but I have included in-period, i.e. 
6th to 16th century, citations about sprang caps that, in my opinion, are 
borderline hairnets due to the technique used to make them.  These citations 
are given in no particular order, and again, I ask that anyone who has 
further citations to post them to the list.  Thanks.  Nancy / Ingvild

Wyss, Robert L.  'Die Handarbeiten der Maria.'  "Artes Minores:  Dank an 
Werner Abegg."  121-123.  Bern:  Verlag Staempfli & Cie, 1973.  Among many 
period pictures of Mary doing textile work is a painting, ca. 1460, showing a 
lady doing netting and an illustration of how to do netting.

Crowfoot, Elisabeth, Frances Pritchard, and Kay Staniland.  "Textiles and 
Clothing c. 1150 - c. 1450.  HMSO:  London, 1992:  145-149.  Four examples of 
plain silk hairnets from 13th- and 14th-century London excavations are shown 
with pictures of the hairnets, illustrations showing the technique used, two 
extant netting needles, and technical data.

Sorber, Frieda.  'The St.-Truiden Textiles:  Embroidered Net, Tabletwoven 
Borders, Braided and Knotted Trim.'  "Medieval Textiles, Particularly in the 
Meuse-Rhine Area," 51-59.  Saint Truiden:  Provinciaal Museum voor Religieuze 
Kunst, 1991.  
Pieces of seven embroidered nets are preserved among the large number of 
medieval textiles discovered at St. Truiden, Belgium, all dating from the 
13th, 14th, and 15th centuries.  Six are complete or nearly complete hairnets 
while the seventh is too small to determine its function.  They are all made 
of silk with the number of meshes varying from 9 to 64 per square centimeter. 
 They are all worked in the round, and in some of the hairnets remains of 
braided or woven drawstrings remain.  The embroidery on all the hairnets is 
similar:  the small designs in horizontal rows are birds on four nets and 
geometrical designs on two nets.  One of the bird-embroidered hairnets is 
shown.  The embroidery stitches used are darning with additional elements in 
chainstitch and wrapping.  The embroidery differs from the common type of 
embroidered nets in that the darning on these hairnets is only connected to 
the knotted ground at the outlines of the design elements rather than 
incorporating the meshes of the net in the darning process.  

Mittler, Elmar and Wilfried Werner.  "Codex Manesse" (Katalog zur 
Ausstellung).  Heidelberg:  Edition Braus, 1988.  Two very interesting 
14th-century hairnets are shown in this catalogue:  one is a circular net 
worked in alternating rows of white and green silk with 38 shields with 
different devices, made apparently of leather/suede, attached in circular 
rows, with a rose, again apparently in leather/suede, at the center of the 
hairnet.  The other hair net is made up of narrow strips of leather/suede, 
all attached at one end around a ring, then formed into a lattice with small 
?flowers of leather/suede at each intersection.  The catalogue numbers for 
these two hairnets are C48 and C49, and the hairnets are shown in color.  
(The catalogue is incorrect in saying that this second hairnet is made of 
silk, by the way.)

Vassilika, Eleni.  "Greek and Roman Art."  Cambridge:  Cambridge University 
Press, 1998, 130-131.  A fourth-sixth-century Coptic hairnet/headcovering 
made in sprang is shown.

Rutschowscaya, Marie-Helene.  "Coptic Fabrics."  Paris:  Adam Biro, 1990.  A 
"head net" in linen sprang from Coptic Egypt is shown.

Stauffer, Annemarie.  "Textiles of Late Antiquity."  New York:  Metropolitan 
Museum of Art, 1995.  Two sprang "hats" from ?5th-8th century Egypt are shown 
in color on p. 29 with the catalogue entries on p. 46.

Pritchard, Frances.  'Silk Braids and Textiles of the Viking Age from 
Dublin.' In "Archaeological Textiles" (NESAT II), edited by Lise Bender 
Joergensen, Bente Magnus, and Elisabeth Munksgaard, 155-156.  Copenhagen:  
Arkaeologisk Institut, 1988.  The author mentions that at least seven knotted 
mesh filets were found in excavations in Dublin, all made of silk, as well as 
one sprang fragment, also in silk, for which there is not given a function.

Zanni, Annalisa.  'The Little Net Bonnet in Museo Poldi Pezzoli in Milan.'  
In "Interdisciplinary Approach to the Study and Conservation of Medieval 
Textiles," edited by Rosalia Varoli-Piazza, 196.  Rome:  Il Mondo 3 Edizioni, 
1998.  A 9th-century hairnet, of unknown origin, made of beige linen threads 
with red and ochre wool threads in sprang is shown with drawings showing the 
construction of the hairnet.

Petrascheck-Heim, Ingeborg.  "Ausgewaehlte Textilien aus den neuzeitlichen 
Graebern der Leechkirche."  Vienna:  Fundberichte aus Oesterreich, 1996.  
There is a fragment of a ?16th-century silk hairnet is shown.

Henshall, A.S., S. Maxwell, and others.  'Early Textiles Found in Scotland.'  
"Proceedings of the Society of Antiquaries of Scotland" LXXXVI and LXXXVIII 
(1951-56): 2.  The authors mention three or four examples of sprang in "the 
museum", all made in sprang and all dating from the Viking age or earlier.

Spies, Nancy.  "Ecclesiastical Pomp and Aristocratic Circumstance:  A 
Thousand Years of Brocaded Tabletwoven Bands."  Jarrettsville MD:  Arelate 
Studio, 2000:  40.  A line drawing of an embroidered silk mesh hairnet, from 
the 12th-13th-century tomb of a Hessian "landgrave" in the church of St. 
Elisabeth in Marburg, Germany, is shown.  The hairnet has been divided into 
large diamonds with a thicker thread in a chain or stem stitch.  Alternating 
rows of diamonds are embroidered with large geometric designs.  At the bottom 
edge of the hairnet is a fragment of a brocaded tabletwoven band woven with 
green silk and gold thread.

Victoria and Albert Museum.  I have a black-and-white photograph of an 
embroidered mesh net that may have been head gear but could also have been a 
tie on a cloak a la the Mammen cloak.  I have no date or provenance for this 
item as the negative was misnumbered and came with no information!  (A letter 
has been sent to the V & A asking for the missing informaiton.)  It is made 
up of two pieces which appear to have been cut from larger pieces:  a long 
thin piece embroidered entirely with shields with different devices in 15 
rows of four shields in each row.  The second piece is trapezoidal in shape 
and is embroidered with shields and "cross crosslets" alternating across each 
row, there being 8 remaining rows.  All the shields have the same device.

--part2_169.f1d4a13.2a3a264b_boundary--

--part1_169.f1d4a13.2a3bbec4_boundary--
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Thread-Topic: 14th century Italian chemises (again)
Thread-Index: AcIT8Dyw84KuswhrQ0WkT2xZmr/N4g==
From: "Colleen McDonald" <Colleen.McDonald@mackie.com>
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Date: Fri, 14 Jun 2002 15:10:05 -0700
Status: RO

Hi all,

Here's the latest in the chemise documentation hunt.  I have found two paintings 
that show the long-sleeved version of the chemise (both viewable at The Web Gallery
 of Art http://www.kfki.hu/~arthp/index1.html):

Scenes from the Life of Saint John the Baptist (1330-40)
MASTER of the Life of Saint John the Baptist
Italian painter (active 1325-1350 in Rimini) 
National Gallery of Art, Washington

The painting shows the mother of St John the Baptist lying in bed in her chemise.  It looks pretty detailed and I can see that band at the neckline that Robin was mentioning.

The Birth of the Virgin (1365)
GIOVANNI DA MILANO
Italian painter (active 1350-69, Milano, Firenze)
Rinuccini Chapel, Santa Croce, Florence

This one shows Mary's mother (St. Anne ?) in bed with what appears to be a long-sleeved chemise underneath a looser, sleeveless orange gown.  It looks like the chemise is ivory colored but that may just be the age of the fresco.

Detail of both courtesy of The Web Gallery of Art.

Best regards,

Colleen
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From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] hairnets, 6th to 16th century C.E.
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Date: Sat, 15 Jun 2002 00:12:33 -0500
Status: RO

At 05:48 PM 6/14/2002 -0400, you wrote:
>This is an in-progress bibliography on hairnets from the 6th to 16th century
>in Europe, with some sprang from Egypt.  (It does not include any of the
>Bronze Age hairnets from Scandinavia.)  I would appreciate learning about any
>other citations or existence of other hairnets.  Information about
>illuminations that show hairnets would also be welcome.  Thank you.
>
>Nancy Spies
>Mistress Ingvild Josefsdatter
>Atlantia

Greetings,

I don't know the dates involved or what specific volume # number it was but 
there was an article on Greek sprang hair nets in the American Journal of 
Archeology in I think vol 96.  Naturally, it was the one volume missing 
from the library...

Cheers,
Danielle

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Subject: Re: [h-cost] hairnets, 6th to 16th century C.E.
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Date: Sat, 15 Jun 2002 11:48:59 -0700
Status: RO

At 12:12 AM -0500 6/15/02, Danielle Nunn-Weinberg wrote:
>At 05:48 PM 6/14/2002 -0400, you wrote:
>>This is an in-progress bibliography on hairnets from the 6th to 16th century
>>in Europe, with some sprang from Egypt.  (It does not include any of the
>>Bronze Age hairnets from Scandinavia.)  I would appreciate learning about any
>>other citations or existence of other hairnets.  Information about
>>illuminations that show hairnets would also be welcome.  Thank you.
>>
>>Nancy Spies
>>Mistress Ingvild Josefsdatter
>>Atlantia
>
>Greetings,
>
>I don't know the dates involved or what specific volume # number it 
>was but there was an article on Greek sprang hair nets in the 
>American Journal of Archeology in I think vol 96.  Naturally, it was 
>the one volume missing from the library...

Would that be:

Jenkins, Ian & Dyfri Williams.  1985.  "Sprang Hair Nets: Their 
manufacture and Use in Ancient Greece" in  Am J of Archaeology: 
89:411-418.

Would you like a copy?  I have it in my files.  My recollection is 
that it doesn't involve any actual surviving examples -- the focus is 
on representations in art that could either be the manufacturing 
process or the finished product.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Interesting Photo
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Date: Sat, 15 Jun 2002 21:17:47 -0400
Status: RO

Go to http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm and click on
the last thumbnail photo of a man.  He has a really interesting costume on.
Any guess as to what it is called?  Or is this an occupational costume?

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Date: Sat, 15 Jun 2002 21:56:07 -0400
Status: RO

Do you mean the clergy man [black long cloak over a cassock] or 
the zoave with the big bang-stick?
-- 
~~~~~
The Quote Starts Here:
Quoth

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Date: Sat, 15 Jun 2002 20:56:58 -0500
Status: RO

I wonder if he is a priest?

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Penny Ladnier
Sent: Saturday, June 15, 2002 8:18 PM
To: h-costume
Subject: [h-cost] Interesting Photo

Go to http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm and click
on
the last thumbnail photo of a man.  He has a really interesting costume
on.
Any guess as to what it is called?  Or is this an occupational costume?

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: Re: [h-cost] Interesting Photo
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Date: Sat, 15 Jun 2002 23:07:03 -0700
Status: RO


>Go to http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm and click on
>the last thumbnail photo of a man.  He has a really interesting costume on.
>Any guess as to what it is called?  Or is this an occupational costume?

Eclesiastical is my guess.  Look at the hat, the tasseled cord holding the 
cloak together, and the cassock-like garment he's wearing.

Kayta

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Interesting Photo
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Date: Sun, 16 Jun 2002 08:59:35 +0100 (BST)
Status: RO

Oh yes, he's a priest. Is it a Spanish gallery? Yes, from the URL I assume so.
I recall photos from my grandparents and older showing priests wear similar
robes, Catholic priests.

Nicole

 --- Penny Ladnier <penny@costumegallery.com> wrote: > Go to
http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm and click on
> the last thumbnail photo of a man.  He has a really interesting costume on.
> Any guess as to what it is called?  Or is this an occupational costume?
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> 
> 
> 
> 
> 
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=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Sun, 16 Jun 2002 09:38:52 -0600
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A priest of some sort? or a pastor?
--sue

Penny Ladnier wrote:
> 
> Go to http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm and click on
> the last thumbnail photo of a man.  He has a really interesting costume on.
> Any guess as to what it is called?  Or is this an occupational costume?
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From h-costume-admin@indra.com  Sun Jun 16 14:30:27 2002
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Date: Sun, 16 Jun 2002 14:21:44 -0400
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Nicole,

This is a Spanish Gallery.  Here is the whole URL if you want to see all the
galleries http://www.iespana.es/lucessombras/

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
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Date: Sun, 16 Jun 2002 14:28:10 -0400
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I wonder too.  Its a great costume!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
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Date: Sun, 16 Jun 2002 14:28:38 -0400
Status: RO

Yes, Marilyn.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: [h-cost] Pearl Help
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Date: Sun, 16 Jun 2002 15:19:44 -0400
Status: RO

Someone emailed me looking for synethic pearls. Below is her message.  If
you can help, please email her directly.

**************************************************************************
I'm in the midst of doing my interpretation of the Eleanora de Medici gown
she wore in the sitting with Bronzino.  A jeweler friend of mine is making
an interpretation of the belt...however, we're having difficulty finding a
"pearl" appropriate to use for the large baroque pearl before the cascade of
smaller pearls.  Anyway, that pearl appears to be somewhere in the
neighborhood of 24mm or more.

Would you know of anywhere a synthetic pearl (oh heavens would I love to be
able to afford even a cultured pearl of that size!) over 20mm can be found.
I've tried all my standard suppliers and am just not getting anywhere.  I'm
really looking for something of a decent (glass, good resin, not cheap
Christmas-decoration plastic) appearance.  (Since smokey quartz and garnets
will be used in the piece I hate the idea of having to use a tacky
substitute.)

Unfortunately, I live in the backwoods of Montana (entirely by choice!) and
don't have much access to decorators, etc.

If there's any advice, suggestions, vendors or help you could provide I
would greatly appreciately.  Ideally I'm looking for a white baroque
synthetic pearl in the neighborhood of 22-26mm, preferably somewhat oval
(the baroque), not a round/spherical.

Thanks for any help you can provide, I really appreciate it.

PLEASE RESPOND TO nikkijim@montana.com  thank you.





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Date: Sun, 16 Jun 2002 14:20:44 -0500
Status: RO

gotta love the use of props, notice how the rug goes _under_ the column?
I also suspect a painted backdrop- seems to be a portrait studio...
Betsy (aspiring Photographer)

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Penny Ladnier
Sent: Sunday, June 16, 2002 1:28 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Interesting Photo


I wonder too.  Its a great costume!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Very interesting photo!  I'm going to jump into the fray with a few deduc=
tions, and guesses (wild or otherwise)!

Given the back drop, which appears to be ornate, but not in the manner th=
at I am thinking would be appropriate for 'clergy'.  It looks like a stag=
e front or in front of a 'governmental building' (like a city hall?).

So, the costume could be for a stage production?  Or maybe a judicial or =
some such thing?

Giacinta
not my period, but I'm intrigued!

----- Original Message -----
From: Sue Clemenger
Sent: Sunday, June 16, 2002 8:43 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Interesting Photo

A priest of some sort? or a pastor?
--sue

Penny Ladnier wrote:
>
> Go to http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm and clic=
k on
> the last thumbnail photo of a man.  He has a really interesting costume=
 on.
> Any guess as to what it is called?  Or is this an occupational costume?
_______________________________________________
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<HTML><BODY STYLE=3D"font:10pt verdana; border:none;"><DIV>Very interesti=
ng photo!&nbsp; I'm going to jump into the fray with a few deductions, an=
d guesses (wild or otherwise)!</DIV> <DIV>&nbsp;</DIV> <DIV>Given the bac=
k drop, which appears to be ornate, but not in the manner that I am&nbsp;=
thinking would be appropriate for 'clergy'.&nbsp; It looks like a stage f=
ront or in front of a 'governmental building' (like a city hall?).</DIV> =
<DIV>&nbsp;</DIV> <DIV>So, the costume could be for a stage production?&n=
bsp; Or maybe a judicial or some such thing?</DIV> <DIV>&nbsp;</DIV> <DIV=
>Giacinta</DIV> <DIV>not my period, but I'm intrigued!</DIV> <DIV>&nbsp;<=
/DIV> <BLOCKQUOTE style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-=
LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=
=3D"FONT: 10pt Arial">----- Original Message -----</DIV> <DIV style=3D"BA=
CKGROUND: #e4e4e4; FONT: 10pt Arial; COLOR: black"><B>From:</B> Sue Cleme=
nger</DIV> <DIV style=3D"FONT: 10pt Arial"><B>Sent:</B> Sunday, June 16, =
2002 8:43 AM</DIV> <DIV style=3D"FONT: 10pt Arial"><B>To:</B> h-costume@i=
ndra.com</DIV> <DIV style=3D"FONT: 10pt Arial"><B>Subject:</B> Re: [h-cos=
t] Interesting Photo</DIV> <DIV>&nbsp;</DIV>A priest of some sort? or a p=
astor?<BR>--sue<BR><BR>Penny Ladnier wrote:<BR>&gt;<BR>&gt; Go to http://=
www.iespana.es/lucessombras/GALERIA1/galeria4.htm and click on<BR>&gt; th=
e last thumbnail photo of a man.&nbsp; He has a really interesting costum=
e on.<BR>&gt; Any guess as to what it is called?&nbsp; Or is this an occu=
pational costume?<BR>_______________________________________________<BR>h=
-costume mailing list<BR>h-costume@mail.indra.com<BR>http://mail.indra.co=
m/mailman/listinfo/h-costume<BR></BLOCKQUOTE></BODY></HTML>

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From h-costume-admin@indra.com  Sun Jun 16 21:22:54 2002
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Date: Sun, 16 Jun 2002 21:08:53 -0400
Status: RO

Passing the info along...
For those of you in the DC area, this is coming up on June 29.  She may be
taking late seller registrations, I'm not sure.
-----------------------------------
REENACTOR'S FLEA MARKET
Sell, buy or barter for items from BC to World War II

Saturday, June 29, 2002
Rain date June 30, 2002

9 AM - 2 PM

Limited to vintage and authentic reproductin reenacting items as well as
camping comfort items only.  No sutlers please.

Selling: Sellers must contact Eric Littlewood or Susan Parris by June 15,
2002 at 301-607-8470 or sparris@starpower.net to register.  Be sure to
bring a table or blanket for displaying your items.  Tents and awnings may
not be used.  Most of the area will be shaded naturally.

Buying: bring cash in small bills and a truck.

Location: Mount Airy, Maryland

Directions from North, East or West: From I-70, take the "Route 27 Damascus
Mount Airy" exit.  Go south on Route 27 approximately half a mile. Take the
second LEFT on Penn Shop Road.  (Do not turn right on Penn Shop at the stop
light prior to the LEFT turn on Penn shop.)  Yield to the right at the
circle on Long Corner Road.  Go approximately 1 mile to 1835 Long Corner on
the left.  Follow "reenactor" signs on Long Corner Road.

Directions from the South:  Go north on I-270 to exit 16A (Route 27, Father
Hurley Blvd.)  Stay to your right off the exit and go 7 miles on Route 27
North.  In Damascus, yield right at the second light on Route 108 East.
Take the third left on Howard Chapel Drive.  Turn right at the dead end on
Gue Road.  Then turn left at the dead end on Long Corner Road.  Go
approximately 2 miles to 1835 Long Corner Road on the right.  Follow
"reenactor" signs on Long Corner Road.

Items for Sale: Linen and other fabrics, leather, eating utensils, cooking
equipment, Ikea cot with springs and mattress, pole weapons, daggers,
armor, helmets, mail, tents, small propane tent heater, sheep skins,
clothing, hats, handmade Viking bed, baskets... and whatever else people
bring to sell.

Kevin + Mara Riley

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Did anyone look at the Spanish hairstyles on the ladies' photos in that
gallery?  They are beautiful.  So are the little girls.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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<DIV><FONT face=3DArial size=3D3>Did anyone look at the Spanish =
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ladies' photos in that gallery?&nbsp; They are beautiful.&nbsp; So are =
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<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Interesting Photo
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Date: Sun, 16 Jun 2002 22:57:41 -0700
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>Did anyone look at the Spanish hairstyles on the ladies' photos in that 
>gallery?  They are beautiful.  So are the little girls.

Mostly 1870s.

Kayta

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In a message dated 6/16/2002 11:08:43 AM Pacific Daylight Time, 
h-costume-request@indra.com writes:


> http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm 


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/16/2002 11:08:43 AM Pacific Daylight Time, h-costume-request@indra.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm </BLOCKQUOTE><BR>
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> http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm 
>    
> 
> If you look in Racinet's Full Color Pictorial History of Western Costume on 
> plate 59 bottom photo lower left, there is a man dressed similiarly to the 
> Spanish photo except this one is in white. It is from Italian Religious 
> orders 17th cent of students of Roman religious colleges.  Our particular 
> one is from Salviati College and except for color could be identical so it 
> probably is of some Spanish Catholic cleric.  Some clothes don't change 
much over the years!!

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages.

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<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">http://www.iespana.es/lucessombras/GALERIA1/galeria4.htm <BR>
&nbsp;&nbsp; <BR>
<BR>
If you look in Racinet's Full Color Pictorial History of Western Costume on plate 59 bottom photo lower left, there is a man dressed similiarly to the Spanish photo except this one is in white. It is from Italian Religious orders 17th cent of students of Roman religious colleges.&nbsp; Our particular one is from Salviati College and except for color could be identical so it probably is of some Spanish Catholic cleric.&nbsp; Some clothes do</BLOCKQUOTE>n</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">'t change much over the years!!<BR>
<BR>
Donna Scarfe<BR>
Fyne Hats By Felicity<BR>
Period Headgear for Past Ages.<BR>
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] You know Teddy's been mentioned too often on h-cost
 when...
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Date: Mon, 17 Jun 2002 10:22:41 +0000 (GMT)
Status: RO


> You bloody well dream about him! Well at least about a web page of
> that Tanu costume. There was even a video of the beading process...
> 
> So there you go Teddy.

Oh Michaela, I'm sorry!

> So my life in short has been rather hectic. Last thing I needed
> was Teddy invading my sleep;) 

The only thing I can offer by way of condolences for this is that you 
aren't the only one....

I had a dream, a couple of weeks ago, wheree Robin Netherton 
made an appearance.  Nothing to do with costume, I'm afraid, She 
was teaching Barn-dancing to a group of farmers and their wives - 
but had to teach them how to build a suitqble barn first, in order to 
hve somewhere to dance.

I meant to e-mail Robin about it at the time, but got sidetracked by 
that 'life' thing that's going around at the moment.



Teddy
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] You know Teddy's been mentioned too often on h-cost
 when...
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Date: Mon, 17 Jun 2002 09:21:18 -0500 (CDT)
Status: RO


On Mon, 17 Jun 2002, Teddy wrote:

> I had a dream, a couple of weeks ago, wheree Robin Netherton 
> made an appearance.  Nothing to do with costume, I'm afraid, She 
> was teaching Barn-dancing to a group of farmers and their wives - 
> but had to teach them how to build a suitqble barn first, in order to 
> hve somewhere to dance.

ROTFLMAO!

Obviously you have never seen me dance. (And although I have been in
plenty of barns, being a good Midwestern girl, I have never built one.)

What a picture...

--Robin

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Date: Mon, 17 Jun 2002 17:40:19 EDT
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In a message dated 6/16/2002 4:06:27 AM Eastern Daylight Time, 
nicolas_fouquet@yahoo.com writes:


> Oh yes, he's a priest. 

Yes, the hat with the curled brim give him away

Is it a Spanish gallery? 

Evidentemente. It will be interesting to see how Hispanic culture shows 
itself in the other costumes. For instance, the "zouave"...what is he really? 
A Spanish/Mexican cadet?




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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 6/16/2002 4:06:27 AM Eastern Daylight Time, nicolas_fouquet@yahoo.com writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Oh yes, he's a priest. </FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Yes, the hat with the curled brim give him away
<BR>
<BR>Is it a Spanish gallery? 
<BR>
<BR>Evidentemente. It will be interesting to see how Hispanic culture shows itself in the other costumes. For instance, the "zouave"...what is he really? A Spanish/Mexican cadet?</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>
<BR></FONT></HTML>

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In a message dated 6/16/2002 6:24:10 PM Eastern Daylight Time,=20
giagavino@msn.com writes:


> So, the costume could be for a stage production? =20

I doubt it. Pastors did wear these things....still do no?....just not as=20
much. And of course one would dress up for one's photo. Photographers then=20
had all sorts of painted backdrops that look theatrical. If this is a=20
traveling photographer, there may not have been too many backgrounds to chos=
e=20
from.=20

He looks like he's standing on those typical Mexican rugs you see in the=20
market. The backdrop is really just a painted balustrade. The column is=20
obviously fake since the rugs go under it. Notice how the composition is the=
=20
same in the sixth photo....but the rather short Se=F1ora has a real balustra=
de.

Both photos may have been taken outside so as to have enough light.

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<HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT  SIZE=3D3=
>In a message dated 6/16/2002 6:24:10 PM Eastern Daylight Time, giagavino@ms=
n.com writes:
<BR>
<BR></FONT><FONT  COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" FACE=3D"Ar=
ial" LANG=3D"0">
<BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-=
LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">So, the costume could be fo=
r a stage production? &nbsp;</FONT><FONT  COLOR=3D"#000000" SIZE=3D3 FAMILY=
=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE>
<BR>
<BR>I doubt it. Pastors did wear these things....still do no?....just not as=
 much. And of course one would dress up for one's photo. Photographers then=20=
had all sorts of painted backdrops that look theatrical. If this is a travel=
ing photographer, there may not have been too many backgrounds to chose from=
.=20
<BR>
<BR>He looks like he's standing on those typical Mexican rugs you see in the=
 market. The backdrop is really just a painted balustrade. The column is obv=
iously fake since the rugs go under it. Notice how the composition is the sa=
me in the sixth photo....but the rather short Se=F1ora has a real balustrade=
.
<BR>
<BR>Both photos may have been taken outside so as to have enough light.</FON=
T></HTML>

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Subject: [h-cost] viking necklace
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Date: Mon, 17 Jun 2002 15:19:12 -0700 (PDT)
Status: RO

Greetings to this list:

Help! I am trying to find out what Vikings strung their necklaces on - leather, hemp cord, wool
thread or linen. I have found some information and pictures of finds from some burials - Birka, I
think. However, none of may sources say what the necklaces were strung on.

Any help, sources, etc would be greatly appreciated.

Alienor of Southwark
Outlands, Citadel of the Southern Pass

=====
Anita Ruble
aka Alienor

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From h-costume-admin@indra.com  Mon Jun 17 21:13:15 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Article on online fabric stores
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Date: Mon, 17 Jun 2002 20:24:45 -0500 (CDT)
Status: RO


This article from my hometown paper in St. Louis mostly concentrates on
local fabric stores that have started Web sites. It does include
references to a few sites favored by people on this list, and there's an
interesting set of links at the end -- including a site called
www.missingfabrics.com, where people can try to hook up with stores to
find a particular fabric!

The URL is long, and I don't know if it will change tomorrow. Try this
first (you'll have to cut-and-paste if the URL splits):

http://home.post-dispatch.com/channel/pdweb.nsf/TodayMonday/86256A0E0068FE5086256BDB00309CE5?OpenDocument

And if that doesn't work, go to http://www.stltoday.com and search till
you find the article printed in the Post-Dispatch on June 17, business
section, titled "Fabric retailers get a feel for Internet business," by
Jerri Stroud.

--Robin

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From: "Linda J. Thompson" <LindaJThompson@comcast.net>
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Subject: [h-cost] Fresco/costumes book (for colleen)
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Date: Mon, 17 Jun 2002 21:37:56 -0500
Status: RO

Sorry it took so long to get back to you.  I have just spent the week from hell.
Save me from community directors who think it is perfectly acceptable to do a period piece 
with 40 actors and no assistant to help her... 6 weeks into it, and still no call list for 
actors, nor scene blocking for the last half of play.  How do I tell them what to wear, 
when they do not know yet which scene they are in!!!

Ahhh I feel better now..

The book is indeed
"Costumi A Issogne"
Copyright Musumeci Editore 1991
Region Amerique, 99 - Quart (Valle d`Aosta)
Telefono 0165.765 222

This is the isbn and what followed it ?
ISBN 88-7032-357-9 [365]
Tutti i diritti di traduzione,
riproduzione e adattamento
sono riservati per tutti i Paesi

Whether the layouts or period or not, at least the pics are of fresco's that appear to be 
  medieval time period.   (not my thing... so don't know for sure)

Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: Re: [h-cost] Fresco/costumes book (for colleen)
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Date: Mon, 17 Jun 2002 21:35:28 -0700
Status: RO

Tell the director you think it would be really forward looking to do the 
whole thing in modern dress, and suggest t-shirts and blue jeans.  Maybe 
that will wake 'm up! ;-)


MaggiRos


>From: "Linda J. Thompson" <LindaJThompson@comcast.net>
>Reply-To: h-costume@indra.com
>To: Historic Costume <h-costume@net.indra.com>
>Subject: [h-cost] Fresco/costumes book (for colleen)
>Date: Mon, 17 Jun 2002 21:37:56 -0500
>
>Sorry it took so long to get back to you.  I have just spent the week from 
>hell.
>Save me from community directors who think it is perfectly acceptable to do 
>a period piece with 40 actors and no assistant to help her... 6 weeks into 
>it, and still no call list for actors, nor scene blocking for the last half 
>of play.  How do I tell them what to wear, when they do not know yet which 
>scene they are in!!!
>
>Ahhh I feel better now...

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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com, h-costume@net.indra.com
Subject: Re: [h-cost] Fresco/costumes book (for colleen)
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Date: Mon, 17 Jun 2002 21:35:28 -0700
Status: RO

Tell the director you think it would be really forward looking to do the 
whole thing in modern dress, and suggest t-shirts and blue jeans.  Maybe 
that will wake 'm up! ;-)


MaggiRos


>From: "Linda J. Thompson" <LindaJThompson@comcast.net>
>Reply-To: h-costume@indra.com
>To: Historic Costume <h-costume@net.indra.com>
>Subject: [h-cost] Fresco/costumes book (for colleen)
>Date: Mon, 17 Jun 2002 21:37:56 -0500
>
>Sorry it took so long to get back to you.  I have just spent the week from 
>hell.
>Save me from community directors who think it is perfectly acceptable to do 
>a period piece with 40 actors and no assistant to help her... 6 weeks into 
>it, and still no call list for actors, nor scene blocking for the last half 
>of play.  How do I tell them what to wear, when they do not know yet which 
>scene they are in!!!
>
>Ahhh I feel better now...

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Subject: Re: [h-cost] viking necklace
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Date: Tue, 18 Jun 2002 06:51:26 +0100
Status: RO

>Help! I am trying to find out what Vikings strung their necklaces on -
leather, hemp cord, wool
thread or linen. I have found some information and pictures of finds from
some burials - Birka, I
think. However, none of may sources say what the necklaces were strung on.


I'm guessing any found in burials would have the string/leather etc long
rotted away. My area is Anglo Saxon & I make repro beads I've yet to see a
report suggesting what they were strung on, I'm afraid :) Any fabric found
are usually very close to metal objects if preserved & few leather objects
survive , some but not many. A string by its nature would probably not Beads
tend to be lose in graves, if we are lucky in position !

Mel

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] You know Teddy's been mentioned too often on h-cost
 when...
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Date: Tue, 18 Jun 2002 09:46:59 +0000 (GMT)
Status: RO


> ROTFLMAO!
> 
> Obviously you have never seen me dance. (And although I have been in
> plenty of barns, being a good Midwestern girl, I have never built
> one.)
> 
> What a picture...

Well, Robin, I don't drive, but I still dreamt I was driving a getaway 
car in a high speed chase as part of a dream involving James-bond 
and a very peculiar combination police-station/boutique/beauty-
salon a few months ago.

I guess *anything's* possible in dreams.... Unfortunately (in my 
case) they very rarely make sense.


Teddy
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Subject: [h-cost] (h-cost): good pictures of extant garments...
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Date: Tue, 18 Jun 2002 10:00:18 +0000 (GMT)
Status: RO

Hello folks, 

we just had a new book come in for cataloguing and it has some 
lovely clear (full page colour) photographs of extant garments from 
various periods starting with the Pourpoint of Charles de Blois and 
the Pourpoint de Charles VI and going up through 18th century 
(possibly 19th as well I've only had a brief look at it)

It's in French, which I speak and read very little (practically none, in 
fact) so I can't give much detail about the text content, but the 
pictures are good.  As far as I can make out, it's from an exhibition 
about cotton and fashion  held in a Paris museum last autumn

Le Coton et la Mode: 1000 ans d'aventures
Musee Galliera, musee de la mode de la Ville de Paris.  10 
novembre - 11 mars 2001.  ISBN: 287900490X

I'm sure it will be of use to someone out there who can understand 
the French



Teddy
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Interesting Photo
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Date: Tue, 18 Jun 2002 01:38:43 -0700
Status: RO


>Both photos may have been taken outside so as to have enough light.

Some photographers had skylights in their studios.



Kayta

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] (h-cost): good pictures of extant garments...
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Date: Tue, 18 Jun 2002 10:55:49 +0100 (BST)
Status: RO

Oh my! teddy, are there pictures of 17th c. garments? greedy look*
Must have book, just have!

Nicole

 --- Teddy <teddy1@mdx.ac.uk> wrote: > Hello folks, 
> 
> we just had a new book come in for cataloguing and it has some 
> lovely clear (full page colour) photographs of extant garments from 
> various periods starting with the Pourpoint of Charles de Blois and 
> the Pourpoint de Charles VI and going up through 18th century 
> (possibly 19th as well I've only had a brief look at it)
> 
> It's in French, which I speak and read very little (practically none, in 
> fact) so I can't give much detail about the text content, but the 
> pictures are good.  As far as I can make out, it's from an exhibition 
> about cotton and fashion  held in a Paris museum last autumn
> 
> Le Coton et la Mode: 1000 ans d'aventures
> Musee Galliera, musee de la mode de la Ville de Paris.  10 
> novembre - 11 mars 2001.  ISBN: 287900490X
> 
> I'm sure it will be of use to someone out there who can understand 
> the French
> 
> 
> 
> Teddy
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Tue, 18 Jun 2002 05:50:28 -0400
Status: RO

I received word last night that Jim Liles has passed away.  Jim was known as
a perky little man with a big heart for historic costume.  He and his wife
Dale were masters at the art of dyeing textiles.  Several of us knew Jim
from Costume Society of America.  He was also a college professor at the
University of Tennessee.

We will miss his sweet grin.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: Re: [h-cost] viking necklace
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Date: Tue, 18 Jun 2002 09:12:35 -0400
Status: RO


>>Help! I am trying to find out what Vikings strung their necklaces on -
>>
> leather, hemp cord, wool
> thread or linen. I have found some information and pictures of finds from
> some burials - Birka, I
> think. However, none of may sources say what the necklaces were strung on.

	None of my sources, including visiting lots of museums and 
reading archeological reports, have indicated it either. As 
Mel said, I believe that any such string would not have 
survived - only the beads have been found in the graves.
	The suggestions you've made are definately all possible, the 
only addition I'd made from our experience is sinew. good luck!
	-Judy Mitchell

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Date: Tue, 18 Jun 2002 09:22:08 -0500 (CDT)
Status: RO


On Tue, 18 Jun 2002, Teddy wrote:

> we just had a new book come in for cataloguing ... As far as I can
> make out, it's from an exhibition about cotton and fashion held in a
> Paris museum last autumn
> 
> Le Coton et la Mode: 1000 ans d'aventures
> Musee Galliera, musee de la mode de la Ville de Paris.  10 
> novembre - 11 mars 2001.  ISBN: 287900490X

There's still a web page up about this exhibit. Find it at

http://www.france.diplomatie.fr/actual/culture/coton.html

I'm wondering if anyone (Heather?) knows of any published work about the
pourpoint of Charles VI, which is labeled in this article as being from
1368-1422 (hmm, sounds like Charles' lifetime), of red silk stuffed with
cotton, at the Musee des Beaux-Arts de Chartres. If the picture is any
indication, it's at least in as good shape as the pourpoint of Charles de
Blois. But it's impossible to know from this how much of that is
restoration. I'd LOVE a cutting layout or measurements on this puppy.

Teddy, is there more in the book about this?

--Robin



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From h-costume-admin@indra.com  Tue Jun 18 10:41:05 2002
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Subject: Re: [h-cost] (h-cost): good pictures of extant garments...
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Date: Tue, 18 Jun 2002 14:32:12 +0000
Status: RO

>I'm sure it will be of use to someone out there who can understand
>the French
>
>Teddy

Hmm yes... if it is as interesting as you say it looks, I might consider 
trying to find it... depending on the price...

Now I have a much too long list of interesting books to ask as bday and 
christmas gifts, it'll take years before I get all of them :-)

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Subject: [h-cost] That pourpoint of Charles
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Date: Tue, 18 Jun 2002 11:14:40 -0400
Status: RO

I went to the site and it referred to the fabric being lampas. I have 
seen other extant garments that also refer to lampas silk. What 
exactly is it and is it findable? I've already checked my favorite 
silk stores with no luck.

Linda Krecker-Schkred
(mka Rhianwen o Enfus Disberod)
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Subject: Re: [h-cost] (h-cost): good pictures of extant garments...
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Date: Tue, 18 Jun 2002 16:14:46 +0000 (GMT)
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> Oh my! teddy, are there pictures of 17th c. garments? greedy look*
> Must have book, just have!

<begs  book from Head of Cataloguing>.... Sorry to raise your 
hopes, Nicole, it seems to skip 17th century garments entirely.  It 
just had a couple of photos of 17th century fabrics.


Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] good pictures of extant garments...
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Date: Tue, 18 Jun 2002 16:23:38 +0000 (GMT)
Status: RO


> the pourpoint of Charles VI, which is labeled in this article as
> being from 1368-1422 (hmm, sounds like Charles' lifetime), of red
> silk stuffed with cotton, at the Musee des Beaux-Arts de Chartres.
> If the picture is any indication, it's at least in as good shape as
> the pourpoint of Charles de Blois. But it's impossible to know from
> this how much of that is restoration. I'd LOVE a cutting layout or
> measurements on this puppy. 
> 
> Teddy, is there more in the book about this?


Just the clear, full-page in colour, version of the picture on the 
website.  It looks to be in pretty good condition, has one missing 
button.  I can't see any more detailed pictures or diagrams of it.   If 
there are any written details they're not on the nearby pages (the 
two pictures of the pourpoints make up a double-page spread with 
just the captions saying what they are and are right near the front of 
the book so may not be near any text that actually refers to them, 
and I don't read French so would have to go through every word in 
order to spot a reference to either in the text)



Teddy
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] (h-cost): good pictures of extant garments...
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Date: Tue, 18 Jun 2002 17:28:30 +0100 (BST)
Status: RO

 --- Teddy <teddy1@mdx.ac.uk> wrote: > 
 
> <begs  book from Head of Cataloguing>.... Sorry to raise your 
> hopes, Nicole, it seems to skip 17th century garments entirely.  It 
> just had a couple of photos of 17th century fabrics.

Ohhh... *disappointed look* as usual. *sniffs*
Thanks, Teddy, for looking, means I don't have to try with all means to get
hold of them book.
Cheers!

Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: Re: [h-cost] That pourpoint of Charles
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Date: Tue, 18 Jun 2002 10:46:59 -0700
Status: RO


> I went to the site and it referred to the fabric being lampas. I have
> seen other extant garments that also refer to lampas silk. What
> exactly is it and is it findable? I've already checked my favorite
> silk stores with no luck.

Lampas is a weave type. The term was not used until after 1900, 
but the weaving has been since quite early in the silkweaving west.

Definition: "figured textiles in which a pattern, composed of weft 
floats bound by a binding warp, is added to a ground fabric formed 
by a main warp and a main weft. the ground may be tabby, twill , 
satin, damask etc. The weft threads forming the pattern are 
normally pattern or brocading wefts; they float on the face as 
required by the pattern, and are bound by the ends of the binding 
warp in a binding ordinarily tabby or twill and which is 
supplementary to the ground weave." (Agnes Gaijer, _A History of 
Textile Art_, page 61).

Most of the brocades are no longer woven in this way. However, 
there are some upholstery fabrics which are. Unfortunately, 
although they are woven in the same manner, they don't have the 
drape of the lampas silks from the middle ages and renaissance. 
(The ground is usually much too stiff, but it would wear better as 
upholstery fabric than the lighter, drapery original would.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 19 Jun 2002 00:43:12 +0100 (BST)
Status: RO

Hi ya Rhi!

Lampas Sillk is an Oriental flowered silk.It began to
be used as a furnishing fabric well before the
1970's.Lampas Silk is woven on a jacquard loom and
resembles brocade.The satin-like warp threads contrast
with a corded ground.

Hum locating the stuff.Well I should imagine that the
real thing is going to be pricey.Try 'Surplus Silk' or
'Silk Surplus' in NYC,they used to have a tiny shop on
E.57th Str. between Lexington Ave. and Second
Ave.(Left hand side as you toddle off to the tram
station.But I can't recall if they closed or not or
just moved.)
Next option is Scalamandra's (sp?) they do have a
ritzy and expensive store in the same area but I again
can't recall all the details - get an Interior design
mag and check for an ad.They always have loads!

Good luck and be sure to let me know if you locate it!

Marcus.

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re:  [h-cost] (h-cost): good pictures of extant garments... TIP!
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Date: Wed, 19 Jun 2002 10:18:27 +0000 (GMT)
Status: RO

 
> > <begs  book from Head of Cataloguing>.... Sorry to raise your 
> > hopes, Nicole, it seems to skip 17th century garments entirely.  It
> > just had a couple of photos of 17th century fabrics.
> 
> Ohhh... *disappointed look* as usual. *sniffs* Thanks, Teddy, for
> looking, means I don't have to try with all means to get hold of
> them book. Cheers! 

Not much use in this instance but, how about this for a tip for those 
of you who have access to such services. Before spending out lots 
of money on books you don't know the content of, request a copy 
on Inter Library Loan from your friendly neighbourhood Librarian (in 
Nicole's case, hers happens to be a friend of mine who she's on 
first name terms with) that way you get to check out the details 
before you decide it's worth the money to buy a copy.  Even if you 
have to pay for the ILL service - it's niot as much as paying for a 
copy of the book only to be disappointed by the content when you 
get it.

Teddy
(Librarian and cataloguer)


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Subject: [h-cost] Women's headgear, medieval Norway?
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Date: Wed, 19 Jun 2002 12:25:45 +0200 (CEST)
Status: RO

Hi, all! I've recently joined a reenactment group here in Norway that 
concentrates on the years of the reign of Haakon V Magnusson; 1299-1308. 
I'm figuring that wool T-tunics with underarm gussets and fairly high 
necklines are safe enough for clothing, but I'm not entirely certain 
where to look for sources for headgear. Does anyone know, or have any 
tips? I figured I'd go and have a look at the pages from the Maciejowski 
Bible that are printed in Old Testament Miniatures (I haven't looked at 
it closely before), but I'm not sure if there's actually much for women 
in there. Also, I suppose the Manesse Codex could be a tentative source 
- but does anyone know if there's anything more specific for 
Norway/Scandinavia out there for this period? Any help will be very much 
appreciated indeed. :)

Ingrid

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From: Judy Mitchell <judymitch@oldwaylane.net>
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Subject: Re: [h-cost] Women's headgear, medieval Norway?
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Date: Wed, 19 Jun 2002 08:45:43 -0400
Status: RO

Ingrid G. Storr? wrote:
> Hi, all! I've recently joined a reenactment group here in Norway that 
> concentrates on the years of the reign of Haakon V Magnusson; 1299-1308. 
  anything more specific for
> Norway/Scandinavia out there for this period? Any help will be very much 
> appreciated indeed. :)

	ooh, neat time period. I don't have a clue for the clothing, 
but can you post any sources you find? I'm kinda creating 
this "walk through time of Scandinavian clothes" for myself. 
I'd be fascinated with what you find (don't care if I can 
read the text, I'll puzzle out bits ;-) )
	-Judy Mitchell

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] Trip to NYC
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Date: Wed, 19 Jun 2002 13:37:13 +0100
Status: RO

Hi everyone,
Provided my daughter's new passport turns up in time we are New York
City bound on Friday staying for 10 days. And yes, I did curse the
twist of fate that made this a few days too late for Robin's
presentation...
I will be hitting the museums, and have the Cloisters as essential for
the Tapestries, amongst other things, the Met for everything, the
Brooklyn Museum of Art for textiles and Egypt, the Frick for Thomas
More, and then there's all that modern stuff which I may be able to
get out of seeing since we have to chase bits of it around because of
the redevelopment of MOMA.
My daughter Bella wants to see Washington, for the XFiles stuff, so I
will be going to the National Gallery there.
Any other suggestions, please?
And then there's the shops; we are staying at the Pennsylvania Hotel
which looked promising for the garment district; anyone's favourite
fabric places?
best wishes
Stevie
getting back to the ironing board...

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 09:14:44 -0400 (EDT)
Status: RO

I'm looking at the Bueckelaer painting, 'Christ in the house of Mary and
Martha':
http://www.kfki.hu/~arthp/html/b/beuckela/

The woman on the right appears to possibly have a boned stomacher under
the lacing under her gown -- based on the vertical lines of the
'stomacher', and on the way it's pushing her bust up.

Thoughts, folks?

-- Mara


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From: =?iso-8859-1?Q?Ingrid_G=2E_Storr=F8?= <ingridgs@studorg.hiof.no>
To: h-costume@indra.com
Subject: Re: [h-cost] Women's headgear, medieval Norway?
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Date: Wed, 19 Jun 2002 15:39:42 +0200 (CEST)
Status: RO

On Wed, 19 Jun 2002, Judy Mitchell wrote:
> Ingrid G. Storr? wrote:
> > Hi, all! I've recently joined a reenactment group here in Norway that 
> > concentrates on the years of the reign of Haakon V Magnusson; 1299-1308. 
>   anything more specific for
> > Norway/Scandinavia out there for this period? Any help will be very much 
> > appreciated indeed. :)
> 
> 	ooh, neat time period. I don't have a clue for the clothing, 
> but can you post any sources you find? 

Sure, will do! I must admit that my assumption that T-tunics will be 
fine is 
based not so much on actual sources, as a hunch based on other 
Northern European sources and extant male clothing from "around" the 
same time period. I'll ask around in the group if anyone actually has 
something definite to base women's clothing on. As far as I know, the 
written text "The King's Mirror" (Kongsspeilet/Konungs skuggsjĺ), a 
Norwegian source from around 1250 (tentatively), only 
dictates clothing and armour for men - but I may be wrong, as I've not 
read the whole thing myself. But I'll meet some of these people today; 
I'll ask them about what sources they have used! :)

Ingrid

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From h-costume-admin@indra.com  Wed Jun 19 09:54:27 2002
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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Thu, 20 Jun 2002 01:45:40 +1200
Status: RO

> I'm looking at the Bueckelaer painting, 'Christ in the house of Mary and
> Martha':
> http://www.kfki.hu/~arthp/html/b/beuckela/
> The woman on the right appears to possibly have a boned stomacher under
> the lacing under her gown -- based on the vertical lines of the
> 'stomacher', and on the way it's pushing her bust up.

I'd definately agree. And notice how very thick it is too? Mind you what was
the stuff used to stiffen? Reeds are what I'm thinking for very late
16th/early 17th C pieces.. I seem to recall reading that boning in terms of
baleen wasn't until the latter 17thC.. but I've not really read much about
that so I'm looking for more info:)

Stomachers are mentioned in German texts. Then again they were already
translated before they got to me so I'm not sure if they were refering to
the plastons we are all familiar with;)
That said there are a number of portraits of early 16thC german women with
very flattened conical shaped bodices and the odd plastron that shows
vertical lines much like in the above portrait.

Just saying I'm agreeing the item appears stiffened, but I'm curious as to
what would be common to put in those channels and just how far round under
the outer layer it goes. I do like the top curve of it too.

michaela
http://recital.tripod.com/costume redesigned my site this week:)


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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 08:56:57 -0500
Status: RO

I took a look at the dress and while a boned stomacher is certainly one
interpretation, having worn the style on many occasions myself, I can say
that another possibility is that the lines show wrinkles/folds caused by
lacing the overgown tightly. This tight lacing would also give the effect
of the raised bustline. If you look under her arm at about waist level
there are some horizontal wrinkles that might indicate the snugness of
the lacing. 



Karen

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Trip to NYC
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Date: Wed, 19 Jun 2002 09:37:34 -0500 (CDT)
Status: RO


On Wed, 19 Jun 2002, Stevie Gamble wrote:

> Provided my daughter's new passport turns up in time we are New York
> City bound on Friday staying for 10 days. And yes, I did curse the
> twist of fate that made this a few days too late for Robin's
> presentation...

It's mutual! But you will have a good time just doing the town.

> I will be hitting the museums, and have the Cloisters as essential for
> the Tapestries, amongst other things, the Met for everything, the
> Brooklyn Museum of Art for textiles and Egypt, the Frick for Thomas
> More, and then there's all that modern stuff which I may be able to
> get out of seeing since we have to chase bits of it around because of
> the redevelopment of MOMA.

If you like medieval manuscripts, there's the Pierpont Morgan Library.
Call ahead to see about exhibits -- I think they rotate. (The one time I
was there, I was mostly interested in the bookstore, I think, so I forget
what I was actually able to see. It was a tourist trip, not a research
trip.)

> My daughter Bella wants to see Washington, for the XFiles stuff, so I
> will be going to the National Gallery there.

Um, you do know it's a bit of a trip from NYC to DC, right? If I were
still living there, I would offer you a place to stay!

DC would take you at least six months to do properly. For a start, though,
consider these depending on your interests:

 -- Shakespeare: Folger Shakespeare Library, always has a good exhibit up
in the display area, and a huge collection of Elizabethan and
Shakespeare-related material for researchers.
 -- Books/manuscripts: Library of Congress, almost always has a good
exhibit up for the tourists. Right next to the Folger.
 -- Textiles: Textile Museum. Mostly non-European stuff (Asian, African,
etc.).
 -- Byzantine art: Dumbarton Oaks. Also has a brilliant pre-Columbian 
(e.g. Mayan) collection. Nice garden too, if you like that; admission to
the garden is separate.
 -- Gothic architecture: Washington (National) Cathedral. Of course, you
get the real thing all the time where you are, but the Cathedral was built
on Gothic principles with an American twist. (Check out the American
Indian motifs on the capitals of the columns in the North Cloister.) It's
interesting to see a Gothic structure with the edges of the steps still
sharp, not worn down by centuries of feet, and no 18th and 19th century
decorative art plastered over it. Best bookstore in town for medieval.
 -- Good art in general: Phillips Collection and Corcoran Museum, two
smaller museums with breathtaking collections. Not much medieval/Ren,
though.
 -- Good museums in general: Anything on the Mall. There are 14
Smithsonian museums, so you can find Asian, African, American, modern,
sculpture, popular culture, industrial arts, etc. 

A good guidebook in Washington is well worth what you spend on it, just in
saved time and batched trips. You can spend forever getting from place to
place, so group your visits by neighborhood.

--Robin

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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 10:39:42 -0700
Status: RO

I would agree with Karen's interpretation on this.

Mari

>I took a look at the dress and while a boned stomacher is certainly one
>interpretation, having worn the style on many occasions myself, I can say
>that another possibility is that the lines show wrinkles/folds caused by
>lacing the overgown tightly. This tight lacing would also give the effect
>of the raised bustline. If you look under her arm at about waist level
>there are some horizontal wrinkles that might indicate the snugness of
>the lacing.
>
>
>
>Karen


Mari Stewart, Cornell University,  Ithaca, NY
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
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Date: Wed, 19 Jun 2002 16:50:13 +0100
Status: RO

Robin wrote:

> > My daughter Bella wants to see Washington, for the XFiles stuff,
so I
> > will be going to the National Gallery there.
>
> Um, you do know it's a bit of a trip from NYC to DC, right? If I
were
> still living there, I would offer you a place to stay!

Yes, I've bitten that bullet! We're staying at the Pennsylvania Hotel,
opposite Penn Station, so at least we have no NY travel times; it's
Amtrak all the way. It's a long day trip, particularly if you can't
pay the fares on the business person's express, but I think it's worth
it.  Thank you for the thought; I still live in central London, so if
you want to do an intensive zap of our sites you will be most welcome.

>
> DC would take you at least six months to do properly. For a start,
though,
> consider these depending on your interests:
>
>  -- Shakespeare: Folger Shakespeare Library, always has a good
exhibit up
> in the display area, and a huge collection of Elizabethan and
> Shakespeare-related material for researchers.

Well, the Folger is somewhere my daughter will probably absolutely
veto my visiting; in theory virtually all of its holdings are
available at the Shakespeare Institute or the Birthplace Trust on
microfilm. In reality, of course, there's acres of totally yummy stuff
that I would happily spend years on if allowed anywhere near it. I
might try smuggling my Institute ID card into my luggage, of course...
And thank you for the other recommendations; any hints on good
guide-books? It's extraordinary just how many bad guidebooks there are
around!


best wishes

Stevie
------------------------------------
  -- Books/manuscripts: Library of Congress, almost always has a good
> exhibit up for the tourists. Right next to the Folger.
>  -- Textiles: Textile Museum. Mostly non-European stuff (Asian,
African,
> etc.).
>  -- Byzantine art: Dumbarton Oaks. Also has a brilliant
pre-Columbian
> (e.g. Mayan) collection. Nice garden too, if you like that;
admission to
> the garden is separate.
>  -- Gothic architecture: Washington (National) Cathedral. Of course,
you
> get the real thing all the time where you are, but the Cathedral was
built
> on Gothic principles with an American twist. (Check out the American
> Indian motifs on the capitals of the columns in the North Cloister.)
It's
> interesting to see a Gothic structure with the edges of the steps
still
> sharp, not worn down by centuries of feet, and no 18th and 19th
century
> decorative art plastered over it. Best bookstore in town for
medieval.
>  -- Good art in general: Phillips Collection and Corcoran Museum,
two
> smaller museums with breathtaking collections. Not much
medieval/Ren,
> though.
>  -- Good museums in general: Anything on the Mall. There are 14
> Smithsonian museums, so you can find Asian, African, American,
modern,
> sculpture, popular culture, industrial arts, etc.
>
> A good guidebook in Washington is well worth what you spend on it,
just in
> saved time and batched trips. You can spend forever getting from
place to
> place, so group your visits by neighborhood.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Trip to NYC
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Date: Wed, 19 Jun 2002 11:30:16 -0500 (CDT)
Status: RO


On Wed, 19 Jun 2002, Stevie Gamble wrote:

> Yes, I've bitten that bullet! We're staying at the Pennsylvania Hotel,
> opposite Penn Station, so at least we have no NY travel times; it's
> Amtrak all the way. It's a long day trip, particularly if you can't
> pay the fares on the business person's express, but I think it's worth
> it.

Perhaps there's an h-cost person who would put you up overnight if there's
more you want to see? Or find a cheap room off the Metro in Arlington or
Rockville. Do it at the end of your NY trip so you don't have to keep
paying on the NY hotel room.

> Well, the Folger is somewhere my daughter will probably absolutely
> veto my visiting...

It's in the same neighborhood as the Library of Congress and Capitol Hill,
so perhaps she'll find something of interest to keep her busy. I believe
there's a Hard Rock Cafe nearby ;-)

> And thank you for the other recommendations; any hints on good
> guide-books? It's extraordinary just how many bad guidebooks there are
> around!

Fodor's is always safe. Maybe not the best for an in-depth trip, but
certainly it'll cover what you need for a first touristing visit.

--Robin

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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] Trip to NYC
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Date: Wed, 19 Jun 2002 12:08:21 -0400
Status: RO

At 1:37 PM +0100 6/19/02, Stevie Gamble wrote:
snip
>Any other suggestions, please?
>And then there's the shops; we are staying at the Pennsylvania Hotel
>which looked promising for the garment district; anyone's favourite
>fabric places?

Check the Met Before you get there. There is a show on tapestries 
that is about to go down. Some of these have never ever been out so 
the colors are just as vibrant as when they were made some hundreds 
of years ago.   You may have only a few days left.

Bring your walking shoes and hit the entire garment district. You can 
purchase in any store that doesn't say wholesale. Check out NY 
Elegance something like that, I can't find my card) I think it's on 
either 38th or 39th. They have wools, silks, linens, linen blends, 
silk velvets, as examples.  WM.N. Ginsburg for trim they are on 38th. 
And just walk around.

Marcus mentioned the one on 57th St. I don't know any other area but he might.

Have loads of fun!

Linda K-S
(Rhianwen)
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Date: Wed, 19 Jun 2002 12:40:15 -0400 (EDT)
Status: RO

That's certainly possible...
I need to make a stomacher for my 18th c. gown, so maybe when I get it
done I'll try using it with my 17th c. laced kirtle and take pics both
with and without, to compare results.

However, I doubt that the wrinkles caused just by lacing would be that
regular.  Usually I find that I've got one BIG wrinkle right in the
middle, rather than multiple small ones...

Cheers,
Mara

On Wed, 19 Jun 2002 seamstrix@juno.com wrote:

> I took a look at the dress and while a boned stomacher is certainly one
> interpretation, having worn the style on many occasions myself, I can say
> that another possibility is that the lines show wrinkles/folds caused by
> lacing the overgown tightly. This tight lacing would also give the effect
> of the raised bustline. If you look under her arm at about waist level
> there are some horizontal wrinkles that might indicate the snugness of
> the lacing.
>
>
>
> Karen

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Date: Wed, 19 Jun 2002 12:44:56 -0400 (EDT)
Status: RO

Ok... want to tell us why, instead of just saying "me, too"?  <grin>

-- Mara


On Wed, 19 Jun 2002, M.  Stewart wrote:

> I would agree with Karen's interpretation on this.
>
> Mari

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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 12:43:13 -0400 (EDT)
Status: RO

On Thu, 20 Jun 2002, michaela wrote:
> I'd definately agree. And notice how very thick it is too? Mind you what was
> the stuff used to stiffen? Reeds are what I'm thinking for very late
> 16th/early 17th C pieces.. I seem to recall reading that boning in terms of
> baleen wasn't until the latter 17thC.. but I've not really read much about
> that so I'm looking for more info:)

I'd guess reeds, too...

> Stomachers are mentioned in German texts. Then again they were already
> translated before they got to me so I'm not sure if they were refering to
> the plastons we are all familiar with;)
> That said there are a number of portraits of early 16thC german women with
> very flattened conical shaped bodices and the odd plastron that shows
> vertical lines much like in the above portrait.

Yep!
And just looking through the Aertsen and Bueckelaer stuff online shows
some women with a _definite_ bustline (i.e., no stiffening or stomacher),
and some women who almost have to be wearing some kind of stiffened bodice
because they _don't_ have a bustline, so I guess some women did it one
way, some another.

> Just saying I'm agreeing the item appears stiffened, but I'm curious as to
> what would be common to put in those channels and just how far round under
> the outer layer it goes. I do like the top curve of it too.

Me, too!

Cheers,
Mara

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Date: Wed, 19 Jun 2002 12:49:06 -0300
Status: RO

Some of the fabric (etc) stores the costume designers use:
	B&J Fabrics	 263 W. 40th
	NY Elegant	222 West 40th
	Mood		250 West 39th  10th Floor  (go up, it's worth it)
	Daytona Braid   251 West 39th
	Hyman-Hendler 	67 West 38th	(ribbon)
	M&J Trim	6th Ave between 38th and 37th
	Zohra		235 West 40th (beautiful fabrics from India)
	Ben Raymond	545 Broadway (miles of inexpensive lace - especially eyelette)
	Harry Zarin	318 Grand	(upholstery/curtain fabrics)
	Tender Buttons	143 E. 62nd

Looking for something in particular?  I might be able to direct you.

Martha




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Date: Wed, 19 Jun 2002 15:11:52 EDT
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In a message dated 6/19/2002 12:49:47 PM Eastern Daylight Time, 
lindo@Radix.Net writes:


> However, I doubt that the wrinkles caused just by lacing would be that
> regular.  

I agree with this interp. The piece looks boned...stiffened in some way. Look 
at the top of this stomacher. It is thick and not wrinkled in any way. It is 
boned. How this could be interpreted as wrinkled is beyond me.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 6/19/2002 12:49:47 PM Eastern Daylight Time, lindo@Radix.Net writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">However, I doubt that the wrinkles caused just by lacing would be that
<BR>regular. &nbsp;</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>I agree with this interp. The piece looks boned...stiffened in some way. Look at the top of this stomacher. It is thick and not wrinkled in any way. It is boned. How this could be interpreted as wrinkled is beyond me.</FONT></HTML>

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Women's headgear, medieval Norway?
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Date: Wed, 19 Jun 2002 12:19:49 -0700
Status: RO


>Hi, all! I've recently joined a reenactment group here in Norway that
>concentrates on the years of the reign of Haakon V Magnusson; 1299-1308.
>I'm figuring that wool T-tunics with underarm gussets and fairly high
>necklines are safe enough for clothing, but I'm not entirely certain
>where to look for sources for headgear. Does anyone know, or have any
>tips? I figured I'd go and have a look at the pages from the Maciejowski
>Bible that are printed in Old Testament Miniatures (I haven't looked at
>it closely before), but I'm not sure if there's actually much for women
>in there. Also, I suppose the Manesse Codex could be a tentative source
>- but does anyone know if there's anything more specific for
>Norway/Scandinavia out there for this period? Any help will be very much
>appreciated indeed. :)

At the risk of being thought rude, you could always ask the other women 
members where they got their headgear ideas.  They have been doing this for 
longer than you have, and, presumably, do it well enough for the group 
standards.  If your headgear looks like theirs, they can't complain it 
isn't right.  And it will give them a chance to be helpful, which some 
people like to be.


Kayta

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/----\   /---\))

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Date: Wed, 19 Jun 2002 12:21:35 -0700
Status: RO


>The woman on the right appears to possibly have a boned stomacher under
>the lacing under her gown -- based on the vertical lines of the
>'stomacher', and on the way it's pushing her bust up.

You may just be seeing the front of her corset.


Kayta

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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 12:38:31 -0700
Status: RO


By golly, it sure looks like it! Now I wonder how it gets there.  Is it a 
corset, or part of an undergown?  Neat pic, Mara. Thanks!

MaggiRos

>From: Kevin & Mara Riley <lindo@Radix.Net>
>Reply-To: h-costume@indra.com
>To: Costume List <h-costume@indra.com>
>Subject: [h-cost] Boned 'stomacher' in Bueckelaer?
>Date: Wed, 19 Jun 2002 09:14:44 -0400 (EDT)
>
>I'm looking at the Bueckelaer painting, 'Christ in the house of Mary and
>Martha':
>http://www.kfki.hu/~arthp/html/b/beuckela/
>
>The woman on the right appears to possibly have a boned stomacher under
>the lacing under her gown -- based on the vertical lines of the
>'stomacher', and on the way it's pushing her bust up.
>
>Thoughts, folks?
>
>-- Mara
>
>
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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 15:49:45 -0400 (EDT)
Status: RO

On Wed, 19 Jun 2002, Carolyn Kayta Barrows wrote:
> You may just be seeing the front of her corset.
>
>
> Kayta

That's certainly possible!  Will have to try it at home both ways to see
what happens.

- Mara

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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 16:10:41 -0400
Status: RO


On Wed, 19 Jun 2002 12:38:31 -0700 "Maggie Secara" <maggiros@hotmail.com>
writes:
> 
> By golly, it sure looks like it! Now I wonder how it gets there.  Is 
> it a 
> corset, or part of an undergown?  Neat pic, Mara. Thanks!
> 
> MaggiRos

It looks like it's a separate piece, and it definitely looks like it's
got boning in it - if the stomacher didn't have boning, it would wrinkle
a bit horizontally where the lacing crosses it.

Ysabiau

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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 13:46:03 -0700
Status: RO


> I'd definately agree. And notice how very thick it is too? Mind you
> what was the stuff used to stiffen? Reeds are what I'm thinking for
> very late 16th/early 17th C pieces.. I seem to recall reading that
> boning in terms of baleen wasn't until the latter 17thC.. but I've not
> really read much about that so I'm looking for more info:)

Baleen whalebone was known in England as early as the 12th 
Century. It starts showing up regularly in bills starting in about 
1564, with increasing frequency especially after 1580. Bents 
(bundles of hollow sea reeds) were popular prior to that (until the 
some time in the 18th C), but horn, ivory, wood, cords, iron bars 
(ugh) and other things were used as well. They could also be 
stiffened with layers of canvas or pasted linen (similar to buckram). 
For further reference see Janet Arnold's _Queen Elizabeth 
Unlock'd_ , JA's _Patterns of Fashion 1560-1620_, and Norah 
Waugh's _Corsets and Crinolines_. 


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: Judith Taylor <judi@frognet.net>
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 18:51:22 -0400
Status: RO

<html>
Looking closely at this picture, I would say that the stomacher was
wooden....and here's why I say this:<br><br>
1) The rest of her outfit. This woman is not an upper class
'gentlewoman'. She is either middle class or a servant. What we see her
wearing is good sturdy clothing that can stand up to the tasks she has to
do...in this case, it appears that she is procurring meat for
dinner.<br><br>
2) A bone stomacher would not generally be worn during the day. In many
cases, a bone stomacher is part of 'fancy dress'....not what I would wear
to the market on butchering day.<br><br>
3) The cost for bone to use to stiffen a stomacher (or corset) would have
been quite expensive. Stomachers were generally a single piece...much
like what we call a busk. To create a stomacher from cloth and take the
time to stiffen it with individual boning would not give the desired
effect. It would have to be connected to more material that fastened
around the body. Stomachers (or busks) could be 'inserted' at the front
of a gown using the lacing from the bodice to keep it in place.<br><br>
4) The time of the painting. This is a 16th century painting depicting
the working people of the time. This was probably painted while Phillip
II still reigned as emperor and prior to, or just about the time when
Phillip II was quarrelling with William of Orange, supervisor over
Holland, Zealand and Utrecht.<br><br>
There are some examples of wooden stomackers, often made of oak or ash
(IIRC). <br><br>
To my eye, the 'wrinkles' that you are seeing may be the artist's
interpretation of wood grain. Which makes another point....bone, unless
carved (and more often than not they were very decoratively carved) does
not show/have a 'grain.'<br><br>
It is highly possible that this young working woman is wearing a full,
under-bust corset...but due to the artist's interpretation and depiction,
we can only guess that such may be the case.<br><br>
Judith<br>
(Finally putting that Art History minor to use. ;)<br><br>
AlbertCat@aol.com put into words:<br>
<blockquote type=cite class=cite cite><font face="arial">In a message
dated 6/19/2002 12:49:47 PM Eastern Daylight Time, lindo@Radix.Net
writes: <br><br>
</font><font face="Arial, Helvetica" size=2><br>
<blockquote type=cite class=cite cite>However, I doubt that the wrinkles
caused just by lacing would be that <br>
regular.&nbsp;
</font></blockquote><font face="Arial, Helvetica"><br><br>
I agree with this interp. The piece looks boned...stiffened in some way.
Look at the top of this stomacher. It is thick and not wrinkled in any
way. It is boned. How this could be interpreted as wrinkled is beyond
me.</font><font face="arial"> </blockquote>
<x-sigsep><p></x-sigsep>
&quot;At the center of the universe is a loving heart that continues to
beat and that wants the best for every person.&quot;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
-Fred &quot;Mister&quot; Rodgers</font></html>

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Date: Wed, 19 Jun 2002 17:29:05 -0700 (PDT)
Status: RO

> "Costumi A Issogne"
       <snip>
> Whether the layouts or period or not, at least the pics are of fresco's that
> appear to be 
>   medieval time period.   (not my thing... so don't know for sure)

Oh, they're real and in fabulous shape.  When I was there, the only way to take
detail pics of all 6 was to buy the book.  The postcards mostly had the
interior frescos. There's 3 stories of near life-sized people and their famous
quotations. Wonderful, but more "fantasy" oriented in that figures depicted
saints, philosphers and marytrs.  The 6 exterior frescos are, as I recall, the
only 14th Italian frescos of "everyday" people in "everyday" clothes in their
"everyday" life.

=====
--cin
Cynthia
hysteria95126@yahoo.com

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Subject: Re: [h-cost] Trip to NYC
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Date: Wed, 19 Jun 2002 18:54:12 -0700
Status: RO

Be sure to check out the costume museum at the Fashion Institute of
Technology in Manhattan.  Other costume collections are the Met (obviously)
and the Brooklyn Museum (check ahead of time to see if anything's on view).

- Kendra



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Subject: Re: [h-cost] Trip to NYC
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Date: Wed, 19 Jun 2002 19:11:49 -0700
Status: RO

To this nice list I would like to add:
 
Paron Fabrics 
206 West 40th Street, (7th Ave)
New York, New York 10018
Phone 212 768 3266
Fax 212.768.3260
Hours:
Mon-Sat 9:00AM-5:45PM
Thursday: 9.00AM-7PM
Sunday: Closed

They have a really nice selection of wools and silks, mostly designer ends.
Not particularly cheap but exquisite - and much cheaper than the same items
in Seattle. I was waited on for hours by a salesman named Gus, after going
over almost every bolt of fabric on the street level he brought me
downstairs to the warehouse!  What choices.  I bough way too much stuff, of
course, but it is all the best and at really decent prices, I found that the
prices kept dropping as my pile kept growing.  If you are a teacher, student
or anything in the fashion industry,  let Gus know and I think the prices
drop for that alone.

Good luck in New York, it's a wonderful place (not that London isn't, too)

> From: "Martha Kelly" <marthakelly@nyc.rr.com>
> Reply-To: h-costume@indra.com
> Date: Wed, 19 Jun 2002 12:49:06 -0300
> To: <h-costume@indra.com>
> Subject: RE: [h-cost] Trip to NYC
> 
> Some of the fabric (etc) stores the costume designers use:
> B&J Fabrics     263 W. 40th
> NY Elegant    222 West 40th
> Mood        250 West 39th  10th Floor  (go up, it's worth it)
> Daytona Braid   251 West 39th
> Hyman-Hendler     67 West 38th    (ribbon)
> M&J Trim    6th Ave between 38th and 37th
> Zohra        235 West 40th (beautiful fabrics from India)
> Ben Raymond    545 Broadway (miles of inexpensive lace - especially eyelette)
> Harry Zarin    318 Grand    (upholstery/curtain fabrics)
> Tender Buttons    143 E. 62nd
> 
> Looking for something in particular?  I might be able to direct you.
> 
> Martha
> 
> 
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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But boning (of whatever kind)is flexible, which wood is not.  A working 
woman needs, it seems to me (having spent the day doing real work while 
wearing such clothes) more flex than a whole unarticulated stomacher would 
give.  These look like separate boning channels to me, not like a solid 
piece of anything, nor like wrinkles.  They do not look like an attempt at 
depicting wood grain.

MaggiRos


>From: Judith Taylor <judi@frognet.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
>Date: Wed, 19 Jun 2002 18:51:22 -0400
>


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<html>
Looking closely at this picture, I would say that the stomacher was
wooden....and here's why I say this:<br><br>
1) The rest of her outfit. This woman is not an upper class
'gentlewoman'. She is either middle class or a servant. What we see her
wearing is good sturdy clothing that can stand up to the tasks she has to
do...in this case, it appears that she is procurring meat for
dinner.<br><br>
2) A bone stomacher would not generally be worn during the day. In many
cases, a bone stomacher is part of 'fancy dress'....not what I would wear
to the market on butchering day.<br><br>
3) The cost for bone to use to stiffen a stomacher (or corset) would have
been quite expensive. Stomachers were generally a single piece...much
like what we call a busk. To create a stomacher from cloth and take the
time to stiffen it with individual boning would not give the desired
effect. It would have to be connected to more material that fastened
around the body. Stomachers (or busks) could be 'inserted' at the front
of a gown using the lacing from the bodice to keep it in place.<br><br>
4) The time of the painting. This is a 16th century painting depicting
the working people of the time. This was probably painted while Phillip
II still reigned as emperor and prior to, or just about the time when
Phillip II was quarrelling with William of Orange, supervisor over
Holland, Zealand and Utrecht.<br><br>
There are some examples of wooden stomackers, often made of oak or ash
(IIRC). <br><br>
To my eye, the 'wrinkles' that you are seeing may be the artist's
interpretation of wood grain. Which makes another point....bone, unless
carved (and more often than not they were very decoratively carved) does
not show/have a 'grain.'<br><br>
It is highly possible that this young working woman is wearing a full,
under-bust corset...but due to the artist's interpretation and depiction,
we can only guess that such may be the case.<br><br>
Judith<br>
(Finally putting that Art History minor to use. ;)<br><br>
AlbertCat@aol.com put into words:<br>
<blockquote type=cite class=cite cite><font face="arial">In a message
dated 6/19/2002 12:49:47 PM Eastern Daylight Time, lindo@Radix.Net
writes: <br><br>
</font><font face="Arial, Helvetica" size=2><br>
<blockquote type=cite class=cite cite>However, I doubt that the wrinkles
caused just by lacing would be that <br>
regular.&nbsp;
</font></blockquote><font face="Arial, Helvetica"><br><br>
I agree with this interp. The piece looks boned...stiffened in some way.
Look at the top of this stomacher. It is thick and not wrinkled in any
way. It is boned. How this could be interpreted as wrinkled is beyond
me.</font><font face="arial"> </blockquote>
<x-sigsep><p></x-sigsep>
&quot;At the center of the universe is a loving heart that continues to
beat and that wants the best for every person.&quot;<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
-Fred &quot;Mister&quot; Rodgers</font></html>

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Subject: Re: [h-cost] Women's headgear, medieval Norway?
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Date: Wed, 19 Jun 2002 22:33:41 -0400
Status: RO

Hi, Ingrid. I agree with Katya, your group will probably have standards
which they will want you to follow, but if you are doing research yourself
to look at other options, there are other sources. First, who on the
Continent, if at all, was Norway most closely allied with? This might give
clues as to styles. You can also look to church sculpture and paintings.
Probably not of use to Norwegians (more Swedes, I suppose), but I have a
book called "Art Treasures of Medieval Finland". It catalogs paintings and
sculpture from assorted parish churches. The earliest stuff from there was
in the mid-Twelfth Cent., when Finland was being Christianized. They mention
the Swedish influence, and the influence of the Hanseatic traders, and the
cities of Danzig and Lubeck. Perhaps some similar books have been published
on Norwegian churches and their art that might shed light on your area of
study. If I come across anything else, I'll pass it along. Mike T.



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Date: Wed, 19 Jun 2002 22:53:29 -0400
Status: RO

Welcome to New York!

I'm afraid the tapestry show is closing - may have closed today. 
 (Kicking self... I thought I had another week, and didn't get to it!) 
 The Cloisters is always wonderful, you have a good list of the museums...


In case you haven't been told - get an unlimited ride Metro card. $17 
for 7 days, or $4 for one,  and you can go everywhere, all buses and 
subways.

Martha gave you a great list of garment center stores. I like Mood, and 
you do have to go upstairs to see it. Otherwise, I walk down the street, 
looking in windows to see what catches my eye!

Do consider seeing a show. Broadway, of course, but there are also many 
Off Broadway (and OffOff Broadway) shows that are interesting and good. 
The New Yorker, New York, and Time Out New York magazines have 
information on what is running, who is playing, what is in museums and 
dates of exhibitions, such like useful information.

If I can answer any specific questions, too, or give directions, I'd be 
glad to. It's a wonderful city. I'm afraid, though, that I suffer the 
classic New Yorker's problem - I'm never sure what people will want to 
see, because I tend to take it all for granted! So I'm not good at 
suggestions.

Anne

Stevie Gamble wrote:

>Hi everyone,
>Provided my daughter's new passport turns up in time we are New York
>City bound on Friday staying for 10 days. And yes, I did curse the
>twist of fate that made this a few days too late for Robin's
>presentation...
>I will be hitting the museums, and have the Cloisters as essential for
>the Tapestries, amongst other things, the Met for everything, the
>Brooklyn Museum of Art for textiles and Egypt, the Frick for Thomas
>More, and then there's all that modern stuff which I may be able to
>get out of seeing since we have to chase bits of it around because of
>the redevelopment of MOMA.
>My daughter Bella wants to see Washington, for the XFiles stuff, so I
>will be going to the National Gallery there.
>Any other suggestions, please?
>And then there's the shops; we are staying at the Pennsylvania Hotel
>which looked promising for the garment district; anyone's favourite
>fabric places?
>best wishes
>Stevie
>getting back to the ironing board...
>
>_______________________________________________
>


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Subject: Re: [h-cost] Scandinavian clothing, was Women's headgear, medieval Norway?
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Date: Wed, 19 Jun 2002 22:56:03 -0400
Status: RO

Now, this is good timing! I sat down to ask a question, and found this...

My question is about Scandinavia about 100 years later. 1400 or so. I'm 
starting to be curious about the reign of Margrethe, and would like to 
look into clothing worn then. I've looked at the Golden Gown (thank you, 
Bjarne and Cynthia!) but I'm trying to find other sources. No handy 
dandy List Of Danish/Norwegian/Swedish Painters from that period, that 
I've seen, at least.

So, can anyone tell me...

What visual sources do we have from that place and period? Where might I 
be able to find them? I have a Danish-English dictionary here someplace, 
and might be able to puzzle out a few captions, but that's about the 
limit of my translating ability... but I can always look at pictures. 
There must have been  painting, sculpture, brass... something!

Is there a book anyone would particularly recommend, in English (So, I'm 
picky...) about history or culture or anything of the period? I'm 
interested in the whole culture, not just costume. It is a fascinating 
time, and I'd like to read about all three nations.

Any idea what people were wearing? Any people, from Margrethe herself to 
the farm hands. I'm probably most interested in the merchants in the 
cities - the little I have seen so far suggests there was a lot of 
trade. It may be time for me to learn about the Hanseatic League...

I'm just beginning, so please tell me if there is an obvious question I 
haven't asked!

Anne


Ingrid G. Storrř wrote:

>Hi, all! I've recently joined a reenactment group here in Norway that 
>concentrates on the years of the reign of Haakon V Magnusson; 1299-1308. 
>I'm figuring that wool T-tunics with underarm gussets and fairly high 
>necklines are safe enough for clothing, but I'm not entirely certain 
>where to look for sources for headgear. Does anyone know, or have any 
>tips? I figured I'd go and have a look at the pages from the Maciejowski 
>Bible that are printed in Old Testament Miniatures (I haven't looked at 
>it closely before), but I'm not sure if there's actually much for women 
>in there. Also, I suppose the Manesse Codex could be a tentative source 
>- but does anyone know if there's anything more specific for 
>Norway/Scandinavia out there for this period? Any help will be very much 
>appreciated indeed. :)
>
>Ingrid
>
>_______________________________________________
>


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Date: Wed, 19 Jun 2002 23:03:49 -0400
Status: RO

My, I'm talkative tonight!

I've had a busy period, am finally catching up on email, and finally 
have a chance to tell you, very briefly,  about Robin's presentations at 
the SCA Costume Collegium in New Jersey last Saturday. 

It was fascinating (of course!) She made the opening remarks for the 
entire collegium, then gave 4 hours of  lecture and slide shows. The 
first two hours were sort of run together - the development and her 
theory of the design of the Gothic Fitted Gown, and then a discussion of 
the Greenland (however many gored) Gown. I've been following the 
discussion of the gothic gown, and it was good to see so many of the  
pictures on which the ideas are based. The third class was about the 
sideless surcote, both general construction, and who did (or did not) 
wear it, and the fourth was the development of the V-necked gown of the 
late 14th century. She had many slides, some familiar, many not, to 
support and illustrate her points, and the actual garments she had made 
so that we could see the cut. None of this was a hands-on demonstration 
of construction, but a presentation of history and theory. There was a 
huge amount of information to digest. I think this will be simmering in 
my mind for a long time!

There were many other classes, which I did not get to, but some of which 
I am promised notes for, and some of which I had already heard. Some 
were overviews and histories of other  garments, from Tudor dresses to 
gamurras to cassocks, some were basic patterning for beginners. The 
other one that looked most interesting to me was Care and Feeding of 
Textiles in the 16th Century, by Carolyn Priest-Dorman (SCA name Thora 
Sharptooth). This, I understand, was about cleaning. care and storage of 
textiles in the period, from what is known from contemporary texts, and 
including some textile chemistry. I'm looking forward to getting that 
information.

This weekend I'll be seeing some of the other people who attended, and 
it will be interesting to discuss it and see what different people took 
away from it. I have promised to, in turn, share my notes with people 
who were attending, or teaching, other classes, so we will have a lot to 
talk about.

Of course, it was also fascinating, now that I have met Robin, to open 
my mail and read about dreams of her teaching barn building and 
dancing... The closest she came to dancing was jumping up and down in 
the fitted gown to prove that nothing shifts! One is left, though, with 
the feeling that, if she wanted to build a barn, she would find a way... 
moreover, it would be the way the original barn builders probably 
originally built, if you look at the materials available and the 
pictures and what we know about the uses of barns... ;-)

Anne





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Date: Wed, 19 Jun 2002 23:34:11 -0400
Status: RO

Hi, All of these things sound right, although I haven't had good luck with wool. It tends to separate
if it is just twined, but it works better if it is lucetted, braided or otherwise supported. I think
Judy has a point too about sinew. Leather, even if top grain, tends to become fragile as moisture and
age break it down. Sinew or gut is far stronger. I have some real gut that I preserved after
restringing an antique tennis racquet (it was in pieces, no use to the raquet, but fine for cord,
instrument strings, etc.), and you can get new deer sinew from your friendly neighborhood
buckskinning reenactors or traditional archery supplies (find Primitive Archer magazine for a list).
There is an example of an existing cord (unfortunately 1350-1400 AD) through some paternoster beads
in the collection of the Museum of London (#1489 in the Dress Accessories book)) that is tubular
tablet-woven silk braid. The material and techniques were known at the time, but better scholars of
this period than I are on this list, that can tell you whether or not this was either possible or
probable for your area of interest. I would conjecture that the greater the value of the items being
strung, the better the quality of the cord. Good Luck in your search, Mike T.

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Subject: Re: [h-cost] Robin Netherton at Costume Collegium
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Date: Thu, 20 Jun 2002 01:26:59 -0500 (CDT)
Status: RO


On Wed, 19 Jun 2002, A F Murphy wrote:

> I've had a busy period, am finally catching up on email, and finally
> have a chance to tell you, very briefly, about Robin's presentations
> at the SCA Costume Collegium in New Jersey last Saturday.

<lots of stuff snipped>

(Thanks, Anne, the check is in the mail.) ;-)

What Anne didn't tell you was that I would have been absolutely useless
and lost without her! She had the lucky (?) job of being my on-site
assistant, which meant she ran and fetched and found and fixed and handled
the light switches -- no small task because I keep going back and forth
between slides and live demo, and that meant Anne had to keep going back
and forth between the main room and the side room where the switches were.

I had a ball. It was a great crowd and I came away with some new ideas to
percolate myself. I was tempted to skip my own classes to hear some of the
others, but I wasn't allowed to do that ;-)

--Robin

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From: =?iso-8859-1?Q?Ingrid_G=2E_Storr=F8?= <ingridgs@studorg.hiof.no>
To: h-costume@indra.com
Subject: Re: [h-cost] Women's headgear, medieval Norway?
In-Reply-To: <4.3.1.2.20020619121754.00c79ca0@mail.frys.com>
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Date: Thu, 20 Jun 2002 11:09:33 +0200 (CEST)
Status: RO

On Wed, 19 Jun 2002, Carolyn Kayta Barrows wrote:
> >Hi, all! I've recently joined a reenactment group here in Norway that
> >concentrates on the years of the reign of Haakon V Magnusson; 1299-1308.
> >I'm figuring that wool T-tunics with underarm gussets and fairly high
> >necklines are safe enough for clothing, but I'm not entirely certain
> >where to look for sources for headgear. Does anyone know, or have any
> >tips? 
> 
> At the risk of being thought rude, you could always ask the other women 
> members where they got their headgear ideas.  They have been doing this for 
> longer than you have, and, presumably, do it well enough for the group 
> standards. If your headgear looks like theirs, they can't complain it 
> isn't right.  And it will give them a chance to be helpful, which some 
> people like to be.

Of course I'll ask the other women in the group; I've asked a couple 
already. :) But part of my problem is that until fairly recently, this 
has been mainly a live steel fighting group, with major focus on armour 
and weapons - for men. From what I've gathered, research into women's 
clothing hasn't been as extensive within the group. So I thought I'd ask 
this knowledgable list if anyone had any ideas - it can't hurt, right? 
:) Also, I'm not only concerned with meeting group standards (however 
high they may be) - I want to be as authentic as at all possible 
based on the available evidence. And considering the number of people on 
this list, I figured it just might be possible that someone would have 
info that would be new to the group as well. Well, I hoped, at least. :)

Ingrid

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From h-costume-admin@indra.com  Thu Jun 20 08:11:27 2002
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Trip to NYC - one more museum
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Date: Thu, 20 Jun 2002 07:35:11 -0300
Status: RO

Did anybody mention the Museum of American Folk Art?  It's our newest museum
and the building alone is worth experiencing.  It twists and turns and has
hidden corners and unexpected vistas. Even the front of it - individual
plates like 11th century armor - feels "crafted."  You'll see weathervanes
and quilts and naďve sculpture and, and, and....  This building is next to
the hole where the new MoMA will be.  It's also across the street from the
Donnell Branch of the NYPL.  In the children's division are the REAL (as in
stuffed animals owned by Milne) Winnie the Pooh, Piglet, Eeyore.  Speaking
of NYPL - go in the building at 42nd and Fifth and walk up to the
newly-restored reading room.  Have somebody take your picture by Patience
and Fortitude, the lions who guard the steps outside.  And while you're in
the neighborhood, walk over to Grand Central Station.  Look up at the
beautiful façade.  Then go in the main waiting room.  It's awfully pretty
and is in SO many movies you'll feel you know it.

By the way, the museums all have websites.  You can check out what shows are
running, summer hours, etc.

Martha


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Subject: RE: [h-cost] Women's headgear, medieval Norway?
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Date: Thu, 20 Jun 2002 08:51:29 -0500
Status: RO

This may be a helpful site, or you may have seen it already, but thought I'd
pass along the info, if nothing else it is source you can e-mail for more
information. Betsy

http://www.frojel.com/_index.html

or this may be your group....??

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Ingrid G. Storro
Sent: Thursday, June 20, 2002 4:10 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Women's headgear, medieval Norway?



Of course I'll ask the other women in the group; I've asked a couple
already. :) But part of my problem is that until fairly recently, this
has been mainly a live steel fighting group, with major focus on armour
and weapons - for men. From what I've gathered, research into women's
clothing hasn't been as extensive within the group. So I thought I'd ask
this knowledgable list if anyone had any ideas - it can't hurt, right?
:) Also, I'm not only concerned with meeting group standards (however
high they may be) - I want to be as authentic as at all possible
based on the available evidence. And considering the number of people on
this list, I figured it just might be possible that someone would have
info that would be new to the group as well. Well, I hoped, at least. :)

Ingrid

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From h-costume-admin@indra.com  Thu Jun 20 10:46:10 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Scandinavian clothing, was Women's headgear, medieval
 Norway?
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Date: Thu, 20 Jun 2002 09:50:54 -0500 (CDT)
Status: RO


Coming in late to this thread...

I promised Anne a reference on this book, and it may also be useful to the
original poster:

Medieval Manner of Dress: Documents, Images and Surviving Examples of
Northern Europe, Emphasizing Gotland in the Baltic Sea. Else Marie Gutarp
(Gotlands Fornsals 2001, ISBN 91-88036-43-X). Gutarp is a costume designer
associated with the County Museum of Gotland, and she is in charge of the
clothing production for Gotland Medieval Week, an annual reenactment
festival. The translation into English was done by Desiree Koslin, whom
Kalamazoo-goers would recognize. I bought my copy through Desiree for
$28.50 including postage.

The book is small and only about 100 pages, and it focuses mostly on
Scandinavia. It does draw on the rest of Europe to fill in gaps. It's
aimed, I think, for living history and reenactment crowds. The scope is a
little large and fuzzy; I see references from 12th through 15th century
and not always a clear expression of changes over time -- lots of "people
in the Middle Ages did X." She covers a bit of everything: seam
treatments, accessories, fabric production, tools, clerical garments.

There are quite a few images of medieval art I haven't seen before, along
with some old standards, and a few interesting quotes from Scandanavian
source documents, in translation. There are also some good photographs of
extant accessories, shoes, fabric, plus some recognizable images of the
Herjolfsnes and Boksten garment finds and the Golden Gown. Many of the
images of general costume styles are redrawings. The bibliography looks
excellent, but of course the sources are nearly all in Scandanavian
languages!

The author provides her own cutting patterns, on one page, of a basic
gored body garment that can be adapted to shirt, kirtle, tunic, tabard, or
surcote -- that to me looks mostly like how-to for reenactors, based on
general principles from the period but adapted to modern cutting methods.
She also includes photos of models wearing her creations, next to the
artwork she was using as inspiration. Some are more believable than
others. Her Herjolfsnes dress is very nice. She definitely has an
advantage in having models of the right facial and body types, as well as
authentic buildings and landscapes for scenery!

If you can't find this by ILL or online, I'll put you in touch with
Desiree, who surely will be able to sell you a copy.

--Robin

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I jsut signed up for this newsgroup,so I am sure this old stuff for the =
rest of you.  I need to find patterns for 1920's flapper dresses, men's =
formal wear, women's underwear garments and a 1920's brides gown.  Could =
you help me.
Thanks
BH MAcchia for Pop-Up Theatre
Dallas TX

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<DIV><FONT face=3DArial size=3D2>I jsut signed up for this newsgroup,so =
I am sure=20
this old stuff for the rest of you.&nbsp; I need to find&nbsp;patterns =
for=20
1920's flapper dresses, men's formal wear, women's underwear garments =
and a=20
1920's brides gown.&nbsp; Could you help me.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Thanks</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>BH MAcchia for Pop-Up =
Theatre</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Dallas TX</FONT></DIV></BODY></HTML>

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Date: Thu, 20 Jun 2002 09:04:57 +0200
Status: RO

Hello there,

I am translating a book on medieval military costume and came across a
fabric used in 1459 on a black huque of Sir John Fastolfe  - this fabric
is called "sengle" - unfortunatly I have no idea what this is or if
there exists an modern word or even a comparable fabric.

Any possible help is urgently needed.

Greeting from Germany


Yours

Torsten Verhulsdonk

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Internet: http://www.vs-books.de/

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Wed, 19 Jun 2002 23:00:27 -0700
Status: RO


>2) A boned stomacher would not generally be worn during the day. In many 
>cases, a bone stomacher is part of 'fancy dress'....not what I would wear 
>to the market on butchering day.

What period was it only fancy-dress?  Do we know, from any other source, 
that stomachers with stiffeners were corset substitutes?

>3) The cost for bone to use to stiffen a stomacher (or corset) would have 
>been quite expensive.

Not if it were stiffened with something cheap, like locally-grown bents, 
grasses, basketry-fibre, or 1/16" thick wood (think tongue depressors, 
which do flex a little).  And the bra-less look isn't period here, so the 
woman would have done something to keep from flopping.

>Stomachers were generally a single piece...much like what we call a busk.

Not the ones I have seen photos of.

>To create a stomacher from cloth and take the time to stiffen it with 
>individual boning would not give the desired effect.

It just might give the desired effect, if the stiffeners were close enough 
together.

>Which makes another point....bone, unless carved (and more often than not 
>they were very decoratively carved) does not show/have a 'grain.'

Bone really does have a visible grain.  That's how one can tell a bone item 
from an ivory one, even if the item has a smooth finish.


Kayta

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From: =?iso-8859-1?Q?Ingrid_G=2E_Storr=F8?= <ingridgs@studorg.hiof.no>
To: h-costume@indra.com
Subject: Re: [h-cost] Women's headgear, medieval Norway?
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Date: Thu, 20 Jun 2002 11:19:32 +0200 (CEST)
Status: RO

On Wed, 19 Jun 2002, leigh tartaglio wrote:

> First, who on the Continent, if at all, was Norway most closely allied 
> with? This might give clues as to styles. 

Ah, good point!

> You can also look to church sculpture and paintings.

Yup, that's my next move. :) I found out yesterday that a museum curator 
friend of mine has access to a lot of picture material that I'll be 
allowed to put my clammy hands on for a while, so I'm definitely one 
step closer. :)

> If I come across anything else, I'll pass it along.

Great! :)

Ingrid

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Thu, 20 Jun 2002 10:14:49 +0000 (GMT)
Status: RO


> I'm looking at the Bueckelaer painting, 'Christ in the house of
> Mary and Martha': http://www.kfki.hu/~arthp/html/b/beuckela/ 
> 
> The woman on the right appears to possibly have a boned stomacher
> under the lacing under her gown -- based on the vertical lines of
> the 'stomacher', and on the way it's pushing her bust up. 
> 
> Thoughts, folks?

My first thought would have been bodice or corset, rather than 
stomacher - *possibly* corded or quilted rather than boned, 
possibly not.



Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Thu, 20 Jun 2002 10:31:27 +0000 (GMT)
Status: RO


> > However, I doubt that the wrinkles caused just by lacing would be
> > that regular.  
> 
> I agree with this interp. The piece looks boned...stiffened in some
> way. Look at the top of this stomacher. It is thick and not wrinkled
> in any way. It is boned. How this could be interpreted as wrinkled is
> beyond me.

it might if it's a layer of thinner fabric over a stiffer- thicker 
interlining.  I've had stuff wrinkle in fairly small/regular creases like 
that if the interlining layer is too thick heavy to wrinkle much but the 
outer fabric is being pulled by the garment over the top.  The top 
edge isn't being pulled in but it is lower down so it could be that the 
lower part is wrinkling most and it's spread out to smooth at the top 
edge where it is also being held flat by the stitching holding it to the 
interlining and lining..... possibly.

I don't think it is so in this case, however.

Looks like a boned/quilted or corded underbodice or corset to me.
 



Teddy
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Subject: Re: [h-cost] Women's headgear, medieval Norway?
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Date: Thu, 20 Jun 2002 07:22:50 EDT
Status: RO

Hi Ingrid,

Just a thought but if might be helpful to look at Danish and German costumes 
of the same era.  I would think that that clothing would not be too far 
removed from what was being worn in Norway.  If you can gain access to the 
SCA publication, "The Complete Anachronist, #59" check the bibliography.  You 
may just find what you're looking for.

Cheers!

Pasha
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Subject: [h-cost] Re: boned stomacher
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Date: Thu, 20 Jun 2002 09:39:29 -0400
Status: RO



Granted, this is not my period. But to me this picture doesn't seem to
depict a stomacher at all, much less a piece of wood. It just looks like the
woman's kirtle, either stiffened or worn over her corset, showing as usual
under a laced overgown, with some sort of apron over that.

Boy, this artists certainly has a fascination for raw meat, doesn't he? Or
was raw meat just "in" at the time?

Gail Finke


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From: =?iso-8859-1?Q?Ingrid_G=2E_Storr=F8?= <ingridgs@studorg.hiof.no>
To: h-costume@indra.com
Subject: RE: [h-cost] Women's headgear, medieval Norway?
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Date: Thu, 20 Jun 2002 16:24:17 +0200 (CEST)
Status: RO


> This may be a helpful site, or you may have seen it already, but thought I'd
> pass along the info, if nothing else it is source you can e-mail for more
> information. Betsy
> 
> http://www.frojel.com/_index.html
> 
> or this may be your group....??

No, not my group; we're Kongshirden 1308 Akershus 
(http://steel.laiv.org/kjertesveinene - the site is only available in 
Norwegian as of yet, but we're translating to English as soon as 
possible). I'll take a look, thanks! :)

Ingrid

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Subject: RE: [h-cost] Issogne Fresco/costumes book
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Date: Thu, 20 Jun 2002 08:06:10 -0700
Status: RO

> "Costumi A Issogne"
       <snip>

<<Oh, they're real and in fabulous shape.  When I was there, the only way to take
detail pics of all 6 was to buy the book.  The postcards mostly had the
interior frescos. There's 3 stories of near life-sized people and their famous
quotations. Wonderful, but more "fantasy" oriented in that figures depicted
saints, philosphers and marytrs.  The 6 exterior frescos are, as I recall, the
only 14th Italian frescos of "everyday" people in "everyday" clothes in their
"everyday" life.>>

Thanks, Linda and Cynthia.  I've got an ILL request in at my local library for this one as well.  I'm really looking forward to seeing it.

Colleen

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Retro Patterns
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Date: Thu, 20 Jun 2002 18:04:39 +0100 (BST)
Status: RO

Hi BH,

The best place for that is the sewingretro list on Yahoo I believe. They do
1930s but I believe also earlier.

Nicole

 --- BH Macchia <bhmacchia@sbcglobal.net> wrote: > I jsut signed up for this
newsgroup,so I am sure this old stuff for the rest
> of you.  I need to find patterns for 1920's flapper dresses, men's formal
> wear, women's underwear garments and a 1920's brides gown.  Could you help
> me.
> Thanks
> BH MAcchia for Pop-Up Theatre
> Dallas TX
>  

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Thu, 20 Jun 2002 13:45:03 EDT
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In a message dated 6/19/2002 10:37:00 PM Eastern Daylight Time, 
maggiros@hotmail.com writes:


> But boning (of whatever kind)is flexible, which wood is not.  

Wood....depending on what kind, can be flexible. 

Remember this is really a religious painting...a "Biblical" renaissance....so 
the artist can do a lot of what he wants. Who knows what he might try to give 
it an old timey effect?

If I were to reproduce the costume depicted, I'd use rushes in channels of 
heavy canvas to stiffen this thing....lots of them so it was thick. But of 
course we'll never know what it was.....or if it was really there or made up. 
Wood, which is not a bad choice, would look good, and so would steel with 
some quilting maybe. But IMNSHO, the most periodly accurate look would be 
rushes.

Those who disagree with me are......of course just as right. [except for that 
wrinkle thing.....I just never would've seen that]

--part1_115.133f3bfb.2a436e9f_boundary
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 6/19/2002 10:37:00 PM Eastern Daylight Time, maggiros@hotmail.com writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">But boning (of whatever kind)is flexible, which wood is not. &nbsp;</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Wood....depending on what kind, can be flexible. 
<BR>
<BR>Remember this is really a religious painting...a "Biblical" renaissance....so the artist can do a lot of what he wants. Who knows what he might try to give it an old timey effect?
<BR>
<BR>If I were to reproduce the costume depicted, I'd use rushes in channels of heavy canvas to stiffen this thing....lots of them so it was thick. But of course we'll never know what it was.....or if it was really there or made up. Wood, which is not a bad choice, would look good, and so would steel with some quilting maybe. But IMNSHO, the most periodly accurate look would be rushes.
<BR>
<BR>Those who disagree with me are......of course just as right. [except for that wrinkle thing.....I just never would've seen that]</FONT></HTML>

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Subject: Re: [h-cost] Retro Patterns
From: Agnes G <countess11@mac.com>
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Date: Thu, 20 Jun 2002 11:11:22 -0700
Status: RO

Try looking at the Greater Bay Area Costumer's Guild pattern review page -
you might find what you want there.

Agnes

http://www.gbacg.org/Patterns/

> From: N Kipar <nicolas_fouquet@yahoo.com>
> Reply-To: h-costume@indra.com
> Date: Thu, 20 Jun 2002 18:04:39 +0100 (BST)
> To: h-costume@indra.com
> Subject: Re: [h-cost] Retro Patterns
> 
> Hi BH,
> 
> The best place for that is the sewingretro list on Yahoo I believe. They do
> 1930s but I believe also earlier.
> 
> Nicole
> 
> --- BH Macchia <bhmacchia@sbcglobal.net> wrote: > I jsut signed up for this
> newsgroup,so I am sure this old stuff for the rest
>> of you.  I need to find patterns for 1920's flapper dresses, men's formal
>> wear, women's underwear garments and a 1920's brides gown.  Could you help
>> me.
>> Thanks
>> BH MAcchia for Pop-Up Theatre
>> Dallas TX
>> 
> 
> =====
> Nicole Kipar M.A.
> Leader - L'Age d'Or & Kirke's Lambs
> Baroque Living History Society 1660-1715
> URL: http://www.kipar.org/
> Email: marquis@kipar.org
> 
> __________________________________________________
> Do You Yahoo!?
> Everything you'll ever need on one web page
> from News and Sport to Email and Music Charts
> http://uk.my.yahoo.com
> _______________________________________________
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Date: Mon, 17 Jun 2002 20:54:36 +0200
Status: RO

Hello there,

I am translating a book on medieval military costume and came across a
fabric used in 1459 on a black huque of Sir John Fastolfe  - this fabric
is called "sengle" - unfortunatly I have no idea what this is or if
there exists an modern word or even a comparable fabric.

Any possible help is urgently needed.

Greeting from Germany


Yours

Torsten Verhulsdonk

--
VS-BOOKS
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From: "Five Rivers" <lgsteph@golden.net>
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References: <200206201801.g5KI1vq22285@net.indra.com>
Subject: Re: [h-cost] Retro Patterns
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Date: Thu, 20 Jun 2002 16:08:27 -0400
Status: RO

> I need to find patterns for 1920's flapper dresses, men's formal
> > wear, women's underwear garments and a 1920's brides gown.

    We carry several patterns which may suit your needs, all of which you
can view through our secure, online catalogue.

Past Patterns Flapper Era slip-on bloused dress
Past Patterns Flapper Era slip-on evening dress
Past Patterns 1929-1931 Wedding gown
Folkwear Monte Carlo Dress
Folkwear Sunburst cocoon coat
Folkwear Tango Dress

    Unfortunately I don't know of any men's patterns for that time period,
something about which I've complained to pattern manufacturers, along with
the dearth of patterns for men available for Regency, early
Baroque/Restoration, Edwardian.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
info@5rivers.org


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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Thu, 20 Jun 2002 16:16:11 -0400 (EDT)
Status: RO

On Thu, 20 Jun 2002 AlbertCat@aol.com wrote:
> Remember this is really a religious painting...a "Biblical" renaissance....so
> the artist can do a lot of what he wants. Who knows what he might try to give
> it an old timey effect?

Possibly!  Bueckelaer seems to put genre scenes and religious stuff
together -- the religious scene is in the far background, and the genre
scene is in the foreground.  I wonder if he is doing this so he can get
away with showing stuff like kitchen maids skewering chickens (lascivious
implication) in a painting that has a 'religious' title...

-- Mara

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Date: Thu, 20 Jun 2002 15:49:04 -0500 (CDT)
Status: RO


On Thu, 20 Jun 2002, Torsten [iso-8859-1] Verhülsdonk wrote:

> I am translating a book on medieval military costume and came across a
> fabric used in 1459 on a black huque of Sir John Fastolfe - this
> fabric is called "sengle" - unfortunatly I have no idea what this is
> or if there exists an modern word or even a comparable fabric.

(Oddly, both your messages came through to my box just now, though the
first was dated Monday.)

Are you sure the reference is a fabric, and not a descriptive term? I've
seen some written references from around this period that distinguished
between "double" and "single" (unlined) garments. My first thought was
that "sengle" might mean single-layered.

There's also a silk called "sendal."

Is there any question about the spelling or handwriting?

And perhaps if we had the entire sentence/passage, we could pick up some
key detail that would be useful.

--Robin

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From h-costume-admin@indra.com  Thu Jun 20 17:00:48 2002
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Subject: [h-cost] Trip to NYC
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Date: Thu, 20 Jun 2002 13:53:35 -0700 (PDT)
Status: RO

I'm not sure exactly when you're going to be in
Washington, DC, but it's worth checking to see if the
FolkLife Festival is happening.  It's downtown at the
Mall where the Smithsonian museums are located, handy
to the Metro.  It runs June26-30 and July 3-7 this
year.  This year's theme is The Silk Road, with many
craftspeople working on site.  The URL is
http://www.silkroadproject.org/smithsonian/index.html.
 It's well worth the time with much going on.  Kay

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Date: Thu, 20 Jun 2002 17:15:47 EDT
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--part1_129.1315a357.2a43a003_boundary
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In a message dated 6/20/2002 9:58:01 AM Pacific Daylight Time, 
bhmacchia@sbcglobal.net writes:


> I jsut signed up for this newsgroup,so I am sure this old stuff for the rest 
> of you.  I need to find patterns for 1920's flapper dresses, men's formal 
> wear, women's underwear garments and a 1920's brides gown.  Could you help 
> me.

Here are some links to sites who sell such patterns.
www.alteryears.com
www.harperhouse.com
www.lamodebagatelle.com (more late teens, but worth a look)
www.pastpatterns.com
 

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"As in a theater, the eyes of men, 
after a well-graced actor leaves the stage, 
are idly bent on him that enters next, 
thinking his prattle to be tedious."
W. Shakespeare

--part1_129.1315a357.2a43a003_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/20/2002 9:58:01 AM Pacific Daylight Time, bhmacchia@sbcglobal.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I jsut signed up for this newsgroup,so I am sure this old stuff for the rest of you.&nbsp; I need to find patterns for 1920's flapper dresses, men's formal wear, women's underwear garments and a 1920's brides gown.&nbsp; Could you help me.</BLOCKQUOTE><BR>
<BR>
Here are some links to sites who sell such patterns.<BR>
www.alteryears.com<BR>
www.harperhouse.com<BR>
www.lamodebagatelle.com (more late teens, but worth a look)<BR>
www.pastpatterns.com<BR>
 <BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"As in a theater, the eyes of men, <BR>
after a well-graced actor leaves the stage, <BR>
are idly bent on him that enters next, <BR>
thinking his prattle to be tedious."<BR>
W. Shakespeare<BR>
</FONT></HTML>
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From: Judith Taylor <judi@frognet.net>
Subject: Re: [h-cost] Boned 'stomacher' in Bueckelaer?
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Date: Thu, 20 Jun 2002 17:35:27 -0400
Status: RO

Carolyn Kayta Barrows put into words:

>>2) A boned stomacher would not generally be worn during the day. In many cases, a bone stomacher is part of 'fancy dress'....not what I would wear to the market on butchering day.
>
>What period was it only fancy-dress?  Do we know, from any other source, that stomachers with stiffeners were corset substitutes?

My apologies for the confusion. I was referring to it as if it were a single piece of solid (or carved) bone...more to the effect of a busk. 

Judith


'The intuitive mind is a sacred gift and the rational mind is a faithful servant. 
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Subject: Re: [h-cost] Retro - 1920 patterns
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Date: Thu, 20 Jun 2002 17:59:05 -0400
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I just purchased a 1920s pattern from
http://www.silkpoppy.com/patternframe.htm . These are original patterns from
the 1920s-1940s. I purchased pattern MC5941 to make my dress to go to one of
the two balls that I am going to in August.  This dress is for the Red Cross
Ball.  Kim, the business owner, graded the pattern to my size from the
original pattern.  She can make you a pattern from the original or can make
one graded to your size.

Kim is going to be one of our new instructors.  She is a master at grading
patterns and working with the bias cut dresses.  Her first classes will be
about making the bias cut dresses, a beginners and an advanced level
classes.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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<DIV>I just purchased a 1920s pattern from <A=20
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<DIV>&nbsp;</DIV>
<DIV>Kim is going to be one of our new instructors.&nbsp; She is a =
master at=20
grading patterns and working with the bias cut dresses.&nbsp; Her first =
classes=20
will be about making the bias cut dresses, a beginners and an=20
advanced&nbsp;level classes.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
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Date: Thu, 20 Jun 2002 18:12:17 -0400
Status: RO

Susan and I are so excited... today I received word that I have been awarded
our first grant.  It is the Costume Society of America's Region VI's 2002
Professional Development Grant.  The grant will be used to expand our "A
Year in Fashion" series for the years, 1920, 1921, 1922, & 1923.  This grant
will help us to purchase new software and an optical scanner to read all the
text so we don't have to hand type all the text of the articles.  This will
really help us save time.  YIPPEE!!!!

For those who want to see how an example of how we plan to expand the 1920s
version, look at "A Year in Fashion: 1912"
http://www.costumegallery.com/Delineator/May_1912/Magazine.htm  This area
has really grown this month. This year in the series is almost complete...
we have four more articles to add... teenage girls, school age girls,
ladies' shirtwaists, and toddlers.  It will be completed by the end of July.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Date: Thu, 20 Jun 2002 18:34:31 EDT
Status: RO


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Penny

That is an awesome dress! It isn't listed in the for sale section though. 
Does that mean you bought the only copy or did you get a graded version?  I 
would like to buy a copy of it, as I've seen it (or versions almost identical 
to it) at various vintage patterns sites and they've always been way out of 
my orice range.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"O! Swear not by the moon, the inconstant moon, 
That monthly changes in her circled orb,
Lest that thy love prove likewise variable."
W. Shakespeare

In a message dated 6/20/2002 3:00:46 PM Pacific Daylight Time, 
penny@costumegallery.com writes:


> I just purchased a 1920s pattern from <A HREF="http://www.silkpoppy.com/patternframe.htm">
> http://www.silkpoppy.com/patternframe.htm</A> . These are original patterns 
> from the 1920s-1940s. I purchased pattern MC5941 to make my dress to go to 
> one of the two balls that I am going to in August.  This dress is for the 
> Red Cross Ball.  Kim, the business owner, graded the pattern to my size 
> from the original pattern.  She can make you a pattern from the original or 
> can make one graded to your size. 
> 


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Penny<BR>
<BR>
That is an awesome dress! It isn't listed in the for sale section though. Does that mean you bought the only copy or did you get a graded version?&nbsp; I would like to buy a copy of it, as I've seen it (or versions almost identical to it) at various vintage patterns sites and they've always been way out of my orice range.<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes<BR>
Theatrical Costume Design<BR>
www.cabbagerosecostumes.com<BR>
"O! Swear not by the moon, the inconstant moon, <BR>
That monthly changes in her circled orb,<BR>
Lest that thy love prove likewise variable."<BR>
W. Shakespeare<BR>
<BR>
In a message dated 6/20/2002 3:00:46 PM Pacific Daylight Time, penny@costumegallery.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I just purchased a 1920s pattern from <A HREF="http://www.silkpoppy.com/patternframe.htm">http://www.silkpoppy.com/patternframe.htm</A> . These are original patterns from the 1920s-1940s. I purchased pattern MC5941 to make my dress to go to one of the two balls that I am going to in August.&nbsp; This dress is for the Red Cross Ball.&nbsp; Kim, the business owner, graded the pattern to my size from the original pattern.&nbsp; She can make you a pattern from the original or can make one graded to your size. <BR>
</BLOCKQUOTE><BR>
<BR>
</FONT></HTML>
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Date: Thu, 20 Jun 2002 17:33:45 -0500
Status: RO



Congratulations!  Just keep growing.  You're doing some terrific work!

Meg Jany

----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Thursday, June 20, 2002 5:12 PM
Subject: [h-cost] YIPPEE!!!!!


> Susan and I are so excited... today I received word that I have been
awarded
> our first grant.  It is the Costume Society of America's Region VI's 2002
> Professional Development Grant.  The grant will be used to expand our "A
> Year in Fashion" series for the years, 1920, 1921, 1922, & 1923.  This
grant
> will help us to purchase new software and an optical scanner to read all
the
> text so we don't have to hand type all the text of the articles.  This
will
> really help us save time.  YIPPEE!!!!
>
> For those who want to see how an example of how we plan to expand the
1920s
> version, look at "A Year in Fashion: 1912"
> http://www.costumegallery.com/Delineator/May_1912/Magazine.htm  This area
> has really grown this month. This year in the series is almost complete...
> we have four more articles to add... teenage girls, school age girls,
> ladies' shirtwaists, and toddlers.  It will be completed by the end of
July.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
>
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: Carolyn Kayta Barrows <kayta@frys.com>
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Subject: [h-cost] my "new" sewing machine
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Date: Thu, 20 Jun 2002 18:32:24 -0700
Status: RO

It's a Wilcox and Gibbs chain stitch machine, with patent dates ranging 
from "57" to "71" (I'm assuming 1857 and 1871).  It is bolted to a 9" x 12" 
x .5" flat wood base, with veneer on top, four half-round bumps underneath, 
for feet, and dovetail joints visible from the sides.  It has an electric 
motor grafted onto the wood base, probably from the 30's-40's, but it has a 
groove for a drive belt just inboard of the flywheel, and no hand 
crank.  (The electrical cords are period pieces, with crumbling or missing 
insulation, and get replaced before I try out the motor.)

Question 1 - is the current wood base original to the machine, or was it 
added for the electrification?  If this base was added later, what might 
the original base have looked like?

Question 2 - how was the machine intended to be operated in, say, 
1871?  What was that drive belt groove for?

Teddy - thank you, thank you, thank you.  It was because I tour-guided your 
e-correspondent thru Berkeley today that I found this sewing machine - 
marked $20!  My birthday is next month, and this is what I'm giving myself.

Kayta

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From: "cschmitt@genteelarts" <cschmitt@genteelarts.com>
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Subject: RE: [h-cost] my "new" sewing machine
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Date: Thu, 20 Jun 2002 22:18:39 -0400
Status: RO

Question 1 - is the current wood base original to the machine, or was it
added for the electrification?  If this base was added later, what might
the original base have looked like?

Question 2 - how was the machine intended to be operated in, say,
1871?  What was that drive belt groove for?

Katya,
The current wood base could be original to the machine, but I have a feeling
it was probably added when it was electrified.  Usually the machine was
mounted to a sewing table with a treadle. Wooden top, elaborate cast iron
legs and treadle plate.  The drive belt groove is for a leather belt than
ran from the machine to a large wheel operated by the treadle.  The base may
or may not have been made by Wilcox and Gibbs; there were a number of
furniture companies that made sewing tables in a variety of styles.  Can you
find the serial number on the machine?  I have a table of manufacturers that
lists the serial numbers and the years they were produced.

Carolann Schmitt
cschmitt@genteelarts.com

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Subject: Re: [h-cost] Retro - 1920 patterns
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Date: Thu, 20 Jun 2002 22:27:57 -0400
Status: RO

This is a multi-part message in MIME format.

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Angela,

Kim made me a copy of the pattern.  I don't think she sell any of her
originals... just make copies of them.  I just gave Kim my measurements and
she made my pattern.  She told me it takes her about a week.  She has a lot
more patterns that are not on the site too, so just ask her.

I meet Kim on the sewretro email list at yahoogroups.  There are a lot of
fun creative people on that list.  They really keep an eye on eBay auctions.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com



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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>Angela,</DIV>
<DIV>&nbsp;</DIV>
<DIV>Kim made me a copy of the pattern.&nbsp; I don't think she sell any =
of her=20
originals... just make copies of them.&nbsp; I just gave Kim my =
measurements and=20
she made my pattern.&nbsp; She told me it takes her about a week.&nbsp; =
She has=20
a lot more patterns that are not on the site too, so just ask her.&nbsp; =
</DIV>
<DIV>&nbsp;</DIV>
<DIV>I meet Kim on the sewretro email list at yahoogroups.&nbsp; There=20
are&nbsp;a lot of fun creative&nbsp;people on that&nbsp;list.&nbsp; They =
really=20
keep an eye on eBay auctions.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR></DIV>
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From h-costume-admin@indra.com  Fri Jun 21 02:01:36 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] my "new" sewing machine
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Date: Thu, 20 Jun 2002 22:54:03 -0700
Status: RO


>Question 1 - is the current wood base original to the machine, or was it
>added for the electrification?  If this base was added later, what might
>the original base have looked like?
>
>Question 2 - how was the machine intended to be operated in, say,
>1871?  What was that drive belt groove for?
>
>Katya,
>The current wood base could be original to the machine, but I have a feeling
>it was probably added when it was electrified.  Usually the machine was
>mounted to a sewing table with a treadle. Wooden top, elaborate cast iron
>legs and treadle plate.

I know what more recent treadle machines look like - I've got a White 
treadle machine from somewhere near the turn of the 20th century, and my 
grandmother also had a White treadle machine.

>The drive belt groove is for a leather belt that
>ran from the machine to a large wheel operated by the treadle.

That groove had to be the place for a drive belt, but all I had was the 
flat wood base and the electric motor.  No way is that motor 
nineteenth-century anything.

>The base may
>or may not have been made by Wilcox and Gibbs; there were a number of
>furniture companies that made sewing tables in a variety of styles.  Can you
>find the serial number on the machine?  I have a table of manufacturers that
>lists the serial numbers and the years they were produced.

The machine's still pretty dirty, and I can't readily find a serial 
number.  I'll keep looking.  Where do you recommend I look?

BTW, my geek-Sweetie tried looking up the patent dates I found, on the 
throat plate of the machine, on the patent office web page.  He had no luck 
with their search engine.  The machine has patent dates but no patent 
numbers, and we couldn't find any patents at all registered on any of the 
dates - or years! - on the machine.  Next time I am near the Sunnyvale, CA, 
branch of the Patent Office I may drag the machine along and have them look 
it up for me.

Meanwhile, got any pictures of one of these machines still on its original 
treadle?


Kayta

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Date: Fri, 21 Jun 2002 08:02:36 +0200
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Hi Robin,

sorry for posting the request twice - got some problems with my E-Mail server.

Anyway, the whole sentence reads:

"This (a heuke, huk, huke) was clearly a tabard-like garment - as was the jagged (dagged) huke of black sengle in Sir John Fastlofe's wardrobe in 1459.."

The German Textil Museum in Krefeld suggested, that it might mean the German "Zendel" which indeed was a kind of silk.

Yours

Torsten

Are you sure the reference is a fabric, and not a descriptive term? I've
seen some written references from around this period that distinguished
between "double" and "single" (unlined) garments. My first thought was
that "sengle" might mean single-layered.

There's also a silk called "sendal."

Is there any question about the spelling or handwriting?

And perhaps if we had the entire sentence/passage, we could pick up some
key detail that would be useful.

--------------6D5DA3D818493BB9D9CE856A
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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Hi Robin,
<p>sorry for posting the request twice - got some problems with my E-Mail
server.
<p>Anyway, the whole sentence reads:&nbsp;<br>
<br>
"This (a heuke, huk, huke) was clearly a tabard-like garment - as was the
jagged (dagged) huke of black sengle in Sir John Fastlofe's wardrobe in
1459.."
<p>The German Textil Museum in Krefeld suggested, that it might mean the
German "Zendel" which indeed was a kind of silk.
<p>Yours
<p>Torsten
<p><i>Are you sure the reference is a fabric, and not a descriptive term?
I've</i>
<br><i>seen some written references from around this period that distinguished</i>
<br><i>between "double" and "single" (unlined) garments. My first thought
was</i>
<br><i>that "sengle" might mean single-layered.</i><i></i>
<p><i>There's also a silk called "sendal."</i><i></i>
<p><i>Is there any question about the spelling or handwriting?</i><i></i>
<p><i>And perhaps if we had the entire sentence/passage, we could pick
up some</i>
<br><i>key detail that would be useful.</i></html>

--------------6D5DA3D818493BB9D9CE856A--


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re:  [h-cost] my "new" sewing machine
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Date: Fri, 21 Jun 2002 11:26:05 +0000 (GMT)
Status: RO


> Teddy - thank you, thank you, thank you.  It was because I
> tour-guided your e-correspondent thru Berkeley today that I found
> this sewing machine - marked $20!  My birthday is next month, and
> this is what I'm giving myself. 

But Kayta, it's because you were generous enough to offer your 
services as "native-guide" to a costumer who didn't know the 
fabric/costume suppliers in the area that you had this wonderful 
find.  Sounds to me like some 'guardian angel' wanted to reward 
you for your generosity with your time.



Teddy
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Date: Fri, 21 Jun 2002 08:20:49 -0500
Status: RO

Um, do any of these shops have websites??

Genie

B&J Fabrics 263 W. 40th
NY Elegant 222 West 40th
Mood 250 West 39th  10th Floor  (go up, it's worth it)
Daytona Braid   251 West 39th
Hyman-Hendler 67 West 38th (ribbon)
M&J Trim 6th Ave between 38th and 37th
Zohra 235 West 40th (beautiful fabrics from India)
Ben Raymond 545 Broadway (miles of inexpensive lace - especially eyelette)
Harry Zarin 318 Grand (upholstery/curtain fabrics)
Tender Buttons 143 E. 62nd

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Subject: Re:  [h-cost] (h-cost): good pictures of extant garments...
  TIP!
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Date: Fri, 21 Jun 2002 09:31:24 -0500
Status: RO

As another librarian/costumer, I heartily agree! Inter Library Loan
is a service that I cannot do without.

It's amazing how many libraries are willing to entrust their books
(and some videos!) to the US postal service so that others can
read them. It's expensive and most libraries just write the cost
off as part of their service.

I actually wrote an article on Inter Library Loan services for
Mary Denise Smith's "Costume & Dressmaker" magazine a few
years back. Until I started doing the research for it, I had no
idea how much money my own library spent on shipping costs
to send books out around the country. And salaries for
three full-time people to run it. All for a free service. All so that our
patrons can get the books that we don't have here.

Sometimes I'm so proud to be a librarian.

Sheryl Nance-Durst

At 10:18 AM 6/19/02 +0000, you wrote:

>Not much use in this instance but, how about this for a tip for those
>of you who have access to such services. Before spending out lots
>of money on books you don't know the content of, request a copy
>on Inter Library Loan from your friendly neighbourhood Librarian (in
>Nicole's case, hers happens to be a friend of mine who she's on
>first name terms with) that way you get to check out the details
>before you decide it's worth the money to buy a copy.  Even if you
>have to pay for the ILL service - it's niot as much as paying for a
>copy of the book only to be disappointed by the content when you
>get it.
>
>Teddy
>(Librarian and cataloguer)


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: h-costume sengle - help needed
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Date: Fri, 21 Jun 2002 09:22:03 -0500 (CDT)
Status: RO


On Fri, 21 Jun 2002, Torsten [iso-8859-1] Verhülsdonk wrote:

> Anyway, the whole sentence reads:
> 
> "This (a heuke, huk, huke) was clearly a tabard-like garment - as was
> the jagged (dagged) huke of black sengle in Sir John Fastlofe's
> wardrobe in 1459.."

OK, then apparently you're not working from the 1459 document -- you're
translating something written more recently. That means we don't know if
the original researcher misread the wardrobe account to assume "sengle"
was a fabric. As far as I know, this account has not been published,
though I may be wrong, so we wouldn't know without the original document.

Does the author of the book you are working on provide any glossary or
footnotes that might illuminate his/her use of the term?

> The German Textil Museum in Krefeld suggested, that it might mean the
> German "Zendel" which indeed was a kind of silk.

That would be the "sendal" I referred to earlier. But the English writer
of the document would not have been writing in German, so would have to
have made the error directly from "sendal" to "sengle."

--Robin

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Date: Fri, 21 Jun 2002 09:16:31 -0500 (CDT)
Status: RO


Drea Leed's ISP is going out of business, so she has shifted the
Elizabethan costuming site to:

http://costume.dm.net/

She says the new site gives her lots of space, and she has all sorts of
plans for expansion ;-)

--Robin

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Date: Fri, 21 Jun 2002 10:07:37 EDT
Status: RO

Hello everyone,

I was reading _The Zimmerman Telegram_ by Barbara Tuchman the other day.  At 
one point, she discusses how one of the Allied spy rings started when an 
American of Czech descent smuggled documents from Prague to London.  Here's 
the quote that makes this sort of on-topic for this list:

"Some of them he had sewn inside the soles of his shoes before leaving 
Prague; the rest were rolled up and inserted in place of the bones in his 
daughter's corset."

I don't know much about early 20th century corsets, but would it really be 
possible to fit enough papers in boning channels to be worth the effort?  I 
would think it would have been easier to fold the papers and sew them in 
between the corset lining and outer fabric, but what do I know?

Leah
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Subject: [h-cost] I ran across this link for patterns
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Date: Fri, 21 Jun 2002 10:10:10 -0500
Status: RO

The Greater Bay Area Costumer's Guild has a site for online patterns...

http://www.gbacg.org/buying.htm

this is frequently updated... It lists lots of places for patterns online.
-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: [h-cost] RE: Kayta's new sewing machine
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Date: Fri, 21 Jun 2002 11:09:47 -0400
Status: RO

Carolyn Kayta Barrows <kayta@frys.com> wrote:

It's a Wilcox and Gibbs chain stitch machine, with patent dates ranging 
from "57" to "71" (I'm assuming 1857 and 1871).  It is bolted to a 9" x 12" 
x .5" flat wood base, with veneer on top, four half-round bumps underneath, 
for feet, and dovetail joints visible from the sides.  It has an electric 
motor grafted onto the wood base, probably from the 30's-40's, but it has a 
groove for a drive belt just inboard of the flywheel, and no hand 
crank.  (The electrical cords are period pieces, with crumbling or missing 
insulation, and get replaced before I try out the motor.)

Question 1 - is the current wood base original to the machine, or was it 
added for the electrification?  If this base was added later, what might 
the original base have looked like?

Question 2 - how was the machine intended to be operated in, say, 
1871?  What was that drive belt groove for?
****************
Congratulations on your sewing machine, you made a great purchase.  You
might be interested in the ISMACS (International Sewing Machine Antique
Collectors Society)website at http://www.ismacs.net.  I think you'll find
lots of things of interest and some helpful information.  They have a free
ISMACS email digest which is a friendly group of people all over the world
who love and work on antique and vintage sewing machines.  They discuss
anything sewing machine --history, manufacturing, parts and their
availablity, restorations, as well as good buys they've found.   ; )

Connie E. Fairchild 
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Subject: RE: [h-cost] Plausibility Check on Tuchman
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Date: Fri, 21 Jun 2002 10:19:19 -0500
Status: RO

If you put paper between the lining and outer corset, it will make
crackling paper noise, and could be felt in a search.

If you roll paper up very tight and put it in the channels, you could
conceivably get a lot of paper out of the country, as there are a lot of
boning channels in a corset, and no one is likely to rip the corset
apart and check the boning.

I assume the book is talking about WWI, when corsets would have been
rather long, which means even more space for paper. If it's WWII, why
would she be wearing a corset at all?

BTW, I like Barbara Tuchman's books.

Here is a photo of a long corset:
http://www.corsetsandcrinolines.com/timelinepix/1910/edcorset1.jpg

Kim

-----Original Message-----
 Hello everyone,

I was reading _The Zimmerman Telegram_ by Barbara Tuchman the other day.
At 
one point, she discusses how one of the Allied spy rings started when an

American of Czech descent smuggled documents from Prague to London.
Here's 
the quote that makes this sort of on-topic for this list:

"Some of them he had sewn inside the soles of his shoes before leaving 
Prague; the rest were rolled up and inserted in place of the bones in
his 
daughter's corset."

I don't know much about early 20th century corsets, but would it really
be 
possible to fit enough papers in boning channels to be worth the effort?
I 
would think it would have been easier to fold the papers and sew them in

between the corset lining and outer fabric, but what do I know?

Leah


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Date: Fri, 21 Jun 2002 10:10:25 -0500
Status: RO

Depends on how many pages were in the "documents".

A single technical drawing would be considered a document.

Onaree

LLWatts@aol.com wrote:
> 
> Hello everyone,
> 
> I was reading _The Zimmerman Telegram_ by Barbara Tuchman the other day.  At
> one point, she discusses how one of the Allied spy rings started when an
> American of Czech descent smuggled documents from Prague to London.  Here's
> the quote that makes this sort of on-topic for this list:
> 
> "Some of them he had sewn inside the soles of his shoes before leaving
> Prague; the rest were rolled up and inserted in place of the bones in his
> daughter's corset."
> 
> I don't know much about early 20th century corsets, but would it really be
> possible to fit enough papers in boning channels to be worth the effort?  I
> would think it would have been easier to fold the papers and sew them in
> between the corset lining and outer fabric, but what do I know?
> 
> Leah
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

-- 
Ubi dubium ibi libertas:  Where there is doubt, there is freedom. --
Latin proverb
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Date: Fri, 21 Jun 2002 12:15:38 -0400
Status: RO

I'm looking for information about ruffs - I would like to make a ruff and
trim it with gold lace, but am unwilling to do so unless there's
information/portraits that show gold lace to be used in period to trim a
ruff.  In all the costume material I have, ruffs (for the nobility) are
all trimmed with white lace.  Has anyone run across a picture of a ruff
trimmed with a metallic lace?

Thanks for any help,
Ysabiau

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Date: Fri, 21 Jun 2002 09:50:31 -0700
Status: RO

> Until I started doing the research for it, I had no
> idea how much money my own library spent on shipping costs
> to send books out around the country. And salaries for
> three full-time people to run it. All for a free service. All so that
> our patrons can get the books that we don't have here.

Unfortunately, it really depends on the library system as not all of 
them are free. Yours must be funded better than some. Many that 
I'm familiar with (fortunately not here in my town) have to pay for the 
shipping. Also, it depends on whether your library participates in 
certain programs. If not, then they also have to pay a charge from 
the library sending the book out. A friend of mine found that it was 
costing about as much as buying the book in some cases. (She 
had to pay $25 for one book which I had only paid about $16 on 
special for the same book.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Retro - 1920 patterns
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Date: Fri, 21 Jun 2002 13:23:52 EDT
Status: RO


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In a message dated 6/20/2002 7:28:29 PM Pacific Daylight Time, 
penny@costumegallery.com writes:


> Angela,
>  
> Kim made me a copy of the pattern.  I don't think she sell any of her 
> originals... just make copies of them.  I just gave Kim my measurements and 
> she made my pattern.  She told me it takes her about a week.  She has a lot 
> more patterns that are not on the site too, so just ask her.  
> 

I get it. I don't need a graded version, so perhaps she'd just make me a copy 
of that one?  I will email, it never hurts to ask.   Thanks so much!

angela

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/20/2002 7:28:29 PM Pacific Daylight Time, penny@costumegallery.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Angela,<BR>
 <BR>
Kim made me a copy of the pattern.&nbsp; I don't think she sell any of her originals... just make copies of them.&nbsp; I just gave Kim my measurements and she made my pattern.&nbsp; She told me it takes her about a week.&nbsp; She has a lot more patterns that are not on the site too, so just ask her.&nbsp; <BR>
</BLOCKQUOTE><BR>
<BR>
I get it. I don't need a graded version, so perhaps she'd just make me a copy of that one?&nbsp; I will email, it never hurts to ask.&nbsp;&nbsp; Thanks so much!<BR>
<BR>
angela<BR>
</FONT></HTML>
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To: h-costume@indra.com
Cc: ingridgs@studorg.hiof.no
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Women's headgear, medieval Norway?
References: <4.3.1.2.20020619121754.00c79ca0@mail.frys.com>
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Date: Fri, 21 Jun 2002 18:30:07 +0100
Status: RO

Ingrid G. Storrř <ingridgs@studorg.hiof.no> wrote
>On Wed, 19 Jun 2002, Carolyn Kayta Barrows wrote:
>> >Hi, all! I've recently joined a reenactment group here in Norway that
>> >concentrates on the years of the reign of Haakon V Magnusson; 1299-1308.
>> >I'm figuring that wool T-tunics with underarm gussets and fairly high
>> >necklines are safe enough for clothing, but I'm not entirely certain
>> >where to look for sources for headgear. Does anyone know, or have any
>> >tips?
>>
>> At the risk of being thought rude, you could always ask the other women
>> members where they got their headgear ideas.  They have been doing this for
>> longer than you have, and, presumably, do it well enough for the group
>> standards. If your headgear looks like theirs, they can't complain it
>> isn't right.  And it will give them a chance to be helpful, which some
>> people like to be.
>
>Of course I'll ask the other women in the group; I've asked a couple
>already. :) But part of my problem is that until fairly recently, this
>has been mainly a live steel fighting group, with major focus on armour
>and weapons - for men. From what I've gathered, research into women's
>clothing hasn't been as extensive within the group. So I thought I'd ask
>this knowledgable list if anyone had any ideas - it can't hurt, right?
>:) Also, I'm not only concerned with meeting group standards (however
>high they may be) - I want to be as authentic as at all possible
>based on the available evidence. And considering the number of people on
>this list, I figured it just might be possible that someone would have
>info that would be new to the group as well. Well, I hoped, at least. :)
>
>Ingrid

Oh my, that sounds familiar!  Go ahead and do your research and be as 
authentic as you can - maybe in time you'll inspire others in the group 
to extend their interests into the non-combatant areas.  Best of luck!

Jean

-- 
Jean Waddie
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Plausibility Check on Tuchman
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Date: Fri, 21 Jun 2002 08:35:45 -0700
Status: RO


>"Some of them he had sewn inside the soles of his shoes before leaving
>Prague; the rest were rolled up and inserted in place of the bones in his
>daughter's corset."
>
>I don't know much about early 20th century corsets, but would it really be
>possible to fit enough papers in boning channels to be worth the effort?  I
>would think it would have been easier to fold the papers and sew them in
>between the corset lining and outer fabric, but what do I know?

I think rolled-up paper might work as corset bones, for someone who didn't 
need much shaping from that corset.  I think the papers would survive 
better rolled up tight than flat.  And as for 'worth the effort', it 
depends what was on the papers.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re:  [h-cost] my "new" sewing machine
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Date: Fri, 21 Jun 2002 08:32:32 -0700
Status: RO


> > Teddy - thank you, thank you, thank you.  It was because I
> > tour-guided your e-correspondent thru Berkeley today that I found
> > this sewing machine - marked $20!  My birthday is next month, and
> > this is what I'm giving myself.
>
>But Kayta, it's because you were generous enough to offer your
>services as "native-guide" to a costumer who didn't know the
>fabric/costume suppliers in the area that you had this wonderful
>find.  Sounds to me like some 'guardian angel' wanted to reward
>you for your generosity with your time.

It's all your fault for introducing us.  We do many of the same periods, 
and this could get expensive.  At least I don't have to take her to 
Britex.  She says her mother takes her to Britex and buys her stuff there 
on her birthday...


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] RE: Kayta's new sewing machine
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Date: Fri, 21 Jun 2002 10:46:20 -0700
Status: RO


>You
>might be interested in the ISMACS (International Sewing Machine Antique
>Collectors Society)website at http://www.ismacs.net.  I think you'll find
>lots of things of interest and some helpful information.  They have a free
>ISMACS email digest which is a friendly group of people all over the world
>who love and work on antique and vintage sewing machines.  They discuss
>anything sewing machine --history, manufacturing, parts and their
>availablity, restorations, as well as good buys they've found.   ; )

This site was very useful.  I found pictures of an earlier model of my make 
of machine, with pictures of its many attachments.  I am e-mailing one of 
the ISMACS members about getting my own copy the manual for my machine, 
which the site says is available in reprint.


Kayta

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 "from Fairchild, Connie E. at Jun 21, 2002 11:09:47 am"
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Date: Fri, 21 Jun 2002 11:25:43 -0700 (PDT)
Status: RO

Oh thank you so much for sharing that!  My mother, a consummate thrift store
shopper, has been collecting antique sewing machines on my behalf 
(I live in a studio, so they are waiting for me to move) and now I can
help her research them!  

.heather.


> ****************
> Congratulations on your sewing machine, you made a great purchase.  You
> might be interested in the ISMACS (International Sewing Machine Antique
> Collectors Society)website at http://www.ismacs.net.  I think you'll find
> lots of things of interest and some helpful information.  They have a free
> ISMACS email digest which is a friendly group of people all over the world
> who love and work on antique and vintage sewing machines.  They discuss
> anything sewing machine --history, manufacturing, parts and their
> availablity, restorations, as well as good buys they've found.   ; )
> 
> Connie E. Fairchild 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 

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To: h-costume@indra.com
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Subject: Re: [h-cost] Re: h-costume sengle - help needed
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Date: Fri, 21 Jun 2002 21:32:28 +0100
Status: RO

Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Fri, 21 Jun 2002, Torsten [iso-8859-1] Verhülsdonk wrote:
>
>> Anyway, the whole sentence reads:
>>
>> "This (a heuke, huk, huke) was clearly a tabard-like garment - as was
>> the jagged (dagged) huke of black sengle in Sir John Fastlofe's
>> wardrobe in 1459.."
>
>OK, then apparently you're not working from the 1459 document -- you're
>translating something written more recently. That means we don't know if
>the original researcher misread the wardrobe account to assume "sengle"
>was a fabric. As far as I know, this account has not been published,
>though I may be wrong, so we wouldn't know without the original document.
>
>Does the author of the book you are working on provide any glossary or
>footnotes that might illuminate his/her use of the term?
>
>> The German Textil Museum in Krefeld suggested, that it might mean the
>> German "Zendel" which indeed was a kind of silk.
>
>That would be the "sendal" I referred to earlier. But the English writer
>of the document would not have been writing in German, so would have to
>have made the error directly from "sendal" to "sengle."
>
>--Robin

Only a guess, without seeing the original , but the translator seems to 
have mistaken an up-stroke for a down-stroke in dagged/jagged, so it 
could be the same in send.. to seng..

Jean

(Hello, I'm back - had hassle with my ISP, but it seems to be fixed now, 
hooray!)

-- 
Jean Waddie
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Subject: Re: [h-cost] Plausibility Check on Tuchman
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Date: Fri, 21 Jun 2002 20:44:25 -0400
Status: RO

> If you put paper between the lining and outer corset, it will make
> crackling paper noise, and could be felt in a search.
> 
> If you roll paper up very tight and put it in the channels, you could
> conceivably get a lot of paper out of the country, as there are a lot of
> boning channels in a corset, and no one is likely to rip the corset
> apart and check the boning.

That makes sense.  They'd probably be bent up, but that doesn't normally hurt paper.  I hadn't thought about the crackling sound.

> I assume the book is talking about WWI, when corsets would have been
> rather long, which means even more space for paper. If it's 
> WWII, why
> would she be wearing a corset at all?

Yes, it's World War I.  And thanks for the corset picture link -- I suspect she could have carried blueprints in the boning channels of something like that :) .

Leah

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Subject: [h-cost] somewhat OT: costuming cars
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Date: Fri, 21 Jun 2002 21:15:28 -0500 (CDT)
Status: RO


well, it's fabric related, and it's old....

Does anybody know anything about (or have any sources for) upholstering
vintage cars?  A friend of mine just got a nice one (sorry, can't tell you
make or model...) with a bit of sun damage and some interior tears.

There *must* be books on the subject, and experts, but I have no idea
where to start!

Emma

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From h-costume-admin@indra.com  Sat Jun 22 00:03:11 2002
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  TIP!
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Date: Fri, 21 Jun 2002 22:58:43 -0500
Status: RO

Yes,
I'm afraid you're right. I'm lucky enough to live in a fairly good-sized
city. And my library (fortunately) is willing to spend the money from
their budget. (Although, if some Kansas lawmakers cut the education
budget like they're trying...that may change.)

However, even patrons in our system have to pay a fee if the library
who owns the book charges the fee. Although my library absorbs the
cost on our end, some libraries cannot afford to do the same.
But in some instances it is the only way to view books that are out
of print or unavailable in this country. I have had to pay to borrow
books that could only be found in 1 or 2 libraries in the country.
But it was the only way that I could get to read them.

Any system has its flaws, but Inter Library Loan services are
still amazing given the constraints and budget restrictions
faced by modern libraries.

Sheryl Nance-Durst

At 09:50 AM 6/21/02 -0700, you wrote:
>Unfortunately, it really depends on the library system as not all of
>them are free. Yours must be funded better than some. Many that
>I'm familiar with (fortunately not here in my town) have to pay for the
>shipping. Also, it depends on whether your library participates in
>certain programs. If not, then they also have to pay a charge from
>the library sending the book out. A friend of mine found that it was
>costing about as much as buying the book in some cases. (She
>had to pay $25 for one book which I had only paid about $16 on
>special for the same book.)
>
>
>Kat
>
>Kat(June Russell)
>kat@grendal.rain.com
>Heu! Tintinnuntius meus Sonat!


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From: Sheryl Nance-Durst <sherylnd@sound.net>
Subject: Re: [h-cost] somewhat OT: costuming cars
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Date: Fri, 21 Jun 2002 23:07:51 -0500
Status: RO

Emma,
Just doing a quick search in my library's online catalog produced the
following results -

Locke, Lee Jordan. Essentials of upholstery & trim for vintage & classic; 
with a gallery of
                interiors from the opulent era
Lee, John Martin,  How to restore auto upholstery
Caldwell, Bruce. Auto upholstery & interiors : a do-it-yourself, basic 
guide to repairing,
                replacing or customizing automotive interiors
Taylor, Don (Donald D.) Automotive upholstery handbook
Taylor, Don.  Custom auto interiors

Can't vouch for what's in them since it's 11 PM and I'm not at work. <grin>

Sheryl Nance-Durst

At 09:15 PM 6/21/02 -0500, you wrote:

>well, it's fabric related, and it's old....
>
>Does anybody know anything about (or have any sources for) upholstering
>vintage cars?  A friend of mine just got a nice one (sorry, can't tell you
>make or model...) with a bit of sun damage and some interior tears.
>
>There *must* be books on the subject, and experts, but I have no idea
>where to start!
>
>Emma


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Date: Fri, 21 Jun 2002 21:09:46 -0700
Status: RO


>well, it's fabric related, and it's old....

And some people costume themselves in matching vintage costumes while 
driving them.

>Does anybody know anything about (or have any sources for) upholstering
>vintage cars?  A friend of mine just got a nice one (sorry, can't tell you
>make or model...) with a bit of sun damage and some interior tears.
>
>There *must* be books on the subject, and experts, but I have no idea
>where to start!

Start with looking for old car clubs.  Th web might be a good place for 
that.  Old car owners are usually full of good advice, parts sources, etc.

Kayta

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Date: Fri, 21 Jun 2002 23:36:16 -0300
Status: RO

I've got a baby due in seven weeks or so, and I'm cutting back on my
internet activity just a bit. I'll still be answering e-mail and working on
new patterns and such. If anyone needs to reach me, the best way to do so is
through jenniec@sensibility.com.

Happy discussing! Hope to be back in late August!

Cheers,
Jennie Chancey

- - - - - - - - - - - - - - - - - - - - - - -
Sense and Sensibility Clothing and Patterns
http://www.sensibility.com
winsome clothing with an old-fashioned appeal

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] my "new" sewing machine
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Date: Fri, 21 Jun 2002 22:36:34 -0700
Status: RO


>
>Question 1 - is the current wood base original to the machine, or was it 
>added for the electrification?  If this base was added later, what might 
>the original base have looked like?

My husband bought me a machine from a boyscouts yard sale that when I 
tracked down the unusual name on the front (Ethridge I believe)I found had 
stopped being made in about the 1925 range.  It came in a wooden carrying 
case with the accessories space built into the wood.  The name was the 
original owner of a sewing machine company who sold his business in 1920 and 
within a few years they had stopped even using his name as a token.  It has 
all the original electric parts, and was being used up until just before I 
got it!!

It doesn't mean all of your parts are original, but it does prove they were 
made that way in the 20's.


Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi

I wont hurt you, I just want to dress you up!!


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Subject: [h-cost] three new costumes at my site:)
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Date: Sat, 22 Jun 2002 21:17:29 +1200
Status: RO

My personal costuming site that is;)

http://recital.tripod.com/costume/moulinpink.htm
finally I have photos of my recreation of the Pink Diamonds costume from
Moulin Rouge. Rather ingenious construction of the corset actually:) The
bodice is shaped, but there are no seams visible at the front;)

http://recital.tripod.com/costume/elizabeth.htm
Recreation of the coronation gown as appeared in the movie Elizabeth. I just
happened to like the tight sleeves and curved front, i don't care how
authentic it is;)

http://recital.tripod.com/costume/16thunderwear.htm
Corset and chemise as worn on my body:) The corset is shaped slightly over
the bust. Looks similar in shape to many german garments. Again, I don't
care that it doesn't look like it's stepped out of time;)

I've spent the entire day getting the photos taken, developed and scanned as
well as making the pages. needless to say I'm telling *everyone* I know
about this;)

michaela
note how my costume site is pink as a lamington;)


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From h-costume-admin@indra.com  Sat Jun 22 11:43:48 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] three new costumes at my site:)
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Date: Sat, 22 Jun 2002 16:34:08 +0100 (BST)
Status: RO

Very very VERY lovely, Michaela!
I really do so very much love to see finished costumes or even works in
progress. Thanks for sharing.

Nicole

 --- michaela <thebruce@ihug.co.nz> wrote: > My personal costuming site that
is;)
> 
> http://recital.tripod.com/costume/moulinpink.htm
> finally I have photos of my recreation of the Pink Diamonds costume from
> Moulin Rouge. Rather ingenious construction of the corset actually:) The
> bodice is shaped, but there are no seams visible at the front;)
> 
> http://recital.tripod.com/costume/elizabeth.htm
> Recreation of the coronation gown as appeared in the movie Elizabeth. I just
> happened to like the tight sleeves and curved front, i don't care how
> authentic it is;)
> 
> http://recital.tripod.com/costume/16thunderwear.htm
> Corset and chemise as worn on my body:) The corset is shaped slightly over
> the bust. Looks similar in shape to many german garments. Again, I don't
> care that it doesn't look like it's stepped out of time;)
> 
> I've spent the entire day getting the photos taken, developed and scanned as
> well as making the pages. needless to say I'm telling *everyone* I know
> about this;)
> 
> michaela
> note how my costume site is pink as a lamington;)
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] RE: Kayta's new sewing machine
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Date: Sat, 22 Jun 2002 11:50:54 -0400
Status: RO

ARe you also on treadon?  And/or vintage singers?
-Megan


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Friday, June 21, 2002 1:46 PM
To: h-costume@indra.com
Subject: Re: [h-cost] RE: Kayta's new sewing machine



>You
>might be interested in the ISMACS (International Sewing Machine Antique
>Collectors Society)website at http://www.ismacs.net.  I think you'll find
>lots of things of interest and some helpful information.  They have a free
>ISMACS email digest which is a friendly group of people all over the world
>who love and work on antique and vintage sewing machines.  They discuss
>anything sewing machine --history, manufacturing, parts and their
>availablity, restorations, as well as good buys they've found.   ; )

This site was very useful.  I found pictures of an earlier model of my make
of machine, with pictures of its many attachments.  I am e-mailing one of
the ISMACS members about getting my own copy the manual for my machine,
which the site says is available in reprint.


Kayta

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Subject: Re: [h-cost] three new costumes at my site:)
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Date: Sat, 22 Jun 2002 12:23:43 -0700
Status: RO

Your costumes are beautiful!!! 

 I have a question about the Moulin Rouge dress.  Could you please 
explain the "ingenious construction" of the corset?  I have vague plans 
in my mind to do something like this one day (and actually some fabric 
to go along with these plans!) and would love to know how you did it :)

Thanks,
Katherine

On 22 Jun 2002, at 21:17, michaela wrote:

> My personal costuming site that is;)
> 
> http://recital.tripod.com/costume/moulinpink.htm
> finally I have photos of my recreation of the Pink Diamonds costume from
> Moulin Rouge. Rather ingenious construction of the corset actually:) The
> bodice is shaped, but there are no seams visible at the front;)
> 



Katherine

"I really think that artists to-day try to see how far they 
can make fun of the public without its revolting."

Marie, Queen of Roumania

My Dress Site
http://www.koshka-the-cat.com
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Date: Sun, 23 Jun 2002 10:06:11 +1200
Status: RO

So you're on this list too:) Yay:)

>  I have a question about the Moulin Rouge dress.  Could you please
> explain the "ingenious construction" of the corset?  I have vague plans
> in my mind to do something like this one day (and actually some fabric
> to go along with these plans!) and would love to know how you did it :)

When I say there are five layers to the corset, two of which are knit
fabrics it might be a clue;)

yeah the bodice is actually shaped yet the front has no seams visible. I
figured they must have used a solid structure with shaping and seams then a
stretch fabric (in the case of the original I think stretch satin) or fabric
on the bias to avoid seams.

So I used two layers of cotton fabric with channels for some very light
boning, the front was darted to really go in at the waist and curve over the
belly (this is mitigated by other factors like my own body which is actually
hourglass shaped but fights this). Then I ironed two thin layers of that non
woven interfacing stuff to make the whole thing firm.

Now comes the clever part;). I used stretch iron on interfacing and ironed
it over the sewn up front panel, stretching and ironing as I went to hide
the darts. I covered the back as well.
Then hand basted the pink knit over and the wide netting over the top. That
was only half as wide as the front so I had to invisbly match up the net
centre front.

It's been a very long progress figuring out how to do this costrume, then
figuring out how *I* could make it;)

michaela
> > http://recital.tripod.com/costume/moulinpink.htm
> > finally I have photos of my recreation of the Pink Diamonds costume from
> > Moulin Rouge. Rather ingenious construction of the corset actually:) The
> > bodice is shaped, but there are no seams visible at the front;)



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From h-costume-admin@indra.com  Sat Jun 22 22:14:30 2002
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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Re: [h-cost] three new costumes at my site:)
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Date: Sun, 23 Jun 2002 02:10:03 +0000
Status: RO

Hi Michaela -

I've been trying to access the links you posted for almost a day now, and 
all I keep getting is this message -

The Tripod page you are trying to reach has exceeded its hourly bandwidth 
limit. The site will be available again in 1 hour!

:(

Mary/Katerine

>My personal costuming site that is;)
>
>http://recital.tripod.com/costume/moulinpink.htm
>finally I have photos of my recreation of the Pink Diamonds costume from
>Moulin Rouge. Rather ingenious construction of the corset actually:) The
>bodice is shaped, but there are no seams visible at the front;)
>
>http://recital.tripod.com/costume/elizabeth.htm
>Recreation of the coronation gown as appeared in the movie Elizabeth. I 
>just
>happened to like the tight sleeves and curved front, i don't care how
>authentic it is;)
>
>http://recital.tripod.com/costume/16thunderwear.htm
>Corset and chemise as worn on my body:) The corset is shaped slightly over
>the bust. Looks similar in shape to many german garments. Again, I don't
>care that it doesn't look like it's stepped out of time;)
>
>I've spent the entire day getting the photos taken, developed and scanned 
>as
>well as making the pages. needless to say I'm telling *everyone* I know
>about this;)
>
>michaela
>note how my costume site is pink as a lamington;)
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-admin@indra.com  Sat Jun 22 22:32:27 2002
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Date: Sat, 22 Jun 2002 22:27:14 -0400
Status: RO

Mary/Katerine wrote;

>I've been trying to access the links you posted for almost a day now, and
>all I keep getting is this message -
>
>The Tripod page you are trying to reach has exceeded its hourly bandwidth
>limit. The site will be available again in 1 hour!
>


I got the same thing 3 times...
'-((

Sheila B


>>My personal costuming site that is;)
>>
>>http://recital.tripod.com/costume/moulinpink.htm
>>
>>http://recital.tripod.com/costume/elizabeth.htm
>>
>>http://recital.tripod.com/costume/16thunderwear.htm


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From h-costume-admin@indra.com  Sat Jun 22 23:32:29 2002
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Subject: [h-cost] Re: Boned 'stomacher' in Bueckelaer?
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Date: Sat, 22 Jun 2002 23:26:32 EDT
Status: RO

It looks boned to me, too -- especially because it arches.  In practical 
application, I've found the fabric curls outward under the weight of the 
breasts if it's arched without boning.  I've seen this style in line 
drawings, too.  I admit I've never figured out how it's kept in place but 
still allows for the dress lacing to be loosened.  Anyone know?

--Gillian
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Date: Sun, 23 Jun 2002 15:48:55 +1200
Status: RO

OK, seeing as it's too much for tripod:
I'm uploading the pages to my ihug site some of the pop up images might be
too big for the image due to my recent file changing so take no note of how
big the page says the images are. I just reduced all but a couple to under
40K:

http://homepages.ihug.co.nz/~thebruce/16thunderwear.htm
http://homepages.ihug.co.nz/~thebruce/elizabeth.htm
http://homepages.ihug.co.nz/~thebruce/moulinpink.htm
OK, so now to tell others...

michaela


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Date: Sun, 23 Jun 2002 16:38:37 +0930
Status: RO

<html><div style='background-color:'><DIV>Hello</DIV>
<DIV>Yes, I have seen a picture with a woman wearing a gold lace ruff. It's Lady Aston c. 1627, by a Flemish artist, Marcus Geeraerts. It's in the Art Gallery of South Australia. I haven't been able to find a copy of it on the web:-(</DIV>
<DIV>Rebecca.<BR></DIV>
<P>&nbsp;</P>
<P>&nbsp;</P>
<DIV>I'm looking for information about ruffs - I would like to make a ruff and<BR>trim it with gold lace, but am unwilling to do so unless there's<BR>information/portraits that show gold lace to be used in period to trim a<BR>ruff.&nbsp; In all the costume material I have, ruffs (for the nobility) are<BR>all trimmed with white lace.&nbsp; Has anyone run across a picture of a ruff<BR>trimmed with a metallic lace?</DIV>
<DIV>Thanks for any help,<BR>Ysabiau</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></div><br clear=all><hr>MSN Photos is the easiest way to share and print your photos: <a href='http://g.msn.com/1HM501201/43'>Click Here</a><br></html>
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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Re: [h-cost] three new costumes at my site:)
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Date: Sun, 23 Jun 2002 14:51:11 +0000
Status: RO

Sheila -

I was finally able to view them today. Keep trying - they're great!!


:)

Mary/Katerine

>Mary/Katerine wrote;
>
> >I've been trying to access the links you posted for almost a day now, and
> >all I keep getting is this message -
> >
> >The Tripod page you are trying to reach has exceeded its hourly bandwidth
> >limit. The site will be available again in 1 hour!
> >
>
>
>I got the same thing 3 times...
>'-((
>
>Sheila B
>
>
> >>My personal costuming site that is;)
> >>
> >>http://recital.tripod.com/costume/moulinpink.htm
> >>
> >>http://recital.tripod.com/costume/elizabeth.htm
> >>
> >>http://recital.tripod.com/costume/16thunderwear.htm
>
>
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On 23 Jun 2002, at 10:06, michaela wrote:

> So you're on this list too:) Yay:)

Yes, and very happy to be here :)
> 
Could you please
> > explain the "ingenious construction" of the corset?  
> 
> When I say there are five layers to the corset, two of which are knit
> fabrics it might be a clue;)

Very big clue, actually...

You're right, a very ingenious construction, and one that looks quite 
doable!  

Thanks,
Katherine
> 
> yeah the bodice is actually shaped yet the front has no seams visible. I
> figured they must have used a solid structure with shaping and seams then a
> stretch fabric (in the case of the original I think stretch satin) or
> fabric on the bias to avoid seams.



Katherine

"I really think that artists to-day try to see how far they 
can make fun of the public without its revolting."

Marie, Queen of Roumania

My Dress Site
http://www.koshka-the-cat.com
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Look at this one.  Lettice (Lettyce) Knollys, Countess of Essex
http://tudorhistory.org/people/lettice/lettice.jpg

This kind of detail is always hard to see on-line.  If you can find this one 
in a book, you'll get a clearer view.  Among other places it's in _All the 
Queen's Men_ by Neville Williams.

I know there are more, but this one sprang to mind.


MaggiRos


>From: "Rebecca Anderson" <lady_adele@hotmail.com>
>Reply-To: h-costume@indra.com
>To: h-costume@net.indra.com
>Subject: RE: [h-cost] Elizabethan costume question
>Date: Sun, 23 Jun 2002 16:38:37 +0930
>


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Date: Sun, 23 Jun 2002 16:38:37 +0930

<html><div style='background-color:'><DIV>Hello</DIV>
<DIV>Yes, I have seen a picture with a woman wearing a gold lace ruff. It's Lady Aston c. 1627, by a Flemish artist, Marcus Geeraerts. It's in the Art Gallery of South Australia. I haven't been able to find a copy of it on the web:-(</DIV>
<DIV>Rebecca.<BR></DIV>
<P>&nbsp;</P>
<P>&nbsp;</P>
<DIV>I'm looking for information about ruffs - I would like to make a ruff and<BR>trim it with gold lace, but am unwilling to do so unless there's<BR>information/portraits that show gold lace to be used in period to trim a<BR>ruff.&nbsp; In all the costume material I have, ruffs (for the nobility) are<BR>all trimmed with white lace.&nbsp; Has anyone run across a picture of a ruff<BR>trimmed with a metallic lace?</DIV>
<DIV>Thanks for any help,<BR>Ysabiau</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></div><br clear=all><hr>MSN Photos is the easiest way to share and print your photos: <a href='http://g.msn.com/1HM501201/43'>Click Here</a><br></html>
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This is a multi-part message in MIME format.

------=_NextPart_000_2b86_5b6b_66c1
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Look at this one.  Lettice (Lettyce) Knollys, Countess of Essex
http://tudorhistory.org/people/lettice/lettice.jpg

This kind of detail is always hard to see on-line.  If you can find this one 
in a book, you'll get a clearer view.  Among other places it's in _All the 
Queen's Men_ by Neville Williams.

I know there are more, but this one sprang to mind.


MaggiRos


>From: "Rebecca Anderson" <lady_adele@hotmail.com>
>Reply-To: h-costume@indra.com
>To: h-costume@net.indra.com
>Subject: RE: [h-cost] Elizabethan costume question
>Date: Sun, 23 Jun 2002 16:38:37 +0930
>


_________________________________________________________________
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Date: Sun, 23 Jun 2002 16:38:37 +0930

<html><div style='background-color:'><DIV>Hello</DIV>
<DIV>Yes, I have seen a picture with a woman wearing a gold lace ruff. It's Lady Aston c. 1627, by a Flemish artist, Marcus Geeraerts. It's in the Art Gallery of South Australia. I haven't been able to find a copy of it on the web:-(</DIV>
<DIV>Rebecca.<BR></DIV>
<P>&nbsp;</P>
<P>&nbsp;</P>
<DIV>I'm looking for information about ruffs - I would like to make a ruff and<BR>trim it with gold lace, but am unwilling to do so unless there's<BR>information/portraits that show gold lace to be used in period to trim a<BR>ruff.&nbsp; In all the costume material I have, ruffs (for the nobility) are<BR>all trimmed with white lace.&nbsp; Has anyone run across a picture of a ruff<BR>trimmed with a metallic lace?</DIV>
<DIV>Thanks for any help,<BR>Ysabiau</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></div><br clear=all><hr>MSN Photos is the easiest way to share and print your photos: <a href='http://g.msn.com/1HM501201/43'>Click Here</a><br></html>
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Date: Sun, 23 Jun 2002 13:28:16 -0500
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Attachments to any mailing list is very dangerous. Please stop sending them
and instead point us to a url where we can look at it. If it is an email
then copy and paste what you are referring to instead of attaching. It is
very difficult to sit here and decide to open any one's emails when they
come in with an unexpected attachments.

List admin, is there anyway to block attachments?

Sincerely,
Chiara Francesca Arianna d'Onofrio
Steppes, Ansteorra
      `°ş¤ř,¸¸,ř¤ş°`

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Date: Sun, 23 Jun 2002 12:35:17 -0600
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On Sun, Jun 23, 2002 at 01:28:16PM -0500, Chiara wrote:
> Attachments to any mailing list is very dangerous. Please stop sending them
> and instead point us to a url where we can look at it. If it is an email
> then copy and paste what you are referring to instead of attaching. It is
> very difficult to sit here and decide to open any one's emails when they
> come in with an unexpected attachments.
> 
> List admin, is there anyway to block attachments?

I can't block attachments outright.  I simply limit the size of
messages allowed through to the list, which generally prevents
problems because most files exceed the limit.

But the list posting guidelines have for years specifically requested
people not send photos or other large files in email, but instead
point people to them in the manner you've outlined.

					...eliz


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Subject: [h-cost] Fw: Viking Beads
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Date: Mon, 24 Jun 2002 10:07:19 +1000
Status: RO

Thought this would be of interest to some.

Glenda.
----- Original Message -----
From: "Fr"jel Gotlandica Viking Re-enactment Society." <frojel@frojel.com>


> For those interested in things Viking Associate Professor Dan Carlsson is
currently producing a CD with high
> quality close up pictures of the Viking beads from the Frojel Harbour
Excavation, there are digital photos of
> almost 300 beads everything from limesone and amber to gold beads. The CD
will cost $10.00US. ea.
>  I've seen a preview of a few of the beads and it looks well worth it so I
shall be putting in an order for one.
> Cheers
> Sandy
>
> Fr"jel Gotlandica Viking Re-enactment Society.
> http://www.frojel.com/
> frojel@frojel.com

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From h-costume-admin@indra.com  Sun Jun 23 21:05:51 2002
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Subject: Re: [h-cost] three new costumes at my site:)
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Date: Mon, 24 Jun 2002 13:02:51 +1200
Status: RO


> I was finally able to view them today. Keep trying - they're great!!

Thanks, but please don't keep trying the tripod one:). It's down again
today. Which is incredibly flattering, but it means I cannot ftp to it
myself;)

I've posted a note saying I've got the new pages over at my ihug site:

http://homepages.ihug.co.nz/~thebruce/16thunderwear.htm
http://homepages.ihug.co.nz/~thebruce/elizabeth.htm
http://homepages.ihug.co.nz/~thebruce/moulinpink.htm

So hopefully that'll ease the flow.

I'm absolutely blown away by the response. 68.3M of bandwidth used
yesterday. So hopefully some people will be able to see them at my ihug
page.

A great big thank you to those looking at them:). I have been in fairly
constant pain while sewing the costumes and even now I'm fighting through a
flare of RA. It means a lot that that effort was not wasted:)

michaela
looking into buying her own site and space.. but going to ask if the
unlimited data transfer is really unlimited;) And if ther is some way to
stop direct linking to images:)


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Date: Sun, 23 Jun 2002 21:23:48 -0400
Status: RO

Ooh, Glenda-
	Is it ready? Is he taking orders now?? I know when I ordered 
our Gotland brooches hementioned that he was working on it. 
I know some of us definately want it. $10 is a steal!
	-Judy Mitchell


> Thought this would be of interest to some.
> 
> Glenda.
> ----- Original Message -----
> From: "Fr"jel Gotlandica Viking Re-enactment Society." <frojel@frojel.com>
> 
> 
>>For those interested in things Viking Associate Professor Dan Carlsson is
>>
> currently producing a CD with high
> 
>>quality close up pictures of the Viking beads from the Frojel Harbour
>>
> Excavation, there are digital photos of
> 
>>almost 300 beads everything from limesone and amber to gold beads. The CD
>>
> will cost $10.00US. ea.

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Date: Sun, 23 Jun 2002 22:56:40 -0400
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This message is in MIME format.  Since your mail reader does not understand
this format, some or all of this message may not be legible.

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Thanks very much - that gives me a portrait name to look for!

-Ysabiau

On Sun, 23 Jun 2002 16:38:37 +0930 "Rebecca Anderson"
<lady_adele@hotmail.com> writes:
Hello
Yes, I have seen a picture with a woman wearing a gold lace ruff. It's
Lady Aston c. 1627, by a Flemish artist, Marcus Geeraerts. It's in the
Art Gallery of South Australia. I haven't been able to find a copy of it
on the web:-(
Rebecca.



I'm looking for information about ruffs - I would like to make a ruff and
trim it with gold lace, but am unwilling to do so unless there's
information/portraits that show gold lace to be used in period to trim a
ruff.  In all the costume material I have, ruffs (for the nobility) are
all trimmed with white lace.  Has anyone run across a picture of a ruff
trimmed with a metallic lace?
Thanks for any help,
Ysabiau





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<BODY>
<DIV>Thanks very much - that gives me a portrait name to look for!</DIV>
<DIV>&nbsp;</DIV>
<DIV>-Ysabiau</DIV>
<DIV>&nbsp;</DIV>
<DIV>On Sun, 23 Jun 2002 16:38:37 +0930 "Rebecca Anderson" &lt;<A=20
href=3D"mailto:lady_adele@hotmail.com">lady_adele@hotmail.com</A>&gt;=20
writes:</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-LEFT: 10px; MARGIN-LEFT: 10px; BORDER-LEFT: #000000 2px =
solid">
  <DIV>
  <DIV>Hello</DIV>
  <DIV>Yes, I have seen a picture with a woman wearing a gold lace ruff. It=
's=20
  Lady Aston c. 1627, by a Flemish artist, Marcus Geeraerts. It's in the =
Art=20
  Gallery of South Australia. I haven't been able to find a copy of it on =
the=20
  web:-(</DIV>
  <DIV>Rebecca.<BR></DIV>
  <P>&nbsp;</P>
  <P>&nbsp;</P>
  <DIV>I'm looking for information about ruffs - I would like to make a =
ruff=20
  and<BR>trim it with gold lace, but am unwilling to do so unless=20
  there's<BR>information/portraits that show gold lace to be used in period=
 to=20
  trim a<BR>ruff.&nbsp; In all the costume material I have, ruffs (for the=
=20
  nobility) are<BR>all trimmed with white lace.&nbsp; Has anyone run across=
 a=20
  picture of a ruff<BR>trimmed with a metallic lace?</DIV>
  <DIV>Thanks for any help,<BR>Ysabiau</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>&nbsp;</DIV></DIV><BR clear=3Dall>
  <HR>
  MSN Photos is the easiest way to share and print your photos: <A=20
  href=3D"http://g.msn.com/1HM501201/43">Click=20
  Here</A><BR>_______________________________________________ h-costume =
mailing=20
  list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-=
costume=20

  <DIV>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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Subject: [h-cost] Viking Beads
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Date: Mon, 24 Jun 2002 20:14:12 EDT
Status: RO

    This came over another list I'm on.  It doesn't mention whether or not it 
discusses what they were strung on, but who knows?

>    For those interested in things Viking, Associate Professor Dan
>    Carlsson is currently producing a CD with high quality close up
>    pictures of the Viking beads from the Frojel Harbour
>    Excavation, There are digital photos of almost 300 beads
>    everything from limesone and amber to gold beads. The CD will
>    cost $10.00 US. ea.

>   I am informed the current contact info is:

>    Associate Professor Dan Carlsson
>    Gotland University
>    Centre for Baltic Studies
>    621 67 Visby, Sweden
>    Tel. +46-498-299829
>    Fax. +46-498-299892

>   (The e-mail - looked up on the net - seems to be "dan@hgo.se",)

--Gillian
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Subject: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Mon, 24 Jun 2002 20:36:48 EDT
Status: RO

A while ago, some of you mentioned having light-sensitive eyes or even being 
on meds which can damage the eyes in sunlight...  The following question and 
answer was just posted to my SCA barony's list, and I thought it might help a 
few of you trying to come up with more historical-looking alternatives to go 
with your costumes.

QUESTION:
>Does anyone know if sunglasses
>were ever period [approx 1000AD-1600AD]? 

ANSWER:
>Some people 
>did wear sunglasses -- the Inuit wore 'slit' glasses to protect them 
>from snowblindness, Asian judges wore smoked glasses (I believe lenses 
>coated with oil and baked) to hide their reactions from the people in 
>court, and the Vikings were supposed to wear glasses of amber to protect 
>from glare on the sea or the snow.  There are also the "punched glasses" 
>(not glass at all) that people like Ajax wear.

[snippage]

>Commerical sunglasses seem to have been 
>invented in 1752 by James Ayscough, who felt that clear lenses created a 
>glare which was bad for the eye.

>[answered by] Yevsha

--Gillian
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Date: Tue, 25 Jun 2002 11:08:20 +1000
Status: RO

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On Mon, 24 Jun 2002 20:14:12 EDT, Azelana@aol.com wrote:
>    This came over another list I'm on.  It doesn't mention whether or =
not it 
>discusses what they were strung on, but who knows?

Perhaps this will help. I shall probably order a batch of them for the p=
eople in Australia so we can save a bit 
on postage, probably be cheaper to mail them round the country from here=
 than to get individual ones from 
Sweden, if you like I can ask if there is any information on how they we=
re strung and if that will be included 
in the CD. The web site for ordering will be up in two weeks, I just hea=
rd about it early and was sent a 
couple of sample pics. great detail.

<Snip
I will have some texts about beads from Viking Age, how beads were made,=
 about the Viking harbour at 
Fr=94jel and some statistics about beads at Fr=94jel. And then of course=
 a gallery of all the beads, displayed in 
different categories. Price will be $10 U.S. Plus postage.

Dan Carlsson
---------------------------------
Associate Professor Dan Carlsson
Gotland University
Centre for Baltic Studies
621 67 Visby, Sweden
Tel. +46-498-299829
Fax. +46-498-299892
Email: dan.carlsson@hgo.se
http://viking.hgo.se

Snip>

Fr=94jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com


--_=_=_=IMA.BOUNDARY.HTML_5153984=_=_=_
Content-Type: text/html; charset="us-ascii"
Content-Transfer-Encoding: quoted-printable

<HTML>


<FONT FACE=3D"Times New Roman" DEFAULT=3D"FACE"><FONT SIZE=3D"3" POINTSI=
ZE=3D"12" DEFAULT=3D"SIZE">On Mon, 24 Jun 2002 20:14:12 EDT, Azelana@aol=
.com wrote:<BR>
&gt;    This came over another list I'm on.  It doesn't mention whether =
or not it <BR>
&gt;discusses what they were strung on, but who knows?<BR>
<BR>
Perhaps this will help. I shall probably order a batch of them for the p=
eople in Australia so we can save a bit on postage, probably be cheaper =
to mail them round the country from here than to get individual ones fro=
m Sweden, if you like I can ask if there is any information on how they =
were strung and if that will be included in the CD. The web site for ord=
ering will be up in two weeks, I just heard about it early and was sent =
a couple of sample pics. great detail.<BR>
<BR>
&lt;Snip<BR>
<FONT COLOR=3D0000ff>I will have some texts about beads from Viking Age,=
 how beads were made, about the Viking harbour at Fr=94jel and some stat=
istics about beads at Fr=94jel. And then of course a gallery of all the =
beads, displayed in different categories. Price will be $10 U.S. Plus po=
stage.<BR>
<BR>
Dan Carlsson<BR>
<FONT COLOR=3D800000><FONT FACE=3D"Verdana"><FONT SIZE=3D"2" POINTSIZE=3D=
"10">---------------------------------<BR>
Associate Professor Dan Carlsson<FONT SIZE=3D"3" POINTSIZE=3D"12" DEFAUL=
T=3D"SIZE"><BR>
<FONT COLOR=3D000000 DEFAULT=3D"COLOR"><FONT SIZE=3D"1" POINTSIZE=3D"8">=
Gotland University<BR>
Centre for Baltic Studies<BR>
621 67 Visby, Sweden<BR>
Tel. +46-498-299829<BR>
Fax. +46-498-299892<BR>
Email: <FONT COLOR=3D0000ff><U>dan.carlsson@hgo.se</U><BR>
<U>http://viking.hgo.se</U><BR>
<FONT COLOR=3D000000 DEFAULT=3D"COLOR"><FONT FACE=3D"Times New Roman" DE=
FAULT=3D"FACE"><FONT SIZE=3D"3" POINTSIZE=3D"12" DEFAULT=3D"SIZE"><BR>
Snip&gt;<BR>

</HTML>

<HTML>
<LEFT>
<FONT FACE=3D"Times New Roman" COLOR=3D"#000001" SIZE=3D"3" POINTSIZE=3D=
"12" DEFAULT=3D"ALL">
Fr=F6jel&nbsp;Gotlandica&nbsp;Viking&nbsp;Re-enactment&nbsp;Society.<br>=

http://www.frojel.com/<br>
frojel@frojel.com</HTML>

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] good pictures of extant garments...
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Date: Tue, 18 Jun 2002 11:48:26 -0700
Status: RO

At 9:22 AM -0500 6/18/02, Robin Netherton wrote:
>On Tue, 18 Jun 2002, Teddy wrote:
>
>>  we just had a new book come in for cataloguing ... As far as I can
>>  make out, it's from an exhibition about cotton and fashion held in a
>>  Paris museum last autumn
>>
>>  Le Coton et la Mode: 1000 ans d'aventures
>>  Musee Galliera, musee de la mode de la Ville de Paris.  10
>>  novembre - 11 mars 2001.  ISBN: 287900490X
>
>There's still a web page up about this exhibit. Find it at
>
>http://www.france.diplomatie.fr/actual/culture/coton.html
>
>I'm wondering if anyone (Heather?) knows of any published work about the
>pourpoint of Charles VI, which is labeled in this article as being from
>1368-1422 (hmm, sounds like Charles' lifetime), of red silk stuffed with
>cotton, at the Musee des Beaux-Arts de Chartres. If the picture is any
>indication, it's at least in as good shape as the pourpoint of Charles de
>Blois. But it's impossible to know from this how much of that is
>restoration. I'd LOVE a cutting layout or measurements on this puppy.

There's a thread about this book and garment that I started last 
November titled "Not the pourpoint of Charles of Blois".  One of the 
things we came up with at that time was that there's a cutting 
diagram for the Charles IV garment in Harmand (the Joan of Arc 
clothing book) -- and IIRC there's a link in the thread to a web page 
someone was putting up on the Harmand book which included the 
diagram.  As far as I can guess, the reason the Blois garment has 
been well publicized and not this one may be purely a matter of 
momentum -- there was one really detailed publication on the Blois, 
and everyone's just been recycling it since.  I agree that it looks 
to be in really good condition and needs to be published in more 
detail by someone who knows what they're looking at.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: [h-cost] Some new F.O.s to look at
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Date: Mon, 24 Jun 2002 19:49:20 -0700
Status: RO

I finally got my website revamped.  I have a couple of newer F.O.s to
share.

For direct links to the F.O.s go here:

http://www.saragrace.net/2A_Cost_by_sg.htm

Or

http://www.saragrace.net/4C_Dame_DD.htm

For a more meandering browse start here:

http://www.saragrace.net/


As always I welcome constructive criticism, suggestions or questions!

Taa!!

Sg

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From h-costume-admin@indra.com  Tue Jun 25 01:57:58 2002
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Subject: [h-cost] felt shoes and boots
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Date: Tue, 25 Jun 2002 01:23:42 EDT
Status: RO

Hey guys, the following website and info was posted to my SCA barony list.  I 
really like the shoes (as opposed to the boots) and am considering getting 
some without soles then stitching a boiled leather sole to 'em.  Enjoy!

--Gillian

<<http://www.huopaliikelahtinen.fi/main.htm

shoes like those were worn 
in Ukraine from the Scythian period on up to the modern day.  They were 
often decorated with applique, although I couldn't tell you whether 
adding applique to an already assembled shoe can be done.  For a more 
northern Rus persona, I'd suggest getting the shoes much larger than you 
need.  The Russians wore "house shoes" over their boots.  Sort of like 
galoshes (that is, things you put over your shoes for inclement 
weather), except you'd put them on over your shoes as you entered a 
house, as opposed to as you were leaving.

[snip]
Yevsha>>
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Date: Tue, 25 Jun 2002 09:00:41 -0400
Status: RO

> and the Vikings were supposed to wear glasses of amber to protect 
>from glare on the sea or the snow. 
> --Gillian

Ooh, Gillian-
	could you provide some reference for that? A few things we've 
been looking for are documentation on sunglasses (man, 
sunburned eyes are sore!), and wide-brimmed hats for 
vikings! I'd love to see what you found.

	-Judy Mitchell

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Subject: Re: [h-cost] Viking Beads
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Date: Tue, 25 Jun 2002 09:03:25 -0400
Status: RO

Frojel Gotlandica wrote:

> Perhaps this will help. I shall probably order a batch of them for the 
> people in Australia so we can save a bit on postage, probably be cheaper 
> to mail them round the country from here than to get individual ones 
> from Sweden,

	That might be a help for Dan as well. I remember the trouble 
we had working out payment for our brooches: he got set up 
on Paypal - but paypal doesn't work in Sweden (although it 
does work in Australia).
	The disk sounds great!
	-Judy Mitchell



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From h-costume-admin@indra.com  Tue Jun 25 12:17:47 2002
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Date: Wed, 26 Jun 2002 00:34:25 +1000
Status: RO

Hi Judy
 Paypal now works in Sweden at last, terrific huh. But he will have his web site up and people will be able to 
pay with paypal. Believe me the preview pics are terrific plus he will also be including the how they were made 
and where they were found files as well on the CD, I asked if he could include how they were strung and what 
material was used etc on the CD as well. He is actually going to do a series of CD's with all the artifacts and 
this is the first.
Cheers
Sandy

>
>	That might be a help for Dan as well. I remember the trouble 
>we had working out payment for our brooches: he got set up 
>on Paypal - but paypal doesn't work in Sweden (although it 
>does work in Australia).
>	The disk sounds great!
>	-Judy Mitchell


Fr”jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com



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Date: Tue, 25 Jun 2002 08:05:04 -0700
Status: RO

Got to see most everything, and they are lovely.  I love the colors you
have chosen for yourself-they look great on you.  Oh how I envy normal
hair!

Sg, the fuzzbomb

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Date: Tue, 25 Jun 2002 09:48:03 +0000
Status: RO

I second that! Please please? 

We have some Norse types in our branch who are photosensitive and like to
play as period as possible--this would be of great help to them.

				Arlys (SCA)

On Tue, 25 Jun 2002 09:00:41 -0400 Judy Mitchell
<judymitch@oldwaylane.net> writes:
> > and the Vikings were supposed to wear glasses of amber to protect 
> >from glare on the sea or the snow. 
> > --Gillian
> 
> Ooh, Gillian-
> 	could you provide some reference for that? A few things 
> we've 
> been looking for are documentation on sunglasses (man, 
> sunburned eyes are sore!), and wide-brimmed hats for 
> vikings! I'd love to see what you found.
> 
> 	-Judy Mitchell
> 
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Subject: [h-cost] Which glue for silk satin?
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Date: Tue, 25 Jun 2002 18:26:45 +0100 (BST)
Status: RO

May I pick your brains?
I just received a lovely Victorian fan that I won on eBay for a bargain. No one
wanted it, because it is a plain, thick and perfectly fine, ivory silk satin
without any decoration. It is quite a huge one, and I would like to use it. The
two silk satin leaves have parted though and would have to be re-glued. What
kind of glue would you recommend? 

Thanks for any tips

Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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From: "Saragrace knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Which glue for silk satin?
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Date: Tue, 25 Jun 2002 11:58:56 -0700
Status: RO

Aleene's makes several different kinds of fabric glue.  I realize you
won't probably be washing your fan, but their "Ok to wash-it" dries
clear and flexible, and will not stain most fabrics.  I have had great
luck with these products.  I realize you probably don't have an
inconspicuous place to test it, but maybe on a similar silk?

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of N Kipar
**Sent: Tuesday, June 25, 2002 10:27 AM
**To: H-Costume
**Subject: [h-cost] Which glue for silk satin?
**
**
**May I pick your brains?
**I just received a lovely Victorian fan that I won on eBay for 
**a bargain. No one wanted it, because it is a plain, thick and 
**perfectly fine, ivory silk satin without any decoration. It 
**is quite a huge one, and I would like to use it. The two silk 
**satin leaves have parted though and would have to be 
**re-glued. What kind of glue would you recommend? 
**
**Thanks for any tips
**
**Nicole
**
**=====
**Nicole Kipar M.A.
**Leader - L'Age d'Or & Kirke's Lambs 
**Baroque Living History Society 1660-1715
**URL: http://www.kipar.org/
**Email: marquis@kipar.org
**
**__________________________________________________
**Do You Yahoo!?
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Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Tue, 25 Jun 2002 15:38:02 -0500
Status: RO

I also recall reading in the afterword of a novel by C.Q Yarbro that the
Romans also had tinted glasses to protect eyes during long days watching the
games at the Coliseum..Betsy

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Azelana@aol.com
Sent: Monday, June 24, 2002 7:37 PM
To: h-costume@net.indra.com
Subject: [h-cost] historic "sunglasses" for Renaissance faires


A while ago, some of you mentioned having light-sensitive eyes or even being
on meds which can damage the eyes in sunlight...  The following question and
answer was just posted to my SCA barony's list, and I thought it might help
a
few of you trying to come up with more historical-looking alternatives to go
with your costumes.

QUESTION:
>Does anyone know if sunglasses
>were ever period [approx 1000AD-1600AD]?

ANSWER:
>Some people
>did wear sunglasses -- the Inuit wore 'slit' glasses to protect them
>from snowblindness, Asian judges wore smoked glasses (I believe lenses
>coated with oil and baked) to hide their reactions from the people in
>court, and the Vikings were supposed to wear glasses of amber to protect
>from glare on the sea or the snow.  There are also the "punched glasses"
>(not glass at all) that people like Ajax wear.

[snippage]

>Commerical sunglasses seem to have been
>invented in 1752 by James Ayscough, who felt that clear lenses created a
>glare which was bad for the eye.

>[answered by] Yevsha

--Gillian
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Date: Tue, 25 Jun 2002 15:21:53 -0400
Status: RO

Hi Saragrace!

I am the milliner who made the Italian bonnet for Tess for the display!  I hadn't gotten any pictures as yet, so I wasn't sure if the sketch she sent me ended up looking like the design that was made.  It looks gorgeous! What wonderful work you do! I must say it was interesting working 1/4 size for the hat.  Now I have other customers asking for it in a regular size!!  I do the smaller California faires with my hat booth but hope to get to AZ some day! :)   Thanks for the pictures.

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com

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Date: Tue, 25 Jun 2002 13:54:48 -0700
Status: RO

Hi Donna, Small world isn't it!!  I have not seen the hat though Tess
told me that she had ordered it.  I can't wait to see it-I may be
ordering one of my own!

She has asked me to do a male version this year.  I want to, but may
have to put it off till next season-sew many costumes, sew little time!

Sg

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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Tue, 25 Jun 2002 17:50:41 -0400
Status: RO

i've been told that the elizabethans used sheets of amber soaked in linseed
oil and set in frames. the source of this is a friend and i'll email him w/a
request for documentation.
laurie
> I also recall reading in the afterword of a novel by C.Q Yarbro that the
> Romans also had tinted glasses to protect eyes during long days watching the
> games at the Coliseum..Betsy
> 
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Azelana@aol.com
> Sent: Monday, June 24, 2002 7:37 PM
> To: h-costume@net.indra.com
> Subject: [h-cost] historic "sunglasses" for Renaissance faires

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Date: Wed, 26 Jun 2002 12:44:54 +1200
Status: RO

> May I pick your brains?
> I just received a lovely Victorian fan that I won on eBay for a bargain.
No one
> wanted it, because it is a plain, thick and perfectly fine, ivory silk
satin
> without any decoration. It is quite a huge one, and I would like to use
it. The
> two silk satin leaves have parted though and would have to be re-glued.
What
> kind of glue would you recommend?

Oh wow. I'll have to do a search on ebay to see it:). it sounds like those
1880s huge fans that Punch made fun of:)

I wish I could help, but Saragrace has suggested something. I hope it works
well for you:)

michaela



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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Tue, 25 Jun 2002 22:32:04 -0700
Status: RO


That's a new one on me.  If there's documentation, I'm longing to see it!  
The one thing I'm quite sure of, though, is that the average Elizabethan 
didn't grab a pair of shades before walking out doors on a bright summer 
day. The streets of London were not full of gentlemen in sunglasses.

It would have been a rare person in rare circumstances who wore such 
glasses--especially if, as we've seen, side pieces weren't invented for 
spectacles till the 18th century.  Regular glasses weren't worn commonly, 
like getting up in the morning and putting on your glasses, not even among 
the wealthy. Sunglasses must have been even more rare.

In other words, a rare occasion of amber lenses wouldn't mean anyone could 
just throw on a pair of RayBans and call it documentable. If you MUST wear 
sunglasses, just do it and own up to your accomodation.   Don't pretend that 
what you want to be true was true just because you want it.

Stay in the shade.  Wear a period hat with a period brim. Learn that 
sunshine in green and grassy places is different than sunlight reflecting 
off asphalt and concrete.

Honesty is the best policy.


MaggiRos
~The Elizabethan World is at http://ren.dm.net



>From: randl <randl@adelphia.net>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
>Date: Tue, 25 Jun 2002 17:50:41 -0400
>
>i've been told that the elizabethans used sheets of amber soaked in linseed
>oil and set in frames. the source of this is a friend and i'll email him 
>w/a
>request for documentation.
>laurie
> > I also recall reading in the afterword of a novel by C.Q Yarbro that the
> > Romans also had tinted glasses to protect eyes during long days watching 
>the
> > games at the Coliseum..Betsy
> >
> > -----Original Message-----
> > From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> > Behalf Of Azelana@aol.com
> > Sent: Monday, June 24, 2002 7:37 PM
> > To: h-costume@net.indra.com
> > Subject: [h-cost] historic "sunglasses" for Renaissance faires
>
>_______________________________________________
>h-costume mailing list
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Subject: [h-cost] Summer Costume Trips (Part 1)
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Date: Wed, 26 Jun 2002 03:16:03 -0400
Status: RO

My husband took me to Philadelphia for our anniversary/my birthday.  I had
the costuming time of my life these past two days.  I went to the Cher
concert in Philly... she changed costumes between every one to two songs.
In between, they would show video clips of her in fun costumes from the
past... this is her farewell concert tour.  They also had the Circus de Ole'
type performers (I misspelled that one big time) doing all the tricks from
fabric hung from the rafters.  She had them on her last concert tour and I
saw them on the video.  The performers are more wonderful in person!  Cher's
costumes looked so very Bob Mackie.  Two combos looked very harem like.  She
is a quick change artist.  She also dresses in layers and walks back stage
and takes a layer off, then pops back on stage.  Her costumes were
wonderful!!!!  Cher is in such great shape!  When she sang, "If I Could Turn
Back Time" her costume was very similar to the one in the video.  Strange, a
Navy base was just down the road.

I was very surprised that Cher's back-up band was Cyndi Lauper.  Cyndi was
only billed to be at the Washington DC show.  But she was at this 2nd show
at Philly.  Boy.. Cyndi is my age... I wish I had that much zip!!!  She was
all over the stage and ran out into the audience about five different times
AND she was in a corset the whole time!  She still has all her energy from
the 1980s.

We got one of those tourist magazines and found out the Franklin Mint Museum
has on display the Princess Diana dress called the Elvis Gown.  So we ran by
there first thing this morning.  Gosh, it has hundreds of seed pearls.  So
stunning!  While at the Mint, I got to view the Titanic doll, Rose's
costumes.  The Boarding Dress is the best one.  I was disappointed in the
Jump Dress.  The best dolls of all in the museum... The Marilyn Monroe, the
white fly-up dress, and one with her sitting down with lots of petticoats
on.  Honorable mention is the Morgan Le Fay doll... she is beautiful!

I went to lunch at Dick Clark's American Bandstand.  YIPPEE!!!  This was so
much fun!!!  It is a restaurant on one side, with all this Bandstand
memorabilia... lots of costumes from rock stars, another one of my passions.
I got to see costumes from Elton John, Chubby Checker, U2's Bono, Billy
Joel, Phil Collins, Village People... so many I can't remember them all.
They allowed me to photograph ALL the costumes and I didn't miss a one.  The
other side of the business is the American Bandstand studio.  They do allow
people to go in there and dance.  It is set up just like the sound stage...
so fun!  We did get a brochure that said AB has other places in Detroit,
Cincinnati, Kansas, and I can't recall the other place.  But it was so much
fun being at the city where the AB show began!

Some of my earliest remembrance as a child were watching American Bandstand.
I had a teenage sister who would sit me in her lap and we  would watch it.
Then we would try out the new dances.  I loved watching all the fashions and
latest rock stars.

BTW, the price of the food at American Bandstand is very reasonable...
unlike the Planet Hollywoods or Hard Rock Cafes.

Did we get to see any of the regular tourist attractions in Philadelphia?
No, but we had fun discovering other things.  I was at Monticello last
week... so I don't want to burn out on Thomas Jefferson history.

My trip to the Library of Congress was a bust.  The security in Washington
DC is so tight now.  Seeing all the fencing around the Capitol is so sad.
We came into DC from a new direction and got lost, then stuck in gridlock
traffic for an hour.  I haven't been to the LOC in a few years.  You used to
enter from the back door... not anymore.  It was extremely hot and under
high ozone alerts... not a good day to walk around the whole exterior of the
LOC.  We had to go throw so much security... and my shoes kept setting off
the alarms.  There are little staples holding the leather to my wood clogs.
When I got to the next check point, I took my shoes off and handed them to
the security officer then walked through the metal detector.   Well by the
time I made it to the reading room that I wanted... I found out that as of
last May, you have to have a special ID to research at the LOC.  Where is
this ID made?  In the LOC building across this busy street.  Security told
us we could go throw the tunnel system and not have to go through more
security checks or not have to deal with the heat outside. Thank goodness!!
We got there 1 minute before the ID section closed!  But we got the IDs!!!!!
It was 15 minutes before the LOC reading rooms closed and we would have to
walk back... I guess all wasn't a washout... I found out my shoes could be a
security risk, LOL! and we got our LOC IDs.  My Mom will be visiting this
summer, so I hope to bring her to the LOC to research genealogy.  So maybe
then I can pull my costume research... all of that trouble to get some
costume descriptions for some fashion plates.

The Philly part of the trip was wonderful!!!  Something always happens when
we go to DC... one day I will learn and not to expect a perfect trip to DC,
especially with the traffic.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Thread-Topic: [h-cost] historic "sunglasses" for Renaissance faires
From: "freyalyn" <freyalyn@ivillage.com>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Hi, I'm new to this list but feel I have something to contribute here. I
don't think you can get amber in sheets, and it wouldn't absorb oil
anyway. What I think this may refer to is horn - cow horn is translucent
and was used in lanterns and windows. If a very white cow horn was
shaved very thin it might be nearly transparent.

As for sunglasses, I have seen references to Vikings using strips of
cloth tied across their eyes, with very thin slits left to see out of.
This works on both snow and sea. I think amber would always have been
too valuable to cut big chunks up into thin slices.

Freyalyn, from the UK, with a very out-if-date degree in Archaeology to
back her up (mostly Vikings and Bronze Age Greece, if you ask)



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Sign up for FREE iVillage newsletters <http://s.ivillage.com/rd/16705> .
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has the scoop on what matters most to you. <-----Original Message----->
> 
> From: randl
> Sent: 6/26/2002 1:52:41 AM
> To: h-costume@indra.com
> Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
> 
> i've been told that the elizabethans used sheets of amber soaked in
linseed
> oil and set in frames. the source of this is a friend and i'll email
him w/a
> request for documentation.
> laurie
> I also recall reading in the afterword of a novel by C.Q Yarbro that
the
> Romans also had tinted glasses to protect eyes during long days
watching the
> games at the Coliseum..Betsy
> 
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Azelana@aol.com
> Sent: Monday, June 24, 2002 7:37 PM
> To: h-costume@net.indra.com
> Subject: [h-cost] historic "sunglasses" for Renaissance faires
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Hi, I'm new to this list but feel I have something to contribute here.  I don't think you can get amber in sheets, and it wouldn't absorb oil anyway.  What I think this may refer to is horn - cow horn is translucent and was used in lanterns and windows.  If a very white cow horn was shaved very thin it might be nearly transparent.<br>
<br>
As for sunglasses, I have seen references to Vikings using strips of cloth tied across their eyes, with very thin slits left to see out of.  This works on both snow and sea.  I think amber would always have been too valuable to cut big chunks up into thin slices.<br>
<br>
Freyalyn, from the UK, with a very out-if-date degree in Archaeology to back her up (mostly Vikings and Bronze Age Greece, if you ask)<br>
<br>

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</font><-----Original Message-----><br>
>  <br>
> From: randl<br>
> Sent: 6/26/2002 1:52:41 AM<br>
> To: h-costume@indra.com<br>
> Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires<br>
> <br>
> i've been told that the elizabethans used sheets of amber soaked in linseed<br>
> oil and set in frames. the source of this is a friend and i'll email him w/a<br>
> request for documentation.<br>
> laurie<br>
> I also recall reading in the afterword of a novel by C.Q Yarbro that the<br>
> Romans also had tinted glasses to protect eyes during long days watching the<br>
> games at the Coliseum..Betsy<br>
> <br>
> -----Original Message-----<br>
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On<br>
> Behalf Of Azelana@aol.com<br>
> Sent: Monday, June 24, 2002 7:37 PM<br>
> To: h-costume@net.indra.com<br>
> Subject: [h-cost] historic "sunglasses" for Renaissance faires<br>
> <br>
> _______________________________________________<br>
> h-costume mailing list<br>
> h-costume@mail.indra.com<br>
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> <br>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Which glue for silk satin?
To: h-costume@indra.com
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Date: Wed, 26 Jun 2002 09:02:43 +0100 (BST)
Status: RO

 --- michaela <thebruce@ihug.co.nz> wrote: > >
> 
> Oh wow. I'll have to do a search on ebay to see it:). it sounds like those
> 1880s huge fans that Punch made fun of:)

Here's the link to the image on ebay:

http://ebay1.ipixmedia.com/abc/M28/_EBAY_bd54212bfd437258e5e3a5234fa52d88/i-1.JPG

demmit, I fear you have to copy and paste, here's the shorter url for the
auction page:
http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=2112839932

I love the fan, it's 32 cm *L* just a tad too long, most 1700 fans were 28 cm,
but the others I have are too short (while being perfect for the 1660s-1680s)
Admitedly te satin isn't quite right and I have to get rid of the feathers and
replac them with something more inconspicuous, but hey, it makes a LOT of  a
fresh breeze :-)

> I wish I could help, but Saragrace has suggested something. I hope it works
> well for you:)

Thanks ever so much, now I just have to find Aleene in england...

nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: RE: [h-cost] Which glue for silk satin?
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Date: Wed, 26 Jun 2002 09:20:23 +0100 (BST)
Status: RO

 --- Saragrace knauf <saragrace@earthlink.net> wrote: > Aleene's makes several
different kinds of fabric glue.  I realize you
> won't probably be washing your fan, but their "Ok to wash-it" dries
> clear and flexible, and will not stain most fabrics.  I have had great
> luck with these products.  I realize you probably don't have an
> inconspicuous place to test it, but maybe on a similar silk?
>
Ha, I found it! Found it on the web straight away and ordered the glue on a UK
craft shop site.

Thanks, I'll let you know how it'll come along.

Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: [h-cost] Summer Costume Trips (Part 2)
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Date: Wed, 26 Jun 2002 04:27:04 -0400
Status: RO

When friend's families come into town I become costume tour guide... its
fun, and I get into places for free.  Last week, my best friend's mother was
in town... she is a costume lover too.  One day we went to Thomas
Jefferson's Monticello.  She really loved all of his inventions, his home,
and how he stored his clothing in a closet over his bed.  And the view from
the top of the mountain is great.  For more info on Monticello, go to
http://www.monticello.org/ .

The next touring day we went to Walton's Mountain.  This was my first time
to this museum located in the Blue Ridge Mts. of Virginia in a little
community called Schuyler.  This is where Earl Hamner, the author of the
movie "The Homecoming" and television series is originally from.  When my
kids were little I watched the show, The Walton's, everyday.  I have to tell
you, this location in the mountains and some of the stories in the show are
not far from the truth.  This place is way off the beaten path (make sure to
gas up before leaving the main towns).  The community consists of 2 churches
(one is identical to the one the family attended in the show), a bed &
breakfast (the building where Hamner/John Boy's first printing press was
located), Hamner's school (now a museum for the TV show), and a restaurant
(the original first school.)  BTW, when driving from Richmond to the
location via Rt. 6, you do pass the Dew Drop Inn.

Before, I review the museum for you... we ate lunch at this
restaurant/Hamner's first school.  It burnt once and was rebuilt later.
After the first school was burned, there was a rush to build a new school
next door, so the kids could go to school the next autumn.  Ironically, this
episode aired the next day on TVLand channel.  The Walton's comes on at 1:00
PM East Coast time.

The museum is located in Hamner's former school with about 10 classrooms.
Each classroom is set up with something different.  Three of the Hollywood
sets from the TV show have been moved to the museum... the kitchen, the
living room, and John Boy's bedroom, each were located in a separate
classroom.  This was the eeriest feeling to walk into these sets.  Each one
of us felt like we were invading The Waltons privacy.  We all knew they were
sets... but the feeling was there anyways.  The living room and kitchen sets
were perfect, everything was in its place like in the show.  You could just
feel like a pack of Walton kids would run through the room any minute.

As for costumes... the only two costumes were Erin's... her wedding dress
and a girl's dress about size 10 or 12.  The wedding dress is displayed
behind glass on a mannequin, and Erin's childhood dress is displayed in John
Boy's room.  Two emmys, some other awards, and a few scripts are displayed.
One of the scripts is from the scary "Ferris Wheel" episode.  There is a
short film with current interviews with the cast.  It was really good.  Lots
of memorabilia in the museum... photos, props, and a model of the homestead.

BTW, the gift shop is called Ike Godsey's general store.  You can buy a
postcard there, fill it out, stamp it, and they will mail it with a Walton's
Mountain postage mark to your home.

It is really fun for anyone who is/was a fan of the show.   Once a year the
cast of the show has a re-union at the museum.  This year the re-union is
Oct. 19-20.  They usually have a good turn-out of the cast members.  I have
also heard there is an apple festival in a neighboring town that weekend.
This is also peak time for the autumn foliage in the Blue Ridge.

Lastly, each of the Walton children represented a member of Hamner's family.
The character, Ben, was a combination of two of Hamner's brothers.  Here in
Richmond, it is rumored that two of Hamner's siblings reside here.  The
sister who's character was Mary Ellen... is married to a doctor and is a
retired nurse.  And Hamner's brother aka Jim Bob, who is a junk dealer.  I
have never had anyone confirm that, but it is the rumor around town.

For more information about Walton's Mountain go to
http://www.waltonmuseum.org/ .  If you really wanted, you could go to
Monticello and Walton's Mountain in one day.  Both are near Charottesville,
Virginia on I-64.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
From: randl <randl@adelphia.net>
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Date: Wed, 26 Jun 2002 06:28:33 -0400
Status: RO

when i get it, i'll certainly share it.
i'm sure elizabethans didn't run around in their "shades". i was simply
sharing something i had been told. from what i understood of this thread, we
were sharing information regarding "period" sunglasses.
if anyone is interested, please see the thread in stephens florilegium:
http://www.florilegium.org/files/DISABILITIES/eyeglasses-msg.text
laurie

> That's a new one on me.  If there's documentation, I'm longing to see it!
> The one thing I'm quite sure of, though, is that the average Elizabethan
> didn't grab a pair of shades before walking out doors on a bright summer
> day. The streets of London were not full of gentlemen in sunglasses.
> 
> It would have been a rare person in rare circumstances who wore such
> glasses--especially if, as we've seen, side pieces weren't invented for
> spectacles till the 18th century.  Regular glasses weren't worn commonly,
> like getting up in the morning and putting on your glasses, not even among
> the wealthy. Sunglasses must have been even more rare.
> 
> In other words, a rare occasion of amber lenses wouldn't mean anyone could
> just throw on a pair of RayBans and call it documentable. If you MUST wear
> sunglasses, just do it and own up to your accomodation.   Don't pretend that
> what you want to be true was true just because you want it.
> 
> Stay in the shade.  Wear a period hat with a period brim. Learn that
> sunshine in green and grassy places is different than sunlight reflecting
> off asphalt and concrete.
> 
> Honesty is the best policy.
> 
> 
> MaggiRos
> ~The Elizabethan World is at http://ren.dm.net
> 
> 
> 
>> From: randl <randl@adelphia.net>
>> Reply-To: h-costume@indra.com
>> To: <h-costume@indra.com>
>> Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
>> Date: Tue, 25 Jun 2002 17:50:41 -0400
>> 
>> i've been told that the elizabethans used sheets of amber soaked in linseed
>> oil and set in frames. the source of this is a friend and i'll email him
>> w/a
>> request for documentation.
>> laurie
>>> I also recall reading in the afterword of a novel by C.Q Yarbro that the
>>> Romans also had tinted glasses to protect eyes during long days watching
>> the
>>> games at the Coliseum..Betsy
>>> 
>>> -----Original Message-----
>>> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
>>> Behalf Of Azelana@aol.com
>>> Sent: Monday, June 24, 2002 7:37 PM
>>> To: h-costume@net.indra.com
>>> Subject: [h-cost] historic "sunglasses" for Renaissance faires
>> 
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> _________________________________________________________________
> MSN Photos is the easiest way to share and print your photos:
> http://photos.msn.com/support/worldwide.aspx
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Wed, 26 Jun 2002 21:26:54 +1000
Status: RO

An interesting thread though, I believe that "sunglasses" were more like snow glasses/blinkers but then again 
the Vikings had and made lenses quite capable of magnifying which we presume were used to magnify 
detailed work. Almost perfect aspheric lenses according to Opto and Laser magazine. 
See http://www.frojel.com/_index.html , documents. 
But there have been no finds of them in pairs as spectacles, only as jewellery, Darn. Oh well. Monocles?
Keep looking eh?
Sandy

>when i get it, i'll certainly share it.
>i'm sure elizabethans didn't run around in their "shades". i was simply
>sharing something i had been told. from what i understood of this thread, we
>were sharing information regarding "period" sunglasses.
>if anyone is interested, please see the thread in stephens florilegium:
>http://www.florilegium.org/files/DISABILITIES/eyeglasses-msg.text
>laurie
>
>> That's a new one on me.  If there's documentation, I'm longing to see it!
>> The one thing I'm quite sure of, though, is that the average Elizabethan
>> didn't grab a pair of shades before walking out doors on a bright summer
>> day. The streets of London were not full of gentlemen in sunglasses.
>> 
>> It would have been a rare person in rare circumstances who wore such
>> glasses--especially if, as we've seen, side pieces weren't invented for
>> spectacles till the 18th century.  Regular glasses weren't worn commonly,
>> like getting up in the morning and putting on your glasses, not even among
>> the wealthy. Sunglasses must have been even more rare.
>> 
>> In other words, a rare occasion of amber lenses wouldn't mean anyone could
>> just throw on a pair of RayBans and call it documentable. If you MUST wear
>> sunglasses, just do it and own up to your accomodation.   Don't pretend that
>> what you want to be true was true just because you want it.
>> 
>> Stay in the shade.  Wear a period hat with a period brim. Learn that
>> sunshine in green and grassy places is different than sunlight reflecting
>> off asphalt and concrete.
>> 
>> Honesty is the best policy.
>> 
>> 
>> MaggiRos
>> ~The Elizabethan World is at http://ren.dm.net
>> 
>> 
>> 
>>> From: randl <randl@adelphia.net>
>>> Reply-To: h-costume@indra.com
>>> To: <h-costume@indra.com>
>>> Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
>>> Date: Tue, 25 Jun 2002 17:50:41 -0400
>>> 
>>> i've been told that the elizabethans used sheets of amber soaked in linseed
>>> oil and set in frames. the source of this is a friend and i'll email him
>>> w/a
>>> request for documentation.
>>> laurie
>>>> I also recall reading in the afterword of a novel by C.Q Yarbro that the
>>>> Romans also had tinted glasses to protect eyes during long days watching
>>> the
>>>> games at the Coliseum..Betsy
>>>> 
>>>> -----Original Message-----
>>>> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
>>>> Behalf Of Azelana@aol.com
>>>> Sent: Monday, June 24, 2002 7:37 PM
>>>> To: h-costume@net.indra.com
>>>> Subject: [h-cost] historic "sunglasses" for Renaissance faires
>>> 
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>> 
>> 
>> _________________________________________________________________
>> MSN Photos is the easiest way to share and print your photos:
>> http://photos.msn.com/support/worldwide.aspx
>> 
>> _______________________________________________
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>
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Fr”jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com



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Date: Wed, 26 Jun 2002 10:51:07 -0400
Status: RO

Penny Ladnier wrote:
 
> The next touring day we went to Walton's Mountain.  This was my first time
> to this museum located in the Blue Ridge Mts. of Virginia in a little
> community called Schuyler.  This is where Earl Hamner, the author of the
> movie "The Homecoming" and television series is originally from.  W
> 
> Penny Ladnier

Penny, that is too funny! I grew up in Lovingston, which is just a few
miles down Rt. 29 south of Schuyler. The Waltons is Nelson County's one
claim to fame. I never really watched the show though - I think I'm a
tad behind that generation. But I did meet Mrs. Hamner, Earl's mother,
once, when I was very young. 

Nelson County is very beautiful, though. I'm glad you enjoyed yourself.
I always love going home to visit my parents.

--Jessica
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In a message dated 6/26/02 2:01:35 AM Eastern Daylight Time, 
maggiros@hotmail.com writes:


> the average Elizabethan 
> didn't grab a pair of shades before walking out doors on a bright summer 
> day. The streets of London were not full of gentlemen in sunglasses

       The average Elizabethan didn't need sunglasses.  London is not known, 
even today, for its bright sunny streets.  And the UV rays were not as strong 
during the SCA period due to a healthier ozone layer back then.

       If there is documentation to prove that sunglasses were worn, a lot of 
people will be saving their eyes from future cataracts by wearing them.  Hats 
and trees do not protect the eyes from UV rays.

Lalah
Never Give up, Never Surrender,
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Looking for a great gift?  Check out Beary Classy Bears at
http://hometown.aol.com/bearyclassybears/myhomepage/sale.html



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/26/02 2:01:35 AM Eastern Daylight Time, maggiros@hotmail.com writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">the average Elizabethan 
<BR>didn't grab a pair of shades before walking out doors on a bright summer 
<BR>day. The streets of London were not full of gentlemen in sunglasses</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The average Elizabethan didn't need sunglasses. &nbsp;London is not known, even today, for its bright sunny streets. &nbsp;And the UV rays were not as strong during the SCA period due to a healthier ozone layer back then.
<BR>
<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;If there is documentation to prove that sunglasses were worn, a lot of people will be saving their eyes from future cataracts by wearing them. &nbsp;Hats and trees do not protect the eyes from UV rays.
<BR>
<BR>Lalah
<BR>Never Give up, Never Surrender,
<BR>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
<BR>Looking for a great gift? &nbsp;Check out Beary Classy Bears at
<BR>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
<BR>
<BR></FONT></HTML>

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Date: Wed, 26 Jun 2002 12:30:43 -0700
Status: RO

Wow,  I have to admit you had me going there for a second!  The velvet
comes from a place called Thai Silks in California. Here is their
website, http://www.thaisilks.com/ they recently added online ordering,
but their aren't any pictures.  Do order their samples,  you can order a
few at a time or, order their entire sample set.  If you and your
housemate like fabric, treat yourselves to an evening of going through
those instead of a movie.  Talk about drooling!!   The velvet comes in
many colors and that particular one is shot (they have a number of
these).  The pictures really don't capture the two tone effect well.
The dupoini on her sleeves is actually yellow and red, but in the
picture you get sort of an in between.




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Greetings All!

I was just sitting here at my desk, bored out of my mind over this script I 
am yet again making revisions to.  And I have decided that I am going to quit 
my job and go into business for myself.  I am going to make custom 
clothing/costumes for me.  That's it, definitely a niche market, but one I 
think I can fill quiet well.  Why you might ask, would I want to fill such a 
small niche market?  Well, let me explain...

A) I need clothes.  You can never have too many clothes.  My weight 
fluctuates and this way I can have a wardrobe for every weight.  And besides, 
how else am I ever going to use my 13 bins of fabric?

B) I love to travel.  This way I can write off all my travel expenses as 
business expenses. (Remember how I was asking about Portuguese Costumes?)  I 
can travel the world.  Taking photographs of beautiful things for me to come 
back home, make and sell to myself.

C) We all want to do something we enjoy.  I love sewing, and I love getting 
new clothes.  It seems like the perfect solution.

So, if anyone has any good recommendations of things to add to my business 
loan application, please let me know, because I want to be sure to get my 
loan so I can quit revising this blanking script!

Thank you!
Kit

PS - In case you haven't quite, this is meant totally tounge-in-cheek. (or is 
that tongue-and-cheek?)  Have fun with it!  I hope you got a small laugh.

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Greetings All!
<BR>
<BR>I was just sitting here at my desk, bored out of my mind over this script I am yet again making revisions to. &nbsp;And I have decided that I am going to quit my job and go into business for myself. &nbsp;I am going to make custom clothing/costumes for me. &nbsp;That's it, definitely a niche market, but one I think I can fill quiet well. &nbsp;Why you might ask, would I want to fill such a small niche market? &nbsp;Well, let me explain...
<BR>
<BR>A) I need clothes. &nbsp;You can never have too many clothes. &nbsp;My weight fluctuates and this way I can have a wardrobe for every weight. &nbsp;And besides, how else am I ever going to use my 13 bins of fabric?
<BR>
<BR>B) I love to travel. &nbsp;This way I can write off all my travel expenses as business expenses. (Remember how I was asking about Portuguese Costumes?) &nbsp;I can travel the world. &nbsp;Taking photographs of beautiful things for me to come back home, make and sell to myself.
<BR>
<BR>C) We all want to do something we enjoy. &nbsp;I love sewing, and I love getting new clothes. &nbsp;It seems like the perfect solution.
<BR>
<BR>So, if anyone has any good recommendations of things to add to my business loan application, please let me know, because I want to be sure to get my loan so I can quit revising this blanking script!
<BR>
<BR>Thank you!
<BR>Kit
<BR>
<BR>PS - In case you haven't quite, this is meant totally tounge-in-cheek. (or is that tongue-and-cheek?) &nbsp;Have fun with it! &nbsp;I hope you got a small laugh.</FONT></HTML>

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Subject: [h-cost] CD ROM on American Dresses
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Date: Wed, 26 Jun 2002 17:06:52 -0400
Status: RO

My apologies to those of you on multiple lists.  I'm sending this to all
the lists,  that I'm a member, that concern clothing,

Last April I acquired a CD ROM  titled American Dresses 1780 -1900:
Identification and Significance of 148 Extant Dresses_.by Elsie Frost
McMurry.  I haven't begun to digest the information contained in its
830+ pages.  Not all of the dresses are treated the same, some have
photos and pattern diagrams, others have just descriptions.

The CD is divided into chapters.  The two 18th century chapters cover 15
years and overlap and actually start in 1774.
The 19th century is divided by decade.   Each chapter is organized as
follows:

The ____ Decade (dates)
Persons, Events, and State of Affairs
Compared Specimens of the ____ Decade
Predominant Characteristic of Compared Specimens
Detecting the Facts
_____ Decade  (dates) Measurements of  ? Dresses

It can be obtained from the Cornell University Resource Center, Media &
Technology Services, 7 Cornell Business & Technology Park, Ithica, NY
14850
Phone 607-255-2090
Fax 607-25-9946
email resctr@cornell.edu

The price is $49.95 and of course NY State residents need to add 8% tax

Hope this is of interest to someone.

Dot Fisher


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Subject: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Wed, 26 Jun 2002 16:35:09 -0700
Status: RO

I have posted a 'how to' on shoulder rolls on my website.  I would
appreciate any feedback on clarity etc.  Thanks!!
Click on the last selection "How to make a Shoulder Roll" @

http://www.saragrace.net/2A_Cost_by_sg.htm


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Date: Wed, 26 Jun 2002 20:43:54 -0400
Status: RO



Saragrace knauf wrote:
> 
> I have posted a 'how to' on shoulder rolls on my website.  I would
> appreciate any feedback on clarity etc.  Thanks!!
> Click on the last selection "How to make a Shoulder Roll" @
> 
> http://www.saragrace.net/2A_Cost_by_sg.htm
> 


I loved looking at the other costumes as well.  Wonderful! I loved how
you explained the shoulder roll.  My first and only shoulder rolls came
out slightly different.  Yours are much neater and smoother then mine. I
will remember the felt after seeing yours.
Thank you for sharing.

Di
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Subject: [h-cost] Regency era parasol frames...
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Date: Wed, 26 Jun 2002 20:16:11 -0500
Status: RO

Greetings,

I'm looking for parasol frames suitable for the English Regency 
period.  Does anyone have any suggestions?

I found this on a google search:
http://www.gildebrief.de/shopping/index.html?target=dept_456.html&lang=en-us

Is anyone familiar with this company?  Would this type of frame be suitable?

Cheers,
Danielle

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Date: Wed, 26 Jun 2002 18:57:06 -0700
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--------------004C8101E86099F5CF780DEC
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Isn't this a doll-only supplier?  So maybe it's not a human-sized parasol?

Fran

Danielle Nunn-Weinberg wrote:

> Greetings,
>
> I'm looking for parasol frames suitable for the English Regency
> period.  Does anyone have any suggestions?
>
> I found this on a google search:
> http://www.gildebrief.de/shopping/index.html?target=dept_456.html&lang=en-us
>
> Is anyone familiar with this company?  Would this type of frame be suitable?
>
> Cheers,
> Danielle

---------------------------------------------
Visit our web pages!
Books on historic costume and vintage clothes
http://www.lavoltapress.com
Historic and vintage dance
http://www.lavoltapress.com/dance


--------------004C8101E86099F5CF780DEC
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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Isn't this a doll-only supplier?&nbsp; So maybe it's not a human-sized
parasol?
<p>Fran
<p>Danielle Nunn-Weinberg wrote:
<blockquote TYPE=CITE>Greetings,
<p>I'm looking for parasol frames suitable for the English Regency
<br>period.&nbsp; Does anyone have any suggestions?
<p>I found this on a google search:
<br><a href="http://www.gildebrief.de/shopping/index.html?target=dept_456.html&lang=en-us">http://www.gildebrief.de/shopping/index.html?target=dept_456.html&amp;lang=en-us</a>
<p>Is anyone familiar with this company?&nbsp; Would this type of frame
be suitable?
<p>Cheers,
<br>Danielle</blockquote>

<p><br>---------------------------------------------
<br>Visit our web pages!
<br>Books on historic costume and vintage clothes
<br><A HREF="http://www.lavoltapress.com">http://www.lavoltapress.com</A>
<br>Historic and vintage dance
<br><A HREF="http://www.lavoltapress.com/dance">http://www.lavoltapress.com/dance</A>
<br>&nbsp;</html>

--------------004C8101E86099F5CF780DEC--

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Date: Wed, 26 Jun 2002 19:33:19 -0700
Status: RO

To Danielle-

Are you making a doll for the Regency era?  This looks like a doll
making supplier, in which case, the parasol would be too tiny for a human.

You might check out:

http://home.earthlink.net/~gchristen/Parasols.html
(does a carriage parasol which might be small enough)
or

http://www.originals-by-kay.com/gifts/default.shtm
(might be too large since this site focuses on CW).

Good luck, 

Theresa Eacker

Danielle Nunn-Weinberg wrote:
> 
> Greetings,
> 
> I'm looking for parasol frames suitable for the English Regency
> period.  Does anyone have any suggestions?
> 
> I found this on a google search:
> http://www.gildebrief.de/shopping/index.html?target=dept_456.html&lang=en-us
> 
> Is anyone familiar with this company?  Would this type of frame be suitable?
> 
> Cheers,
> Danielle
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Wed, 26 Jun 2002 23:51:31 -0400
Status: RO

Having never actually made shoulder rolls, after reading your page I think I
just might try it.  Thank you so much.  I would not have thought of the nip
and tuck necessary to keep the dress from pulling (at least until after I'd
made one or two that did) and your page explained it very well.
thanks,
-Megan

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Saragrace knauf
Sent: Wednesday, June 26, 2002 7:35 PM
To: h-costume@indra.com
Subject: [h-cost] Shoulder Roll "tutorial" website-feedback please


I have posted a 'how to' on shoulder rolls on my website.  I would
appreciate any feedback on clarity etc.  Thanks!!
Click on the last selection "How to make a Shoulder Roll" @

http://www.saragrace.net/2A_Cost_by_sg.htm


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From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] Regency era parasol frames...
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Date: Fri, 28 Jun 2002 00:19:33 -0500
Status: RO

I somehow missed the references to dolls in the left hand column.  It was 
the only not-obviously-doll parasol frame place I came up with on a google 
search.  Thanks for pointing that out.

Cheers,
Danielle

At 06:57 PM 6/26/2002 -0700, you wrote:
>Isn't this a doll-only supplier?  So maybe it's not a human-sized parasol?
>
>Fran
>
>Danielle Nunn-Weinberg wrote:
>>Greetings,
>>
>>I'm looking for parasol frames suitable for the English Regency
>>period.  Does anyone have any suggestions?
>>
>>I found this on a google search:
>><http://www.gildebrief.de/shopping/index.html?target=dept_456.html&lang=en-us>http://www.gildebrief.de/shopping/index.html?target=dept_456.html&lang=en-us 
>>
>>
>>Is anyone familiar with this company?  Would this type of frame be suitable?
>>
>>Cheers,
>>Danielle

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From h-costume-admin@indra.com  Fri Jun 28 15:46:35 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Wed, 26 Jun 2002 21:57:19 -0700


So in other words, they didn't wear sunglasses because they didn't need 
them. I thought we were looking to the Elizabethans for proof that 
sunglasses were worn?

So far I haven't actually seen any documentation, just speculation and 
rumor.  And as I said, if someone feels they must wear them, then they 
should just do it. The fact that there isn't any (so far) is not, in my 
experience, keeping very many people from doing so.

What I said was: Spectacles didn't have side pieces.  Most people didn't 
wear even clear glasses at all.  Sunglasses would be even less common.  
Anything common should be easier to find.

MaggiRos

>From: LalahTT@aol.com
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
>Date: Wed, 26 Jun 2002 11:29:18 EDT
>
>In a message dated 6/26/02 2:01:35 AM Eastern Daylight Time,
>maggiros@hotmail.com writes:
>
>
> > the average Elizabethan
> > didn't grab a pair of shades before walking out doors on a bright summer
> > day. The streets of London were not full of gentlemen in sunglasses
>
>        The average Elizabethan didn't need sunglasses.  London is not 
>known,
>even today, for its bright sunny streets.  And the UV rays were not as 
>strong
>during the SCA period due to a healthier ozone layer back then.
>
>        If there is documentation to prove that sunglasses were worn, a lot 
>of
>people will be saving their eyes from future cataracts by wearing them.  
>Hats
>and trees do not protect the eyes from UV rays.
>
>Lalah
>Never Give up, Never Surrender,
>- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
>Looking for a great gift?  Check out Beary Classy Bears at
>http://hometown.aol.com/bearyclassybears/myhomepage/sale.html
>
>


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From h-costume-admin@indra.com  Fri Jun 28 15:47:34 2002
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Subject: Re: [h-cost] Summer Costume Trips (Part 2)
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Date: Thu, 27 Jun 2002 02:36:28 -0400

Jessica,

You are from a beautiful part of the country.  I so enjoy every trip I make
to that part of the state.

My Mom wouldn't allow us to watch The Waltons because she grew up during the
Depression and WW2 and didn't want us to know what it was like.  I started
watching the show when it first went into reruns in the 1980s.  I do
remember when everyone was so excited and ran home early to watch Mary Ellen
get married on the show.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Fri Jun 28 15:49:32 2002
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Date: Wed, 26 Jun 2002 17:44:35 -0500

Kit,

Thank you...
You certainly lightened my day with this one!
Sounds like you've hit upon the dream job for everyone on this list. <grin>

Sheryl Nance-Durst


At 06:11 PM 6/26/02 -0400, you wrote:
>Greetings All!
>
>I was just sitting here at my desk, bored out of my mind over this script 
>I am yet again making revisions to.  And I have decided that I am going to 
>quit my job and go into business for myself.  I am going to make custom 
>clothing/costumes for me.  That's it, definitely a niche market, but one I 
>think I can fill quiet well.  Why you might ask, would I want to fill such 
>a small niche market?  Well, let me explain...

<snip>

>Thank you!
>Kit
>
>PS - In case you haven't quite, this is meant totally tounge-in-cheek. (or 
>is that tongue-and-cheek?)  Have fun with it!  I hope you got a small laugh.


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Subject: Re: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Thu, 27 Jun 2002 07:59:42 -0600

I've never actually made any of my outfits with shoulder rolls, if only
because I've already got the shoulders of a line backer, and figured the
rolls would just make them *bigger,* god help me! <g>
However, your tutorial seems pretty clear and helpful. My only comment
would be that my browser was taking a really long time to pull up the
whole article (probably because of those nice, clear pictures?). It
might make it more accessible to those of use who are stuck in the slow
lane if it was broken up into separate pages? or smaller pictures with
links to larger ones? Of course, I'm completely web-ignorant, so I dunno
what's possible or not.
Hmmm....I might have to try these some day, when I finish my 18th c.
outfits, and my early Anglo-Saxon outfits, and my 10th c. Norse outfits,
and that ItalianRen with the hemp-corded bodice, and my gothic fitted
gowns, ......;-)
--Sue, garb hound in almost any century.....

Saragrace knauf wrote:
> 
> I have posted a 'how to' on shoulder rolls on my website.  I would
> appreciate any feedback on clarity etc.  Thanks!!
> Click on the last selection "How to make a Shoulder Roll" @
> 
> http://www.saragrace.net/2A_Cost_by_sg.htm
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To: h-costume@indra.com
From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] Regency era parasol frames...
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Date: Fri, 28 Jun 2002 00:28:19 -0500

Thank you.  I've found both those sites but they seem to only sell the 
covered parasols not just the frames.  Does anyone have any ideas?

Cheers,
Danielle

At 07:33 PM 6/26/2002 -0700, you wrote:
>To Danielle-
>
>Are you making a doll for the Regency era?  This looks like a doll
>making supplier, in which case, the parasol would be too tiny for a human.
>
>You might check out:
>
>http://home.earthlink.net/~gchristen/Parasols.html
>(does a carriage parasol which might be small enough)
>or
>
>http://www.originals-by-kay.com/gifts/default.shtm
>(might be too large since this site focuses on CW).
>
>Good luck,
>
>Theresa Eacker

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From: "Megan M." <mmchugh@starpower.net>
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Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Fri, 28 Jun 2002 15:59:11 -0400

All this debate about glasses is very entertaining and informative, but I
have to admit that is one area I do not concern myself with overmuch.  I
require glasses to find the end of my nose, and cannot wear contacts, and my
prescription and pupil size make me not a candidate for current forms of eye
surgery. So I just wear my glasses, and hope that everyone understands that
while it may be a bit jarring in effect, medical reasons require it.  I also
must wear a hat if in sunlight for any length of time, so at least  I try to
make it a straw hat that is not too nasty-looking. Better than the Tilley I
used to wear. While I try to be as authentic as I can, I will not sacrifice
health for it.  That includes wearing support stockings if necessary
underneath it all.  Each person's need for and level of authenticity may
vary, of course, and just because I need to depart from it here and there
does not mean everyone else needs to.
That said, if there was a particular style of glasses with earpieces that
was actually Elizabethan or earlier, I would consider looking for a modern
look-alike and getting prescriptions made just because I think it would be a
neat thing to do.
(Off my soapbox and back to lurk mode)
-Megan


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Regency era parasol frames...
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Date: Fri, 28 Jun 2002 13:11:19 -0700


>Thank you.  I've found both those sites but they seem to only sell the 
>covered parasols not just the frames.  Does anyone have any ideas?

Look into wedding parasols.  These tend to run smaller than umbrella-size.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Fri, 28 Jun 2002 13:12:56 -0700


>That said, if there was a particular style of glasses with earpieces that
>was actually Elizabethan or earlier, I would consider looking for a modern
>look-alike and getting prescriptions made just because I think it would be a
>neat thing to do.

Jas. Townsend has period-looking glasses frames good for a variety of 
periods.  Find them on the web.


Kayta

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From: Deb Baddorf <baddorf@inil.com>
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Date: Fri, 28 Jun 2002 16:05:18 -0500

At 01:12 PM 6/28/2002 -0700, Carolyn Kayta Barrows wrote:

>>That said, if there was a particular style of glasses with earpieces that
>>was actually Elizabethan or earlier, I would consider looking for a modern
>>look-alike and getting prescriptions made just because I think it would be a
>>neat thing to do.
>
>Jas. Townsend has period-looking glasses frames good for a variety of 
>periods.  Find them on the web.


at   http://www.jastown.com
(just a happy customer)
Deb


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Fri, 28 Jun 2002 22:07:27 +0100 (BST)

 --- "Megan M." <mmchugh@starpower.net> wrote: > 
> That said, if there was a particular style of glasses with earpieces that
> was actually Elizabethan or earlier, I would consider looking for a modern
> look-alike and getting prescriptions made just because I think it would be a
> neat thing to do.

No megan, I'm sorry, there are no, and I repeat NO glasses with earpieces
before the mid 18th century, but what I personally find looks better than any
modern shape of glasses is using very simple metal round ones. They are not and
will never be authentic for anything before the 18th century, but I think it
just looks better and makes a nicer effect, you could try that? Have a go
perhaps at taking a picture of yourself in kit and then with a graphics proggie
try to put a simple round frame on your eyes, and ponder if it does look
better. You might like it more.

Just an idea
Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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From h-costume-admin@indra.com  Fri Jun 28 17:27:34 2002
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Date: Fri, 28 Jun 2002 17:02:55 -0400

Hi, All. I was curious, and went to Mark's site to read the thread on eyeglasses.
I found, interestingly enough, besides a plug for my wife's business, a note about
a painting by Raphael of Pope Leo X, circa 1517, that purportedly showed a
convex-concave lens for correction of myopia. I wish I could see what is
supposedly it's grind, but the item in question in the painting (Pitti Palace,
Florence and dated 1518) is a magnifying glass which doesn't look at all concave.
In addition, myopics would have to wear the lens all of the time in order to
provide the proper vision correction. As a myopic, I can see print just fine right
in front of me, so a magnifying glass regardless of the grind is of no use (myopia
being, as it is colloquially termed, "near-sightedness") to my disability. It is
possible that optical quality glass (assumedly clear through the addition of
agents to the metal, as raw glass is called) may have, at some times, been
compromised, and that the glass in it's more natural state of various shades of
green may have been made up into lenses. However, as MaggiRos pointed out, these
lenses would have been of little use while walking down the street. All things
considered, the evidence points to nothing conclusive that would allow anyone to
recreate a reasonable copy of "period" sunglasses. Of course, there might be some
evidence at the next archaeological dig. If nothing else, the research alone has
been a good example of what sometimes happens when you choose a subject and then
try to document it. I call it "reverse documentation", and it sometimes turns up
interesting info, but rarely does what the person creating it wishes to do.   Mike
T.



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Date: Fri, 28 Jun 2002 17:11:28 EDT

Dear Torsten Verhulsdonk,

This may be too late to help you, but I found out today that "sengle" was a 
person, and may not be a fabric at all.  Claude de la Sengle was Grandmaster 
of "the Sovereign Military and Hospitaller Order of St. John of Jerusalem of 
Rhodes and of Malta" (otherwise known as the "Knights of Malta" or the 
"Knights Hospitaller")  from 1553 to 1557.  While I cannot be sure "de la 
Sengle" does NOT mean "of the cloth", I do know that in Spanish nomenclature 
"de la" tends to mean roughly "of the House of".

--Gillian
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Date: Fri, 28 Jun 2002 17:14:49 -0400

Well said Megan. Please do not construe from my comments that no-one should look
after their health and wellbeing merely because it was "not period". I am "not
period", and had I survived all of my childhood accidents, diseases and traumas
(not likely), I would be quite blind (in the "period" sense, like "naked"
sometimes meant running around in your skivvies, not decently dressed by
societal standards). We are not all first-person historical interpreters, but we
are at least attempting to recreate history as best as possible. I have asked
people at our site to remove modern jewelry, sunglasses, etc. when they are
serving as interpretive staff, but if safety is at stake, the public can
understand. Only if you are in such a position to make reasonable changes should
you do so, and I wouldn't ever ask anyone to be unsafe (uncomfortable, perhaps,
but I never ask anyone to do what I'm not willing to do myself)  Mike T.


>  Each person's need for and level of authenticity may
> vary, of course, and just because I need to depart from it here and there
> does not mean everyone else needs to.

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Date: Fri, 28 Jun 2002 16:21:43 -0700


>Kit,
>
>Thank you...
>You certainly lightened my day with this one!
>Sounds like you've hit upon the dream job for everyone on this list. <grin>
>
>Sheryl Nance-Durst
>
>
>At 06:11 PM 6/26/02 -0400, you wrote:
>>Greetings All!
>>
>>I was just sitting here at my desk, bored out of my mind over this script 
>>I am yet again making revisions to.  And I have decided that I am going to 
>>quit my job and go into business for myself.  I am going to make custom 
>>clothing/costumes for me.  That's it, definitely a niche market, but one I 
>>think I can fill quiet well.  Why you might ask, would I want to fill such 
>>a small niche market?  Well, let me explain...
>
><snip>
>
>>Thank you!
>>Kit


I did mostly that, but I can't afford myself anymore and need to find 
another job.  :}

Jennifer Sena
Distant Designs
http://home.teleport.com/~cedric/distdesi

I wont hurt you, I just want to dress you up!!


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From h-costume-admin@indra.com  Fri Jun 28 20:03:14 2002
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Date: Sat, 29 Jun 2002 11:44:10 +1200


> No megan, I'm sorry, there are no, and I repeat NO glasses with earpieces
> before the mid 18th century, but what I personally find looks better than
any
> modern shape of glasses is using very simple metal round ones. They are
not and
> will never be authentic for anything before the 18th century, but I think
it
> just looks better and makes a nicer effect, you could try that? Have a go
> perhaps at taking a picture of yourself in kit and then with a graphics
proggie
> try to put a simple round frame on your eyes, and ponder if it does look
> better. You might like it more.

They used to be in fashion when I wore glasses:) I remember trying on a pair
of 19thC style glasses (with the curvy bendy side pieces). While my head
shape really made them a bad shape (that paritcular pair I should add, I've
seen others that would work). They would be a really good item for your kit
too:). I do a lot of stage work (this year has been particularly quiet, but
still).
I'm looking at finding a set with minimal correction (I'm, only -2.25 in
each eye- so get away most of the time with no lenses, or nice thin
contacts) so that I have  a nice addition to my collection of accessories
etc.

And for those wondering, when you have contacts it's even *more* important
to shade your eyes from *uv* light. Actually glass itself is quite good at
filtering some UV light. Couple that with a herty dose of chloroquinine
everyday, I'm looking at needing more than a hat and to stay in the shade at
any outdoor event.
http://icare4u.com/FocusOn.htm
Read about macula degredation, I also have blue eyes. And about sunglasses

On the 8th Aug I'm getting my eyes checked.. a full hour of tests to make
sure the medication hasn't started to cause this. No I don't give a damn
whether sunglasses are period or not.. and if I do go to an event outdoors,
I'll limit the jarring effect (though people here are *really* laid back) in
what ever way I can without causing myself undue stress.

Now if only they could make UV filtering contacts....

michaela




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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Fri, 28 Jun 2002 18:05:16 -0700


>NO glasses with earpieces
>before the mid 18th century,

People keep saying this, and I keep remembering the ear-loop things I see 
in period paintings.  Is what you are saying that these ear-loop things are 
not identical to the non-loop ear pieces on modern glasses?  Please be 
specific, because I remain confused.


Kayta

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From h-costume-admin@indra.com  Fri Jun 28 22:16:33 2002
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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Fri, 28 Jun 2002 22:00:35 -0400

So many great comments about glasses.... from looking at the link to Jas.
Townsend, the glasses look like what I call "John Lennon" glasses, so that
would be the best "modern" equivalent for those like me to try.  Not bad.  I
can cope with that idea.  My last pair even looks a bit like the 19th
century ones alread, certainly good enough for the "10 foot rule".  Of
course it also helps that I am not in any interpretive roles that require
the perfect look, but I've always rather liked that type of frame anyway.
So I'll look for something like that next pair.... Thanks everyone.
-Megan

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Deb Baddorf
Sent: Friday, June 28, 2002 5:05 PM
To: h-costume@indra.com
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires


At 01:12 PM 6/28/2002 -0700, Carolyn Kayta Barrows wrote:

>>That said, if there was a particular style of glasses with earpieces that
>>was actually Elizabethan or earlier, I would consider looking for a modern
>>look-alike and getting prescriptions made just because I think it would be
a
>>neat thing to do.
>
>Jas. Townsend has period-looking glasses frames good for a variety of
>periods.  Find them on the web.


at   http://www.jastown.com
(just a happy customer)
Deb


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From h-costume-admin@indra.com  Sat Jun 29 01:05:23 2002
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Subject: [h-cost] You've Come a Long Way Baby!
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Date: Sat, 29 Jun 2002 00:44:09 -0400

I actually have an old Virginia Slims shirt that I wear frequently that has
printed on it "You've Come A Long Way Baby"... it is my motto.

I am going to bring back memories for the old timers on h-costume.  On
Sunday, June 30, will be my 6th anniversary of having a website on the
internet.  I developed the first site when I was a student in college and
had a lot of encouragement from the members of h-costume.  The site was
called Historic Costume Research and was the foundation to my business.
This was the little site that grew and grew... when I graduated and turned
it into my business, The Costume Gallery.  Now if you want to see that first
website that went up on June 30, 1996, go to
http://www.costumegallery.com/OldSite/ .  It was more or less a link site,
but it is fun to see the costume websites that were around at that time.  A
good many of the links are not functional, but you will be surprised by the
sites that are still around.  So please scroll down the whole page.

I remember the day we celebrated because the website had 99 visitors in one
day.  We jumped for joy around my house.  Now we average between 13,000 to
16,000 visitors a day, during Sept-Oct that number goes up to 30,000 a day.
It just amazes me... 10 years ago, I thought I was the only one who loved
old clothes.

To jog the memory more... when we became business, in 1997, I hosted costume
websites.  We don't do that anymore, but here are some of the sites that we
hosted and/or was their webmaster:

Costume Society of America: Oct. '97-Nov. 2000 (hosted and webmaster)
Sally Queen & Associates: June '97-June '99 (hosted and webmaster)
Nicole Kipar's site: Feb. '98- Aug. '99 (hosted)
Pompadour site: July '98- Aug. '99 (hosted)
Rizzo's Reproductions (now Rebecca's Reproductions): Jan. '98- Sept. 2001
(hosted)
There are several more sites.

We can't even count how many webpages and images there are on the Gallery,
Ball, and Classroom.  A guess is over 2,000 webpages and 3,500 images.

That little 1996 webpage came a long way because of the support,
encouragement, suggestions, and love that the people of h-costume gave over
the years.  I would sincerely like to thank you!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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From h-costume-admin@indra.com  Sat Jun 29 03:33:27 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Sat, 29 Jun 2002 00:14:14 -0700

The neat thing about shoulder rolls, and shoulder treatments in general on 
elizabethans, is that they Do broaden the shoulders in balance with the bum 
rool, and around the corsetted middle.  No matter what your sillouette in 
modern clothes, Elizabethans (Court clothes) allow you to re-shape yourself. 
  Big shoulders and hips give you a smaller waist by definition :)  Give it 
another try.

For myself, I would back away from making them the size SaraGrace chose 
(everyone has their own sense of proportion) but the illusion does work.

Worked for them, works for us ;)

MaggiRos


>From: Sue Clemenger <mooncat@in-tch.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] Shoulder Roll "tutorial" website-feedback please
>Date: Thu, 27 Jun 2002 07:59:42 -0600
>
>I've never actually made any of my outfits with shoulder rolls, if only
>because I've already got the shoulders of a line backer, and figured the
>rolls would just make them *bigger,* god help me! <g>
>However, your tutorial seems pretty clear and helpful. My only comment
>would be that my browser was taking a really long time to pull up the
>whole article (probably because of those nice, clear pictures?). It
>might make it more accessible to those of use who are stuck in the slow
>lane if it was broken up into separate pages? or smaller pictures with
>links to larger ones? Of course, I'm completely web-ignorant, so I dunno
>what's possible or not.
>Hmmm....I might have to try these some day, when I finish my 18th c.
>outfits, and my early Anglo-Saxon outfits, and my 10th c. Norse outfits,
>and that ItalianRen with the hemp-corded bodice, and my gothic fitted
>gowns, ......;-)
>--Sue, garb hound in almost any century.....
>
>Saragrace knauf wrote:
> >
> > I have posted a 'how to' on shoulder rolls on my website.  I would
> > appreciate any feedback on clarity etc.  Thanks!!
> > Click on the last selection "How to make a Shoulder Roll" @
> >
> > http://www.saragrace.net/2A_Cost_by_sg.htm
>_______________________________________________
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Cheers,

Maggie Secara
~The Elizabethan World is at http://ren.dm.net




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From h-costume-admin@indra.com  Sat Jun 29 03:43:07 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Sat, 29 Jun 2002 00:21:12 -0700

I think that, like shoes, this is an issue that just has to be managed. As 
long as the necessary accomodation doesn't draw attention to itself, just do 
it.  Little wire frame glasses "look" like they must be period, to most 
people, and are almost invisible to anyone who is already in a period 
frameof mind.

When I first started this costumed madness, I wore photo-grey, aviator 
frames with a heavy prescription. I've always said my contacts are my most 
expensive prop.  :-)  If you can't wear contacts, but can find some nice 
wire frames, and you're not involved in deep re-enactment (in which case, 
you must accomodate the rules, not the other way around, but that's another 
conversation) then the effort is all that matters.


>From: Carolyn Kayta Barrows <kayta@frys.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
>Date: Fri, 28 Jun 2002 13:12:56 -0700
>
>
>>That said, if there was a particular style of glasses with earpieces that
>>was actually Elizabethan or earlier, I would consider looking for a modern
>>look-alike and getting prescriptions made just because I think it would be 
>>a
>>neat thing to do.
>
>Jas. Townsend has period-looking glasses frames good for a variety of 
>periods.  Find them on the web.
>
>
>Kayta
>
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
>/----\   /---\))
>
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>http://mail.indra.com/mailman/listinfo/h-costume




Cheers,

Maggie Secara
~The Elizabethan World is at http://ren.dm.net




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From h-costume-admin@indra.com  Sat Jun 29 03:45:40 2002
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From: Charlene Charette <charlene@flash.net>
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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
References: <20020628210727.72829.qmail@web13305.mail.yahoo.com> <002101c21efd$b4292630$bac2adcb@michaela>
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Date: Sat, 29 Jun 2002 00:37:55 -0500

michaela wrote:

> Now if only they could make UV filtering contacts....

Acuvue contact lenses block UV.  From their web site
(http://www.acuvue.com/products/uv_disclaimer.html):

UV-absorbing contact lenses are NOT substitutes for protective
UV-absorbing eyewear such as UV-absorbing goggles or sunglasses because
they do not completely cover the eye and surrounding area.

...

UV-blocking contact lenses help provide protection against harmful UV
radiation. However, clinical studies have not been done to demonstrate
that wearing UV-blocking contact lenses reduces the risk of developing
cataracts or other eye disorders. Consult your Eye Care Professional for
more information. 

ACUVUE® Brand Contact Lenses block approximately 82% of the UV-A rays,
and 97% of UV-B rays. 


--Charlene

-- 
An education isn't how much you have committed to memory, or even how
much you know.  It's being able to differentiate between what you know
and what you don't.  --Anatole France


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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] You've Come a Long Way Baby!
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Date: Sat, 29 Jun 2002 00:33:21 -0700

HAPPY ANNIVERSARY Penny!!!

This place wouldn't be the same without you.  And yes, that's a good thing!  
You--and we--have come a wonderfully long way.

MaggiRos


>From: "Penny Ladnier" <penny@costumegallery.com>
>Reply-To: h-costume@indra.com
>To: "h-costume" <h-costume@indra.com>
>Subject: [h-cost] You've Come a Long Way Baby!
>Date: Sat, 29 Jun 2002 00:44:09 -0400
>
>I actually have an old Virginia Slims shirt that I wear frequently that has
>printed on it "You've Come A Long Way Baby"... it is my motto.
>
>I am going to bring back memories for the old timers on h-costume.  On
>Sunday, June 30, will be my 6th anniversary of having a website on the
>internet.  I developed the first site when I was a student in college and
>had a lot of encouragement from the members of h-costume.  The site was
>called Historic Costume Research and was the foundation to my business.
>This was the little site that grew and grew... when I graduated and turned
>it into my business, The Costume Gallery.  Now if you want to see that 
>first
>website that went up on June 30, 1996, go to
>http://www.costumegallery.com/OldSite/ .  It was more or less a link site,
>but it is fun to see the costume websites that were around at that time.  A
>good many of the links are not functional, but you will be surprised by the
>sites that are still around.  So please scroll down the whole page.
>
>I remember the day we celebrated because the website had 99 visitors in one
>day.  We jumped for joy around my house.  Now we average between 13,000 to
>16,000 visitors a day, during Sept-Oct that number goes up to 30,000 a day.
>It just amazes me... 10 years ago, I thought I was the only one who loved
>old clothes.
>
>To jog the memory more... when we became business, in 1997, I hosted 
>costume
>websites.  We don't do that anymore, but here are some of the sites that we
>hosted and/or was their webmaster:
>
>Costume Society of America: Oct. '97-Nov. 2000 (hosted and webmaster)
>Sally Queen & Associates: June '97-June '99 (hosted and webmaster)
>Nicole Kipar's site: Feb. '98- Aug. '99 (hosted)
>Pompadour site: July '98- Aug. '99 (hosted)
>Rizzo's Reproductions (now Rebecca's Reproductions): Jan. '98- Sept. 2001
>(hosted)
>There are several more sites.
>
>We can't even count how many webpages and images there are on the Gallery,
>Ball, and Classroom.  A guess is over 2,000 webpages and 3,500 images.
>
>That little 1996 webpage came a long way because of the support,
>encouragement, suggestions, and love that the people of h-costume gave over
>the years.  I would sincerely like to thank you!
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com
>
>
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume




Cheers,

Maggie Secara
~The Elizabethan World is at http://ren.dm.net




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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Sat, 29 Jun 2002 19:42:30 +1200

<<Acuvue contact lenses block UV.  From their web site
(http://www.acuvue.com/products/uv_disclaimer.html):

UV-absorbing contact lenses are NOT substitutes for protective
UV-absorbing eyewear such as UV-absorbing goggles or sunglasses because
they do not completely cover the eye and surrounding area.>>


Then they're not really what one needs;)
Though if they made a kind so that they covered all the eye (aren't there
some like that for FX use?) and one wore them with multiple other forms of
UV blockage (though i don't know if sunscreen is concidered safe around the
eyes)..

Let's just stick with unobtrusive sunglasses eh;)

michaela
...

<<UV-blocking contact lenses help provide protection against harmful UV
radiation. However, clinical studies have not been done to demonstrate
that wearing UV-blocking contact lenses reduces the risk of developing
cataracts or other eye disorders. Consult your Eye Care Professional for
more information.

ACUVUE® Brand Contact Lenses block approximately 82% of the UV-A rays,
and 97% of UV-B rays. >>


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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Sat, 29 Jun 2002 07:59:43 +0000


Be sure your eye doctor does a bulls-eye retinopathy test. Problems from
meds often start in the center of your visual field--you won't notice it,
because your eyes will try to work around it, but this test will catch
any problems there. The good news is that the problem is usually
completely reversible (change the meds). Have the test done on a yearly
basis. I started doing it when I was on ketoprofen, which makes your eyes
extremely UV sensitive, and had to wear dark, double UV protected
sunglasses on dark cloudy days, and was on it for about 7 years. Been off
it now for nearly that long, no problems here.

If someone gives you the Great Authenticity Speech because of a medical
condition, smack 'em upside the head. Ignorance can be trained out of
people. 

Good luck! I hope all goes well.


					Arlys (SCA, An Tir)


> On the 8th Aug I'm getting my eyes checked.. a full hour of tests to 
> make sure the medication hasn't started to cause this. No I don't give
a 
> damn whether sunglasses are period or not.. and if I do go to an event 
> outdoors, I'll limit the jarring effect (though people here are
*really* laid 
> back) in what ever way I can without causing myself undue stress.
> 
> Now if only they could make UV filtering contacts....
> 
> michaela

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--part1_35.28f6dda1.2a4f465c_boundary
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It seems like yesterday!  Happy Anniversary, Penny!

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"See! How she leans her cheek upon her hand, 
O! That I were a glove upon that hand,
That I might touch that cheek."
Romeo & Juliet, II, ii - W. Shakespeare

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial Narrow" LANG="0">It seems like yesterday!&nbsp; Happy Anniversary, Penny!<BR>
<BR>
angela<BR>
+++++<BR>
Angela F. Lazear<BR>
Cabbage Rose Costumes <BR>
http://www.cabbagerosecostumes.com<BR>
Theatrical Costume Design<BR>
<BR>
"See! How she leans her cheek upon her hand, <BR>
O! That I were a glove upon that hand,<BR>
That I might touch that cheek."<BR>
Romeo &amp; Juliet, II, ii - W. Shakespeare<BR>
</FONT></HTML>
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Sat, 29 Jun 2002 19:11:49 +0100 (BST)

 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: > 
> >NO glasses with earpieces
> >before the mid 18th century,
> 
> People keep saying this, and I keep remembering the ear-loop things I see 
> in period paintings.  Is what you are saying that these ear-loop things are 
> not identical to the non-loop ear pieces on modern glasses?  Please be 
> specific, because I remain confused.

It is sometimes difficult to be specific when the foreign language vocabulary
is missing :-)
anyway, the loops that you see are actually thread loops, attached to leg-less
glasses. they were like what in germany is called a 'zwicker', glasses that
were pinched onto the bridge of the nose without any earpieces, but some
attached thread loops which were looped around the ears. Helped a little bit to
keepthem up.
the modern idea of earpieces in the form of 'legs' attached to the actual
'zwicker' glass piece, which can be opened and closed, is mid 18th century.

I hope my strange use of odd vocabulary makes more sense now...

Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: [h-cost] H-Cost:  Wench Costume
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Date: Sat, 29 Jun 2002 11:30:27 -0700

I'm trying to trace the history of the "wench" costume meant to represent
16th century lower class women's clothing. I've had good luck finding the
origins of the style, in woodcuts and painting, and there's ample
documentation for late 20th century interpretation thereof.  

What I'm looking for now is some evidence of when the style crystalized
into a conventional "costume".  It seems to have been present from the
earliest days of Hollywood, so I'm suspecting I should look earlier,
possibly in the 19th century.  Can anyone recommend books, websites, etc,
that might help?  

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Sat, 29 Jun 2002 15:54:21 EDT

Congratulations on 6 years of blood, sweat, tears and LOVE.  It's folk like 
you Penny who bring to us a wealth of costuming information we could not 
possibly get in one place.  Thank you, thank you, thank you!  May you 
continue on with joy.

Donna Scarfe
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Period Headgear for Past Ages
www.fynehatsbyfelicity.com
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To: h-costume@indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Sat, 29 Jun 2002 13:39:36 -0700

At 11:30 AM -0700 6/29/02, Margo Anderson wrote:
>I'm trying to trace the history of the "wench" costume meant to represent
>16th century lower class women's clothing. I've had good luck finding the
>origins of the style, in woodcuts and painting, and there's ample
>documentation for late 20th century interpretation thereof. 
>
>What I'm looking for now is some evidence of when the style crystalized
>into a conventional "costume".  It seems to have been present from the
>earliest days of Hollywood, so I'm suspecting I should look earlier,
>possibly in the 19th century.  Can anyone recommend books, websites, etc,
>that might help?

You may want to look at 18/19th century "folk costume" styles, since 
these probably influenced Hollywood notions of "ancient dress".  In 
particular, the motif of the sleeveless bodice is likely to have been 
influenced by central European folk costume.  (VIsualize the "Pauli 
Girl" from the beer label and superimpose it on "wench costume".)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Sat Jun 29 20:37:04 2002
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From: "Parsla Liepa" <pliepa@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Sat, 29 Jun 2002 20:15:12 -0400

>I think amber would always have been
>too valuable to cut big chunks up into thin slices.

Certainly, it's said that Viking women displayed their wealth by all the 
amber they wore, et cetera, et cetera, but amber really is quite common.  (I 
want to say that amber was probably even more common for the Vikings than it 
is for modern people in that area, but that's pure speculation on my part.) 
You can buy amber very inexpensively in countries on the Baltic Sea, and 
when I was in Latvia three years ago, you could occasionally find a piece of 
amber washed up on the seashore.  (I've got a chunk about the size of a 
walnut that I found.)

But then again, amber is a part of my Latvian heritage.  I wear a necklace 
or earrings or something amber most every day, and it always shocks me when 
people ooh and aah over it.  It's pretty, sure, but I'm not as impressed by 
it as others always seem to be.

Parsla

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Sun, 30 Jun 2002 01:26:47 +0100 (BST)

 
> You may want to look at 18/19th century "folk costume" styles, since 
> these probably influenced Hollywood notions of "ancient dress".  In 
> particular, the motif of the sleeveless bodice is likely to have been 
> influenced by central European folk costume. 

Not only that, look at late 17th c working class clothing and you'll be
surprised how many of those skirt and sleevesss (because of being tied on)
bodices over linen chemise have this uncanny resemblance of the 'wench look'.
Just look at the following and don't you tell me your first thought is not 'oh
no, not that stupid 'come hither' wench look again' *laughs*
Jan Siberichts, 1660s, Dutch:

 http://www.kfki.hu/~arthp/art/s/siberech/thewager.jpg

Nicole

=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Sun, 30 Jun 2002 13:16:40 +1200

> Be sure your eye doctor does a bulls-eye retinopathy test. Problems from
> meds often start in the center of your visual field--you won't notice it,
> because your eyes will try to work around it, but this test will catch
> any problems there.

That's what the first half hour is for:). I got the appointment booked in
May.. for Aug 8. yeah. yay. Still I have a heart specialist appointment set
for next year sometime, so at elast it's not as bad as that.

The good news is that the problem is usually
> completely reversible (change the meds).

Wish I could, but it would been going onto Methotrexate which is an even
nastier immuno suppressent drug than the Salazopyrine I'm on. I have RA and
on chloroquinine and Salazopyrine as my DMARDS. And prednisone and celebrex
and rocaltrol and tramal... the scarey thing is while I am in so much pain
this winter, it would probably be a whole lot worse than if I wasn't on the
stuff.

Fortunately i haven't had any negative side effects.. but I did go yellow
during the summer. Hehehe, so for any outdoor events I'm going to be covered
head to foot anyway;)

> If someone gives you the Great Authenticity Speech because of a medical
> condition, smack 'em upside the head. Ignorance can be trained out of
> people.

heheh, I just remember that these people have opinions perhaps not so well
informed as they think.
There was a woman on the yahoo costuming group who had a cote made of
*linen* ( I think the style was not strictly authentic, but it was linen).
She was snarked behind her back rather fiercly for wearing *panne velvet*.

So the moral is, live to what you know to be best for you. Life is just too
damn short. And don't belittle anyone else as it might be you than needs to
look again:)

> Good luck! I hope all goes well.

Thanks:). I am a bit worried,  I have eye strain problems as it is. I just
don't need anything else on top of what I'm coping with;)

michaela
nope, no new cossies begun really.


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Date: Sat, 29 Jun 2002 21:59:41 -0500 (CDT)


On Sat, 29 Jun 2002, Margo Anderson wrote:

> What I'm looking for now is some evidence of when the style
> crystalized into a conventional "costume".  It seems to have been
> present from the earliest days of Hollywood, so I'm suspecting I
> should look earlier, possibly in the 19th century.  Can anyone
> recommend books, websites, etc, that might help?

For one stop along the path, you might check rare book rooms for a
Victorian book called "Fancy Dresses Described" by Ardern Holt. This first
came out in the late 1870s as a how-to manual for ladies going to costume
balls, which were enormously popular at this time. The copy I examined in
the Newberry Library in Chicago was a fifth edition (1887), so it was
obviously a popular book! That one had some hand-colored plates, though
I've seen cheaper copies that did not. I wouldn't be surprised if you
could find a copy here and there on open shelving in some university
libraries or old city libraries.

The book included instructions for dressing up as various historical
characters (Queen Elizabeth, Joan of Arc, Mary Queen of Scots), literary
characters, generic occupational types, birds, plants, insects, and even
inanimate objects (e.g. you become the allegory of a tea set or a deck of
cards). These various costumes were apparently recognizable enough to have
standard treatments, which were codified in the book.  I wouldn't be
surprised if there's some equivalent to your "wench" in there, perhaps
under "tavern maid" or something.

The costumes aren't at all historically accurate, though the author swears
for the book's "correctness of descriptions and accuracy of details."
They're essentially Victorian dresses jazzed up with details that evoke
the Victorian idea of a particular period or place. The "medieval"
description includes things like "pink gauze" and a "short skirt of
striped red and white silk." For one 16th-century character, the author
points out that the description is painstakingly based on a historical
painting -- but the painting in question is from 1832!

Which brings me to another place to look: Victorian historical paintings.
This is *before* the pre-Raphaelites. Medieval and Renaissance images were
very popular painting at this time, and certain "looks" were formalized in
the genre. You'll find a few such paintings reproduced in "The Return to
Camelot," a history of the Victorian British love affair with the
medieval; you may not find a "wench," but you'll get the names of some
painters whose works may be worth tracking down.

Another place to look is illustrated children's books from this period.
Certain fairy-tale "types," including the lower-class attractive female,
were standardized in book illustration long before Hollywood.

--Robin

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Date: Sat, 29 Jun 2002 21:43:47 -0500

Penny,

Congratulations..You have worked incredibly hard, and diligently.. I can remember when you 
were in college and doing the website and all the other things you were into back then. 
I often wondered when you took time to sleep... I decided you just didn't bother with 
sleeping... :D

-- 
Linda Thompson

Visit www.seams-to-be.com
where Attitude is Everything

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Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Sat, 29 Jun 2002 23:41:25 -0400

Wow, those ladies have some big ol' jugs!!! (Ducking feebly at the barrage sure to
come...)  Mike T.


>
> Just look at the following and don't you tell me your first thought is not 'oh
> no, not that stupid 'come hither' wench look again' *laughs*
> Jan Siberichts, 1660s, Dutch:
>

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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: Re: [h-cost] H-Cost: Wench Costume
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Date: Sat, 29 Jun 2002 21:07:17 -0700

Then of course there's Marie Antoinette's "milk maid" costumes.  :)

Seriously, there are some German stuff from the 16th century that suggests 
the Faire wench look, although of course I can't point to anythng more 
specific right now. I know this has come up before, but I can never remember 
the results of the discussion!


MaggiRos


>From: Robin Netherton <robin@shell.nightowl.net>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] H-Cost:  Wench Costume
>Date: Sat, 29 Jun 2002 21:59:41 -0500 (CDT)
>
>
>On Sat, 29 Jun 2002, Margo Anderson wrote:
>
> > What I'm looking for now is some evidence of when the style
> > crystalized into a conventional "costume".  It seems to have been
> > present from the earliest days of Hollywood, so I'm suspecting I
> > should look earlier, possibly in the 19th century.  Can anyone
> > recommend books, websites, etc, that might help?
>

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Date: Sun, 30 Jun 2002 02:09:13 -0400

We just finished the cutest page of 1912 toddlers' fashion.
http://www.costumegallery.com/Delineator/May_1912/Children/Toddlers/Del/
Some interesting things about the costumes other than the like tikes are
adorable in them... two romper outfits are for either sex and a little suit
that is firmly described for boys who are still in *dresses* age.  As for
the rompers, they were called *rompers* in the article.  This is the
earliest that I have seen rompers.  (go on and prove me wrong)

Now if you read the descriptions... it is funny, there is controversy about
the most effective method of closure for the rompers ... wondering if this
is dueling patterns companies over rompers' designs?  BTW, all these
patterns were Butterick.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com





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Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Sun, 30 Jun 2002 09:38:25 +0100 (BST)

Not only that Mike, I always thought the way Siberichs had painted them
standing in the water with their skirt hitched up or sitting by the water and
washing her feet, is highly naughty! Study the reflection in the water... and
bear in mind women usually didn't wear any drawers...

Nicole - always giggling 'bout that painting

 --- leigh tartaglio <mikes@dandy.net> wrote: > Wow, those ladies have some big
ol' jugs!!! (Ducking feebly at the barrage
> sure to
> come...)  Mike T.
> 
> 
> >
> > Just look at the following and don't you tell me your first thought is not
> 'oh
> > no, not that stupid 'come hither' wench look again' *laughs*
> > Jan Siberichts, 1660s, Dutch:


=====
Nicole Kipar M.A.
Leader - L'Age d'Or & Kirke's Lambs 
Baroque Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Sun, 30 Jun 2002 11:33:00 -0400

Hi Parsla-
> Certainly, it's said that Viking women displayed their wealth by all the 
> amber they wore, et cetera, et cetera,
	yeah, I've seen that sometimes in the generic books... but 
you know, of all the museums that I've been to (and most in 
Denmark), while there are some amber displayed the majority 
of the beads are glass. Maybe that has to do with the 
amazingly high quality of the Danish bead makers, but there 
was more glass than amber in Norway too, and the same that 
I've seen in the Gotland pictures that have been on the web. 
So I really wonder about those statements about wearing all 
the amber. Besides if wearing the amber was "displaying 
their wealth" then it stands to reason that amber was not 
considered so cheap. It sure did well on the trade routes.

	I'm still wondering how easy it would be/would have been to 
slice the amber thin enough to look through. And as Sandy 
mentioned, it doesn't absorb oil. I would still love to find 
out if such sun protection was really done, but I'm 
unfortunately still dubious.

	-Judy Mitchell
	(who loves to wear an amber bead swag between her brooches!)

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Subject: [h-cost] Movie title
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Date: Sun, 30 Jun 2002 11:30:37 -0700

I can't remember which list it was that someone asked about a movie that 
might be called something like "Thee, Hannah" so I'm just going to start 
with this one :)

I think the movie you're thinking of is "Friendly Persuasion", 1956, Gary 
Cooper, Dorothy McGuire



Cheers,

MaggiRos
~The Elizabethan World is at http://ren.dm.net




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From h-costume-admin@indra.com  Mon Jul  1 06:52:31 2002
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Subject: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Sun, 30 Jun 2002 19:08:36 +0000

Great tutorial! Your pattern and directions are very clear and you point out 
some really good tips such as tacking the folds of the roll to the shape you 
want and sewing the felt on with out overlapping the seams.

I think that I feel confident enough to attempt this now!

Good job & thanks!

:) jessica

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From h-costume-admin@indra.com  Mon Jul  1 06:52:41 2002
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Subject: [h-cost] Info regarding nun's habits...
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Date: Sun, 30 Jun 2002 15:48:00 -0400

Or more specifically, the construction of a certain kind of veil worn 
by some orders of Catholic nuns (not being Catholic, I can't tell you 
which orders, other than it seems to be a fairly common style).  I 
found this image: 
http://www.civilization.ca/hist/hats/images/l_2799.gif and the veil 
I'm interested in is the one on the lower left.  The reason I'm 
interested in it's construction (as opposed to the spiffy 19th century 
veil arrangement) is that it looks darn close to a 16th century 
french hood.  

If anyone has any information on where I can find out how this veil 
might be constructed (I'm not worried about authenticity at this 
point), I'd love to hear it!  I saw some nuns in my neighborhood the 
other day wearing just such a hood, but I felt it might be 
inappropriate to strike up a conversation and ask to see their 
headgear inside and out...  

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." 
-Carl Sagan
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Date: Mon, 01 Jul 2002 20:55:45 +1000

The wealth of Viking women was denoted more by the number of keys they carried, each key being for a 
chest of goods and by the property they owned rather than by amber beads, blue glass beads were worth a 
lot more than amber beads and subsequently held in higher esteem. Not to say that amber was not precious 
but it was reasonably common. We must also remember that gilt jewellery and gold were much more 
precious and harder to acquire than amber. The richer the grave in gold/gilt and silver the more glass beads 
and less amber. But still I love amber it is so pretty and versatile and one can do so much with it. 

Sandy

>Hi Parsla-
>> Certainly, it's said that Viking women displayed their wealth by all the 
>> amber they wore, et cetera, et cetera,
>	yeah, I've seen that sometimes in the generic books... but 
>you know, of all the museums that I've been to (and most in 
>Denmark), while there are some amber displayed the majority 
>of the beads are glass. Maybe that has to do with the 
>amazingly high quality of the Danish bead makers, but there 
>was more glass than amber in Norway too, and the same that 
>I've seen in the Gotland pictures that have been on the web. 
>So I really wonder about those statements about wearing all 
>the amber. Besides if wearing the amber was "displaying 
>their wealth" then it stands to reason that amber was not 
>considered so cheap. It sure did well on the trade routes.
>
>	I'm still wondering how easy it would be/would have been to 
>slice the amber thin enough to look through. And as Sandy 
>mentioned, it doesn't absorb oil. I would still love to find 
>out if such sun protection was really done, but I'm 
>unfortunately still dubious.
>
>	-Judy Mitchell
>	(who loves to wear an amber bead swag between her brooches!)
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>


Fr”jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com



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