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Date: Mon, 1 Jul 2002 14:02:53 +0100 (BST)
Status: RO

I've got a snafu on my hands and need to dye an outfit
with about 15 meters of various fabrics in it.
Haven't dyed anything since I was a kid and nothing on
this scale  :0

Outer layer is 100% cotton.
Inner lining is cotton flannel.
Lining is silk.

Can anyone advise me on how to do this  with UK
products and a frontload washing machine? 

Thanks,

Marcus/Mangal

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Date: Mon, 1 Jul 2002 14:40:57 BST
Status: RO

Marcus Findlay-arthur <mangal_sews@yahoo.co.uk> wrote :

> Can anyone advise me on how to do this  with UK
> products and a frontload washing machine? 

Teddy undoubtedly could: but he's got a major flood of work at the moment and probably won't be reading his emails for a bit. Can it wait till he recovers?





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Date: Mon, 1 Jul 2002 14:38:26 +0100
Status: RO

>Outer layer is 100% cotton.
Inner lining is cotton flannel.
Lining is silk.

However you dye it if it is made up like this the results will not have one
consistant colour

Is it 15m to go into your machine ? If so don't take it to a local dyehose
unless you are OK about unlevel dyeing.

Sorry

Mel

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From h-costume-admin@indra.com  Mon Jul  1 10:47:59 2002
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Date: Mon, 01 Jul 2002 09:08:22 -0500
Status: RO

I would like to invite H-Costume members to take a look at my new
webpage--http://www.uttyl.edu/vbetts.  So far it includes three main
parts--newspaper articles (mostly Southern, searchable either by word or
chronologically by title, plus a few subjects pulled together such as
"homespun" or "knitted items"), a Godey's index for 1855-1865 (also
searchable by word or by particular volume), and a bibliography of
books, articles, theses, dissertations, calendars, and CD-ROMS for
civilian clothing, 1840-1865, mostly American, all English language.

Vicki Betts
vbetts@gower.net
http://www.uttyl.edu/vbetts

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From h-costume-admin@indra.com  Mon Jul  1 11:23:56 2002
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To: h-costume@indra.com
From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Mon, 01 Jul 2002 01:12:37 -0500
Status: RO

Greetings,

One of the paintings I noticed that has the most "wench" like look is the 
Judith with the Head of Holofernes, 
1512.http://www.civictrustwales.demon.co.uk/a205/lotto/early_years.html

The bodice is cut under the bust and looks a lot like some of the "wench" 
outfits I've seen.  It could be someone saw this and forgot (or didn't 
know) that one doesn't take religious or allegorical images as "fact."  As 
for when the whole trend started in faires & reenactment?  I have no idea. : )

Cheers,
Danielle

At 11:30 AM 6/29/2002 -0700, you 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?
>
>Margo
>"One Tough Costumer"

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Thread-Topic: [h-cost] Dye help UK style
From: "freyalyn" <freyalyn@ivillage.com>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] Dye help UK style
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This is a multi-part message in MIME format.

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I have had great success with Dylon dyes for machine - but in order to
get a really strong colour you often need more than one pack. These also
only work on cellulose fibres - cotton, linen, rayon. Synthetic fibres
need another sort of dye altogether, and I don't have any experience of
dying with these. Wool I wouldn't dye in the machine.

Dylon dyes are readily available in all sorts of places in the UK:
haberdashers, hardware shops, some supermarkets, market stalls. Just
keep looking. They probably have a website.

Freyalyn



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Sign up for FREE iVillage newsletters <http://s.ivillage.com/rd/16705> .
>From health and pregnancy to shopping and relationships, iVillage
has the scoop on what matters most to you. <-----Original Message----->
> 
> From: jane@williams.nildram.co.uk
> Sent: 7/1/2002 11:12:57 PM
> To: h-costume@indra.com
> Cc: jane@williams.nildram.co.uk
> Subject: Re: [h-cost] Dye help UK style
> 
> Marcus Findlay-arthur wrote :
> 
> Can anyone advise me on how to do this with UK
> products and a frontload washing machine? 
> 
> Teddy undoubtedly could: but he's got a major flood of work at the
moment and probably won't be 
> reading his emails for a bit. Can it wait till he recovers?
> 
> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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I have had great success with Dylon dyes for machine - but in order to get a really strong colour you often need more than one pack.  These also only work on cellulose fibres - cotton, linen, rayon.  Synthetic fibres need another sort of dye altogether, and I don't have any experience of dying with these.  Wool I wouldn't dye in the machine.<br>
<br>
Dylon dyes are readily available in all sorts of places in the UK: haberdashers, hardware shops, some supermarkets, market stalls.  Just keep looking.  They probably have a website.<br>
<br>
Freyalyn<br>
<br>

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<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

</font><-----Original Message-----><br>
>  <br>
> From: jane@williams.nildram.co.uk<br>
> Sent: 7/1/2002 11:12:57 PM<br>
> To: h-costume@indra.com<br>
> Cc: jane@williams.nildram.co.uk<br>
> Subject: Re: [h-cost] Dye help UK style<br>
> <br>
> Marcus Findlay-arthur  wrote :<br>
> <br>
> Can anyone advise me on how to do this  with UK<br>
> products and a frontload washing machine? <br>
> <br>
> Teddy undoubtedly could: but he's got a major flood of work at the moment and probably won't be <br>
> reading his emails for a bit. Can it wait till he recovers?<br>
> <br>
> <br>
> <br>
> <br>
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Date: Mon, 1 Jul 2002 16:19:12 BST
Status: RO

Freyalyn <freyalyn@ivillage.com> wrote :

> Dylon dyes are readily available in all sorts of places in the UK: haberdashers, hardware shops, some supermarkets, market stalls.  Just keep looking. 

Woolworths stock them.

> They probably have a website.

http://www.dylon.co.uk/

And very informative, too.






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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: Mon, 01 Jul 2002 08:33:59 -0700
Status: RO


>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...

Even the native-English-speaking folks were confusing on this point.  So 
none of the hard side pieces that just go over the ears, only soft 
ear-loops.  So I could take a pair of modern glasses, where the 
lens-holding front parts were the right shape, take off the hard 
side-pieces, and put on soft ear-loops instead.

Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Mon, 01 Jul 2002 08:59:01 -0700
Status: RO

Look into folk costume worn in Europe in the 1800s.  Start with that 
Victorian book by Braun and Schneider (Dover reprinted it as 'Historic 
Costume in Pictures').  You will find a few late 1700s outfits and many 
many 1800s outfits that have the same basic bodice-shirt-skirt 
combination.  The German 'dirndl' is an example.  Folkwear's ethnic vest 
pattern shows several more examples.

The crystallization you speak of happened in the mid-1800s, along with 
things like German Nationalism, when industrialization, and cosmopolitan 
city life, were seen to be melting down (western European) ethnic 
differences.  Many folk costumes were 'revived' at that time, to give the 
various Europeans a sense of their (nationalistic) roots.  Some single 
example of what the locals used to wear was chosen to represent the way 
things were, and many of them fossilized into 'Regional Costume' at that 
point (think what Ren Fair did to the sum total of what people wore in 
Elizabeth I's reign, and you've got the picture).  Grimm's fairy tales were 
collected, Joan of Arc was canonized, Wagner was writing operas, 
Neuschwanstein was built, and the Gothic Revival and Pre-Raphaelite 
movements were active (among other things), because of this same urge.

>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
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Info regarding nun's habits...
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Date: Mon, 01 Jul 2002 09:07:45 -0700
Status: RO


>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.

Nuns' veils were what married women were wearing when the particular order 
was founded, as re-interpreted over time.  So this may well be derived from 
a 16th century example.

>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...

I encountered a Carmelite, in full dress, in a craft store in California, 
and did just that.  I tried to sound like a student of historical 
costuming, not just a goggle-eyed tourist.  She was very co-operative, and 
informative.  While she didn't remove any garment, she told me names of the 
various layers, and when her order was founded.  Her habit did look vaguely 
like a married lady of that period.  (This was years ago, and I have 
forgotten all the pertinent information.)

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: Mon, 01 Jul 2002 09:09:20 -0700
Status: RO


>But still I love amber it is so pretty and versatile and one can do so 
>much with it.

But it's the wrong colour for some of us to look good in.  I own some, of 
my grandmothers', but I never wear it.


Kayta

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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: Mon, 1 Jul 2002 18:11:53 +0100 (BST)
Status: RO

 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: > 

> Even the native-English-speaking folks were confusing on this point.  So 
> none of the hard side pieces that just go over the ears, only soft 
> ear-loops.  So I could take a pair of modern glasses, where the 
> lens-holding front parts were the right shape, take off the hard 
> side-pieces, and put on soft ear-loops instead.

You might find though that they will slip terribly because they weren't made to
sit on the bridge of the nose. They will probably be too wide there. It's worth
a try though.

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: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Sun, 30 Jun 2002 23:31:47 +0100
Status: RO

Does this book have a design for Edward III and Phillippa of Hainault? 
I've always loved Queen Victoria's version of this, with a fur-edged 
sideless surcoat over a crinoline.  I'd be tickled if she got it from a 
book!

Jean


Robin Netherton <robin@shell.nightowl.net> wrote
>
>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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-- 
Jean Waddie
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On Sun, 30 Jun 2002, Jean Waddie wrote:

> Does this book have a design for Edward III and Phillippa of Hainault?  
> I've always loved Queen Victoria's version of this, with a fur-edged
> sideless surcoat over a crinoline.  I'd be tickled if she got it from
> a book!

I don't know if there's something in the book for these monarchs -- very
possibly there is. But that particular dress was designed for Queen
Victoria, at her request, for her Plantagenet ball of 1842, more than 30
years before "Fancy Dresses Described" was published. 

Victoria's costume designer, James Robinson Planche, was a theater
designer and heraldic scholar; he wrote entertainments and produced
pageants, and considered himself an antiquarian as well. (His
autobiography, which runs to multiple volumes, makes clear he did not
underestimate his own brilliance.) Planche is a familiar enough name to
costumers because he established himself as the foremost British costume
expert of the 19th century. In 1834, he published a "new and improved"
(his words) edition of Strutt's landmark costume history of 1796. (My own
opinion: It was NOT an improvement.) Planche's own costume book came out
in 1847, with a new edition in 1881. I occasionally find it, or his
"Cyclopedia of Costume," on open shelves at old libraries.

Planche is not a particularly good source for medieval costume, as he
tended to make up information to fill in gaps in the evidence.
(Unfortunately many of his assumptions and inventions persist even today
in costume books.) But he is a very good source for the Victorian
interpretation of medieval costume, since his work defined much of the
movement.

I believe you can see a portrait of Victoria and Albert in Planche's
Plantaganet costumes, as well as others of Planche's costume designs for
the Plantaganet ball, in "The Return to Camelot" by Girourard.

(The development of costume scholarship is one of my favorite research
areas.)

--Robin

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Dye help UK style
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Date: Mon, 01 Jul 2002 09:10:14 -0700
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>I've got a snafu on my hands and need to dye an outfit
>with about 15 meters of various fabrics in it.
>Haven't dyed anything since I was a kid and nothing on
>this scale  :0
>
>Outer layer is 100% cotton.
>Inner lining is cotton flannel.
>Lining is silk.
>
>Can anyone advise me on how to do this  with UK
>products and a frontload washing machine?

Dylon.  I wish I could still get it here in California.


Kayta

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In a message dated 7/1/02 6:13:27 AM Eastern Daylight Time, 
judymitch@oldwaylane.net writes:
> 
>     I'm still wondering how easy it would be/would have been to 
> slice the amber thin enough to look through

       As an experienced amateur lapidary, I can tell you that amber is so 
soft it can be worked with woodworking tools.  It isn't brittle and there is 
no reason it couldn't be sliced thin if that is what you want and can find a 
piece large enough.  However, it would be hard to find a piece clear enough 
as it is filled with bits and pieces of debris and bubbles.  The slicing 
would be easy, but the polishing it would be a pain -- possible, but not fun. 
 Just polishing an amber cab is a challenge if you try to use regular 
lapidary equipment.  It just wants to melt. 

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 7/1/02 6:13:27 AM Eastern Daylight Time, judymitch@oldwaylane.net writes:
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">
<BR> &nbsp;&nbsp;&nbsp;I'm still wondering how easy it would be/would have been to 
<BR>slice the amber thin enough to look through</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;As an experienced amateur lapidary, I can tell you that amber is so soft it can be worked with woodworking tools. &nbsp;It isn't brittle and there is no reason it couldn't be sliced thin if that is what you want and can find a piece large enough. &nbsp;However, it would be hard to find a piece clear enough as it is filled with bits and pieces of debris and bubbles. &nbsp;The slicing would be easy, but the polishing it would be a pain -- possible, but not fun. &nbsp;Just polishing an amber cab is a challenge if you try to use regular lapidary equipment. &nbsp;It just wants to melt. 
<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: Mon, 1 Jul 2002 14:12:18 -0500
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Not to mention that all his books cost over 500.00 if you can even find a
copy! There used to be a bookseller offering to see it to me for over a year
swearing that it had great glove documentation in it. Too much money for me
to spend and cannot justify. Robin, can you look at the book again and tell
if it has anything about gloves? It was perpetually out here in the Collin
County library system and now it is totally off the lists. :(

Ches
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Monday, July 01, 2002 1:29 PM
Subject: Re: [h-cost] H-Cost: Wench Costume
---------------snip----------------------

>
>
costume designer, James Robinson Planche, was a theater
> designer and heraldic scholar; he wrote entertainments and produced
> pageants, and considered himself an antiquarian as well. (His
> autobiography, which runs to multiple volumes, makes clear he did not
> underestimate his own brilliance.) Planche is a familiar enough name to
> costumers because he established himself as the foremost British costume
> expert of the 19th century. In 1834, he published a "new and improved"
> (his words) edition of Strutt's landmark costume history of 1796. (My own
> opinion: It was NOT an improvement.) Planche's own costume book came out
> in 1847, with a new edition in 1881. I occasionally find it, or his
> "Cyclopedia of Costume," on open shelves at old libraries.
>
> Planche is not a particularly good source for medieval costume, as he
> tended to make up information to fill in gaps in the evidence.
> (Unfortunately many of his assumptions and inventions persist even today
> in costume books.) But he is a very good source for the Victorian
> interpretation of medieval costume, since his work defined much of the
> movement.
>
> I believe you can see a portrait of Victoria and Albert in Planche's
> Plantaganet costumes, as well as others of Planche's costume designs for
> the Plantaganet ball, in "The Return to Camelot" by Girourard.
>
> (The development of costume scholarship is one of my favorite research
> areas.)
>
> --Robin


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In a message dated 6/21/02 7:32:52 AM Pacific Daylight Time, 
sherylnd@sound.net writes:


> 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.
> 

Sheryl,

Do you have a copy of that article you wrote?  I would love to read it.

Kit


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 6/21/02 7:32:52 AM Pacific Daylight Time, sherylnd@sound.net writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I actually wrote an article on Inter Library Loan services for
<BR>Mary Denise Smith's "Costume &amp; Dressmaker" magazine a few
<BR>years back. Until I started doing the research for it, I had no
<BR>idea how much money my own library spent on shipping costs
<BR>to send books out around the country. And salaries for
<BR>three full-time people to run it. All for a free service. All so that our
<BR>patrons can get the books that we don't have here.
<BR></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>Sheryl,
<BR>
<BR>Do you have a copy of that article you wrote? &nbsp;I would love to read it.
<BR>
<BR>Kit
<BR></FONT></HTML>

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Date: Mon, 01 Jul 2002 13:17:14 -0700
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This isn't about costume directly but it is about historical food.  And 
what's a historical feast without historic costume, I ask you!  (A naked 
lunch (but that's another story.))  This exciting article in the Manchester 
Guardian from Thursday, passed along on another list:

http://www.guardian.co.uk/uklatest/story/0,1271,-1838714,00.html

Gee, I wonder if we know any English librarians who could get close to 
this... ;-)


MaggiRos




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> Planche is not a particularly good source for medieval costume, as he
> tended to make up information to fill in gaps in the evidence.
> (Unfortunately many of his assumptions and inventions persist even
> today in costume books.) But he is a very good source for the
> Victorian interpretation of medieval costume, since his work defined
> much of the movement.

Amen to that. Same with Braun and Schneider, Racinet and that 
ilk.

Another one who had a tendency to "fill in the gaps" is Diderot. 
While he has some good stuff for the 18th Century (when he wrote 
*his* encyclopedia), the earlier periods are pretty scary. Yet, like 
Planche, his inventions and assumptions are quoted endlessly in 
costume books. 

Norris quotes both of them extensively. One of the things that the 
lady who I was apprenticed to did for me is to have me read 
(beginning to end, not just my favorite time period) a long list of 
"standard" costume books. (Kelly & Schwabe, Norris, Davenport, 
Boucher, Kohler,  von Boehn, etc. It was a list of over 20 authors, 
some of which have several books, like Norris and von Boehn.) It 
really gave me an interesting perspective on costuming books. It 
also made me learn to question almost everything I find written as 
being "the way" to make something. You start seeing (especially if 
you know the date the book was written) how the costumers of the 
time saw things and how much gets crystallized by being 
endlessly quoted (even when very much wrong.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Mon, 01 Jul 2002 16:52:37 -0700
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> > Even the native-English-speaking folks were confusing on this point.  So
> > none of the hard side pieces that just go over the ears, only soft
> > ear-loops.  So I could take a pair of modern glasses, where the
> > lens-holding front parts were the right shape, take off the hard
> > side-pieces, and put on soft ear-loops instead.
>
>You might find though that they will slip terribly because they weren't 
>made to
>sit on the bridge of the nose. They will probably be too wide there. It's 
>worth
>a try though.

Once I figured out that the hard side-pieces could go, I realized that any 
other aspect of the frames could be modified too.  So if they refused to 
seat snugly on my nose, I could reshape the nose pads till they did, using 
Fimo, or that two-part Epoxy mending putty sold to handyman-plumbers.  A 
tiny pair of felt pads would keep all the modeling stuff away from my skin, 
in case I had a chemical reaction to it.  (Thrift stores are a good source 
of cheap frames, unless your eye doctor says he/she can't fit lenses to them.)


Kayta

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Subject: [h-cost] Conference on Mid-Nineteenth Century Clothing
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Date: Mon, 1 Jul 2002 20:19:29 -0400
Status: RO

Those of you interested in mid-nineteenth century clothing and culture might
be interested in this information.  The information is being posted to
several lists; my apologies if you receive multiple copies.

The Ninth Annual Ladies of the 1860s Conference will be held on March 7-9,
2003 in Harrisburg, PA.  The conference offers presentations on a variety of
topics relating to the clothing and culture of the mid-nineteenth century.
The program also includes pre-conference seminars (both hands-on and
lecture/demonstration), a juried vendor area, continually changing displays
of original garments, undergarments, accessories, jewelry and other items of
material culture, a competition for the best reproduction of a period
bonnet, and a juried vendor area.  The 2003 conference will also include
presentations and workshops on men’s clothing, and special packages for
gentlemen and junior members are available.  Complete details including
descriptions of the presentations and workshops, hotel information, and
registration fees can be found at our web site www.genteelarts.com

Please feel free to contact me with any questions.

Carolann Schmitt
cschmitt@genteelarts.com

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Subject: [h-cost] respectable woman of Geneva
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Date: Mon, 1 Jul 2002 19:08:27 -0500
Status: RO

In my Patterns of Fashion (1560 - 1620) on page 6 there is a picture of a
"respectable woman of Geneva" from Habitus Praecipuorum Propulorum by Hans
Weigel & Jost Amman. Does anyone know of a better picture? I cannot find any
online, but was hoping someone else might have found one. I am especially
interested in her headwear, if anyone can make that out. Thanks!


**********************
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
**********************


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From h-costume-admin@indra.com  Wed Jul  3 14:32:34 2002
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Subject: [h-cost] Bath Museum of Costume - revamped web site
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Date: Mon, 24 Jun 2002 22:55:19 -0700
Status: RO

The Museum of Costume in Bath has revamped their website -- better design,
and some nicer photos of some of their collection:

http://www.museumofcostume.co.uk/

I stumbled across "The Costume Drama Game" on their site, which is one of
those "dress the mannequin in the appropriate historical clothing" Java
games... It has some REALLY weird clothes for each period -- the 1790's
figure is supposed to wear a robe a la francaise and really weird hat, the
1830's figure ends up being "correctly" dressed in something that looks way
more 1890's to me, and I have NO IDEA what's going on with the 1800 figure's
dress (looks 1830's to me!).  Anway, check it out.  It's odd.

The direct URL for the game is:
http://www.museumofcostume.co.uk/htmlContent/game.htm

- Kendra


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From h-costume-admin@indra.com  Wed Jul  3 14:34:16 2002
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Subject: [h-cost] Elizabethan Costuming Page has moved
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Date: Fri, 21 Jun 2002 10:27:30 -0400 (EDT)
Status: RO

Guys,

long time no chat.  Just wanted to drop you a line--my Elizabethan
Costuming page has moved, from http://www.dnaco.net/~aleed/corsets to the
much more mnemonic location of http://costume.dm.net/  .

This new site is much, much larger. It veritably echos.

So I'm extending an offer: if anyone on the lst has a costume-related
paper, article, or currently homeless web article, drop me a line. I know
there are many of you out there with great papers & articles on a variety
of costume topics, but who don't have web  page access or the HTML savvy
to convert your articles from Word format into a web-viewable one.  And
there are others, I'm sure, who are sick and tired of hosting their
articles on geocities, tripod, or other pop-up-window type sites.

Enjoy the new site and I hope to be back on the list soon,

Drea

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From h-costume-admin@indra.com  Wed Jul  3 14:36:32 2002
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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Mon, 01 Jul 2002 21:24:15 -0400
Status: RO

Hi. Let me second Nicole on this point here. I have never seen evidence of any sort
of nose pads the like of which we have on modern glasses. All of the illos and all
of the extant glasses seem to indicate the glasses sitting on the bridge of the
nose, and often slipping down to the bulbous point of the nose where the nostrils
flare out. If you are fortunate in this case, and you have a flatter, wider nose,
you might be able to find something for you to wear. In addition, all of the
glasses I have seen prior to the 18th Cent. are round. The ear cords will probably
help in adjusting the glasses on the bridge of the nose, but the angle of the
lenses and, consequently, the placement of the focal center of the lens in front of
the center of the eye will alter (this is another reason to disprove the thought
that myopia was being corrected at that early date). Good Luck with your
reproductions, though. Every experiment, successful or failed, brings us closer to
understanding the past.  Mike T.


>
>
> You might find though that they will slip terribly because they weren't made to
> sit on the bridge of the nose. They will probably be too wide there. It's worth
> a try though.

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From h-costume-admin@indra.com  Wed Jul  3 14:38:49 2002
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Subject: [h-cost] aurora bleacheries - help
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Date: Tue, 02 Jul 2002 19:08:58 -0500
Status: RO

Greetings,

Does anyone know the current location of the Aurora Bleacheries (I believe 
they went through a name change awhile back as well)?  Would they be open 
on Monday and how do I get there from I94?  : )

Cheers,
Danielle

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From h-costume-admin@indra.com  Wed Jul  3 14:40:37 2002
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Subject: Re: [h-cost] historic "sunglasses" for Renaissance faires
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Date: Mon, 1 Jul 2002 10:52:37 -0700
Status: RO

At 11:33 AM -0400 6/30/02, Judy Mitchell wrote:
>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.

My experience has been similar to yours.  If you look at Viking-era 
beads in terms of grave-by-grave inventories, you get a _much_ 
different picture of what people were wearing than what many people 
have adopted as the "Viking look".  Often its 50-80% monochrome 
glass, with only a handful of special shapes, designs, and materials. 
And to the best of my recollection, _every_ amber bead I've seen in 
an archaeological context has been shaped to a highly symmetric and 
polished form (except for the few carved to shape).  The notion of 
wearing twenty strands of amber-only in roughly tumbled shapes (which 
is what I normally see on the "display your amber wealth" people 
around here) doesn't really match the historic evidence that I'm 
aware of.

It can be easy to get a mistaken impression from book and museum 
displays that single out the "nice" beads, or group bead displays by 
type rather than by site.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Mon, 1 Jul 2002 14:41:36 -0400 (EDT)
Status: RO

Nah, it's just good corsetry ;D

-- M


On Sat, 29 Jun 2002, leigh tartaglio wrote:

> Wow, those ladies have some big ol' jugs!!! (Ducking feebly at the barrage sure to
> come...)  Mike T.

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From: rob and laurie gage <rlgage@adelphia.net>
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Subject: [h-cost] my phoenix textile order...
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Date: Fri, 21 Jun 2002 15:18:34 -0400
Status: RO

hi all!
i just received my first phoenix textiles order, and i'm digging it! prompt,
pleasant and timely. yay!
the fabric:
forest green cotton velveteen-short nap, nice sheen
light-weight red linen-light and crisp, *very* red
purple "raw" silk-actually a matka. nice medium purple w/tight weave
royal gold dupione-mmmmm, pretty!
last, but not least...
burgundy sheer linen/metal blend (90/10%)-beautiful fabric!!! deep color,
semi-sheer, linen weft and metal warp. very crisp, but not hard. the warp
feels more like a fine nylon thread than metal. if you bend it it doesn't
stay bent (ie: not like metal edged ribbon). i have just over 3ydsX60".
question"
what the heck do i do w/it?
i thought greek (doric style chiton), cotehardie (i'm teetering on the brink
of ordering 3 more yards) or early 16th c. italien ren.
please keep in mind that it is a bit sheer (not like "oh mi gawd, she's
nekkid), it will need to be lined or layered.
suggestions, comments and questions welcomed!
laurie

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Subject: [h-cost] Cyber Cindy Again!!!
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Date: Tue, 2 Jul 2002 03:16:15 -0400
Status: RO

You all won't believe this!  I am in shock... I got this news last night
about my next ball gown!!! Cyber Cinderella goes to the Ball AGAIN!!!

Okay for those who don't know... I am also known as Cyber Cinderella!  Don't
believe me... go read my Cyber Cinderella story at
http://www.costumegallery.com/Cyber/Cindy.htm  Make sure to read the whole
story to see the mansion where the ball was held!  In 1998, I was invited to
a Ball at one of my client's home... a mansion!  I was so panicked about
what to wear... I met a designer on the web and she loaned me a $10,000 gown
to wear to the Ball.   I wrote about the whole event on the web... then I
became known Cyber Cindy.  (for those of you who know all of this... hang in
there... you won't believe this...)  I receive so much wonderful email from
moms about this story.

Then I was invited to my client's Ball again in 2000.  This ball was even
more spectacular!!!  I got to work with the designer David Emanuel
personally.
He was the designer for Princess Diana's wedding gown.  I purchased my gown
this time, an antique late 1950s bouffant debutante gown... I wore a huge
hoop with it. I felt like a Princess floating around the room.

Now we are about 6 weeks before my client's next Balls.... she is going to
have two balls this year.  One is the Twilight Ball on Aug. 17, the other is
the Red Cross Ball on Aug. 19.  So I need to have two Cyber Cindy gowns!!!
It has happened again!!! Just like the first ball.  Bill, our new
instructor, the NYC couture designer, is going to design me a big bouffant
1950-ish ball gown to wear to the Ball.  I will be his walking billboard.
See the people at the
Ball are his type of clientele.  People always stop me and ask about my
gowns, so Bill gets advertising.  Now, this is where it gets to be fun for
you.... he is going to teach a class at the Classroom on how to make my
Cyber Cinderella gown!  He will be documenting making my gown step-by-step!

Now for the Red Cross Ball... Cyber Cindy can't wear the same dress for two
nights!  A lot of the same people will be there at both Balls.  Since I am
known for what I will be wearing... Cyber Cindy will be going in a 1920s
gown.  I got this pattern from Kim Grant, our other new instructor's
website... http://www.silkpoppy.com/patternframe.htm and look at pattern
Mc5941.  That will be my Red Cross gown.  I can wear handkerchief hems
really well... so this should be fun!  Kim graded the pattern to my size.  I
will be making this gown... start praying... I haven't sewn in 5 years.  I
will be starting on it next week.  Because the Ball is for the Red Cross,
all the ladies are wear red gowns.

BTW, my clients who own the Titanic film costumes, will be coming as my
guests to the Red Cross Ball.  I can't wait to see what she is wearing.
They are both so excited!

I just can't tell you how much of a dream all of this seems.  Who would have
ever thought a mom of six kids would get to go to beautiful Balls!  It still
all seems like a dream.  Luckily, I have a video tape of the last Ball... so
I can pop it in the VCR and remember it all while sitting my t-shirt and
shorts!!!

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





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Subject: [h-cost] Movie: "Druids"
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Date: Tue, 02 Jul 2002 23:07:51 -0700
Status: RO

Oh oh oh, I am at this very momemt hurting myself for some undesignated 
sins, apparently, by watching a film called "Druids" with Christopher 
Lambert and Klaus Maria Brandauer, et al.

To make it worth my while I will ask of the assembled h-costume multitude... 
is there any costume virtue--or any other virtue--in this film at all?  
Aside from the brief glorious appearance of Max vonSydow,anyway?

Oh the pain, the pain!


MaggiRos
~noting the remarkably few horned helmets





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Subject: Re: [h-cost] Movie title
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Date: Mon, 1 Jul 2002 10:57:04 -0700
Status: RO

>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 :)

Google is a wonderful thing (but with a 2000 pub date for the book, 
it seems unlikely to have produced a movie already):

<http://www.quakerhillbooks.org/cgi-bin/qhb.cgi/product_details?product_id=190>

Thee Hannah!

                   by Marguerite de Angeli
                   ISBN none, 99 pages, $15.99
                   Availability: Usually Ships in 24 hours

                   A beautifully illustrated children's book by 
Newbery Medal winner Marguerite de
                   Angeli, also winner of two Caldecott Honor Awards, 
the Louis Carroll Shelf Award, and
                   the Regina Medal. Hannah Severns was approaching 
ninety when she and the author,
                   then herself a child, first became acquainted. As 
their friendship grew, the stories of her
                   childhood became the basis for this book, and for 
other stories by the author.

Publisher: Herald Press
Published Date: 2000
Binding: Trade Paper

-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Tue, 02 Jul 2002 11:25:29 -0400
Status: RO

Marcus asked me to post the following as Yahoo is not working well. 
-Linda K-S

>Date: Tue, 02 Jul 2002 16:20:36 +0000
>From: marcus findlay-arthur <mangal.kalima@virgin.net>
>Subject: Thanks for the forwarding on dye help
>
>1.I can wait a while.
>2.Thanks for all the input - will be looking over the next week for 
>stuff anyway.
>
>Ta & loads of love,
>
>M.
>
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Subject: [h-cost] Re: druids
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Date: Wed, 03 Jul 2002 14:58:20 -0400
Status: RO



Actually, I enjoyed this film in a lackadaisical sort of way. The script was
awful, and why anyone hires Christopher Lambert for anything is beyond me.
The man has only one expression! I just wrote a review of it for our local
SCA publication, so it's still fresh in my mind. I don't think the costumes
are particularly accurate, but they are an attempt and they win in my book
because at least they are all THE SAME attempt. I only watched it once, so I
may be wrong, but I don't recall any bit players with clothes from different
eras. The Roman army is all dressed alike, although apparently a few
centuries off, but again at least it's all the same era. And I quite enjoyed
the sets and props, which seemed to me to be an attempt at the correct
period. The main problems with the movie were, again, the terrible script
and the terrible lead actor. Perhaps this is a cultural thing -- it is a
French movie, so maybe the French are not all that concerned with things
like good endings and maintaining continuity. There is a very funny (in the
sense of incongruous) topless scene that seems very French to me. BTW, the
movie was originally called "Vercingetorix," and for those who haven't seen
it, that's just what it was -- the story of Vercingetorix, the famous chief
of the Gauls defeated by Julius Caesar. Apparently they thought anyone
outside of France would be more likely to go see a movie called "Druids,"
although the Druids are barely in it. It seems to have been intended to be
the French "Braveheart," but without the "triumph of the spirit" part. Poor
old Vercingetorix takes a pretty dim view of things right from the start! If
anyone wants a copy of the review, I'll be happy to send it along.

Gail Finke

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From h-costume-admin@indra.com  Wed Jul  3 16:09:46 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Planche, was: Wench Costume
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Date: Wed, 03 Jul 2002 12:51:17 -0700
Status: RO

Back in the misty reaches of time when I was editing Tournaments Illuminated 
for the SCA, I ran an article (which eventually into the Known World 
Handbook, 2nd ed) called "The Problem of Ruritanian Purple Feathers" which 
was both hysterical and very very useful. It takes up the whole issue of 
costume lore getting handed down, errors and all, both orally and in costume 
books.  It especially focusses on how redrawings of original artworks shift 
and change the evidence, until redrawings of redrawings take on the 
appearance of authority, which can be hell to un-do.

I believe the authors used to be on this list, but don't know if either of 
them still is.  Anyway, if you can find a copy, it should be one of the 
things every costume maven makes their 'prentices anbd acolytes memorize!


MaggiRos


>From: kat@grendal.rain.com
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] Planche, was:  Wench Costume
>Date: Mon, 1 Jul 2002 12:15:27 -0700
>
>
> > Planche is not a particularly good source for medieval costume, as he
> > tended to make up information to fill in gaps in the evidence.
> > (Unfortunately many of his assumptions and inventions persist even
> > today in costume books.) But he is a very good source for the
> > Victorian interpretation of medieval costume, since his work defined
> > much of the movement.
>
>Amen to that. Same with Braun and Schneider, Racinet and that
>ilk.
>
>Another one who had a tendency to "fill in the gaps" is Diderot.
>While he has some good stuff for the 18th Century (when he wrote
>*his* encyclopedia), the earlier periods are pretty scary. Yet, like
>Planche, his inventions and assumptions are quoted endlessly in
>costume books.
>
>Norris quotes both of them extensively. One of the things that the
>lady who I was apprenticed to did for me is to have me read
>(beginning to end, not just my favorite time period) a long list of
>"standard" costume books. (Kelly & Schwabe, Norris, Davenport,
>Boucher, Kohler,  von Boehn, etc. It was a list of over 20 authors,
>some of which have several books, like Norris and von Boehn.) It
>really gave me an interesting perspective on costuming books. It
>also made me learn to question almost everything I find written as
>being "the way" to make something. You start seeing (especially if
>you know the date the book was written) how the costumers of the
>time saw things and how much gets crystallized by being
>endlessly quoted (even when very much wrong.)
>
>
>Kat
>

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Date: Wed, 03 Jul 2002 13:18:41 -0700
Status: RO

At 12:51 PM 07/03/2002 -0700, Maggie Secara wrote:
>Back in the misty reaches of time when I was editing Tournaments Illuminated 
>for the SCA, I ran an article (which eventually into the Known World 
>Handbook, 2nd ed) called "The Problem of Ruritanian Purple Feathers" which 
>was both hysterical and very very useful.

I believe it was reprinted in the Knowne World Handbook.  The second
edition, I think...whichever one it was that was released around AS XX.
Sorry I can't be more specific, but my ex-husband kept our copy.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From h-costume-admin@indra.com  Wed Jul  3 16:35:11 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: Re: [h-cost] Re: druids
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Date: Wed, 03 Jul 2002 13:15:44 -0700
Status: RO

Well with all that in mind, maybe I'll wait for a Saturday afternoon and put 
it on when my husband is at home.  Some movies are just made for Saturday 
matinees.

The topless scene WAS funny.  It had a certain campfollower appeal :)

Thanks for the input, Gail!

MaggiRos
Q: How do you capture a campfollower?
A: Hide in the bushes and make a noise like a gold chain.




>From: Gail & Scott Finke <gailscott@eos.net>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: [h-cost] Re: druids
>Date: Wed, 03 Jul 2002 14:58:20 -0400
>
>
>
>Actually, I enjoyed this film in a lackadaisical sort of way. The script 
>was
>awful, and why anyone hires Christopher Lambert for anything is beyond me.
>The man has only one expression! I just wrote a review of it for our local
>SCA publication, so it's still fresh in my mind. I don't think the costumes
>are particularly accurate, but they are an attempt and they win in my book
>because at least they are all THE SAME attempt. I only watched it once, so 
>I
>may be wrong, but I don't recall any bit players with clothes from 
>different
>eras. The Roman army is all dressed alike, although apparently a few
>centuries off, but again at least it's all the same era.


<snipped for the sake of digesters>

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From h-costume-admin@indra.com  Wed Jul  3 16:47:53 2002
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Date: Wed, 03 Jul 2002 13:29:42 -0700
Status: RO

I've still got mine. :-)  I think it's still available from the SCA, 
although I can't find it anywhere on the www.sca.org website.  However, a 
3rd edition is, I believe, in the works and I have no idea if the article 
will be included.

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] Planche, was: Wench Costume
>Date: Wed, 03 Jul 2002 13:18:41 -0700
>
>At 12:51 PM 07/03/2002 -0700, Maggie Secara wrote:
> >Back in the misty reaches of time when I was editing Tournaments 
>Illuminated
> >for the SCA, I ran an article (which eventually into the Known World
> >Handbook, 2nd ed) called "The Problem of Ruritanian Purple Feathers" 
>which
> >was both hysterical and very very useful.
>
>I believe it was reprinted in the Knowne World Handbook.  The second
>edition, I think...whichever one it was that was released around AS XX.
>Sorry I can't be more specific, but my ex-husband kept our copy.
>
>Margo
>"One Tough Costumer"
>
>




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Date: Wed, 3 Jul 2002 21:56:24 +0100
Status: RO

On 1 Jul 2002 at 13:17, Maggie Secara wrote:

> 
> This isn't about costume directly but it is about historical food.  And 
> what's a historical feast without historic costume, I ask you!  (A naked 
> lunch (but that's another story.))  This exciting article in the Manchester 
> Guardian from Thursday, passed along on another list:
> 
> http://www.guardian.co.uk/uklatest/story/0,1271,-1838714,00.html
> 
> Gee, I wonder if we know any English librarians who could get close to 
> this... ;-)

Thanks: will pass on to some cooking friends and 
lists.

I note in passing that while this may well be the 
earliest *printed* English cookery book, it's isn't the 
earliest English cookery book by any means. Not 
even close.



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Subject: Re: [h-cost] Planche, was: Wench Costume
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Date: Wed, 3 Jul 2002 16:58:29 -0400
Status: RO

Greetings--

> I've still got mine. :-)  I think it's still available from the SCA,
> although I can't find it anywhere on the www.sca.org website.  However, a
> 3rd edition is, I believe, in the works and I have no idea if the article
> will be included.

If it's not, I think a lot of people will be upset. That's one of those
"classic" articles.
The 2nd edition is still available--go to
http://www.sca.org/members/marketplace.html and look at the pdf order form.
It's several pages in, past the Compleat Anachronist listings.

Susan

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Subject: Re: [h-cost] Elizabethan Costuming Page has moved
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Date: Wed, 3 Jul 2002 16:57:18 -0400
Status: RO

Drea

Your website is my bible. I think I had it bookmarked the day after it
moved!

Dianne
----- Original Message -----
From: "Drea Leed" <drea@nospam>
To: <h-costume@indra.net>
Sent: Friday, June 21, 2002 10:27 AM
Subject: [h-cost] Elizabethan Costuming Page has moved


> Guys,
>
> long time no chat.  Just wanted to drop you a line--my Elizabethan
> Costuming page has moved, from http://www.dnaco.net/~aleed/corsets to the
> much more mnemonic location of http://costume.dm.net/  .
>
> This new site is much, much larger. It veritably echos.
>
> So I'm extending an offer: if anyone on the lst has a costume-related
> paper, article, or currently homeless web article, drop me a line. I know
> there are many of you out there with great papers & articles on a variety
> of costume topics, but who don't have web  page access or the HTML savvy
> to convert your articles from Word format into a web-viewable one.  And
> there are others, I'm sure, who are sick and tired of hosting their
> articles on geocities, tripod, or other pop-up-window type sites.
>
> Enjoy the new site and I hope to be back on the list soon,
>
> Drea
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Subject: [h-cost] Amber (was Re: historic "sunglasses" for Renaissance faires)
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Date: Wed, 03 Jul 2002 16:58:19 -0400
Status: RO


(much snippage about how chunky, unpolished amber seems to be incorrect for 
"Viking period"...)

>>their wealth" then it stands to reason that amber was not considered so 
>>cheap. It sure did well on the trade routes.

I wonder if this is because amber is/was so common?  You know--I grew a lot 
of tomatoes, so I'm sick of tomatoes, and you grew a lot of zucchini, so 
you're sick of zucchini--so we trade and we're both happy.

Am I just making things up when I say that amber was more common "then" than 
it is now?  This is a weird reason, I know, but the sea floor around Birka 
was rising in Viking period. Birka was actually abandoned partly because of 
that (and the waterways on either side filled up with silt and it was harder 
to get to).  The sea floor had previously been forest, which is why there is 
amber there to wash up on shore in the first place.....  I'm guessing that 
as the sea floor rose, the amber was more likely to be found or washed free. 
  But then again, this could just be crap....

Parsla
--
Vocatus atque non vocatus, Deus aderit.


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Subject: Re: [h-cost] Conference on Mid-Nineteenth Century Clothing
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Date: Wed, 3 Jul 2002 17:02:10 -0400
Status: RO

Since I live about twenty minutes from Harrisburg, I am SO there!

Dianne
----- Original Message -----
From: "cschmitt@genteelarts" <cschmitt@genteelarts.com>
To: <h-costume@indra.com>
Sent: Monday, July 01, 2002 8:19 PM
Subject: [h-cost] Conference on Mid-Nineteenth Century Clothing


> Those of you interested in mid-nineteenth century clothing and culture
might
> be interested in this information.  The information is being posted to
> several lists; my apologies if you receive multiple copies.
>
> The Ninth Annual Ladies of the 1860s Conference will be held on March 7-9,
> 2003 in Harrisburg, PA.  The conference offers presentations on a variety
of
> topics relating to the clothing and culture of the mid-nineteenth century.
> The program also includes pre-conference seminars (both hands-on and
> lecture/demonstration), a juried vendor area, continually changing
displays
> of original garments, undergarments, accessories, jewelry and other items
of
> material culture, a competition for the best reproduction of a period
> bonnet, and a juried vendor area.  The 2003 conference will also include
> presentations and workshops on men's clothing, and special packages for
> gentlemen and junior members are available.  Complete details including
> descriptions of the presentations and workshops, hotel information, and
> registration fees can be found at our web site www.genteelarts.com
>
> Please feel free to contact me with any questions.
>
> Carolann Schmitt
> cschmitt@genteelarts.com
>
> _______________________________________________
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Subject: Re: [h-cost] H-Cost:  Wench Costume
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Date: Wed, 3 Jul 2002 18:18:04 -0500 (CDT)
Status: RO


On Mon, 1 Jul 2002, chiara wrote:

> Not to mention that all his books cost over 500.00 if you can even
> find a copy! There used to be a bookseller offering to see it to me
> for over a year swearing that it had great glove documentation in it.
> Too much money for me to spend and cannot justify. Robin, can you look
> at the book again and tell if it has anything about gloves? It was
> perpetually out here in the Collin County library system and now it is
> totally off the lists. :(

Alas, I do not own the book and don't have a copy at ready access. I
Xeroxed off the sections I needed for the papers I was writing, and I
periodically go hunt up a copy when I'm looking at something new. I have
no clue about glove content. I'm sure he covers it somewhere, but I
frankly wouldn't consider it a good source. He cribbed so much from Strutt
you might be better off looking at Strutt first anyway.

--Robin

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Do you know if they are still looking for presentations, or is the program 
set?
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Do you know if they are still looking for presentations, or is the program set?<BR>
Ann Wass</FONT></HTML>

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From: "Frojel Gotlandica" <frojel@dcsi.net.au>
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Subject: Re: [h-cost] Amber (was Re: historic "sunglasses" for Renaissance faires)
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Date: Thu, 04 Jul 2002 11:17:49 +1000
Status: RO

No the entire Baltic region is actually rising, Gotland has risen several meters since the Viking age, most 
amber is found on the Baltic coast after storms, the big storms move it around on the sea floor and being 
light it gets washed ashore, it is more common for divers to find it now than beachcombers but it is still being 
washed up on the beaches. Birka was situated on an island in the middle of a lake complex but no doubt 
there was amber there in the lake too but the majority of it comes from the Baltic sea.
Sandy


>Am I just making things up when I say that amber was more common "then" than 
>it is now?  This is a weird reason, I know, but the sea floor around Birka 
>was rising in Viking period. Birka was actually abandoned partly because of 
>that (and the waterways on either side filled up with silt and it was harder 
>to get to).  The sea floor had previously been forest, which is why there is 
>amber there to wash up on shore in the first place.....  I'm guessing that 
>as the sea floor rose, the amber was more likely to be found or washed free. 
>  But then again, this could just be crap....
>
>Parsla


Fr”jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com



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Date: Wed, 3 Jul 2002 19:01:46 -0700
Status: RO


> Back in the misty reaches of time when I was editing Tournaments
> Illuminated for the SCA, I ran an article (which eventually into the
> Known World Handbook, 2nd ed) called "The Problem of Ruritanian Purple
> Feathers" which was both hysterical and very very useful. It takes up
> the whole issue of costume lore getting handed down, errors and all,
> both orally and in costume books.  It especially focusses on how
> redrawings of original artworks shift and change the evidence, until
> redrawings of redrawings take on the appearance of authority, which
> can be hell to un-do.
> 
> I believe the authors used to be on this list, but don't know if
> either of them still is.  Anyway, if you can find a copy, it should be
> one of the things every costume maven makes their 'prentices anbd
> acolytes memorize!
> MaggiRos

I love that article! It is such a hoot. It was written by Linda Reames 
Fox (ska Lady Audelindis de Rheims) and is on page 120 of the 
second edition of the handbook. I heartily recommend it to anyone 
who thinks that extrapolation and interpolation can be done from 
such sources. (I think I'll leave it out as I have a student coming 
over this weekend who *really* needs to read it!)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 3 Jul 2002 23:06:08 -0400
Status: RO

Well, my copy from AS XXVI says it's the third edition (one done AS XIV, and
one done for ASXX). (as a matter of fact, just noticed the editor of this
edition is a really cool member of our Barony.);-)  Anyway, in this edition,
it's on pp.129-131.  It is a great article, like she says- both funny and
making great points.  (of course, it took not looking at the book for almost
5 years and then taking it out to figure out some of the differences between
the two pictures, but I guess that was part of the reason for the
article.);-}
Moira

>Back in the misty reaches of time when I was editing Tournaments
Illuminated
> >for the SCA, I ran an article (which eventually into the Known World
> >Handbook, 2nd ed) called "The Problem of Ruritanian Purple Feathers"
which
> >was both hysterical and very very useful.
>
> I believe it was reprinted in the Knowne World Handbook.  The second
> edition, I think...whichever one it was that was released around AS XX.
> Sorry I can't be more specific, but my ex-husband kept our copy.
>
> Margo
> "One Tough Costumer"



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From h-costume-admin@indra.com  Thu Jul  4 00:09:24 2002
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Date: Wed, 03 Jul 2002 23:45:35 -0400
Status: RO

Oh, so you are the author of that gem! Thanks so much for writing that, so long
ago. It has proved useful in many a "discussion"  Mike T.

> "The Problem of Ruritanian Purple Feathers"

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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] Olde Englysh receipts
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Date: Wed, 3 Jul 2002 21:13:29 -0700
Status: RO

Sorry All,

	This is old news.  SCA-Cooks has been discussing it for several days now
:-)

Wanda Pease
"I believe for every drop of rain that falls, a flower grows. And a
foundation leaks and a ball game gets rained out and a car rusts and..."


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Jane Williams
Sent: Wednesday, July 03, 2002 1:56 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Olde Englysh receipts


On 1 Jul 2002 at 13:17, Maggie Secara wrote:

>
> This isn't about costume directly but it is about historical food.  And
> what's a historical feast without historic costume, I ask you!  (A naked
> lunch (but that's another story.))  This exciting article in the
Manchester
> Guardian from Thursday, passed along on another list:
>
> http://www.guardian.co.uk/uklatest/story/0,1271,-1838714,00.html
>
> Gee, I wonder if we know any English librarians who could get close to
> this... ;-)

Thanks: will pass on to some cooking friends and
lists.

I note in passing that while this may well be the
earliest *printed* English cookery book, it's isn't the
earliest English cookery book by any means. Not
even close.



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From: "Maggie Secara" <maggiros@hotmail.com>
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Date: Wed, 03 Jul 2002 23:57:53 -0700
Status: RO


Oh!  Shows how attentive I've been! I'm glad it made it into the new 
edition. It's a gem.

MaggiRos

>From: "HEATHER A CUTLER" <moirabeaneoin@prodigy.net>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: Re: [h-cost] Planche, was: Wench Costume
>Date: Wed, 3 Jul 2002 23:06:08 -0400
>
>Well, my copy from AS XXVI says it's the third edition (one done AS XIV, 
>and
>one done for ASXX). (as a matter of fact, just noticed the editor of this
>edition is a really cool member of our Barony.);-)  Anyway, in this 
>edition,
>it's on pp.129-131.  It is a great article, like she says- both funny and
>making great points.  (of course, it took not looking at the book for 
>almost
>5 years and then taking it out to figure out some of the differences 
>between
>the two pictures, but I guess that was part of the reason for the
>article.);-}
>Moira
>
> >Back in the misty reaches of time when I was editing Tournaments
>Illuminated
> > >for the SCA, I ran an article (which eventually into the Known World
> > >Handbook, 2nd ed) called "The Problem of Ruritanian Purple Feathers"
>which
> > >was both hysterical and very very useful.
> >
> > I believe it was reprinted in the Knowne World Handbook.  The second
> > edition, I think...whichever one it was that was released around AS XX.
> > Sorry I can't be more specific, but my ex-husband kept our copy.
> >
> > Margo
> > "One Tough Costumer"
>
>
>
>_______________________________________________
>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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From h-costume-admin@indra.com  Thu Jul  4 03:18:26 2002
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From: "Maggie Secara" <maggiros@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Olde Englysh receipts
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Date: Wed, 03 Jul 2002 23:59:56 -0700
Status: RO

So as costumers, we're a little behind on food news. Big deal. Better old 
news than none at all. Not like it's a race :)

MaggiRos


>From: "Wanda Pease" <wandap@hevanet.com>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: RE: [h-cost] Olde Englysh receipts
>Date: Wed, 3 Jul 2002 21:13:29 -0700
>
>Sorry All,
>
>	This is old news.  SCA-Cooks has been discussing it for several days now
>:-)
>
>Wanda Pease
>"I believe for every drop of rain that falls, a flower grows. And a
>foundation leaks and a ball game gets rained out and a car rusts and..."
>
>
>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
>Behalf Of Jane Williams
>Sent: Wednesday, July 03, 2002 1:56 PM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Olde Englysh receipts
>
>
>On 1 Jul 2002 at 13:17, Maggie Secara wrote:
>
> >
> > This isn't about costume directly but it is about historical food.  And
> > what's a historical feast without historic costume, I ask you!  (A naked
> > lunch (but that's another story.))  This exciting article in the
>Manchester
> > Guardian from Thursday, passed along on another list:
> >
> > http://www.guardian.co.uk/uklatest/story/0,1271,-1838714,00.html
> >
> > Gee, I wonder if we know any English librarians who could get close to
> > this... ;-)
>
>Thanks: will pass on to some cooking friends and
>lists.
>
>I note in passing that while this may well be the
>earliest *printed* English cookery book, it's isn't the
>earliest English cookery book by any means. Not
>even close.
>
>
>
>_______________________________________________
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>
>
>
>_______________________________________________
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>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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From h-costume-admin@indra.com  Thu Jul  4 04:14:27 2002
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Olde Englysh receipts
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Date: Thu, 4 Jul 2002 08:56:11 +0100 (BST)
Status: RO

I believe a print run of the book is being made for visitors to Longleat House.  I believe I heard
this on Radio 4 but I could be mistaken.

The webpage of Longleat House is at:
http://www.longleat.co.uk/mainpage.htm

They could probably give you more information on a possible print run.

Rachel

 --- Maggie Secara <maggiros@hotmail.com> wrote: > 
> This isn't about costume directly but it is about historical food.  And 
> what's a historical feast without historic costume, I ask you!  (A naked 
> lunch (but that's another story.))  This exciting article in the Manchester 
> Guardian from Thursday, passed along on another list:
> 
> http://www.guardian.co.uk/uklatest/story/0,1271,-1838714,00.html
> 
> Gee, I wonder if we know any English librarians who could get close to 
> this... ;-)
> 
> 
> MaggiRos
> 
> 
> 
> 
> _________________________________________________________________
> Chat with friends online, try MSN Messenger: http://messenger.msn.com
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Date: Thu, 04 Jul 2002 01:20:21 -0700
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>But he is a very good source for the
> > Victorian interpretation of medieval costume, since his work defined
> > much of the movement.
>
>Amen to that. Same with Braun and Schneider,

Most of why I own Braun and Schneider is because of the by-now-historical 
ethnic and folk stuff in it.  I believe their 19th century European stuff too.


Kayta

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Date: Thu, 04 Jul 2002 10:39:07 +0100
Status: RO

(A third attempt, since my test seems to have worked!)
Nicole wrote:
> 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. 

English speakers actually use the French term "pince-nez" (nose-pincher) for "Zwicker" - my German dictionary confirms this.

I notice that the "legless" spectacles advertised by Jas. Townsend claim to be 15th/16th century; they offer nothing for the 17th! Some of my 17th century reenactor friends wear that type, some make do with discreet round metal frames which, as Nicole says, don't look too jarringly modern.

Does anyone know of any evidence for Renaissance spectacles worn with a single safety cord rather than ear loops, like the Victorian pince-nez? I have an old pair of frames which would just about do as 17th century reading glasses, but they have only one ring for attaching a cord.

Kate Bunting
Library, University of Derby

Kate Bunting
Library, University of Derby

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Date: Thu, 04 Jul 2002 10:05:48 +0100
Status: RO

Earlier this week I twice sent a message which hasn't reached the list.

Kate Bunting
Library, University of Derby

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Date: Thu, 4 Jul 2002 06:21:56 -0600
Status: RO


If they haven't come through yet, they never got here.

						...eliz
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Date: Thu, 4 Jul 2002 11:30:26 -0700 (PDT)
Status: RO



I just saw Angels & Insects last night, based on the novella by A.S. Byatt.
The costuming -- 1862-1865 or so -- was just gorgeous to my eye.  What 
particularly impressed me wasn't so much the historical quality of it, 
but that all the ladies were wearing coloration that reminded me of warning
signs in the animal kingdom -- the bright stripes and "stay away" color 
combinations that many insects and reptiles wear.  

I rented it -- I think I'll have to buy it though!

.heather.meadows.
heather@sewhipithurts.com



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Date: Thu, 4 Jul 2002 12:03:44 -0700
Status: RO

Apologies for cross-posting, but I thought people on several other 
lists might be interested in yet another Yahoo! group (as if we all 
need _more_ mailing lists to subscribe to!).

[Paternosters] is an e-mail list for people interested in historical 
rosaries, paternosters, and other prayer beads. If you re-create, 
research, collect, or just admire and are interested in the variety 
of rosaries (etc.) that have been used in history, you are very 
welcome to join us!

There is also a FAQ file in the Paternosters files area (which anyone 
can read) giving a brief synopsis of the history of the rosary and 
its predecessor, the paternoster. It's at:
http://groups.yahoo.com/group/Paternosters/files/Rosaries-FAQ

To learn more about the Paternosters group, please visit
http://groups.yahoo.com/group/Paternosters

Pax et bonum!

O-oooooooooo-O-oooooooooo-O-oooooooooo-O-oooooooooo-O-oooooooooo-O

To subscribe or unsubscribe: http://groups.yahoo.com/group/paternosters
To change your e-mail address or preferences: http://groups.yahoo.com/mygroups

O-oooooooooo-O-oooooooooo-O-oooooooooo-O-oooooooooo-O-oooooooooo-O
-- 
_________________________________________________________
O    (Lady) Christian de Holacombe
|     Chris Laning  <claning@igc.org>
+    Shire of Windy Meads  -  Davis, California
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Date: Thu, 4 Jul 2002 20:44:33 +0100 (BST)
Status: RO

Folks,

Thank you very much for all the help on the dye
problem I'm currently enjoying.Am doing it in stages
and seem to be falling behind a bit,still I'll get
there.

Katya - I did locate Dylon at Beatties here in
Birmingham.If you want to get some or stock up with
them give me a holler.

Marcus

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Subject: [h-cost] linen weight?
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Date: Thu, 4 Jul 2002 13:24:43 -0700
Status: RO

Hello all,

I'm beginning work on a reproduction of a Danish dress from 1796 in the
Danish book _Moden 1790-1840_.  It's one of those very gathered, sheer,
white dresses that you see in Heidloff plates (eg
http://www.costumes.org/history/regency/boehn/heidloff1796B.JPG)

I'm making the dress in a sheer cotton voile (the original was made of
"nettlecloth" -- any ideas what that is?), and the bodice and sleeves are
lined in linen.  It's one of those interesting constructions where the linen
lining creates the structure for the bodice.  I'll be wearing this over a
bodice petticoat (like those in Hunnisett's _Period Costume_), and my
question is this -- what weight should I use for the linen lining?

I'd like to order something from fabrics-store.com, and it looks like they
offer the following weights:  3.5 oz., 4.6, 5.3, 5.9, 7.1, and 7.46 oz.  Now
I'm totally unfamiliar with linen weights (if I could hold the fabric in my
hand, I'd be fine, but those numbers just don't mean anything to me!).  Is
there anyone who can recommend which weight I should use?  I want enough
weight to hold the structure of the dress, but it won't need to serve as a
corset.

I'd appreciate any recommendations!

- Kendra


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Subject: [h-cost] Danish translation?
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Date: Thu, 4 Jul 2002 13:27:36 -0700
Status: RO

Is there anyone on the list who reads Danish and would be willing to
translate some brief pattern notations for me?  I have a scaled pattern from
a Danish book, and while I can figure out what all of the pattern pieces
are, I'd like to be able to understand the construction notes.

This pattern is along the lines of something from Janet Arnold, so it's not
too much text.

If anyone can help me out, please let me know!

Thanks,

Kendra


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Subject: Re: [h-cost] Bath Museum of Costume - revamped web site
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Date: Thu, 04 Jul 2002 14:00:45 -0700
Status: RO

Has any one else tried the new URL and found that their screen freezes,
forcing you to reboot entirely?

Oddly enough, I _can_ access the second URL for the game without any
problems!! 
Also, I tried backtracking this URL and my screen still froze.  (OCC: 
yes, Kendra, you're right about the weird choices for the garb of the decade).

Anyone else have similar results?

Thanks for letting me vent my frustration, 

Theresa Eacker

Kendra Van Cleave wrote:
> 
> The Museum of Costume in Bath has revamped their website -- better design,
> and some nicer photos of some of their collection:
> 
> http://www.museumofcostume.co.uk/
(Pruning)
> 
> The direct URL for the game is:
> http://www.museumofcostume.co.uk/htmlContent/game.htm
> 
> - Kendra
> 
> _______________________________________________
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Date: Thu, 4 Jul 2002 15:25:20 -0700
Status: RO

Sure -- send them along!

At 1:27 PM -0700 7/4/02, Kendra Van Cleave wrote:
>Is there anyone on the list who reads Danish and would be willing to
>translate some brief pattern notations for me?  I have a scaled pattern from
>a Danish book, and while I can figure out what all of the pattern pieces
>are, I'd like to be able to understand the construction notes.
>
>This pattern is along the lines of something from Janet Arnold, so it's not
>too much text.
>
>If anyone can help me out, please let me know!

-- 
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+    Davis, California
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Date: Fri, 05 Jul 2002 12:33:33 +0100
Status: RO

Kendra wrote:

>>>I'm making the dress in a sheer cotton voile (the original was made of
"nettlecloth" -- any ideas what that is?), 

That would be a linen-type material made with the fibres from nettle stems instead of flax. I saw some prepared ones once and they were very coarse, but I believe experts can spin quite fine thread from them.


Kate Bunting
Library, University of Derby

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Date: Thu, 4 Jul 2002 18:10:03 -0500
Status: RO

Ah, could somone point to an online copy of the article.  Not sure I want to
spend $16 for one article.  Thanks.

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Date: Thu, 04 Jul 2002 20:34:01 -0400
Status: RO

Hi Kendra-
	I don't know how much of a help this is, but when I went to 
Denmark last summer and visited with a woman in Farum, I 
brought some samples from fabrics-store with me in case 
anything I needed would be the same weight. I'm making an 
everyday dress from the 1840-60s. Silke-Annet told me that 
the white 5.5 oz (ILO19) was good for the sark, and the 
natural 7.1 (4C22?) to line the bodice with. Your dress may 
be fancier and lighter weight than mine - I'm working with 
alpaca drille. The other thing you might want to know about, 
is that there is a page at fabrics-store.com where you can 
ask for free samples. You can't really specify the color, 
but you can ask for all the different weights of linen. Then 
you can feel what they are like. I've done this with them. 
Hope that's a help.


> Is there anyone on the list who reads Danish and would be willing to
> translate some brief pattern notations for me? 
	The other thing you might find helpful, is that if you 
contact the Butterick-UK office (can't find the email off 
hand, but it should be findable), they will mail you a copy 
of the english-Danish pattern insert which has a glossary of 
sewing and pattern terms! This will probably make the poor 
man very confused as you would be the 3rd person asking him 
for this - he was very surprised when the 2nd person asked! 
(It's a conspiracy ;-) ). But he kindly sent them for free, 
and even sent me the Swedish and Finnish ones also (wish I 
had a Norwegian one, dunno if there is one). Anyway, this 
might also be a help with the book. Worth a try!

	-Judy Mitchell

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_______________________________________________________________
Sign up for FREE iVillage newsletters <http://s.ivillage.com/rd/16705> .
>From health and pregnancy to shopping and relationships, iVillage
has the scoop on what matters most to you. <-----Original Message----->
> I'm making the dress in a sheer cotton voile (the original was made of
> "nettlecloth" -- any ideas what that is?)

I'm sure someone has already answered this, but nettlecloth will be just
that, cloth made from nettles. It makes
a very similar fibre to linen, and is processed very like flax, using
the long fibres that grow iside the long nettle
stem. Ramie is nettle fibre, but this may be processed differently. They
also use yarn made from nettles in the 
Himalaya region.

Freyalyn, PFUI

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<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

</font><-----Original Message-----><br>
> I'm making the dress in a sheer cotton voile (the original was made of<br>
> "nettlecloth" -- any ideas what that is?)<br>
<br>
I'm sure someone has already answered this, but nettlecloth will be just that, cloth made from nettles.  It makes<br>
a very similar fibre to linen, and is processed very like flax, using the long fibres that grow iside the long nettle<br>
stem.  Ramie is nettle fibre, but this may be processed differently.  They also use yarn made from nettles in the <br>
Himalaya region.<br>
<br>
Freyalyn, PFUI
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Date: Fri, 5 Jul 2002 09:54:34 BST
Status: RO

Kendra Van Cleave <kendrav@attbi.com> wrote :

> I'm making the dress in a sheer cotton voile (the original was made of
> "nettlecloth" -- any ideas what that is?),

Only an guess, but I seem to remember being told that you can get a linen-like thread from nettles. Presumbaly yu cna then weave it into cloth.





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Date: Fri, 05 Jul 2002 08:43:23 -0600
Status: RO

I've ordered a couple of different times from these guys (okay, I give,
I've ordered *lots,* judging by the stack in one bedroom, and the 20-yd.
roll in the other), and the lightest weight (3.5 oz), is a decent
chemise-weight, but more like a heavier chemise than a really light one,
if you know what I mean.  So, since the outer layer of your garment is
very light weight, that's the one I'd use.
I've also acquired some of their 7.1 oz (the 20 yd. roll of unbleached,
and a few other pieces, mostly for use in linings for gothic fitted
gowns, and for some anglo-saxon clothing), and I did notice a bit of
*apparent* differences to the heft/feel to these--some feel lighter
weight, some heavier (dunno if it's finishing, or color, or if it's
actually different <g>), but all are far more substantial than my 3 oz.
shift stuff.  More like really sturdy overtunic weight, pretty closely
approximating the average feel of the denim in my fall/winter blue
jeans.
I dunno for sure (because I've never tried), but you might be able to
contact the company directly, and ask for samples.....
--Sue, fellow linen lover ;-)

Kendra Van Cleave wrote:
> 
I'll be wearing this over a
> bodice petticoat (like those in Hunnisett's _Period Costume_), and my
> question is this -- what weight should I use for the linen lining?
> 
> I'd like to order something from fabrics-store.com, and it looks like they
> offer the following weights:  3.5 oz., 4.6, 5.3, 5.9, 7.1, and 7.46 oz.  Now
> I'm totally unfamiliar with linen weights (if I could hold the fabric in my
> hand, I'd be fine, but those numbers just don't mean anything to me!).
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Subject: Re: [h-cost] Planche, was: Wench Costume
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Date: Fri, 05 Jul 2002 22:02:19 -0400
Status: RO

Since some of us have never seen the article in question, what's it about?

-- Mara

At 11:45 PM 7/3/2002 -0400, you wrote:
>Oh, so you are the author of that gem! Thanks so much for writing that, so
long
>ago. It has proved useful in many a "discussion"  Mike T.
>
>> "The Problem of Ruritanian Purple Feathers"

Kevin + Mara Riley

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Subject: Re: [h-cost] linen weight?
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Date: Fri, 05 Jul 2002 22:15:06 -0400
Status: RO

At 01:24 PM 7/4/2002 -0700, you wrote:
>I'd like to order something from fabrics-store.com, and it looks like they
>offer the following weights:  3.5 oz., 4.6, 5.3, 5.9, 7.1, and 7.46 oz.  Now
>I'm totally unfamiliar with linen weights (if I could hold the fabric in my
>hand, I'd be fine, but those numbers just don't mean anything to me!).  Is
>there anyone who can recommend which weight I should use?  I want enough
>weight to hold the structure of the dress, but it won't need to serve as a
>corset.
>
>I'd appreciate any recommendations!
>
>- Kendra

Hi, Kendra,
The 3.5 oz. is a bit lightweight and sheer to be used for lining; I'm using
it for shifts and neckerchiefs right now.  I'd go with the 4.6 oz. or 5.3
oz., but not anything heavier. 

Cheers,
Mara
Kevin + Mara Riley

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Date: Sat, 6 Jul 2002 10:32:39 -0700
Status: RO

Regarding: "The Problem of Ruritanian Purple Feathers"
> Since some of us have never seen the article in question, what's it
> about?
> -- Mara

It's about the pitfalls of source interpretation and why we can't 
always interpolate or extrapolate from various sources. It's a basic 
on documentation problems.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] Ruritanian Purople Feathers [was Planche]
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Date: Sat, 06 Jul 2002 10:29:34 -0700
Status: RO

Well y'know, I Googled on "ruritanian purple" and the very first hit was
http://www.dreamworker-magazine.com/frontpage/purplefeathers.html

Will that do? :-)

MaggiRos

>To: <h-costume@net.indra.com>
>Subject: [h-cost] Planche, was: Wench Costume
>Date: Thu, 4 Jul 2002 18:10:03 -0500
>
>Ah, could somone point to an online copy of the article.  Not sure I want 
>to
>spend $16 for one article.  Thanks.
>
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Date: Sat, 06 Jul 2002 10:29:34 -0700
Status: RO

Well y'know, I Googled on "ruritanian purple" and the very first hit was
http://www.dreamworker-magazine.com/frontpage/purplefeathers.html

Will that do? :-)

MaggiRos

>To: <h-costume@net.indra.com>
>Subject: [h-cost] Planche, was: Wench Costume
>Date: Thu, 4 Jul 2002 18:10:03 -0500
>
>Ah, could somone point to an online copy of the article.  Not sure I want 
>to
>spend $16 for one article.  Thanks.
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume




Cheers,

Maggie Secara
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Date: Sat, 6 Jul 2002 15:56:38 -0700
Status: RO


> Well y'know, I Googled on "ruritanian purple" and the very first hit
> was http://www.dreamworker-magazine.com/frontpage/purplefeathers.html
> 
> Will that do? :-)
> 
> MaggiRos

This has the text, but does not have the drawings which go with it. 
The drawings are very helpful in understanding what is being 
discussed in the article.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Sat, 06 Jul 2002 19:14:57 -0400
Status: RO

Hi, All. Textile remnants such as cording did not survive on the ones I have seen. I have, somewhere, a report from an excavation of a Tudor Free Grammar School, in Oxford, I think. The spectacle frames had the attachment points in such a way that it might be possible to fit a cord or cords on
near to where modern glasses have their sidepieces (the attachment points in this case being the points at which wire was wound to hold in the lenses). Since the spectacles of that age were used sitting down to read, I suspect that either two earpieces or nothing at all would have sufficed. Of
course, if you have a nice period-style pair made up, I would guess safety would be quite a concern. I have also seen pictures of physicians wearing them to do "medical" work, but this was also kind of up-close stuff also, and no earpieces, alone or in pairs, were in evidence. Mike T.

>
>
> Does anyone know of any evidence for Renaissance spectacles worn with a single safety cord rather than ear loops, like the Victorian pince-nez? I have an old pair of frames which would just about do as 17th century reading glasses, but they have only one ring for attaching a cord.
>

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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: Re: [h-cost] Ruritanian Purople Feathers [was Planche]
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Date: Sat, 06 Jul 2002 21:18:30 -0700
Status: RO

Yes, I know. I was pretty disappointed. Although the drawings aren't 
specifically addressed in that version of the article.  The web version does 
include an e-mail addy for Linda Reames Fox, so I suppose you (or whoever) 
could drop her a note.

MaggiRos


>From: kat@grendal.rain.com
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] Ruritanian Purople Feathers [was Planche]
>Date: Sat, 6 Jul 2002 15:56:38 -0700
>
>
> > Well y'know, I Googled on "ruritanian purple" and the very first hit
> > was http://www.dreamworker-magazine.com/frontpage/purplefeathers.html
> >
> > Will that do? :-)
> >
> > MaggiRos
>
>This has the text, but does not have the drawings which go with it.
>The drawings are very helpful in understanding what is being
>discussed in the article.
>
>
>Kat
>
>Kat(June Russell)
>kat@grendal.rain.com
>Heu! Tintinnuntius meus Sonat!
>_______________________________________________
>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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Date: Sun, 7 Jul 2002 08:02:47 +0000
Status: RO

Great article--it's about knowing what you are looking at, and figuring
out if your sources knew what *they* were looking at when they first
attempted to interpret it. One howlingly funny example has the costumed
subject wearing a gown with only one functional sleeve, for instance,
thanks to a misinterpretive drawing. 

I teach research and research writing and highly recommend it to my SCA
students.

				Arlys

On Sat, 6 Jul 2002 10:32:39 -0700 kat@grendal.rain.com writes:
> Regarding: "The Problem of Ruritanian Purple Feathers"
> > Since some of us have never seen the article in question, what's 
> it about?
> > -- Mara


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Date: Sun, 7 Jul 2002 08:04:29 +0000
Status: RO

One of our local Laurels has in fact spun nettles into thread. I don't
know if she's woven with it. Maybe Kat does.

				Arlys

				

On Fri, 5 Jul 2002 09:54:34 BST <jane@williams.nildram.co.uk> writes:
> Kendra Van Cleave <kendrav@attbi.com> wrote :
> 
> > I'm making the dress in a sheer cotton voile (the original was 
> made of
> > "nettlecloth" -- any ideas what that is?),
> 
> Only an guess, but I seem to remember being told that you can get a 
> linen-like thread from nettles. Presumbaly yu cna then weave it into 
> cloth.
> 
> 
> 
> 
> 
> _______________________________________________
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Date: Sun, 7 Jul 2002 09:57:28 -0700
Status: RO


> One of our local Laurels has in fact spun nettles into thread. I don't
> know if she's woven with it. Maybe Kat does.
> 
>     Arlys

She didn't make enough to weave with. She only made enough for 
test pieces for spinning to go with her display.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Movie: "Druids"
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Date: Sun, 07 Jul 2002 09:53:33 -0700
Status: RO

At 11:07 PM 7/2/02 -0700, you wrote:
>Oh oh oh, I am at this very momemt hurting myself for some undesignated 
>sins, apparently, by watching a film called "Druids" with Christopher 
>Lambert and Klaus Maria Brandauer, et al.
>
>To make it worth my while I will ask of the assembled h-costume multitude... 
>is there any costume virtue--or any other virtue--in this film at all?  
>Aside from the brief glorious appearance of Max vonSydow,anyway?
>
>Oh the pain, the pain!
>
>
>MaggiRos

On the other hand, "Druids" pretty much breaks the meter of Joe-Bob Briggs'
"breasts count".

In a weird way, it was a very enjoyable movie ... particularly once you
identified, analyzed, and filtered out the parts that were modern French
socio-political posturing.

Heather
>~noting the remarkably few horned helmets
>
>
>
>
>
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Date: Sun, 07 Jul 2002 10:01:49 -0700
Status: RO

At 02:58 PM 7/3/02 -0400, you wrote:

>movie was originally called "Vercingetorix," and for those who haven't seen
>it, that's just what it was -- the story of Vercingetorix, the famous chief
>of the Gauls defeated by Julius Caesar. Apparently they thought anyone
>outside of France would be more likely to go see a movie called "Druids,"
>although the Druids are barely in it. It seems to have been intended to be
>the French "Braveheart," but without the "triumph of the spirit" part. Poor
>old Vercingetorix takes a pretty dim view of things right from the start!

Perhaps one of the reasons that "Druids" doesn't seem to work as well as
"Braveheart" from a dramatic-structure and triumph-of-the-spirit point of
view, is that the overall structure of the film is actually remarkably true
to the historic events!  (Vastly unlike "Braveheart".)  Of course, you still
had to toss in a gratuitous romance (for which, as far as I know, there is
no historic reference -- but, hey, at least they didn't play fast and loose
with an actual historic woman) and of course the back-story of the
protagonist's youth is fiction, but in terms of the interactions with the
Romans and the eventual outcome, the movie stuck pretty close to the known
facts.

Heather

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Date: Sun, 7 Jul 2002 14:59:55 -0700
Status: RO

At 9:57 AM -0700 7/7/02, kat@grendal.rain.com wrote:
>  > One of our local Laurels has in fact spun nettles into thread. I don't
>>  know if she's woven with it. Maybe Kat does.
>>
>>      Arlys
>
>She didn't make enough to weave with. She only made enough for
>test pieces for spinning to go with her display.

I'm told, though I can't nail down the source at the moment, that 
nettle linen could be finely spun and woven to make a very sheer and 
soft fabric, and that some people preferred it as a luxury fabric to 
linen made from flax.

But I also wouldn't be surprised to see it show up, as hemp does, in 
a coarser form used for practical chores. (To repeat a well-known 
fact: the original "canvas" was a hempen fabric, named from 
"cannabis," the Latin word for hemp.)

Unlike flax or hemp, the raw materials for nettle linen would have 
been free for the gathering, at least in Western Europe.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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This is a multi-part message in MIME format.

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Just wondering if anyone else on this list is attending.

I've never been and I'm going alone, just wondering if there are any folks I
should try and meet up with.

Allison

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<P><FONT SIZE=3D2>Just wondering if anyone else on this list is =
attending. </FONT>
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<P><FONT SIZE=3D2>I've never been and I'm going alone, just wondering if =
there are any folks I should try and meet up with.</FONT>
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<P><FONT SIZE=3D2>Allison</FONT>
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Subject: Re: [h-cost] nettlecloth (WAS linen weight?)
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Date: Sun, 7 Jul 2002 15:34:43 -0700
Status: RO

For those who are interested, the 1796 dress made of nettlecloth that
started this thread is pictured in a book on Danish fashion called _Moden
1790-1840_ by Ellen Andersen.  The fabric looks very much like a fine, sheer
cotton -- not at all coarse or even linen-y.  There is a note in the section
on dress of 1790-1804 that reads, "Women's fabrics:  Linen and nettlecloth
were the most popular materials for women's gowns, as they were stiffer than
muslin and thus well suited to the fashions of the 1790's."

- Kendra



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Date: Sun, 7 Jul 2002 15:35:30 -0700
Status: RO

Thanks for all of the input on linen weights -- I think I'm going to go for
one of the medium weights (probably 4.6) and see how it goes!

- Kendra



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Date: Sun, 07 Jul 2002 16:51:06 -0600
Status: RO

What Costume College?
--sue, wondering if she "killed" the wrong thread by accident....

> Allison Thurman wrote:
> 
> Just wondering if anyone else on this list is attending.
> 
> I've never been and I'm going alone, just wondering if there are any
> folks I should try and meet up with.
> 
> Allison
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Subject: Re: [h-cost] Costume College?
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Date: Sun, 7 Jul 2002 15:52:58 -0700
Status: RO

Costume College (http://www.costumecollege.org/) happens every year in Van
Nuys, Calif. (near LA).  It's a weekend of costume classes (both lecture and
hands-on workshops) which is quite fabulous!

Allison, I'll be there Sat. & Sun. and would be happy to meet up!  Maybe we
can have an h-costume lunch?

- Kendra



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From: "Kendra Van Cleave" <kendrav@attbi.com>
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Subject: [h-cost] 1790's corsets
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Date: Sun, 7 Jul 2002 16:01:01 -0700
Status: RO

One last post from me!

Lately I've been pondering corsets of the 1790's lately, and wondering when
the change from the traditionally 18th century shape (cone) gave way to the
Regency ("lift and spread") shape in Europe and the U.S.  I know we've all
moved past the idea that women just stopped wearing ANY corset in the
1790's-1810's, but when did corsets start to change?

It seems that even as late as 1795, you still see dresses that were
obviously robe a l'anglaises recut with a higher waistline to fit the new
style.  At the same time, some of the early Directoire dresses (the gathered
chemise dresses) have linen under-bodices which may have supported the
breasts without need for a corset.  However, I question the idea that
someone who spent her whole life in corsets would suddenly feel comfortable
going without that kind of structure.  This all leads me to think that most
women must have, for at least some time, worn 18th century-shaped corsets
under their early Directoire gowns -- especially as French fashions filtered
out to other countries.

I know that there are few (if any?) extant corsets from this era (which may
in itself answer the "did they wear a corset" question).  _Revolution in
Fashion_ includes one corset from 1790 (still in the 18th c. cone shape) and
then skips to 1820 (which has the Regency "lift and spread" shape).
Cunnington's _English Women's Clothing in the 19th Century_ writes re: the
period 1800-1820, that there is little information on this period and so
accepts examples of the 1820's as representative of the earlier period.

Can anyone point me to any other sources that might help me fill in the gaps
between 1790 and 1820?  Does _Corsets & Crinolines_ touch on this era?

Thanks!

- Kendra



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 Hi Folks
OK the bead CD is now up on Professor Carlssons site.
For those interested have a look at :- 
http://www16.aname.net/~arkeodok/
First in a series from Gotland University's Archaeology Department.
One nice difference is that they should be in colour as opposed to
different gray textures as in many of the archaeology books.
Gotland is where over 80% of the Viking age finds in Sweden come
from. It was a major trading centre in the Baltic up until the
Battle of Visby.
Cheers
Sandy

Fr=94jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com


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<HTML>


<FONT COLOR=3D0000ff><U><FONT FACE=3D"Times New Roman" DEFAULT=3D"FACE">=
<FONT SIZE=3D"3" POINTSIZE=3D"12" DEFAULT=3D"SIZE"><BR>
<FONT COLOR=3D000000 DEFAULT=3D"COLOR"></U> Hi Folks<BR>
OK the bead CD is now up on Professor Carlssons site.<BR>
For those interested have a look at :- <FONT COLOR=3D0000ff><U><BR>
http://www16.aname.net/~arkeodok/<FONT COLOR=3D000000 DEFAULT=3D"COLOR">=
</U><BR>
First in a series from Gotland University's Archaeology Department.<BR>
One nice difference is that they should be in colour as opposed to<BR>
different gray textures as in many of the archaeology books.<BR>
Gotland is where over 80% of the Viking age finds in Sweden come<BR>
from. It was a major trading centre in the Baltic up until the<BR>
Battle of Visby.<BR>
Cheers<BR>
Sandy<FONT COLOR=3D000000 DEFAULT=3D"COLOR"><BR>

</HTML>

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<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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Subject: Re: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Sun, 7 Jul 2002 20:11:41 -0400
Status: RO


On Wed, 26 Jun 2002 16:35:09 -0700 "Saragrace knauf"
<saragrace@earthlink.net> writes:
> I have posted a 'how to' on shoulder rolls on my website.  I would
> appreciate any feedback on clarity etc.  Thanks!!

I like the notes on how to put it together, and have a quick question -
do you think there is any another fabric I could substitute for the felt
during construction?  I am allergic to wool!

Thanks,
Ysabiau

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Subject: Re: [h-cost] Costume College?
In-Reply-To: <003401c22609$0a3a28a0$befc8218@WERNTO> "from Kendra Van Cleave
 at Jul 7, 2002 03:52:58 pm"
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Date: Sun, 7 Jul 2002 17:47:04 -0700 (PDT)
Status: RO

I'll be there as well!

.heather.


> Costume College (http://www.costumecollege.org/) happens every year in Van
> Nuys, Calif. (near LA).  It's a weekend of costume classes (both lecture and
> hands-on workshops) which is quite fabulous!
> 
> Allison, I'll be there Sat. & Sun. and would be happy to meet up!  Maybe we
> can have an h-costume lunch?
> 
> - Kendra
> 
> 
> 
> _______________________________________________
> h-costume mailing list
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Status: RO

Hi, All. I have used nettle for various things, none of which has come close to
the h-cost standard for content (nettle beer, salads and an attempt at cheese
preservation), but I was reading some material a while back that noted that in
the deteriorating economy of late WWI Germany, shirts for soldiers were being
made from nettle fabric. Whether this is indicative of the low cost of
manufacture, the ease of access of the raw material (like cannabis, the leaves
of the plant can be used for other purposes, in this case, food) or the
coarseness of the cloth (and perhaps the poorness of the product itself), I do
not know, as the source did not mention it. I have never seen nettlecloth, but
the hemp canvas that I have seen comes in as many grades as those of linen,
from coarse sacking to fine sheer cloth suitable for even the most delicate
ladies' unmentionables. Nettle, aside from being slightly harder to gather than
the previously mentioned materials, can either be sewn as a crop or gathered in
the wild. I don't think nettle seed is as valuable as either of the others for
oils, so perhaps this might explain it's lack of proper cultivation.  Mike T.



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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
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Subject: Re: [h-cost] 1790's corsets
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Date: Sun, 7 Jul 2002 21:56:43 -0500 (CDT)
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> Can anyone point me to any other sources that might help me fill in the gaps
> between 1790 and 1820?  Does _Corsets & Crinolines_ touch on this era?

I don't have _Corsets and Crinolines_, so I'm not sure what it does and
doesn't have, but one transitional corset that has always interested me is
styled like the 18th century conical corsets but is very short, midriff
length, made to be worn under high-waisted gowns.

There used to be a picture of this corset on the Long Island Staylace
Association web page, but the link to that particular image seems to be
currently non-functional.

To get to the image:
go to http://www.staylace.com	BE AWARE: This page tends toward the
fetish side of corsetry and may have images that some may find offensive.
Follow my instructions and you shouldn't be exposed to it.

In the frame on the left, scroll down to and click on "Image Galleries"
you want Corset Gallery #7, Historical Examples.
Skip the first three links and click on the first small image of a corset,
which has the caption "2 views - Early-nineteenth century (1819)"

Like I said, this image currently seems to be inaccessable, but I hope it
will soon be back.  It's an interesting corset and a valuable piece of
fashion history.

Emma

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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
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Subject: Re: [h-cost] 1790's corsets
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Date: Sun, 7 Jul 2002 22:00:33 -0500 (CDT)
Status: RO


aha! I found it!  Kind of.

Direct link to the image:
http://www.staylace.com/gallery/gallery07/graphics/1819.jpg

Looking again, I think my remembered interpretation isn't entirely
correct, but now you can see and decide for yourselves.

Emma

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Date: Sun, 07 Jul 2002 22:01:05 -0600
Status: RO

Of course, there's also that fairy tale about the faithful sister making
seven nettle shirts for her brothers, who'd been turned into swans....I
know, I know, not exactly a *good* primary source, but I find it
interesting that something that sounds so fantastical as making cloth
from something as formidable and thorny as a nettle (in a story from an
oral tradition) actually may have been possible (also makes me wonder
how old that particular tale is...does anyone know? Is it from the Grimm
brothers? or maybe a Childe ballad?)
--Sue, rambling rather than getting ready for bed ;-D

leigh tartaglio wrote:
> <snipped>
> Hi, All. I have used nettle for various things, none of which has come close to
> the h-cost standard for content (nettle beer, salads and an attempt at cheese
> preservation), but I was reading some material a while back that noted that in
> the deteriorating economy of late WWI Germany, shirts for soldiers were being
> made from nettle fabric.
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Date: Sun, 07 Jul 2002 22:04:56 -0600
Status: RO

Use a felt that's *not* made out of wool? Like a craft felt, maybe?
--sue

Christine Wright wrote:
> 

> I like the notes on how to put it together, and have a quick question -
> do you think there is any another fabric I could substitute for the felt
> during construction?  I am allergic to wool!
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From: Rose Amberwulf <roscelin@attbi.com>
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Subject: [h-cost] Nettle allergy
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Date: Sun, 07 Jul 2002 21:02:10 -0700
Status: RO

I hope this is not a silly question.  What if someone is allergic to 
nettles?  Would nettle fabric cause the same reaction as the raw nettle?

Roscelin
Rose Amberwulf

Chris Laning wrote:

> At 9:57 AM -0700 7/7/02, kat@grendal.rain.com wrote:
>
>>  > One of our local Laurels has in fact spun nettles into thread. I 
>> don't
>>
>>>  know if she's woven with it. Maybe Kat does.
>>>
>>>      Arlys
>>
>>
>> She didn't make enough to weave with. She only made enough for
>> test pieces for spinning to go with her display.
>
>
> I'm told, though I can't nail down the source at the moment, that 
> nettle linen could be finely spun and woven to make a very sheer and 
> soft fabric, and that some people preferred it as a luxury fabric to 
> linen made from flax.
>
> But I also wouldn't be surprised to see it show up, as hemp does, in a 
> coarser form used for practical chores. (To repeat a well-known fact: 
> the original "canvas" was a hempen fabric, named from "cannabis," the 
> Latin word for hemp.)
>
> Unlike flax or hemp, the raw materials for nettle linen would have 
> been free for the gathering, at least in Western Europe.



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To: h-costume@indra.com
Subject: Re: [h-cost] Shoulder Roll "tutorial" website-feedback please
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Date: Mon, 08 Jul 2002 04:03:25 +0000
Status: RO

I have a bodice that's crying out for shoulder rolls. I was thinking I might 
try cotton flannel instead of felt...

Mary/Katerine

>Use a felt that's *not* made out of wool? Like a craft felt, maybe?
>--sue
>
>Christine Wright wrote:
> >
>
> > I like the notes on how to put it together, and have a quick question -
> > do you think there is any another fabric I could substitute for the felt
> > during construction?  I am allergic to wool!
>_______________________________________________
>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] Nettle allergy
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Date: Sun, 07 Jul 2002 22:16:17 -0600
Status: RO

I dunno...I always got the impression that the raw stuff causes a
reaction because of the spiny outer part (and perhaps sap?)....and that
a fabric woven from nettles would be made from inner fibers, after some
amount of processing.  You'd probably have to take into account the
possibly different chemical compositions of the different parts of the
nettle plant, and factor in the changes that processing it would add.
Maybe it's like poison ivy or oak, which bothers most of us somewhat,
some of us severely, and a few not at all??
--maire, liberal arts major, and certainly no botanist <g>

Rose Amberwulf wrote:
> 
> I hope this is not a silly question.  What if someone is allergic to
> nettles?  Would nettle fabric cause the same reaction as the raw nettle?
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Date: Sun, 07 Jul 2002 22:20:54 -0600
Status: RO

Hi, all.  I've been doing some *serious* cleaning of my back bedroom,
which is where I store all of my fabric bins, half-done projects, etc.,
and I've found an "orphan" pattern I'd like to give to someone who could
put it to use....
It's an old Past Pattern's Edwardian Corset pattern, with pattern pieces
for sizes 6? up through 22/24+.  Probably had it for 16 years or so, and
I have no idea why I acquired it, as I don't do anything that late,
time-period wise.
At any rate, if any of you are interested, email me off-list, and I'll
make arrangements to snail-mail it to you.
--sue
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From: Rose Amberwulf <roscelin@attbi.com>
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Subject: [h-cost] 14th Century French lady
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Date: Sun, 07 Jul 2002 21:21:25 -0700
Status: RO

  I'm slowly working on my SCA 14th century French lady costumes.  It 
dawn on me that I know I have to have the chemise, but was there any 
other underclothing - breast binding, underwear, so on.  
   I hope someone can at least point me the right direction so I can be 
as complete as possible in my research.  Thank you.

Roscelin de Limoges
Rose Amberwulf

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Date: Sun, 7 Jul 2002 21:23:44 -0700
Status: RO

----- Original Message -----
From: "Emma Elizabeth Lehman" <00217146@bigred.unl.edu>
Sent: Sunday, July 07, 2002 7:56 PM
Subject: Re: [h-cost] 1790's corsets


> I don't have _Corsets and Crinolines_, so I'm not sure what it does and
> doesn't have, but one transitional corset that has always interested me is
> styled like the 18th century conical corsets but is very short, midriff
> length, made to be worn under high-waisted gowns.

<snip>

http://www.staylace.com/gallery/gallery07/graphics/1819.jpg

This corset (on the left) actually comes from the book _Revolution in
Fashion_ (an exhibition at the Kyoto Costume Institute), and is from 1790.
It's exactly this shape that interests me -- I'm wondering how long it
stayed around before the 1820's corset shape that you see on the right in
that image.

- Kendra



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Date: Sun, 7 Jul 2002 21:31:33 -0700
Status: RO


>   I'm slowly working on my SCA 14th century French lady costumes.  It
> dawn on me that I know I have to have the chemise, but was there any
> other underclothing - breast binding, underwear, so on.

Apparently not.  My lady also found that the sleeveless chemise gives better
mobility in a tight gown/cote than the sleeved ones do.  The support comes
from the kirtle.

Dan

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Date: Mon, 8 Jul 2002 00:30:46 -0500 (CDT)
Status: RO


On Sun, 7 Jul 2002, Sue Clemenger wrote:

> Of course, there's also that fairy tale about the faithful sister
> making seven nettle shirts for her brothers, who'd been turned into
> swans....I know, I know, not exactly a *good* primary source, but I
> find it interesting that something that sounds so fantastical as
> making cloth from something as formidable and thorny as a nettle (in a
> story from an oral tradition) actually may have been possible (also
> makes me wonder how old that particular tale is...does anyone know? Is
> it from the Grimm brothers? or maybe a Childe ballad?)

The Wild Swans.  Hans Christian Andersen did a version, but I believe he
drew on an older story (unlike most of his works, which were original).
The princess's eleven brothers are under an enchantment that turned them
into swans, and to free them she must gather nettles and use them to make
shirts for them. Reading that as a child was my first encounter with
"nettles," so I too originally assumed that this was an unlikely material
for clothmaking. Later I came to understand that the formidable nature of
the task had to do with the way the princess had to gather and prepare the
nettles -- picking them with her bare hands, and crushing the stems with
her bare feet to get the flax. (Andersen is quite specific about this.)
Also, only nettles from churchyards were acceptable, which means she had
to go roaming through graveyards to gather them (leading to accusations
that she was a witch).

As I understand it now, an English schoolchild would have understood
immediately where the difficulty lay, both because the use of nettles in
textiles was common knowledge, and because English schoolchildren all
knew nettles the way we in the States come to know poison ivy -- we're
taught to identify it when quite young, and many of us don't reach
adulthood without having an unfortunate encounter.

But nettles don't grow in the States, at least nowhere I know of, so we
aren't aware of their uses. And we don't learn to identify (and avoid)
them. So I didn't recognize them, or even consider the possibility of
their presence, as I tramped through a churchyard in the Cotswalds one
summer day in 1985 or so, reading medieval grave markers. Moments after I
swept a cluster of weeds away from a tombstone, my hand and arm started to
burn and swell horribly. So I did what any American would do upon
encountering poison ivy -- located a spigot and plunged my arm under
running water. It didn't help. Not knowing whether medical attention would
be needed, my traveling companion and I decided to seek help from a local.
It was Sunday and the shops were closed. Then I came to a furnituremaker's
shop and saw the owner working in a front room, and banged on the window.
He seemed hugely amused at these two clueless Americans who didn't know
what a common nettle looked like, much less what to do about it. First he
asked me when I'd encountered the nettles, and predicted that within two
hours I'd be perfectly fine. (He was right, but it was hard to believe at
that moment, given the red welts covering my forearm.) Then he warned me
that I should be very careful NOT to get it wet -- it would increase the
pain. (Too late.) And then he brought me to his back garden, plucked a big
handful of dockweed, and told me to rub it on my arm. By this time I was
sure he was having fun pulling the tourist's leg, but he swore this was a
natural remedy that every English child knows, and that he himself often
used on his dog, who periodically romped through a nettle patch. (Later,
others told me this was indeed common knowledge, and that English
schoolmasters never fail to point out that the fact that dockweed grows
near nettles is an example of Nature providing a remedy for her own ills).

The furnituremaker -- a young fellow in his 30s -- also informed me that
dockweed was related to cannibis. "You DO know cannibis, don't you?" he
grinned.

I still have trouble with the idea that the English *eat* nettles.

--Robin

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Subject: Re: [h-cost] Costume College?
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Date: Mon, 8 Jul 2002 01:19:54 EDT
Status: RO

I'll be going to Costumne College----and will be teaching the gold 
bullion/metal thread /pearl embroidery class on saturday morning:) Arriving 
friday late afternoon--leaving sunday by noon.  I'll put a red H next to my 
name on my name badge---Kathryn Wolters----and would love to meet up for an 
h-costumne lunch. Hope to meet more of you there!!
Albra/Kathryn
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] 14th Century French lady
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Date: Mon, 8 Jul 2002 00:55:03 -0500 (CDT)
Status: RO


On Sun, 7 Jul 2002, Rose Amberwulf wrote:

>   I'm slowly working on my SCA 14th century French lady costumes.  It
> dawn on me that I know I have to have the chemise, but was there any
> other underclothing - breast binding, underwear, so on.

I have never found any solid indication of any underwear other than the
chemise in this place and time. The only reference I've heard to breast
bindings is one oft-quoted complaint from a cleric writing in (I think?)
the 12th century, who may or may not be an accurate source on typical
women's wear. I know of no written references to bust-support garments in
the 14th century. At the same time, visual images abound that show nursing
Madonnas or other half-dressed women who clearly are wearing only the
chemise under their dress, so this is probably more likely to be the norm.
>From a practical standpoint, I've found the fitted dress (kirtle, cotte)
offers plenty of support, and in my experience would probably not work
anywhere near as well in the fitting if there were another support garment
underneath.

As to underwear below the waist, I would not rule out the possibility of
some wrapping or panty-style arrangement during the menstrual period
(there are a few documentary references to "menstrual cloths"). But for
normal wear, the norm and expectation seems to be that there was nothing
under the chemise. In bawdy tales, women need only lift their dresses to
allow their lovers swift access, or men take women by surprise by lifting
their skirts. This image occurs in pictures as well as writing. Again,
from a practical standpoint, it's a royal nuisance to use a toilet when
you're wearing underwear beneath long, full skirts, and that nuisance
would be compounded to near impossibility with a chamberpot. By contrast,
without the encumbrance of underwear, chamberpot use in full skirts would
be simple -- straddle and squat.

Several times on this list, someone has brought up a particular English
misericorde showing a woman donning what looks like boxer shorts. Given
that many misericordes illustrate proverbs, and also that they often show
role reversals or disruptions of the social order, I would be more
inclined to see that as an illustration of an anomaly meant to be
obviously ridiculous -- the woman "wearing the pants." Other than that
particular image, the references to menstrual cloths, and a sealskin pad
tied over the crotch of one of the Greenland corpses (which may have been
for either incontinence or menstrual bleeding), I know of no visual or
written evidence for 14th century female underwear.

I'd love to hear something more solid if it's out there, but at this point
I'd guess that even if some exception pops up, the vast majority of
evidence still points to chemise-only as the norm.

--Robin

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From h-costume-admin@indra.com  Mon Jul  8 02:16:40 2002
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From: kris <ionization@telus.net>
Subject: Re: [h-cost] Nettle allergy
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Date: Sun, 07 Jul 2002 22:59:27 -0700
Status: RO

I certainly haven't had any problems with nettle cloth. It's soft and cool, 
like linen (at least the kinds I've seen). Granted, I haven't ever worn 
something of it for a day, but I think that the process of making it into 
fabric takes away the stingers.

kris

At 10:16 PM 7/7/02 -0600, you wrote:
>I dunno...I always got the impression that the raw stuff causes a
>reaction because of the spiny outer part (and perhaps sap?)....and that
>a fabric woven from nettles would be made from inner fibers, after some
>amount of processing.  You'd probably have to take into account the
>possibly different chemical compositions of the different parts of the
>nettle plant, and factor in the changes that processing it would add.
>Maybe it's like poison ivy or oak, which bothers most of us somewhat,
>some of us severely, and a few not at all??
>--maire, liberal arts major, and certainly no botanist <g>
>
>Rose Amberwulf wrote:
> >
> > I hope this is not a silly question.  What if someone is allergic to
> > nettles?  Would nettle fabric cause the same reaction as the raw nettle?
>_______________________________________________
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Date: Mon, 08 Jul 2002 06:11:44 +0000
Status: RO


Thanks for asking about this!  I had not heard of this before, but am going 
to plan on going next summer.

I hope you and anyone else going has a wonderful time this year.  Please 
report back and let us know how it was.

:) jessica

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From h-costume-admin@indra.com  Mon Jul  8 03:39:39 2002
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Date: Mon, 8 Jul 2002 00:42:43 -0700 (PDT)
Status: RO


Robin says: 
>But nettles don't grow in the States, at least nowhere I know of, so we
>aren't aware of their uses.

Oh, they certainly grow here on the west coast.  And I seem to remember
them growing in big, evil patches when we lived in Illinois.  Where do
you live?

Gah, in fact, we must go do battle with the nettles in the backyard again.
They keep trying to grow into bushes.

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: Mon, 8 Jul 2002 00:49:01 -0700
Status: RO

At 10:16 PM -0600 7/7/02, Sue Clemenger wrote:
>I dunno...I always got the impression that the raw stuff causes a
>reaction because of the spiny outer part (and perhaps sap?)...[snip]
>
>Maybe it's like poison ivy or oak, which bothers most of us somewhat,
>some of us severely, and a few not at all??

Nope. <g> Specialized stinging hairs all over the plant. They 
actually work like miniature hypodermic needles to inject an irritant 
under the skin. Strictly speaking it's not an "allergy," since it 
gets virtually everyone who touches the plant -- even through blue 
jeans on occasion, as I can testify from personal experience. In bad 
cases nettle stings can even raise blisters. Legend has it that if 
you grasp the nettle plant FIRMLY it won't sting you, presumably 
because you have crushed the stinging cells before they get you, but 
I don't know anyone who has managed to achieve this.

Young, tender nettle plants, BTW, are quite edible (you gather them 
with rubber gloves on) when steamed like spinach, and heat 
inactivates the irritant. Presumably the fact that they sting makes 
them less attractive to animals like cows and horses, which don't 
cook :)

The fibers are well inside the plant and aren't affected at all.

At 12:30 AM -0500 7/8/02, Robin Netherton wrote:
>But nettles don't grow in the States, at least nowhere I know of, so we
>aren't aware of their uses. And we don't learn to identify (and avoid)
>them.

Actually they do, in the east, northeast and southern parts of the 
country. They tend to grow in thickets, in rich damp soil and 
sometimes in disturbed areas if there's enough moisture. They're 
pretty nondescript, so you wouldn't see them unless you were looking 
for them, especially since they have tiny inconspicuous greenish 
flowers. My own encounters with them were in Indiana and Ohio.

>...[snip]...
>The furnituremaker -- a young fellow in his 30s -- also informed me that
>dockweed was related to cannibis. "You DO know cannibis, don't you?" he
>grinned.

Um, he got it slightly backwards. The _nettle_ family and the 
Cannabis family are next-door neighbors, with the closest relatives 
to both of them being the elm and mulberry families. Dock, OTOH, is 
off in a different sublcass of the flowering plants, related to 
carnations, cactus, and beets. Dock and Cannabis _could_ be more 
unrelated and both still be flowering plants, but it would be a 
little difficult.

>I still have trouble with the idea that the English *eat* nettles.

Think of it as revenge :)
-- 
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|     <claning@igc.org>
+    Davis, California
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From h-costume-admin@indra.com  Mon Jul  8 05:28:35 2002
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Date: Mon, 08 Jul 2002 02:11:12 -0700
Status: RO

Apologies if this has already been brought up (I'm still catching up on my 
h-costume reading from the week :} ) but the article you mentioned (and 
mentioned having difficulty finding) is available on the web:

The Problem of Ruritanian Purple Feathers
An Essay on Documentation
http://www.dreamworker-magazine.com/frontpage/purplefeathers.html

Hope this helps. :)  I was curious, so I'd typed it into Google to look for 
references, and I was surprised to find the *actual* article available.

-Laura

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Subject: [h-cost] Nettles
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Date: Mon, 08 Jul 2002 02:55:34 -0700
Status: RO

Alright... A few ramblings on nettles, from what I remember of my time in 
Germany.
Where we were living (south of Munich), nettles grew as weeds only, and so I 
would assume that this would make them a cheap, easy to find alternative to 
flax.  I know that there are two types (or more) of nettles, and that there 
are stinging, and non-stinging varieties.

What's more, in the case of the type of nettles that grew by our house, the 
plant no longer stung after flowering. (I actually remember as a child, 
going up and pushing a leaf aside to get a better view of a pretty white 
flower, and then realizing it was a nettle and that it had *not* stung 
me...)

And one last bit of memory that's filtering to the surface (source unknown) 
is that nettle stems were soaked (in water?  something elselike an acidic 
agent?), beaten, soaked again, and then prepared much like flax.

I don't know if this helps... Anyone have any further input? :)

-Laura

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Date: Mon, 8 Jul 2002 11:14:32 +0100
Status: RO

>I know that there are two types (or more) of nettles, and that there
are stinging, and non-stinging varieties.

Which are unrelated

>What's more, in the case of the type of nettles that grew by our house, the
plant no longer stung after flowering.

This is not true of any stinging nettle I have ever know unfortunatly :(

After rain they don't sting as the acid is washed off. And it is after rain
one harvests them for cloth manufacture.

>And one last bit of memory that's filtering to the surface (source unknown)
is that nettle stems were soaked (in water?  something elselike an acidic
agent?), beaten, soaked again, and then prepared much like flax.

Yes preperation is much like flax, with soaking & beating

Mel

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Date: Mon, 8 Jul 2002 11:09:31 BST
Status: RO

Kala Jathos <matrixsinger@hotmail.com> wrote :

>  I know that there are two types (or more) of nettles, and that there 
> are stinging, and non-stinging varieties.
> 
> What's more, in the case of the type of nettles that grew by our house, the 
> plant no longer stung after flowering. (I actually remember as a child, 
> going up and pushing a leaf aside to get a better view of a pretty white 
> flower, and then realizing it was a nettle and that it had *not* stung 
> me...)

Stinging nettles have tiny green flowers, and they *do* sting at any time. (well, very young leaves don't, but the rest of the plant will)

The ones with white flowers are "dead nettles", and while the leaf shape looks similar, I gather they're not related. The stem shape is different: very square stem on a dead nettle, as far as I remmeber (don't have any growing in the office, though I might go looking lunchtime). And no, they don't sting.

The story about "nettles in flower don't sting" was actually an important lesson in Growing Up for me. Aged about 6 or so: a nice man told the little girl this thing about how if a nettle has flowers on, it's safe to touch. He thought he was being helpful. I knew perfectly well what nettle flowers looked like (green), knew the difference between a dead nettle and a stinging nettle, and nevertheless believed what he said, because he was an adult. Tests (and badly stung hands) proved that he had been misleading. Stinging nettles sting. Important lesson learnt: adults can be wrong, too.

Quick Google search...
stinging nettle is Urtica dioica (and found lots of herbalism pages on what to do with it)
Dead neetle is Lamium album. Nice picture here:
http://www.purplesage.org.uk/profiles/whitedeadnettle.htm






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Date: Mon, 8 Jul 2002 06:14:52 -0400
Status: RO

Brothers Grimm.  I still have the book, or my sister has it, somewhere.

Dianne
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Monday, July 08, 2002 12:01 AM
Subject: Re: [h-cost] linen weight?


> Of course, there's also that fairy tale about the faithful sister making
> seven nettle shirts for her brothers, who'd been turned into swans....I
> know, I know, not exactly a *good* primary source, but I find it
> interesting that something that sounds so fantastical as making cloth
> from something as formidable and thorny as a nettle (in a story from an
> oral tradition) actually may have been possible (also makes me wonder
> how old that particular tale is...does anyone know? Is it from the Grimm
> brothers? or maybe a Childe ballad?)
> --Sue, rambling rather than getting ready for bed ;-D
>
> leigh tartaglio wrote:
> > <snipped>
> > Hi, All. I have used nettle for various things, none of which has come
close to
> > the h-cost standard for content (nettle beer, salads and an attempt at
cheese
> > preservation), but I was reading some material a while back that noted
that in
> > the deteriorating economy of late WWI Germany, shirts for soldiers were
being
> > made from nettle fabric.
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Here is what Info I have on nettles in my data base. Certainly not complete but it will give you the general 
idea.
Hope it helps.
Sandy  

Nettle was cultivated in Scotland for the fibers in the stalks, to make a durable linen-like cloth. This use goes 
back to the Bronze Age. The very name Nettle comes from words meaning 'textile plant.'Nettle was popular 
as an agent that, by irritating the skin of an inflamed area, caused increased blood flow to the area, thereby 
reducing the inflammation. In Scotland, victims of gout and rheumatism allowed themselves to be scourged 
with Nettle in the dubious belief that this would alleviate their sufferings. Nettle neutralizes uric acid, prevents 
its crystallization aiding in its elimination from the system, thus relieving gout and arthritis. Nettle as an 
astringent helps to stop bleeding. The Nettle 'sting' is from histamine and formic acid in the hairs that trigger 
allergic response.

Nettle is good to use for anemic children as a tea, due to its nutritive value as an herb and its high in iron, 
silicon and potassium. Nettle is an alkalizing herb and is useful as a rich source of minerals. Nettle aids with 
diarrhea and dysentery and is good for inflammatory skin conditions. Nettle increases the flow of urine, 
shrinks inflamed tissues, helps blood circulation and purifies the blood. Nettle is a most excellent remedy for 
dandruff and will bring back the natural color of hair. Nettle helps to reduce menses flow and it can also be 
used as a tincture for hypothyroid conditions to increase thyroid function. Nettle it also cleanses the digestive 
tract and helps with stomach problems. Nettle functions much like a mild Cayenne by opening the vessels, 
thus increasing circulation and uplifting a weary body relieving fatigue and exhaustion. Nettle can alleviate 
allergic symptoms such as teary eyes and a runny nose.

NOTE: This herb is beneficial during pregnancy. It is a mineral rich nutritive herb with vitamin K to guard 
against excessive bleeding. It improves kidney function and helps prevent hemorrhoids.
     A plant of the genus Urtica, covered with minute sharp
     hairs containing a poison that produces a stinging sensation.
     Urtica gracitis is common in the Northern, and U.
     cham[ae]dryoides in the Southern, United States. the common
     European species, U. urens and U. dioica, are also found
     in the Eastern united States. U. pilulifera is the Roman
     nettle of England.
  Nettle \Net"tle\, n. [AS. netele; akin to D. netel, G. nessel,
     OHG. nezz["i]la, nazza, Dan. nelde, n["a]lde, Sw. n["a]ssla;
     cf, Lith. notere.] (Bot.)
     A plant of the genus Urtica, covered with minute sharp
     hairs containing a poison that produces a stinging sensation.
     Urtica gracitis is common in the Northern, and U.
     cham[ae]dryoides in the Southern, United States. the common
     European species, U. urens and U. dioica, are also found
     in the Eastern united States. U. pilulifera is the Roman
     nettle of England.
Nicholas Culpepper
(17th century astrologer-physician)
" The roots or leaves, or the juice of them, boiled and made into an electuary with honey and sugar, is a safe 
and sure medicine to open the passages of the lungs, which is the cause of wheezing and shortness of the 
breath. It helps to expectorate phlegm and to raise the imposthumed pleurisy. As a gargle it helps the 
swelling of the mouth and throat.
A decoction of the leaves provokes the courses and urine and expels gravel and stone. It kills worms in 
children, eases pain in the sides and dissolves wind in the spleen.
The seed taken as a drink is remedy against the bites of dogs and the poisinous qualities of Hemlock, 
Henbane, Nightshade and Mandrake. The bruised seed or leaves put into the nostrils takes away the 
polypus. The juice of the leaves or a decoction of the root is used as a wash for fistulas and gangrenes and 
for corroding scabs or itch."
Stinging nettle is difficult to harvest, but has a wealth of uses. When the Romans invaded Europe and Britain, 
they brought nettles with them, believing they would need them to beat themselves to keep warm. They were 
also used in this way on areas affected by arthritis or rheumatism. (1) The young leaves may be eaten as a 
"green, leafy vegetable" and are a good source of minerals. (1,2) The fibers from the stalks were used to 
make a very fine soft cloth, rope, fishing nets and whatever else needed to be sewn before flax and hemp 
came along. Slightly more difficult to harvest than flax it does however make a comparable soft fine cloth 
and is treated in the same manner to seperate the fibres then spun and woven. 
Formic acid and histamine cause the characteristic sting from the common nettle. (1) The juice from the plant 
is one of the remedies to counteract the sting. Yellowdock or curly dock can also be used to antidote the 
sting as can rosemary, mint and sage. (2) Regular toothpaste may also help neutralize the formic acid.
Why is the nettle such an important medicinal herb if it is so difficult to harvest? It is very good at gathering 
minerals from the ground, which are much needed to treat many imbalances in the body. Nettles contain 
acetylcholine, calcium, chlorine, chlorophyll, formic acid, glucoquinones, histamine, iodine, iron, magnesium, 
potassium, serotonin, silicon, sulfur, tannin, and vitamins A, B, C and K (1,3,4)) They have a cooling energy, 
and are drying and astringent. (1) The aerial parts may be used as an astringent, diuretic, expectorant, 
hemostatic (stop bleeding), circulatory stimulant, nutritive tonic, improve milk flow for nursing, lower blood 
sugar levels, treat gout and arthritis, and prevent scurvy. (1,3) The combination of iron and vitamin C is 
useful in treating anemia, because the vitamin C improves iron absorption from the GI tract. (1) When 
boiled, they have also been used as a green dye. (2) The root is used in combination with other herbs such 
as saw palmetto and pygeum to relieve symptoms of benign prostatic hypertrophy (BPH). It has also been 
used as a conditioner for dandruff and hair loss. (1) When mixed with salt and boiled it produces a yellow 
dye. (2) Nettles are also helpful in relieving the symptoms of hayfever and other allergic reactions that 
produce increased congestion in the sinuses. (3) The mineral content makes nettles helpful for goiter, 
osteoporosis, muscle cramps, high blood pressure and malabsorption syndrome. Almost any condition that 
requires improved mineral balance will benefit from nettles.

Nettles may be used as a tea, tincture, compress, in ointment or powdered, depending on the area of use. 
The root may be tinctured or simmered in water to make a decoction. The young sprouts in spring may be 
prepared as a vegetable or added to soup. A type of beer was made with the young sprouts in earlier times. 
(2) A recipe for Nettle Pudding and Nettle Beer may be found in our Recipes section. A cup or two of 
nettle tea drunk daily will help with gout, rheumatism, eczema, milk production, and heavy menstrual or other 
internal bleeding. (1) An infusion of nettles and red clover, mixed in equal proportions, helps cleanse the 
blood and is useful in treating acne. A compress soaked in nettle tea may be applied to arthritic joints, 
tendinitis, sprains and sciatica to relieve pain. Because of its astringency, nettles may be made into an 
ointment for hemorrhoids or the tea may be used in a sitz bath. Powdered nettle leaves may be inhaled like 
snuff to stop nosebleeds. The juice from the whole fresh plant may be used to antidote the sting and as a 
tonic for debilitated conditions or for a weak heart with fluid retention. (1) Maude Grieve offers a recipe for 
Nettle Hair Tonic: "Simmer a handful of young Nettles in a quart of water for 2 hours, strain and bottle when 
cold. Well saturate the scalp with the lotion every other night. This prevents the hair from falling and renders 
it soft and glossy." (2) The root may be used similarly.

Although nettles have no known side effects, there are some potential interactions to be aware of with 
certain prescription medications. Because of its vitamin K content, it has the potential to decrease the 
effectiveness of blood-thinning medications. It may increase the effectiveness is diuretics and medications 
that lower blood pressure. This should be watched in very elderly people who are more likely to lose their 
balance easily when blood pressure is too low. Nettles may also increase the effectiveness of anti-diabetic 
drugs commonly used in adult-onset diabetes. It has a hypoglycemic effect of its own. Nettles may still be 
used in any of these conditions, but a consistent daily amount should be taken to allow for adjustments in 
medications if necessary.

Stinging nettle is truly a useful herb even if it is a pain to pick. It is one of the best sources of minerals and 
has a wide variety of uses. It may even be considered a food when picked in the spring. Of course, don’t 
forget your gloves.


Fr”jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com



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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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> As I understand it now, an English schoolchild would have
> understood immediately where the difficulty lay, both because the
> use of nettles in textiles was common knowledge, 

Not that common - I had no idea they were used for textiles until I 
had been involved in historic costuming for some time.

> and because English schoolchildren all knew nettles the way we in
> the States come to know poison ivy -- we're taught to identify it
> when quite young, and many of us don't reach adulthood without
> having an unfortunate encounter. 

Ain't that the truth.  We had nettles in our garden, and they grow 
wild all over the place.  Most English children learn to avoid nettles, 
(or recognize dock-leaves which can be rubbed on as a remedy to 
the nettle-rash) at a fairly early age - right Jane, Mel?

Of course, the non-stingng variety looks so similar (appart from the 
flowers being whiter/less green, I think) that it's best to avoid all 
varieties than take a chance on the one you see being a no-stinging 
type.  Worse, bith varieties can grow close-togehter so you may 
think you're safe and get stung anyway - I've been caught out that 
way.  I once fell into a patch of nettles when playing with a group of 
other children and emerged unharmed so thought I was safe to 
take a short cut through the nettlepatch a little later and my legs 
were a mass of nettle rash from the stinging nettles in among the 
harmless ones.




Teddy
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Date: Mon, 08 Jul 2002 21:21:37 -0700
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jane@williams.nildram.co.uk wrote:

> Kala Jathos <matrixsinger@hotmail.com> wrote :
>
> >  I know that there are two types (or more) of nettles, and that there
> > are stinging, and non-stinging varieties.
> >
> > What's more, in the case of the type of nettles that grew by our house, the
> > plant no longer stung after flowering. (I actually remember as a child,
> > going up and pushing a leaf aside to get a better view of a pretty white
> > flower, and then realizing it was a nettle and that it had *not* stung
> > me...)
>
> Stinging nettles have tiny green flowers, and they *do* sting at any time. (well, very young leaves don't, but the rest of the plant will)
>
> The ones with white flowers are "dead nettles", and while the leaf shape looks similar, I gather they're not related. The stem shape is different: very square stem on a dead nettle, as far as I remmeber (don't have any growing in the office, though I might go looking lunchtime). And no, they don't sting.
>

I knew about white nettles when I was a kiddie too. They seem to grow here (in
Australia) but I've never seen the stinging variety (though it's a bit hard to tell
when they're not flowering and I'm not game to touch and see). Maybe I'll have
a look at stem shape next time I see some.

A little more on topic I used to cringe in horror when I read about the girl making
shirts from nettles.....

Claire

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Thread-Topic: [h-cost] Nettle allergy You asked
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I get eczema on my hands occasionally. If nettles are in season I go and
run my hands through the tops of the nettle patch - agony for about 20
minutes, settle down to a slow burn, and after an hour or so the rash
has gone and it's taken the heat out of the eczema. It also works for
various allergic rashes I get to various things.

Strange but true.

It's also very effective for cold sores and chilblains, but I don't get
these.

Freyalyn


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I get eczema on my hands occasionally.  If nettles are in season I go and run my hands through the tops of the nettle patch - agony for about 20 minutes, settle down to a slow burn, and after an hour or so the rash has gone and it's taken the heat out of the eczema.  It also works for various allergic rashes I get to various things.<br>
<br>
Strange but true.<br>
<br>
It's also very effective for cold sores and chilblains, but I don't get these.<br>
<br>
Freyalyn<br>

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Date: Mon, 8 Jul 2002 07:39:17 -0400
Status: RO

The pictures can also be helpful for realizing you've gotten a slightly
better handle on seeing the differences between them when you don't look the
article for a few years.;-)
Moira

>
> This has the text, but does not have the drawings which go with it.
> The drawings are very helpful in understanding what is being
> discussed in the article.


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Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 8 Jul 2002 12:53:20 +0100
Status: RO

>at a fairly early age - right Jane, Mel?

Too right

>Of course, the non-stingng variety looks so similar (appart from the
flowers being whiter/less green, I think)

you townie Teddy ;) The leaves have only a very passing resemblance :) The
dead nettles are softer shape than stingers a completly different green and
shorter, much shorter. You suck the nectar out of the white  flowers

> a little later and my legs
were a mass of nettle rash from the stinging nettles in among the
harmless ones.

Are you sure it hadn't rained the first time ?

It is rare to see patches of dead nettles at least in the midlands !

Mel



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Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 08 Jul 2002 12:56:54 +0100
Status: RO

Teddy wrote:
 
>> As I understand it now, an English schoolchild would have
>> understood immediately where the difficulty lay, both because the
>> use of nettles in textiles was common knowledge, 

>Not that common - I had no idea they were used for textiles until I 
>had been involved in historic costuming for some time.

I didn't know either until we were shown nettle fibres during a Field Studies Council course on the uses of wild plants.

>Of course, the non-stingng variety looks so similar (appart from the 
>flowers being whiter/less green, I think) that it's best to avoid all 
>varieties than take a chance on the one you see being a no-stinging 
>type.

Actually the flowers are quite different; stinging nettles have dangling strings of tiny green ones, deadnettle flowers grow close to the stem and have a distinctive shape with a curved hood. 

Kate Bunting
Library, University of Derby

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Date: Mon, 08 Jul 2002 13:00:21 +0100
Status: RO

Since "Frontier House" was discussed after its US airing, I thought I would mention that it is now being shown on UK's Channel 4 on Sunday evenings.

Kate Bunting
Library, University of Derby

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] 1790's corsets
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Date: Mon, 8 Jul 2002 08:02:26 -0400 (EDT)
Status: RO

On Sun, 7 Jul 2002, Kendra Van Cleave wrote:

> One last post from me!
>
> Lately I've been pondering corsets of the 1790's lately, and wondering when
> the change from the traditionally 18th century shape (cone) gave way to the
> Regency ("lift and spread") shape in Europe and the U.S.  I know we've all
> moved past the idea that women just stopped wearing ANY corset in the
> 1790's-1810's, but when did corsets start to change?

Hi, Kendra,
Coincidentally, I've been working on making a set of stays that are
supposed to be dated between 1795 and 1810.  They were discussed at one of
the Tidy's Symposiums a few years back, and a friend of mine was kind
enough to loan me a copy of the proceedings.  These stays are definitely
transitional -- they're mostly shaped like short-waisted late 18th c.
stays (unboned tabs), but with a high waist and boning mostly at the
center front, center back, and possibly the long angled side seam.  These
stays are interesting because they've got a single bust gusset inserted in
the front.  I'm making these up because I really don't like the idea of
the long-line Regency stays (a la Mantua Makers) which come over the hip
-- I'd really rather have my hips free.  We'll see how it works.

Last year I made a set of stays like a set in Waugh's _Corsets and
Crinolines_ -- again, from the late 18th c., with unboned tabs and very
light boning, but no fabric bust gusset inserted.  The center front has a
laced section that can be let out to act as a gusset, instead.
They worked pretty well, but then I'm not very busty.  I can wear my 18th
c. stays under my Regency gowns and get a moderately ok result -- I don't
get the Jennifer Ehle effect, but then I wouldn't in any case <G>.

> It seems that even as late as 1795, you still see dresses that were
> obviously robe a l'anglaises recut with a higher waistline to fit the new
> style.  At the same time, some of the early Directoire dresses (the gathered
> chemise dresses) have linen under-bodices which may have supported the
> breasts without need for a corset.  However, I question the idea that
> someone who spent her whole life in corsets would suddenly feel comfortable
> going without that kind of structure.  This all leads me to think that most
> women must have, for at least some time, worn 18th century-shaped corsets
> under their early Directoire gowns -- especially as French fashions filtered
> out to other countries.

I suspect you're probably right -- older women, at least, might have been
more likely to stick with styles of undergarments that they were used to
in their youth.

> Can anyone point me to any other sources that might help me fill in the gaps
> between 1790 and 1820?  Does _Corsets & Crinolines_ touch on this era?
>
> Thanks!
>
> - Kendra

I can't remember which page the one I made last year is on, but yes,
there's a set in there that more or less fits the bill.

I'm hoping that this new pair, with the bust gussets inserted, will look
more like the ones in this picture:

http://www.songsmyth.com/plates/1824corset.jpg

It's interesting that this plate (you can see the caption here:
http://www.songsmyth.com/underthings.html )

dates from 1824, which overlaps the date at which the other style of
corset (seen higher up on the page) seems to have come into vogue.  So it
seems like there must have been some overlap.

Interestingly, there's a paper on "The Unfashionable Use of Stays" that
talks about how older country women in Britain were wearing stays with
wooden busks into the beginning of the 20th century, I think -- again,
women sticking with styles they wore in their youth, even though the outer
clothing styles may have changed somewhat.

-- Mara

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Date: Mon, 8 Jul 2002 08:12:07 -0400 (EDT)
Status: RO

Ah... that's an illustration from 'Revolution in Fashion', a nearly
unobtainable book.  Very much like the corset in Waugh; I wish one could
see the front...

-- Mara


On Sun, 7 Jul 2002, Emma Elizabeth Lehman wrote:

>
> aha! I found it!  Kind of.
>
> Direct link to the image:
> http://www.staylace.com/gallery/gallery07/graphics/1819.jpg
>
> Looking again, I think my remembered interpretation isn't entirely
> correct, but now you can see and decide for yourselves.
>
> Emma
>
> _______________________________________________
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Subject: [h-cost] Re: Robin's nettle encounter
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Date: Mon, 8 Jul 2002 08:42:18 EDT
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<<...he swore [dockweed] was a
natural remedy that every English child knows, and that he himself often
used on his dog, who periodically romped through a nettle patch. (Later,
others told me this was indeed common knowledge, and that English
schoolmasters never fail to point out that the fact that dockweed grows
near nettles is an example of Nature providing a remedy for her own ills).>>


That's fascinating to me, because I have only studied American herbs and 
herbal remedies.  My sole knowledge of nettles is from Disney's "Bedknobs & 
Broomsticks"; the English stew them as vegetables.

--Gillian


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">&lt;&lt;...he swore [dockweed] was a<BR>
natural remedy that every English child knows, and that he himself often<BR>
used on his dog, who periodically romped through a nettle patch. (Later,<BR>
others told me this was indeed common knowledge, and that English<BR>
schoolmasters never fail to point out that the fact that dockweed grows<BR>
near nettles is an example of Nature providing a remedy for her own ills).&gt;&gt;<BR>
<BR>
<BR>
That's fascinating to me, because I have only studied American herbs and herbal remedies.&nbsp; My sole knowledge of nettles is from Disney's "Bedknobs &amp; Broomsticks"; the English stew them as vegetables.<BR>
<BR>
--Gillian<BR>
<BR>
</FONT></HTML>
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 08 Jul 2002 13:59:57 +0000 (GMT)
Status: RO


> >Of course, the non-stingng variety looks so similar (appart from the
> flowers being whiter/less green, I think)
> 
> you townie Teddy ;)

Huh!  Half and half, thank's *very* much, Mel....<g>   I grew up on 
the outer edge of a  fairly small town, within a few minutes walk of 
open downland.

> The leaves have only a very passing resemblance :) The dead nettles
> are softer shape than stingers a completly different green and
> shorter, much shorter. You suck the nectar out of the white flowers

Close enough for me to mistake them - besides, no-one realized I 
needed glasses until I was eleven.  Details were often difficult to 
make out until my nose was within stinging range...<G>
  
> > a little later and my legs were a mass of nettle rash from the
> > stinging nettles in among the harmless ones. 
> 
> Are you sure it hadn't rained the first time ?

Pretty sure I just didn't fall as far into the nettles as I later ran while 
taking the shortcut, the ones by the path must have all been dead-
nettles (or the few stinging nettles were crused before they could 
sting me and/or the dead nettles prevented them from making 
contact....<shrug>)  It was only about a half-hour later that I tried 
the shortcut.
 
> It is rare to see patches of dead nettles at least in the midlands
> ! 

I don;'t recall them being that common in Bedfordshire either, the 
stinging variety I tend to remember better, however... I wonder why 
that should be?....<gggg>

Teddy
(taking a brief break from a *mountain* of cataloguing while I'm 
filling in on a different site.... Enjoying the break while it lasts, nearly 
a week off sick will have rendered the waiting mountain of books 
even larger.... Aaaaaargh!)


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Subject: Re: [h-cost] Re: Robin's nettle encounter
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>the English stew them as vegetables.


Not very often these days :)

Mel

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<DIV><FONT color=3D#000000 size=3D2>&gt;the English stew them as=20
vegetables.<BR></FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Not very often these days =
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<DIV><FONT color=3D#000000 size=3D2>Mel</FONT></DIV></BODY></HTML>

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Date: Mon, 08 Jul 2002 07:20:19 -0600
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Thanks to everyone volunteering to give my pattern a good home.  It's
gone now!
--sue
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Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 8 Jul 2002 14:26:29 +0100
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>Huh!  Half and half, thank's *very* much, Mel....<g>   I grew up on
the outer edge of a  fairly small town, within a few minutes walk of
open downland.

Sorry couldn't resist :0)

>, no-one realized I
needed glasses until I was eleven.

Ah well that makes a differance, girls know the differance (8 & 5 now)

>
Pretty sure I just didn't fall as far into the nettles as I later ran while
taking the shortcut, the ones by the path must have all been dead-

Yes dead nettle are common near paths
>
I don;'t recall them being that common in Bedfordshire either, the
stinging variety I tend to remember better, however... I wonder why
that should be?....

cause they hurt !!! No I meant they are fairly common but not in the same
place as stingers, probably because their needs differ. Stingers I think
also take over from them if I recall

Mel

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Subject: [h-cost] nettles-- correcting myself
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I take that back!  I have read about nettles in my American herbs studies -- 
dead ones, anyway.  I just knew them as "Archangel".  I still don't remember 
studying stinging nettles, but it has been awhile...

In either case, I wouldn't dare a cloth made of the stuff with my allergies 
to linen, wool, mohair, etc.  I might sew it for other people, if asked, but 
never wear it.

--Gillian, 
who just got a rash on both forearms because her client didn't prewash his 
linen before giving it to her to sew into tunics.

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I take that back!&nbsp; I have read about nettles in my American herbs studies -- dead ones, anyway.&nbsp; I just knew them as "Archangel".&nbsp; I still don't remember studying stinging nettles, but it has been awhile...<BR>
<BR>
In either case, I wouldn't dare a cloth made of the stuff with my allergies to linen, wool, mohair, etc.&nbsp; I might sew it for other people, if asked, but never wear it.<BR>
<BR>
--Gillian, <BR>
who just got a rash on both forearms because her client didn't prewash his linen before giving it to her to sew into tunics.</FONT></HTML>

--part1_41.1fc1cb09.2a5aeb22_boundary--
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Subject: [h-cost] Simplicity 5958
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Date: Mon, 08 Jul 2002 14:22:54 +0000 (GMT)
Status: RO

Anyone used Simplicity pattern 5958?  if so, can you let me know 
what you think of it as a startign point for the frock-coat long 
waistcoat combination?

Ta muchly

Teddy
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Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 8 Jul 2002 14:28:31 BST
Status: RO

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

> > >Of course, the non-stingng variety looks so similar (appart from the
> > flowers being whiter/less green, I think)
> > 
> > you townie Teddy ;)
> 
> Huh!  Half and half, thank's *very* much, Mel....   I grew up on 
> the outer edge of a  fairly small town, within a few minutes walk of 
> open downland.

You know what's really weird? I grew up on a different outer edge of the same small town (well, if you count Luton/Dunstable as the same place, and as small).

> Close enough for me to mistake them - besides, no-one realized I 
> needed glasses until I was eleven.  

Snap....

I'm getting worried. I am *NOT* a clone of Teddy. OK, if you averaged us out you'd get a normal-width person of normal costume-making ability, but....

> I don;'t recall them [dead nettles] being that common in Bedfordshire either, 

Common in our garden, for some reason. No stingers there, though. And acres of both, mixed, in Bedford Priory Park at the moment.

(If anyone wants to try making the fibre and the cloth, I can get you the raw materials by the ton!)







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Date: Mon, 08 Jul 2002 07:36:45 -0600
Status: RO

Speaking of using plants we may often consider weeds, some friends of
mine, who are into natural dyeing, have discovered that you can get
really nifty shades of green using tansy or knapweed (whole plant, no
root in both cases), both of which are ubiquitous around here (Montana
has a bad problem with these and other "noxious weeds.").  You even get
a really decent darker green if you do an iron bath on the fibers after
the dyeing.  I've just seen the results on wool and silk fibers (the
wool definitely took the dye more strongly), although they apparently
played with some linen threads as well.  No idea how colorfast it is,
but now I'm sure wishing I could find some white wool
*fabric.*....*sigh* ;-)
--sue, who's also discovered you get a really good, screaming yellow
using dandelion flowers, which makes an eye-popping bright green when
you overdye it with indigo <g>
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: Nettle allergy
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Date: Mon, 8 Jul 2002 09:04:23 -0500 (CDT)
Status: RO


On Mon, 8 Jul 2002, Chris Laning wrote:

> At 12:30 AM -0500 7/8/02, Robin Netherton wrote:
> >But nettles don't grow in the States, at least nowhere I know of, so we
> >aren't aware of their uses. And we don't learn to identify (and avoid)
> >them.
> 
> Actually they do, in the east, northeast and southern parts of the 
> country.

Wow. I wonder why we never hear about them here? You'd think we'd all have
early lessons on how to avoid the things. Or is it a less potent variety
or something?

> >The furnituremaker -- a young fellow in his 30s -- also informed me that
> >dockweed was related to cannibis. "You DO know cannibis, don't you?" he
> >grinned.
> 
> Um, he got it slightly backwards.

No, more likely my imperfect memory is at fault. I was not exactly in the
best condition to retain a botany lesson. (And he was, um, really cute.)

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 8 Jul 2002 09:13:30 -0500 (CDT)
Status: RO


On Mon, 8 Jul 2002, Teddy wrote:

> > As I understand it now, an English schoolchild would have
> > understood immediately where the difficulty lay, both because the
> > use of nettles in textiles was common knowledge, 
> 
> Not that common - I had no idea they were used for textiles until I 
> had been involved in historic costuming for some time.

Sorry. I meant at the time Hans Christian Andersen was writing.  Or at
least when the story itself developed, as I believe he was drawing on an
older source. At least, that was in my head when I wrote, but I wasn't at
all clear.

--Robin


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Date: Mon, 8 Jul 2002 06:32:53 -0700
Status: RO

Oh a question that is easy to answer!!  I didn't use wool felt.  Not
sure where you are from, but in the US you can buy inexpensive synthetic
felt in 8 1/2 by 11 rectangles in many colors (not that it shows).
Shouldn't be a problem.  If you are not from the US, I am sure that I
could help you find an online source.  Just let me know.


**I like the notes on how to put it together, and have a quick 
**question - do you think there is any another fabric I could 
**substitute for the felt during construction?  I am allergic to wool!
**
**Thanks,
**Ysabiau

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Date: Mon, 8 Jul 2002 10:03:20 EDT
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In a message dated 7/7/2002 11:01:33 PM Eastern Daylight Time, 
00217146@bigred.unl.edu writes:


> 
> Direct link to the image:
> http://www.staylace.com/gallery/gallery07/graphics/1819.jpg
> 
> 

These are images from "The Revolution in Fashion"....a book maddeningly not 
still in print!!!! GRRRRRRR. Anyway, this book also has images of an early 
19th century 2 piece bra-like thingie that criss crosses over the breasts and 
is lightly boned.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 7/7/2002 11:01:33 PM Eastern Daylight Time, 00217146@bigred.unl.edu 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">
<BR>Direct link to the image:
<BR>http://www.staylace.com/gallery/gallery07/graphics/1819.jpg
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>These are images from "The Revolution in Fashion"....a book maddeningly not still in print!!!! GRRRRRRR. Anyway, this book also has images of an early 19th century 2 piece bra-like thingie that criss crosses over the breasts and is lightly boned.</FONT></HTML>

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Date: Mon, 8 Jul 2002 10:30:16 -0400
Status: RO

We had nettles around in Minnesota while I was growing up. The leaves 
(and stems?) had little hair-like spikes on them that broke off in 
the skin- sort of like glass fibers, or some cacti. You could reduce 
the discomfort by putting tape on your skin where you were stung, 
then pulling it off- most of the fibers stuck to the tape and were 
removed from the skin.

-Amanda
former Midwestern girl :)
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From h-costume-admin@indra.com  Mon Jul  8 11:01:42 2002
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Subject: [h-cost] Re: 14th Century French lady
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Date: Mon, 8 Jul 2002 07:43:35 -0700 (PDT)
Status: RO

Greetings,

Hello list, I'm new here... <hand waving in greeting>

If you make your chemise very close-fitting and
laceable (up the front), you can easily and
comfortably acquire the profile of a Gothic lady in a
tight-fitting dress (see Robin Netherton's extensive
notes on this subject) -- all while achieving good
bosum support. I also have finally found the correct
shaping of the pattern on myself so that the sleeves
do not have to be tight. Yes, you can make sleeveless
chemises with thin shoulder straps, but the biggest
downside to that might be a lack of underarm
protection. Do we really want our nice kirtles and
cotes coming in direct contact with our fragrant
underarms? <smile>

The support on a sleeved chemise is done entirely with
a very tight fit immediately under the bosum, a bit of
shaping of the panels covering the bosum, and the
shoulder seams holding the whole thing up. When laced,
the chemise does an excellent job of holding my
not-small bosum in place and it stays there all day
long with no discomfort. All that is to say you do not
need breast binding. 

As for underwear, even though we are still debating
that issue for women, you could attempt authenticity
by mimicking the male version of underwear for that
time period. Let's face it -- chafing is a real issue
-- as real as the desire for bosum support when one's
bosum is large. It does not make sense to me that
women walked around constantly with sore inner thighs.
Unfortunately, I can't give you detailed documentation
for female undies at this time (no research done
yet... anyone else?), but there are some attempts by
costume historians to explain and replicate male
undies. Perhaps begin with those.

Marcele de Montsegur
__________________________
From: Rose Amberwulf <roscelin@attbi.com>
Subject: [h-cost] 14th Century French lady

  I'm slowly working on my SCA 14th century French
lady costumes.  It 
dawn on me that I know I have to have the chemise, but
was there any 
other underclothing - breast binding, underwear, so
on.  
   I hope someone can at least point me the right
direction so I can be 
as complete as possible in my research.  Thank you.

Roscelin de Limoges
Rose Amberwulf


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1790's corsets
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Date: Mon, 08 Jul 2002 07:52:42 -0700
Status: RO


>However, I question the idea that
> > someone who spent her whole life in corsets would suddenly feel comfortable
> > going without that kind of structure.  This all leads me to think that most
> > women must have, for at least some time, worn 18th century-shaped corsets
> > under their early Directoire gowns -- especially as French fashions 
> filtered
> > out to other countries.
>
>I suspect you're probably right -- older women, at least, might have been
>more likely to stick with styles of undergarments that they were used to
>in their youth.

There are prints from this period which show women in the older more rigid 
style and women in the newer softer style, both in the same picture.  And 
my own grandmother (the one born in 1880) always wore a long corset-thing, 
even into the 1970s.

>Interestingly, there's a paper on "The Unfashionable Use of Stays" that
>talks about how older country women in Britain were wearing stays with
>wooden busks into the beginning of the 20th century, I think -- again,
>women sticking with styles they wore in their youth, even though the outer
>clothing styles may have changed somewhat.




Kayta

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 08 Jul 2002 15:55:29 +0000 (GMT)
Status: RO

> > I grew up on the outer edge of a  fairly small town, within a
> > few minutes walk of open downland. 
> 
> You know what's really weird? I grew up on a different outer edge of
> the same small town

Strange that we didn't meet until a few years ago when we were 
both living in different towns.



Teddy
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From: The Duchess <duchess@bustles-and-bows.co.uk>
Subject: Re: [h-cost] 1790's corsets
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Date: Mon, 08 Jul 2002 16:10:09 +0100
Status: RO

At 08:12 AM 7/8/2002 -0400, you wrote:
>Ah... that's an illustration from 'Revolution in Fashion', a nearly
>unobtainable book.  Very much like the corset in Waugh; I wish one could
>see the front...

If you go to http://www.faintingcouch.com/2542.html they have a 1790's 
corset for sale with some very good photographs. At $3500 I can't see many 
people being able to afford it tho'.

Lissa

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Date: Mon, 8 Jul 2002 08:06:04 -0700
Status: RO


----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
Sent: Monday, July 08, 2002 7:52 AM
Subject: Re: [h-cost] 1790's corsets


> There are prints from this period which show women in the older more rigid
> style and women in the newer softer style, both in the same picture.  And
> my own grandmother (the one born in 1880) always wore a long corset-thing,
> even into the 1970s.

ooo, that sounds interesting!  Any ideas where I might find these prints?

- Kendra



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Date: Mon, 08 Jul 2002 16:18:26 +0100
Status: RO

At 08:12 AM 7/8/2002 -0400, you wrote:
>Ah... that's an illustration from 'Revolution in Fashion', a nearly
>unobtainable book.  Very much like the corset in Waugh; I wish one could
>see the front...

If you go to http://www.faintingcouch.com/2542.html they have a 1790's 
corset for sale with some very good photographs. At $3500 I can't see many 
people being able to afford it tho'.

Ignore the above, it's 1720-40 not 1790's, sorry put it down to a senior 
moment!

Lissa

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Date: Mon, 8 Jul 2002 10:45:09 -0500 (CDT)
Status: RO


On Mon, 8 Jul 2002, Tasha Kelly wrote:

> Hello list, I'm new here... <hand waving in greeting>

Hi, Tasha! Nice to have you aboard.

> If you make your chemise very close-fitting and laceable (up the
> front), you can easily and comfortably acquire the profile of a Gothic
> lady in a tight-fitting dress (see Robin Netherton's extensive notes
> on this subject)

Just to clarify: The method I teach is for fitting the dress itself, not a
chemise. I recommend a chemise that is not very full but is not fitted
either. I have seen no indication of a fitted chemise or a chemise that
laces up the front in this period, and I've looked at quite a few images
of chemises. Also, I've found that lining the dress helps substantially
with the fitting and support, and I can't see lining a chemise.

But you're not the first person I've heard applying my methods to fit a
chemise. If that works for you and for your desired level of authenticity,
great! I just want to make sure people know that using a fitted chemise as
a support layer is not an approach I would suggest as historically
accurate for 14th-century France.

> Yes, you can make sleeveless chemises with thin shoulder straps, but
> the biggest downside to that might be a lack of underarm protection.
> Do we really want our nice kirtles and cotes coming in direct contact
> with our fragrant underarms? <smile>

With this I agree wholeheartedly. Most illustrations I've seen of chemises
(mostly in French and Flemish art) indicate the presence of sleeves. The
only sleeveless sources I've seen are the supposed 14th-c. German chemise
in Kohler (provenance uncertain and now apparently lost) and some images
in the Wenceslaus Bible (Bohemia). That suggests to me the possibility
that sleeveless chemises, if worn, were specific to that part of the
Continent. (We recently had an extensive discussion on the list about this
that should be available in the archives.)

Personally, I've found the dress to be more comfortable on the arms with a
layer of chemise as cushioning. Think of it as a sock under a shoe -- it
minimizes chafing. If you wear a dress with a tight sleeve directly over
your arm, it rubs against your skin when you move. If you have a chemise
layer, the rubbing occurs between the dress fabric and the chemise, while
the chemise itself stays put against your skin. I make my chemise sleeves
rather narrow, use a fairly thin linen (not cotton!), and fit the sleeves
over the chemise with my arm bent midway between straight and fully
flexed.

--Robin

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Date: Mon, 8 Jul 2002 11:22:55 -0300
Status: RO

 And my own grandmother (the one born in 1880) always wore a long
corset-thing,

Mine, too.  My grandmother was born in 1882.  When I was a child I remember
asking her why she put on her corset (one of those long pink things with
garters) first thing in the morning and took it off just to sleep. She said
she'd always worn one and her back hurt without it. She also wore
high-heeled bedroom slippers because flat shoes hurt her feet.  She was
funny and cuddly and wonderful, but her body was rather formal!

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Subject: Re: [h-cost] Simplicity 5958
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Date: Mon, 8 Jul 2002 10:23:29 -0500
Status: RO


Hi Teddy!

I took another look at the pattern and I'd say that it's a decent
beginning point but it needs a fair amount of tweaking to make it truly
correct to period. I'd take a look at a good picture book like "Historic
Costume in Detail" to see exactly how you should alter the pattern.


Karen



On Mon, 08 Jul 2002 14:22:54 +0000 (GMT) Teddy <teddy1@mdx.ac.uk> writes:
> Anyone used Simplicity pattern 5958?  if so, can you let me know 
> what you think of it as a startign point for the frock-coat long 
> waistcoat combination?
> 
> Ta muchly
> 
> Teddy
> _______________________________________________
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Subject: Re: [h-cost] Nettles (WAS:linen weight?)
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Date: Mon, 8 Jul 2002 16:25:22 BST
Status: RO

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

> > > I grew up on the outer edge of a  fairly small town, within a
> > > few minutes walk of open downland. 
> > 
> > You know what's really weird? I grew up on a different outer edge of
> > the same small town
> 
> Strange that we didn't meet until a few years ago when we were 
> both living in different towns.

Maybe it's not that small a town? Pop 169,000, a web-search tells me.





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Date: Mon, 8 Jul 2002 08:49:36 -0700
Status: RO


> But nettles don't grow in the States, at least nowhere I know of, so
> we aren't aware of their uses. And we don't learn to identify (and
> avoid) them. So I didn't recognize them, or even consider the
> possibility of their presence, as I tramped through a churchyard in
> the Cotswalds one summer day in 1985 or so, reading medieval grave
> markers. Moments after I swept a cluster of weeds away from a
> tombstone, my hand and arm started to burn and swell horribly. So I
> did what any American would do upon encountering poison ivy -- located
> a spigot and plunged my arm under running water.

Yow, that's an extreme form of nettle problem. Green soap is the 
usual cure, same as poison ivy/oak. (I've never found plain water to 
be much use with that either.)

Actually nettles (both real stinging nettles and the dead nettles 
with the white flowers) are quite common in the Pacific Northwest 
where I grew up. You learn early what they are and how to avoid 
them and what to do if you do get into them, just like with poison 
ivy/oak. The only good thing is that dead ones do not do nearly the 
same damage as dead poison ivy/oak.  The "stingers" go away 
pretty quickly.

Then
> he warned me that I should be very careful NOT to get it wet -- it
> would increase the pain. (Too late.) 

Interesting. Never had that much problem with it later. It was 
always the immediate problem (which after the first encounter, you 
tend not to have again.)
 
> I still have trouble with the idea that the English *eat* nettles.

So do Americans when they can get them young and tender. They 
make a great soup too. 


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Flax was Re: [h-cost] Nettles
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Date: Mon, 08 Jul 2002 15:41:29 +0000
Status: RO

>And one last bit of memory that's filtering to the surface (source unknown) 
>is that nettle stems were soaked (in water?  something elselike an acidic 
>agent?), beaten, soaked again, and then prepared much like flax.

Now you made me think of an old question that's been resurfacing in my head 
but that I never did anything with before...

How WAS flax prepared? Any good website? How was it spun into thread? Or was 
it used as is to make very thin fabric? Does it grow around here? (here 
being Montreal, Canada) I would think so since we have a re-creation of a 
village not far from here that tells us they used to use it about a hundred 
years ago. And, one last question: if I wanted to grow it, does someone have 
a good source for SMALL quantities of seeds?

Thanks :-)
Alix

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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Mon, 8 Jul 2002 11:30:45 -0500 (CDT)
Status: RO


On Mon, 8 Jul 2002 kat@grendal.rain.com wrote:

> > Then
> > he warned me that I should be very careful NOT to get it wet -- it
> > would increase the pain. (Too late.) 
> 
> Interesting. Never had that much problem with it later. It was 
> always the immediate problem (which after the first encounter, you 
> tend not to have again.)

I wasn't clear. He meant that during the two-hour-or-so span it would take
for the reaction to clear, that using water would just make it hurt more.
And I had already flushed it with water within just a few minutes of the
reaction beginning, and it didn't help at all. I have no idea if it would
have hurt less if I hadn't tried to wash it off, but it was pretty damn
painful!

Based on the different descriptions I've seen from various people on this
list, located in various regions, I wonder if there are several varieties
of stinging nettles, with varying degrees of effect.

At least I was hit by Genuine English stinging nettles, in a Genuine
Medieval Churchyard. ;-)

--Robin

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Date: Mon, 08 Jul 2002 09:08:17 -0700
Status: RO

According to the following article,  the textile industry is
experimenting with nettle cloth as a modern commerical product.

http://www.spectrum.ieee.org/htmlCache/2002-07-02T145618Z_01_N02163426_RTRIDST_0_SCIENCE-LIFE-BRITAIN-NETTLES-DC.html

Fran

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Date: Mon, 8 Jul 2002 11:30:16 -0500
Status: RO

Oh! Oh! I know this one!!!!!


When I was a senior Girl Scout, we did pioneer crafts at a local log
cabin. One of the crafts we did was processing and spinning flax. Flax is
an annual. It generally grows in temperate climates, some of the best
linen comes from Ireland and Holland- or at least used to. At the end of
it's life cycle, the flax would be pulled up by the roots to maintain as
long a fiber as possible and then 'retted' which entailed allowing the
stalks to lie in shallow, moving water until the outer stem rotted off.
I'm not sure how long this would take, but while it was going on
apparently the water was not suitable for drinking or other human
consumption. The end product is something that looks like a robust straw
or very fine stick about 2-3 feet long. These are then broken on a flax
break. It's a simple device but I'm not sure if I can describe it
effectively- it it about waist high, made of wood, and hinged at one end
so that the center section can be raised up by a handle- think of a
really big triple bladed kinife (dull blades), hinged at one end so that
the blades fall between slots in the base. Completely confused? Good. You
place the flax on the break and proceed to smash it over and over,
breaking off the brittle outer layer but not damaging the flexible inner
fibers. After you are done breaking the flax, you 'scutch' the flax which
helps to remove the stem bits which are still clinging onto the flax. The
scutching knife looks like a broad bladed sword made of wood- once again
it is dull so as not to cut the fibers. The flax is held up and struck
with the scutching knife in a glancing manner until no more bits of stem
come off. Then the flax is run thru a series of hackles to further clean
and smooth it out. At this point it looks very much like pale blonde
hair. A hackle is a series of closely spaced pointy bits (ours were made
of long thick nails) sticking up thru a board. You comb the flax thru,
just like hair, until it pulls thru smoothly. The left over bits of short
fibers and tangles are known as tow. Depending on how fine you want the
end product to be, you put the flax thru finer and finer hackles. To spin
the flax you first dress it onto a distaff so that all the fibers are
running in the same direction. It ends up looking like a gentle spiral,
tied at the top tightly and at the bottom loosely which gives the whole
thing a bit of a pear shape. The distaff is either held under the arm for
drop spinning, or set into a hole in the spinning wheel for wheel
spinning. A cup of water (or lots of spit!) is used to wet the fibers as
they are spun as the vegetable fibers don't have any natural moisture.
Spinning flax can be hard on your hands as the fibers are tough and dry,
and the water doesn't help your hands at all! We used to go back and
forth spinning flax and wool as the lanolin in the wool would sooth the
soreness of our fingers. Once the linen thread was spun (once it is
processed, flax changes name to linen), it can be woven just like any
fiber.  The linen doesn't have the natural elasticity that wool does so
you may need to warp the loom a bit more carefully to allow for some
length to be taken up by the weaving. As you can see, it's a fairly labor
intensive process. If you are looking for flax seeds, be careful that you
don't get the ornamental flax that is commonly sold as a garden plant. I
believe that it is related to textile flax, but doesn't have the long
inner fibers. 


Karen



On Mon, 08 Jul 2002 15:41:29 +0000 "Audrey Bergeron-Morin"
<audreybmorin2@hotmail.com> writes:
> >And one last bit of memory that's filtering to the surface (source 
> unknown) 
> >is that nettle stems were soaked (in water?  something elselike an 
> acidic 
> >agent?), beaten, soaked again, and then prepared much like flax.
> 
> Now you made me think of an old question that's been resurfacing in 
> my head 
> but that I never did anything with before...
> 
> How WAS flax prepared? Any good website? How was it spun into 
> thread? Or was 
> it used as is to make very thin fabric? Does it grow around here? 
> (here 
> being Montreal, Canada) I would think so since we have a re-creation 
> of a 
> village not far from here that tells us they used to use it about a 
> hundred 
> years ago. And, one last question: if I wanted to grow it, does 
> someone have 
> a good source for SMALL quantities of seeds?
> 
> Thanks :-)
> Alix
> 
> _________________________________________________________________
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Date: Mon, 8 Jul 2002 09:30:56 -0700
Status: RO


> At least I was hit by Genuine English stinging nettles, in a Genuine
> Medieval Churchyard. ;-)
> 
> --Robin

Something I'm sure you'd just as soon *not* repeat. ;)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] Bodiced Petticoat, was Re: 1790's corsets
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Date: Mon, 08 Jul 2002 12:20:26 -0400
Status: RO

Ah, how's this for luck?  I'm working on a friend's Regency ensemble 
and was just mulling over the corset issue yesterday.  Since we're 
focusing on the 1810-1815 time frame, I was rationalizing the long, hip 
covering corset as a likely canidate, but my friend was more interested 
in the possibility of not needing to wear a corset (she hasn't 
succumbed to gravity yet, so she probably could avoid the need for 
serious support).  But I ran across the La Mode Bagatalle's Regency 
Wardrobe pattern and was interested in the the "bodiced petticoat" as a 
possible compromise between no corset and some insurance against a 
saggy bodice.  Judging from the pictures on the package, it appears 
that the bodiced petticoat is similar to what Lydia wore in 
A&E's "Pride & Prejudice" where she's running about the house in her 
undies and collides with Mr. Collins... Is this what the bodiced 
petticoat is?  Is there any historical evidence for such a thing?  I've 
heard rave reviews about LMB's pattern, although it's on the pricey 
side, but I'd like to know the history of this garment.  Does anyone 
have any further info?  Thank you!

Sarah
http://www.elizabethanlady.com

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1790's corsets
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Date: Mon, 08 Jul 2002 09:27:57 -0700
Status: RO


> > There are prints from this period which show women in the older more rigid
> > style and women in the newer softer style, both in the same picture.  And
> > my own grandmother (the one born in 1880) always wore a long corset-thing,
> > even into the 1970s.
>
>ooo, that sounds interesting!  Any ideas where I might find these prints?

costume books.


Kayta

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Date: Mon, 8 Jul 2002 12:09:11 -0500 (CDT)
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On Mon, 8 Jul 2002 kat@grendal.rain.com wrote:

> > At least I was hit by Genuine English stinging nettles, in a Genuine
> > Medieval Churchyard. ;-)
> 
> Something I'm sure you'd just as soon *not* repeat. ;)

Only if I can be assured that there will be a really cute 30-something
furnituremaker handy who will take me to his back garden and rub dockweed
on it for me ;-)

--Robin, willing to make personal sacrifices in the name of research

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From h-costume-admin@indra.com  Mon Jul  8 13:21:21 2002
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Subject: Re: [h-cost] Nettle allergy You asked
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Date: Mon, 8 Jul 2002 10:05:04 -0700 (PDT)
Status: RO

doesn' seem that strange -- according to the herbalist page here
http://www.purplesage.org.uk/profiles/nettle.htm

nettles are very useful to increase circulation, which I imagine would help 
carry away the things causing rashes or outbreaks.  

.heather.meadows.


> I get eczema on my hands occasionally. If nettles are in season I go and
> run my hands through the tops of the nettle patch - agony for about 20
> minutes, settle down to a slow burn, and after an hour or so the rash
> has gone and it's taken the heat out of the eczema. It also works for
> various allergic rashes I get to various things.
> 
> Strange but true.
> 
> It's also very effective for cold sores and chilblains, but I don't get
> these.
> 
> Freyalyn
> 
> 
> _______________________________________________________________
> Sign up for FREE iVillage newsletters <http://s.ivillage.com/rd/16705> .
> >From health and pregnancy to shopping and relationships, iVillage
> has the scoop on what matters most to you. 

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Date: Mon, 8 Jul 2002 08:58:35 +0000
Status: RO

If you collide with stinging nettle, use a cool compress of tea leaves or
coffee. The tannic acid takes care of the problem.

We have lots of stinging nettle up here--our edge of the Pacific NW is a
rain forest.


					Arlys

P.S. Hiya Rose! :)


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Date: Mon, 8 Jul 2002 10:14:54 -0700 (PDT)
Status: RO

I want that book to come back in print so badly.  Maddening is right!

.heather.


> 
> These are images from "The Revolution in Fashion"....a book maddeningly not 
> still in print!!!! GRRRRRRR. Anyway, this book also has images of an early 
> 19th century 2 piece bra-like thingie that criss crosses over the breasts and 
> is lightly boned.

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Flax was Re: [h-cost] Nettles
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Date: Mon, 08 Jul 2002 10:16:32 -0700
Status: RO


>Then the flax is run thru a series of hackles to further clean
>and smooth it out. At this point it looks very much like pale blonde
>hair. A hackle is a series of closely spaced pointy bits (ours were made
>of long thick nails) sticking up thru a board. You comb the flax thru,
>just like hair, until it pulls thru smoothly. The left over bits of short
>fibers and tangles are known as tow.

This is, of course, why blondes are called tow-headed.


Kayta

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Subject: Re: [h-cost] 1790's corsets
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Date: Mon, 8 Jul 2002 13:33:59 -0400 (EDT)
Status: RO

I saw this on Ebay last week.  She's asking WAY too much for it -- most
similar stays go for around $250-$500.  Also, I'd place it around the
third quarter of the 18th century, whereas she thinks it dates from
1720-1740.  Of course, stays are notoriously hard to date, but it really
looks later than 1740 to me...

Definitely great pics, though!

Cheers,
Mara

On Mon, 8 Jul 2002, The Duchess wrote:
> If you go to http://www.faintingcouch.com/2542.html they have a 1790's
> corset for sale with some very good photographs. At $3500 I can't see many
> people being able to afford it tho'.
>
> Lissa

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From h-costume-admin@indra.com  Mon Jul  8 14:00:26 2002
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Subject: Re: [h-cost] Bodiced Petticoat, was Re: 1790's corsets
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Date: Mon, 8 Jul 2002 13:42:27 -0400 (EDT)
Status: RO

Hi, Sarah,
I've heard claims for a petticoat attached to a boned bodice, but haven't
seen the documentation.  That being said...

There IS evidence for attaching petticoats to a bodice (unboned), as a way
to keep a petticoat up at the proper level, either under a jacket (there's
an ensemble like this in Bradfield), or perhaps to wear under a sheer
gown, like a slip.

I've heard good things about the La Mode Bagatelle pattern, so have fun!

Cheers,
Mara


On Mon, 8 Jul 2002, Sarah Lorraine wrote:

> Ah, how's this for luck?  I'm working on a friend's Regency ensemble
> and was just mulling over the corset issue yesterday.  Since we're
> focusing on the 1810-1815 time frame, I was rationalizing the long, hip
> covering corset as a likely canidate, but my friend was more interested
> in the possibility of not needing to wear a corset (she hasn't
> succumbed to gravity yet, so she probably could avoid the need for
> serious support).  But I ran across the La Mode Bagatalle's Regency
> Wardrobe pattern and was interested in the the "bodiced petticoat" as a
> possible compromise between no corset and some insurance against a
> saggy bodice.  Judging from the pictures on the package, it appears
> that the bodiced petticoat is similar to what Lydia wore in
> A&E's "Pride & Prejudice" where she's running about the house in her
> undies and collides with Mr. Collins... Is this what the bodiced
> petticoat is?  Is there any historical evidence for such a thing?  I've
> heard rave reviews about LMB's pattern, although it's on the pricey
> side, but I'd like to know the history of this garment.  Does anyone
> have any further info?  Thank you!
>
> Sarah
> http://www.elizabethanlady.com

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Date: Mon, 8 Jul 2002 13:47:03 -0400 (EDT)
Status: RO

Take a look at this picture:

http://locutus.ucr.edu/~cathy/images/i-gillray/gill4.jpeg

The woman getting dressed appears to be wearing a VERY short shift -- all
one can see under her stays are the sleeves, and also her drawers.

A while back I saw a short Regency-period shift for sale on one of the
sites that sells antique clothing; the speculation was that it had been
shortened so that the fabric could be reused.  However -- I think the
bottom hem was finished.  Which makes me wonder if someone had been
wearing this shortened shift in the way the woman in the picture is
wearing it.  That would certainly decrease the bulk of petticoats worn.

Thoughts?

-- Mara


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In a message dated 7/7/02 3:18:40 PM Pacific Daylight Time, 
athurman@cybergal.com writes:


> Just wondering if anyone else on this list is attending. 
> I've never been and I'm going alone, just wondering if there are any folks 
> I should try and meet up with. 
> Allison 
> 

I will be there Allison.

Kit

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 7/7/02 3:18:40 PM Pacific Daylight Time, athurman@cybergal.com writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Just wondering if anyone else on this list is attending. 
<BR>I've never been and I'm going alone, just wondering if there are any folks I should try and meet up with. 
<BR>Allison 
<BR></BLOCKQUOTE>
<BR>
<BR>I will be there Allison.
<BR>
<BR>Kit</FONT></HTML>

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Date: Mon, 08 Jul 2002 15:50:08 -0400
Status: RO

Bummer. Oh well, guess I shoulda checked my e-mail earlier <g>..
Thanks anyhoo!
Deb Rand


> Thanks to everyone volunteering to give my pattern a good home.  It's
> gone now!
> --sue

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From: "Kendra Van Cleave" <kendrav@attbi.com>
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Subject: Re: [h-cost] nettlecloth (WAS linen weight?)
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Date: Mon, 8 Jul 2002 18:20:15 -0700
Status: RO

For those who are interestd, I've scanned the images of the dress made of
nettlecloth.  Warning - these are large images!

http://demode.tweedlebop.com/images/1796_moden.jpg
http://demode.tweedlebop.com/images/1796_moden_back.jpg

- Kendra


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Subject: Re: [h-cost] 1790's corsets
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Date: Mon, 8 Jul 2002 18:16:47 -0700
Status: RO

----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Monday, July 08, 2002 9:27 AM
Subject: Re: [h-cost] 1790's corsets


<snip>
> >ooo, that sounds interesting!  Any ideas where I might find these prints?
>
> costume books.

Wait, there are books about costume?

BLINKBLINK

;)

- Kendra



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Date: Mon, 08 Jul 2002 18:33:50 -0600
Status: RO

Hey! No fair! Leave the cute 30-something furnituremakers for those of
us who are still single!
--Sue, just your average josephine, who's more than willing to sacrifice
for you famous-researcher types <weg>

Robin Netherton wrote:
> 
> On Mon, 8 Jul 2002 kat@grendal.rain.com wrote:
> 
> > > At least I was hit by Genuine English stinging nettles, in a Genuine
> > > Medieval Churchyard. ;-)
> >
> > Something I'm sure you'd just as soon *not* repeat. ;)
> 
> Only if I can be assured that there will be a really cute 30-something
> furnituremaker handy who will take me to his back garden and rub dockweed
> on it for me ;-)
> 
> --Robin, willing to make personal sacrifices in the name of research
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From h-costume-admin@indra.com  Mon Jul  8 23:44:56 2002
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Date: Mon, 08 Jul 2002 14:24:48 -0700
Status: RO

CHOOSING A NEW BATHING SUIT Reportedly a true e-mail a woman wrote to 
her friend after shopping for a  bathing suit.  

I have just been through the annual pilgrimage of torture and  
humiliation known as buying a bathing suit. When I was a child in the 
1950's, the bathing suit for a woman with a mature figure was designed 
for   a woman with a mature, figure - boned, trussed and  reinforced, 
not so much   sewn as engineered. They were built to hold  back and 
uplift and they   did a   good job.     Today's stretch fabrics are 
designed for the pre-pubescent girl with a  figure carved from a potato 
chip. The mature woman has a choice -  she  can either front up at the 
maternity department and try on a   floral  suit with a skirt, coming 
away looking like a hippopotamus who escaped from Disney's Fantasia - or 
she can wander around every   run-of-the-mill department store trying to 
make a sensible choice from what amounts to a designer range of 
fluorescent rubber bands.  What choice did I have? I wandered around, 
made my sensible choice and  entered the chamber of horrors known as the 
fitting room. The first  thing I noticed was the extraordinary tensile 
strength of the   stretch   material.   The Lycra used in bathing 
costumes was developed, I believe, by NASA to launch small rockets from 
a slingshot, which give the added   bonus that if you manage to actually 
lever yourself into one, you are protected from shark attacks. The 
reason for this is that any shark taking a swipe at your passing midriff 
would immediately suffer whiplash.  I fought my way into the bathing 
suit, but as I twanged  the shoulder   strap in place, I gasped in 
horror - my bosom had disappeared!!   Eventually,   I found one bosom 
cowering under my  left armpit. It took a while to find the other.  At 
last I located it  flattened beside my seventh rib. The problem is that 
modern bathing suits have no bra cups. The mature woman is meant to wear 
her bosom spread across her chest like a speed hump.  I re-aligned my 
speed hump and lurched toward the mirror to take a full view assessment.

The bathing suit fit all right, but unfortunately, it only fit those 
bits of me willing to stay inside it. The rest of me oozed out 
rebelliously from top, bottom, and sides. I looked like a lump of play 
dough wearing undersized cling wrap.   As I tried to work out where all 
those extra bits had come from, the pre-pubescent sales  girl popped 
head through the curtains, "Oh There   you   are!" she said, admiring 
the bathing suit...I replied that I wasn't so sure and asked what else 
she had to show me. I tried on a cream crinkled one that made me look 
like a lump of masking tape, and a floral two piece which gave the 
appearance of an oversized napkin in a serviette ring.   I struggled 
into a pair of leopard skin bathers with ragged frill and came out 
looking like Tarzan's Jane pregnant with triplets and having a rough 
day. I tried on a black number with a midriff with such a high cut leg   
I thought I would have to wax my eyebrows to wear them.    Finally, I 
found a suit that fit...a two piece affair with shorts   style bottom 
and a loose blouse-type top. It was cheap, comfortable, and bulge 
friendly, so I bought it. When I got home, I read the label which said   
"Material may become transparent in water.     " I'm determined to wear 
it anyway...I'll just have to stay out of the water!



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To: h-costume@indra.com
Subject: Re: [h-cost] Danish translation?
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Date: Tue, 9 Jul 2002 01:26:37 +0200 (CEST)
Status: RO

> > Is there anyone on the list who reads Danish and would be willing to
> > translate some brief pattern notations for me? 

Kendra, I can give it a shot if you haven't had better offers yet. I'm 
not sure how much the terms differ between Danish and Norwegian, which is 
what I know, but there's no harm in finding out. :)

> and even sent me the Swedish and Finnish ones also (wish I 
> had a Norwegian one, dunno if there is one). 

Judy - I don't know either, if you find one please post! Failing 
that, feel free to ask if there's anyting specific you're wondering 
about, and I'll translate as far as my vocabulary allows. :) 


Ingrid
-- 
I'd give my right arm to be ambidextrous!

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Subject: [h-cost] Re: Flax
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Date: Mon, 8 Jul 2002 13:57:29 -0700
Status: RO

At 11:30 AM -0500 7/8/02, seamstrix@juno.com wrote:
>
>  At the end of
>it's life cycle, the flax would be pulled up by the roots to maintain as
>long a fiber as possible and then 'retted' which entailed allowing the
>stalks to lie in shallow, moving water until the outer stem rotted off.
>I'm not sure how long this would take, but while it was going on
>apparently the water was not suitable for drinking or other human
>consumption.

Assuming anyone would _want_ to -- I'm told it smells quite vile.

-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] nettlecloth (WAS linen weight?)
In-Reply-To: <003d01c226e6$c7ca1b40$befc8218@WERNTO> "from Kendra Van Cleave
 at Jul 8, 2002 06:20:15 pm"
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Date: Mon, 8 Jul 2002 20:31:45 -0700 (PDT)
Status: RO

I love that back detailing - that is just so gorgeous!


> For those who are interestd, I've scanned the images of the dress made of
> nettlecloth.  Warning - these are large images!
> 
> http://demode.tweedlebop.com/images/1796_moden.jpg
> http://demode.tweedlebop.com/images/1796_moden_back.jpg
> 
> - Kendra
> 
> 
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Date: Mon, 8 Jul 2002 22:37:54 -0500
Status: RO

Well, ya know what my solution would be? SURGERY!!!!! :)

Ches

----- Original Message ----- 
From: "Lou Demas" <ldemas@lanset.com>
To: <h-costume@indra.com>
Sent: Monday, July 08, 2002 4:24 PM
Subject: [h-cost] Sort of costume


> CHOOSING A NEW BATHING SUIT Reportedly a true e-mail a woman wrote to 
> her friend after shopping for a  bathing suit.  


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Date: Mon, 8 Jul 2002 21:11:07 -0700 (PDT)
Status: RO

i'm all for esther williams suits.

or body paint.  


> Well, ya know what my solution would be? SURGERY!!!!! :)
> 
> Ches
> 
> ----- Original Message ----- 
> From: "Lou Demas" <ldemas@lanset.com>
> To: <h-costume@indra.com>
> Sent: Monday, July 08, 2002 4:24 PM
> Subject: [h-cost] Sort of costume
> 
> 
> > CHOOSING A NEW BATHING SUIT Reportedly a true e-mail a woman wrote to 
> > her friend after shopping for a  bathing suit.  
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Mon, 8 Jul 2002 22:37:55 -0700
Status: RO

Ingrid,

Thanks so much for volunteering to translate my pattern!  Bjarne, he of
amazing costume and embroidery skills, now has proved he has fabulous
translation skills as well!  I am set to go thanks to his services.

Thanks!

- Kendra



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Date: Tue, 9 Jul 2002 04:07:29 EDT
Status: RO


--part1_9.2aa28f09.2a5bf3c1_boundary
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My apologies to those who receive this posting twice.  

Looking through Italian Renaissance Interiors I came across a picture of a 
Birth (may be the Virgin; may be John the Baptist: book says Virgin; website 
says Baptist) by Giusto de' Menabuoi in the Cathedral Baptistry in Padua 
(1376-78).  I got very excited...there is a woman wearing a sleeveless 
chemise that is belted under the breasts.  I would normally assume that she 
is the wetnurse, but she's wearing a balzo, although that may indicate that 
the painter assumed that the Baptist (or Virgin) would have a noble wetnurse.

There is also a servant standing in the back wearing a shortsleeved chemise 
with a sleeveless gown similar to a gonnella over top of it.

I would love to have feedback and comments on this picture.

Nancy Stengel Ulmer
(Maddalena Salutati)


<A HREF="http://easyweb.easynet.co.uk/giorgio.vasari/giusto/pic18.htm">Sleeveless Chemise</A>

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">My apologies to those who receive this posting twice.&nbsp; <BR>
<BR>
Looking through Italian Renaissance Interiors I came across a picture of a Birth (may be the Virgin; may be John the Baptist: book says Virgin; website says Baptist) by Giusto de' Menabuoi in the Cathedral Baptistry in Padua (1376-78).&nbsp; I got very excited...there is a woman wearing a sleeveless chemise that is belted under the breasts.&nbsp; I would normally assume that she is the wetnurse, but she's wearing a balzo, although that may indicate that the painter assumed that the Baptist (or Virgin) would have a noble wetnurse.<BR>
<BR>
There is also a servant standing in the back wearing a shortsleeved chemise with a sleeveless gown similar to a gonnella over top of it.<BR>
<BR>
I would love to have feedback and comments on this picture.<BR>
<BR>
Nancy Stengel Ulmer<BR>
(Maddalena Salutati)<BR>
<BR>
<BR>
<A HREF="http://easyweb.easynet.co.uk/giorgio.vasari/giusto/pic18.htm">Sleeveless Chemise</A></FONT></HTML>

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Subject: Re: [h-cost] 1790's corsets
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Date: Tue, 09 Jul 2002 09:23:03 +0000 (GMT)
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> If you go to http://www.faintingcouch.com/2542.html they have a 1790's
> corset for sale with some very good photographs. At $3500 I can't see
> many people being able to afford it tho'.

Hi Lissa,

It's interesting to read the bit that says;

"lined with what appears to be its original non   manufactured 
cloth."  

The close-ups of that cloth look *exactly* like the teatowels we 
have at home for drying the dishes... I wonder if that's what they 
mean by "non manufactured"...<GGGG>


Teddy
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Date: Tue, 09 Jul 2002 02:23:37 -0700
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--------------060805050307030401050005
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Has anyone else try this website?  I wasn't able to get anywhere with 
it.  I am quite eager to take a look at the beads.

Roscelin

Frojel Gotlandica wrote:

>
> Hi Folks
> OK the bead CD is now up on Professor Carlssons site.
> For those interested have a look at :-
> http://www16.aname.net/~arkeodok/
> First in a series from Gotland University's Archaeology Department.
> One nice difference is that they should be in colour as opposed to
> different gray textures as in many of the archaeology books.
> Gotland is where over 80% of the Viking age finds in Sweden come
> from. It was a major trading centre in the Baltic up until the
> Battle of Visby.
> Cheers
> Sandy
> Fröjel Gotlandica Viking Re-enactment Society.
> http://www.frojel.com/
> frojel@frojel.com



--------------060805050307030401050005
Content-Type: text/html; charset=us-ascii
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<html>
<head>
</head>
<body>
Has anyone else try this website? &nbsp;I wasn't able to get anywhere with it.
&nbsp;I am quite eager to take a look at the beads.<br>
<br>
Roscelin<br>
<br>
Frojel Gotlandica wrote:<br>
<blockquote type="cite" cite="mid:200207072303.g67N3bOW018436@grape.dcsi.net.au"><font color="0000ff"><u><font face="Times New Roman" default="FACE"><font size="3" pointsize="12" default="SIZE"><br>
  </font></font></u><font face="Times New Roman" default="FACE"><font size="3" pointsize="12" default="SIZE"><font color="000000" default="COLOR">
 Hi Folks<br>
 OK the bead CD is now up on Professor Carlssons site.<br>
 For those interested have a look at :- <font color="0000ff"><u><br>
 <a class="moz-txt-link-freetext" href="http://www16.aname.net/~arkeodok/">http://www16.aname.net/~arkeodok/</a></u><font color="000000" default="COLOR"><br>
 First in a series from Gotland University's Archaeology Department.<br>
 One nice difference is that they should be in colour as opposed to<br>
 different gray textures as in many of the archaeology books.<br>
 Gotland is where over 80% of the Viking age finds in Sweden come<br>
 from. It was a major trading centre in the Baltic up until the<br>
 Battle of Visby.<br>
 Cheers<br>
 Sandy<font color="000000" default="COLOR"><br>
  <LEFT><font face="Times New Roman" color="#000001" size="3" pointsize="12" default="ALL">
 Fr&ouml;jel&nbsp;Gotlandica&nbsp;Viking&nbsp;Re-enactment&nbsp;Society.<br>
 <a class="moz-txt-link-freetext" href="http://www.frojel.com/">http://www.frojel.com/</a><br>
 <a class="moz-txt-link-abbreviated" href="mailto:frojel@frojel.com">frojel@frojel.com</a></font></LEFT></font></font></font></font></font></font></font></blockquote>
  <br>
  </body>
  </html>

--------------060805050307030401050005--

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
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Date: Tue, 9 Jul 2002 11:02:30 +0100 (BST)
Status: RO

Hi All,

I finally got some photos of the Officer's uniform coat and breeches and
waistcoat I have been working on so madly in the past weeks for ben.
Unfortunately he had his coat closed and you can't see the beautiful red silk
and gold brocade waistcoat. *laughs* I will take more photos though soon.

http://arts-humanities.cant.ac.uk/Temp/Hounslow/

My mantua and fontange was made by Ninya Mikhaila, costumier to Hampton Court
amongst other places. Mine and Ben's wigs were made by Derek Easton (again,
like the 1660s one) our shoes by Sarah Juniper (all our shoes are). All my lace
is 19th century lace, some handmade venetian gros needlepoint (lace stomacher,
tucker and wrist frills), which I got from Marla Mallett, textile collector;
the lappets of the fontange are 19th c. chemical lace lappets from a cape, the
dark red silk ribbon is Victorian too. The belt buckle is a genuine one from
1700, a mopped back to shine meal detector find. All of these last items are
from eBay. The linen and silk cream brocade of the petticoat is an actual
period pattern taht was woven as 'wallpaper' for a stately period home here in
England and I got the narrow remnants, 10 meters of it. The black silk and
silver metal brocade of the actual mantua is from Russia, and the gold real
metal braid edging is from Germany. All the other silks and silk brocades are
from merchants in the UK.
Ben's coat is made from scarlet superfine cloth from Hainsworth, which is the
actual same that is used by the Ministry of Defense for dress and parade
uniforms. A beautiful beautiful cloth, but a pain to sew, it is so tightly
woven. The silver lace is the B&S pattern for state livery, it's mylar not 90%
silver because te latter was impossible to get, and I got it from Hand's, the
oldest established (and still going) goldlacemen in London, supliers to the
Ministry of defense and the Royal household too. The coat is lined with scarlet
taffeta silk. The early tricorne hat (rolled up, wired and NOT folded) with
silver lacing was made by Jane Smith, hatmaker in London, who usually works for
the big theatre companies like the National Theatre. The brocade of Ben's
waistcoat is from Russia too, and is linen lined.

There you are, a big long explanation of what you see on the pix :-)

Hope you enjoy, something completely else for once!

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] Costume books (WAS: 1790's corsets)
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> <snip>
> > >ooo, that sounds interesting!  Any ideas where I might find these
> > >prints?
> >
> > costume books.
> 
> Wait, there are books about costume?
> 
> BLINKBLINK

Nice idea, but there wouldn't be enough interest in them to make it 
worth doing a print run - any publisher will tell you *that*!.....<GRIN!>


Teddy
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From: The Duchess <duchess@bustles-and-bows.co.uk>
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Date: Tue, 09 Jul 2002 11:34:39 +0100
Status: RO

At 09:23 AM 7/9/2002 +0000, you wrote:
> > If you go to http://www.faintingcouch.com/2542.html
>It's interesting to read the bit that says;
>
>"lined with what appears to be its original non   manufactured
>cloth."
>
>The close-ups of that cloth look *exactly* like the teatowels we
>have at home for drying the dishes... I wonder if that's what they
>mean by "non manufactured"...<GGGG>

<chuckle> I see what you mean! When I looked at it I wondered but my 
knowledge of period materials is sketchy at best so I couldn't say if it 
was OK or not.

Lissa

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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] nettlecloth (WAS linen weight?)
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Date: Tue, 9 Jul 2002 07:55:42 -0400 (EDT)
Status: RO

Oooh... Thank you, Kendra!  It's lovely....

-- Mara


On Mon, 8 Jul 2002, Kendra Van Cleave wrote:

> For those who are interestd, I've scanned the images of the dress made of
> nettlecloth.  Warning - these are large images!
>
> http://demode.tweedlebop.com/images/1796_moden.jpg
> http://demode.tweedlebop.com/images/1796_moden_back.jpg
>
> - Kendra
>
>
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Date: Tue, 9 Jul 2002 08:00:11 -0400 (EDT)
Status: RO

What are Esther Williams suits?

Cut-off Levis and a tank top work pretty well ;D


On Mon, 8 Jul 2002, Heather Meadows wrote:

> i'm all for esther williams suits.
>
> or body paint.
>
>
> > Well, ya know what my solution would be? SURGERY!!!!! :)
> >
> > Ches
> >
> > ----- Original Message -----
> > From: "Lou Demas" <ldemas@lanset.com>
> > To: <h-costume@indra.com>
> > Sent: Monday, July 08, 2002 4:24 PM
> > Subject: [h-cost] Sort of costume
> >
> >
> > > CHOOSING A NEW BATHING SUIT Reportedly a true e-mail a woman wrote to
> > > her friend after shopping for a  bathing suit.
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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Date: Tue, 9 Jul 2002 08:03:47 -0400 (EDT)
Status: RO





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From h-costume-admin@indra.com  Tue Jul  9 08:29:38 2002
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Date: Tue, 9 Jul 2002 08:05:03 -0400 (EDT)
Status: RO

(pouts)  I wish we could get such wonderful tea towels here in the States!

Seriously, I've been keeping an eye out for good checked linen cloth, and
while some good 18th c. checks can be found, they're not very common.  How
unfair that you're using them to wipe dishes!  <g>

-- Mara


On Tue, 9 Jul 2002, Teddy wrote:
> Hi Lissa,
>
> It's interesting to read the bit that says;
>
> "lined with what appears to be its original non   manufactured
> cloth."
>
> The close-ups of that cloth look *exactly* like the teatowels we
> have at home for drying the dishes... I wonder if that's what they
> mean by "non manufactured"...<GGGG>
>
>
> Teddy

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Date: Tue, 09 Jul 2002 07:11:56 -0600
Status: RO

Holy crap! That's hardly small! I think the largest city in my whole
state is only a little over 100,000.
--sue

jane@williams.nildram.co.uk wrote:
> 
> Teddy <teddy1@mdx.ac.uk> wrote :
> 
> > > > I grew up on the outer edge of a  fairly small town, within a
> > > > few minutes walk of open downland.
> > >
> > > You know what's really weird? I grew up on a different outer edge of
> > > the same small town
> >
> > Strange that we didn't meet until a few years ago when we were
> > both living in different towns.
> 
> Maybe it's not that small a town? Pop 169,000, a web-search tells me.
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Date: Tue, 9 Jul 2002 14:14:11 BST
Status: RO

> jane@williams.nildram.co.uk
> wrote:
> > 
> > Teddy teddy1@mdx.ac.uk>
> wrote :
> > 
> > > > > I grew up on the outer edge of a  fairly small town, within a
> > > > > few minutes walk of open downland.
> > > >
> > > > You know what's really weird? I grew up on a different outer edge of
> > > > the same small town
> > >
> > > Strange that we didn't meet until a few years ago when we were
> > > both living in different towns.
> > 
> > Maybe it's not that small a town? Pop 169,000, a web-search tells me.

Sue Clemenger <mooncat@in-tch.com> wrote :

> Holy crap! That's hardly small! I think the largest city in my whole
> state is only a little over 100,000.
> --sue

I suppose we tend to compare it with London, just down the road. Population of around 7 million or so. Luton certainly isn't a city, although as towns go it's quite big.

Or maybe the UK just tends to do things bigger than the USA...?
no, maybe not!






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Date: Tue, 9 Jul 2002 14:17:21 BST
Status: RO

Next week I'm off for a tour of southern Germany and Austria: route as yet unplanned. Anyone got any suggestions as to museums and so on that I really shouldn't miss?






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Date: Tue, 9 Jul 2002 14:20:53 +0100 (BST)
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 --- jane@williams.nildram.co.uk wrote: > Next week I'm off for a tour of
southern Germany and Austria: route as yet
> unplanned. Anyone got any suggestions as to museums and so on that I really
> shouldn't miss?

It depends in what you are interested. Vienna is an absolute must of course, so
many museums. Are you going along the Rhine? The castles are stunning, lovely
smalish town museums. A lot on Roman and a fantastic museum on the Franks in
Krefeld Gellep.

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: Tue, 9 Jul 2002 09:20:24 EDT
Status: RO

In a message dated 7/7/2002 7:02:37 PM Eastern Daylight Time, 
kendrav@attbi.com writes:

<< Can anyone point me to any other sources that might help me fill in the 
gaps
 between 1790 and 1820?  Does _Corsets & Crinolines_ touch on this era?
  >>
This is the $64 question.  I don't think we yet know a whole lot about the 
transition period.  Alden O'Brien, curator of costume, dolls, and toys, at 
the DAR Museum in Washington, is actively pursuing this question, as are a 
few others--Lorina at 5 Rivers Chapmanry comes to mind.  As to published 
sources, there really aren't any.
Ann Wass
History/Museum Specialist
Riversdale House Museum
Riverdale Park MD annbwass@aol.com
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From: Judy Mitchell <judymitch@oldwaylane.net>
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Subject: Re: [h-cost] Norwegian glassary (was: Danish translation?)
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Date: Tue, 09 Jul 2002 09:27:07 -0400
Status: RO

Ingrid G. Storrř wrote:
> Judy - I don't know either, if you find one please post! Failing 
> that, feel free to ask if there's anyting specific you're wondering 
> about, and I'll translate as far as my vocabulary allows. 

Hi Ingrid-
	I appreciate that, but right now I'm not involved in anything 
(except packing all of my sewing and assorted stuff and 
moving my office!). As I understand it, the language 
glossary sheets are tucked into the Butterick patterns when 
you buy them at the store. So anyone buying the patterns in 
Sweden gets the English - Swedish sheets everytime, likewise 
the Danish. do you not get insert sheets with Butterick 
patterns? Does Butterick not sell in Norway (odd, if they do 
in Denmark, Sweden & Finland!)? I didn't understand why 
Norwegian got left out of the pack! Seems peculiar to me. 
Maybe they think that since the vowels are the same it's the 
same language (Swedish looks obviously different)?

	-Judy Mitchell

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Subject: Re: [h-cost] small towns ( was Nettles (WAS:linen weight?))
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Date: Tue, 9 Jul 2002 14:23:30 +0100
Status: RO

No Luton is NOT a small town in English standards except maybe for
Londoners.  Not anyone normal ;)

Mel

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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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If you make it as far as Nuernberg plan lots of time for the Germanische 
Nationalmuseum there.  It is fabulous!!!!!!
Elisabeth

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>If you make it as far as Nuernberg plan lots of time for the Germanische Nationalmuseum there. &nbsp;It is fabulous!!!!!!
<BR>Elisabeth</FONT></HTML>

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Subject: Re: [h-cost] Another Regency question
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Date: Tue, 9 Jul 2002 09:47:33 EDT
Status: RO

In a message dated 7/8/2002 1:56:38 PM Eastern Daylight Time, lindo@radix.net 
writes:

<< A while back I saw a short Regency-period shift for sale on one of the
 sites that sells antique clothing; the speculation was that it had been
 shortened so that the fabric could be reused.  However -- I think the
 bottom hem was finished.  Which makes me wonder if someone had been
 wearing this shortened shift in the way the woman in the picture is
 wearing it.  That would certainly decrease the bulk of petticoats worn.
  >>
Mark Hutter, the tailor at Colonial Williamsburg, gave a presentation at 
Gadsby's Tavern, where he presented the idea that the short shift was 
developed to wear with pantaloons.  Think about it--if you are wearing a hip 
length corset and drawers, a long shift would really get in the way.  This 
is, though, another one of those things that we just don't know enough about 
yet.
Ann Wass
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Date: Tue, 9 Jul 2002 14:52:15 BST
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote :

> --- jane@williams.nildram.co.uk
> wrote: > Next week I'm off for a tour of
> southern Germany and Austria: route as yet
> > unplanned. Anyone got any suggestions as to museums and so on that I
> really
> > shouldn't miss?
> 
> It depends in what you are interested. 

Life, the Universe, and Everything....

no, seriously, up to about 1600s, costuming and cookery and maps and swords and... lots of things...

> Vienna is an absolute must of course,

It is? We'd been thinking we might not get that far. Replan... Munich seems to have a lot of museums, the question is which ones we'd want to go to. Innsbruck ilkewise is mentioned as being a "must", but with little idea as to just *why*.


> Are you going along the Rhine? The castles are stunning,
> lovely smalish town museums. 

Yes, we're having our first night at Bacharach and working south from there. But we "did" the Rhine a couple of years ago, so concentrating on things further south this time.


> A lot on Roman and a fantastic museum on the Franks in
> Krefeld Gellep.

hmm, where's that? Google has so far found me no maps, but a Spangenhelm, which sounds good. Multimap says... oh, right up there. A bit further north than we were going this time. Shame: I'll have to remember that for another year.







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Date: Tue, 9 Jul 2002 08:54:39 -0500
Status: RO

Hi Nicole!


I love seeing the less common eras of costuming! Your mantua looks great.
Can we get some detail shots of the laces on the gentleman's coat? Some
detail shots of your lace would be great as well!


Karen

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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Tue, 9 Jul 2002 15:02:03 BST
Status: RO

BOSTONHAHN@aol.com wrote :

> If you make it as far as Nuernberg plan lots of time for the Germanische Nationalmuseum there. &nbsp;It is fabulous!!!!!!
> Elisabeth

Ooh, just took a look at their web site. That's on the list! Lots of other museums, too, and I have a husband with a thing about WW2, so he won't be arguing too much.

Thanks!





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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Tue, 9 Jul 2002 15:05:11 +0100 (BST)
Status: RO

 --- jane@williams.nildram.co.uk wrote: > 

> no, seriously, up to about 1600s, costuming and cookery and maps and swords
> and... lots of things...

hmmm.. up to 1600, so that means some of my favourites don't apply.

> > Vienna is an absolute must of course,
> 
> It is? We'd been thinking we might not get that far. 

nope, not if you're not interested in the 18th century. Vienna is THE place to
go for the 18th in my opinion.

Replan... Munich seems
> to have a lot of museums, the question is which ones we'd want to go to.

would be a good idea to ask alexa from marquise.de she lives in Munich.

> Innsbruck ilkewise is mentioned as being a "must", but with little idea as to
> just *why*.

sheesh I can't remember, I went to Innsbruck but I really can't remember. Are
you going to Salzburg? Beautiful place, though mainly 18th again.
> 
> hmm, where's that? Google has so far found me no maps, but a Spangenhelm,
> which sounds good. Multimap says... oh, right up there. A bit further north
> than we were going this time. Shame: I'll have to remember that for another
> year.

Krefeld is between Aachen and Dueseldorf, near Cologne.

Nicole - coming from Aachen

=====
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] Photos of 1700 costumes from the event this weekend
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Date: Tue, 9 Jul 2002 15:05:55 +0100 (BST)
Status: RO

 --- seamstrix@juno.com wrote: > Hi Nicole!
> 
> 
> I love seeing the less common eras of costuming! Your mantua looks great.
> Can we get some detail shots of the laces on the gentleman's coat? Some
> detail shots of your lace would be great as well!
> 
> 
> Karen

I wanted to have detail shots but I ended up with a heatsrokes on Sunday so
couldn't take anymore photos. *pout* I will get more though!

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: Tue, 9 Jul 2002 10:15:53 -0400
Status: RO

I've occasionally seen really, really inexpensive checked and striped 
linen at Phoenix Textiles online ( 
http://store.yahoo.com/phoenixtextiles/ ). I got a bolt of a stripe 
last year and it's very nice. I have vague plans for a middle-class 
regency day dress, and also want to try real linen sheets! I know a 
year or 2 ago they had a very similar check to the one used in the 
corset.

-Amanda
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Date: Wed, 10 Jul 2002 02:20:06 +1200
Status: RO

> I finally got some photos of the Officer's uniform coat and breeches and
> waistcoat I have been working on so madly in the past weeks for ben.
> Unfortunately he had his coat closed and you can't see the beautiful red
silk
> and gold brocade waistcoat. *laughs* I will take more photos though soon.
>
> http://arts-humanities.cant.ac.uk/Temp/Hounslow/


It's so funny, in late 1997 I was cast as Lady Wishfort in the Way of the
World for some resoration comedy scenes.. and while I was hunting bits to
make a costume (really quickie one as *no one* else did anyhting thing and I
would stick out like a terribley sore thumb) I started to absolutely
*loathe* that particular style.

But then I found some mantua patterns and really lovely examples.. and
decided it was't the fashions persay but the way they were presented in
print.

Didn't really like the horizonatla lace flounce things happening.

But now of course I have plans on making my own wool matua;)  o it's funny
how we can be cyclic in our own preferences in fashion...

And of course your manua and ensemble help in seeing the more classy side of
the style;)

Thanks for sharing:)

michaela


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Date: Tue, 09 Jul 2002 15:17:27 +0000 (GMT)
Status: RO


> > > Maybe it's not that small a town? Pop 169,000, a web-search tells
> > > me.
> 
> Sue Clemenger <mooncat@in-tch.com> wrote :
> 
> > Holy crap! That's hardly small! I think the largest city in my whole
> > state is only a little over 100,000. --sue
> 
> I suppose we tend to compare it with London, just down the road.
> Population of around 7 million or so. Luton certainly isn't a city,
> although as towns go it's quite big.
> 
> Or maybe the UK just tends to do things bigger than the USA...?
> no, maybe not!

Well, when I used the term "small town" I was referring to 
*Dunstable* which is considerably smaller than Luton (even though 
it has now merged onto one side of Luton) and I call any town that I 
can walk from one side to the other in half an hour or less, small.



Teddy
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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Tue, 9 Jul 2002 15:22:14 BST
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote :

> > Innsbruck ilkewise is mentioned as being a "must", but with little idea as
> to
> > just *why*.
> 
> sheesh I can't remember, I went to Innsbruck but I really can't remember.

Possibly "because it's pretty" covers it?


> Are
> you going to Salzburg? Beautiful place, though mainly 18th again.

Probably. Mozart is my favourite composer, so I expect I'll take a look.


 
> Krefeld is between Aachen and Dueseldorf, near Cologne.

(sigh) came right past it two years ago.






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Date: Tue, 9 Jul 2002 15:28:38 BST
Status: RO

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

> Well, when I used the term "small town" I was referring to 
> *Dunstable* which is considerably smaller than Luton (even though 
> it has now merged onto one side of Luton) and I call any town that I 
> can walk from one side to the other in half an hour or less, small.

Ah, this explains it all: to me, Dunstable is a suburb of Luton. Just like Stopsley, where I grew up. And to get this at least slightly back on topic, both close enough to the town centre to be linked to the Luton hat-making industry, I think?





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Date: Tue, 9 Jul 2002 07:52:49 -0700
Status: RO

Nancy Stengel Ulmer wrote: 

<< Looking through Italian Renaissance Interiors I came across a picture of a Birth (may be the Virgin; may be John the Baptist: book says Virgin; website says Baptist) by Giusto de' Menabuoi in the Cathedral Baptistry in Padua (1376-78).  I got very excited...there is a woman wearing a sleeveless chemise that is belted under the breasts.  I would normally assume that she is the wetnurse, but she's wearing a balzo, although that may indicate that the painter assumed that the Baptist (or Virgin) would have a noble wetnurse. >>

Wow - great find, Nancy!  Now I'll have to rush home and dig up my copy and take a very close look.  

I also found a literary reference in Boccaccio's _Elegy of Lady Fiammetta_.  I don't have it with me at work, but there's a scene where she and Panfilo are at the equivalent of a resort town and she talks about the ladies wearing silky tunics with bare arms that revealed a view of their cleavage when the ladies bent to pick up shellfish (?) out of the water.  I'll add the book to the list of things to dig up and bring in tomorrow.  (I'm also working to check the Italian to make sure that it is not a translation error of some sort.)

I may be able to document that sleeveless chemise in Italy yet!  Woo-hoo!

Colleen  

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Subject: Re: [h-cost] Norwegian glassary (was: Danish translation?)
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Date: Tue, 9 Jul 2002 17:34:05 +0200 (CEST)
Status: RO

On Tue, 9 Jul 2002, Judy Mitchell wrote:
> As I understand it, the language 
> glossary sheets are tucked into the Butterick patterns when 
> you buy them at the store. So anyone buying the patterns in 
> Sweden gets the English - Swedish sheets everytime, likewise 
> the Danish. do you not get insert sheets with Butterick 
> patterns? Does Butterick not sell in Norway (odd, if they do 
> in Denmark, Sweden & Finland!)? 

Hm, I don't buy a lot of commercial patterns, so I don't really know if 
you can get Butterick patterns here. I'll check if I can remember when 
I'm somewhere that sells patterns. 

> I didn't understand why 
> Norwegian got left out of the pack! Seems peculiar to me. 
> Maybe they think that since the vowels are the same it's the 
> same language (Swedish looks obviously different)?

I'm not sure if this is the reason, but it's fairly usual for Norwegian 
to be left out of multilanguage contexts, like for example the back of 
shampoo bottles that are sold in different Nordic countries.  Heh, lame 
example, but the first thing that springs to mind. :) In my experience 
most Norwegians read both Swedish and Danish fairly well, even though 
the vocabulary differs between the languages. Personally I read Danish 
better than Swedish (but English better than either), and understand 
verbal Swedish far better than Danish. My guess would be that since 
Norway has a much smaller population than both other Scandinavian 
countries, it may be simply a matter of money - why go to the extra cost 
when it is assumed that we understand the other two languages anyway. 
But this is speculation on my part - for all I know, there may be a 
Norwegian glossary sheet and they just forgot to include it in your 
pack. :)

Ingrid

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Date: Tue, 9 Jul 2002 17:42:54 +0200 (CEST)
Status: RO

On Tue, 9 Jul 2002, N Kipar wrote:
> > 
> > hmm, where's that? Google has so far found me no maps, but a Spangenhelm,
> > which sounds good. Multimap says... oh, right up there. A bit further north
> > than we were going this time. Shame: I'll have to remember that for another
> > year.
> 
> Krefeld is between Aachen and Dueseldorf, near Cologne.
> 
> Nicole - coming from Aachen

Aah, speaking of Düsseldorf - I'm going back for a few days in October 
to visit old haunts. My family lived there for two years, gaah, over 12 
years ago, but my I was quite young then and my costume interest not 
developed. So I have no idea if the city has any particularly good 
costume related  museums or any really good fabric stores. Any ideas? I 
need to shop and marvel! :D

Ingrid

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Date: Tue, 09 Jul 2002 13:14:05 -0400
Status: RO


Nicole, as always I am so inspired by your photos! It is so wonderful to see
people doing everything perfectly!

Gail Finke


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Date: Tue, 09 Jul 2002 10:32:00 -0700
Status: RO

Help!  Can anyone refer me to a book with clear instructions on how to
construct a button fly?  

I've been through all my sewing books and I'm starting to get really
frustrated.  Esepecially with books titled things like "The Complete Book
of Tailoring" that don't even *mention* menswear.  It seems a rather large
area to ignore, after all.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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 "from Kevin & Mara Riley at Jul 9, 2002 08:00:11 am"
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Date: Tue, 9 Jul 2002 11:22:17 -0700 (PDT)
Status: RO

She was a 40's star and Olympic swimmer who now produces a 
line of 40's style swimsuits that are very elegant.  And expensive.
I've been drooling over them for years.


> What are Esther Williams suits?
> 
> Cut-off Levis and a tank top work pretty well ;D
> 
> 
> On Mon, 8 Jul 2002, Heather Meadows wrote:
> 
> > i'm all for esther williams suits.
> >
> > or body paint.
> >
> >
> > > Well, ya know what my solution would be? SURGERY!!!!! :)
> > >
> > > Ches
> > >
> > > ----- Original Message -----
> > > From: "Lou Demas" <ldemas@lanset.com>
> > > To: <h-costume@indra.com>
> > > Sent: Monday, July 08, 2002 4:24 PM
> > > Subject: [h-cost] Sort of costume
> > >
> > >
> > > > CHOOSING A NEW BATHING SUIT Reportedly a true e-mail a woman wrote to
> > > > her friend after shopping for a  bathing suit.
> > >
> > >
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Date: Tue, 09 Jul 2002 11:42:42 -0700
Status: RO


>Looking through Italian Renaissance Interiors I came across a picture of a 
>Birth (may be the Virgin; may be John the Baptist: book says Virgin; 
>website says Baptist) by Giusto de' Menabuoi in the Cathedral Baptistry in 
>Padua (1376-78).  I got very excited...there is a woman wearing a 
>sleeveless chemise that is belted under the breasts.  I would normally 
>assume that she is the wetnurse, but she's wearing a balzo, although that 
>may indicate that the painter assumed that the Baptist (or Virgin) would 
>have a noble wetnurse.
>
>There is also a servant standing in the back wearing a shortsleeved 
>chemise with a sleeveless gown similar to a gonnella over top of it.
>
>I would love to have feedback and comments on this picture.

Koehler has a photo of a real one of these in his book.  I don't remember 
the period he said it was, but it's even in the Dover reprint.


Kayta

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Date: Tue, 09 Jul 2002 11:44:25 -0700
Status: RO

I never got the original post. Whazup?

>What are Esther Williams suits?
>
>Cut-off Levis and a tank top work pretty well ;D
>
>
>On Mon, 8 Jul 2002, Heather Meadows wrote:
>
> > i'm all for esther williams suits.
> >
> > or body paint.
> >
> >
> > > Well, ya know what my solution would be? SURGERY!!!!! :)
> > >
> > > Ches
> > >
> > > ----- Original Message -----
> > > From: "Lou Demas" <ldemas@lanset.com>
> > > To: <h-costume@indra.com>
> > > Sent: Monday, July 08, 2002 4:24 PM
> > > Subject: [h-cost] Sort of costume
> > >
> > >
> > > > CHOOSING A NEW BATHING SUIT Reportedly a true e-mail a woman wrote to
> > > > her friend after shopping for a  bathing suit.
> > >
> > >
> > > _______________________________________________
> > > 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
> >
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Seeking Button Fly instructions
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Date: Tue, 09 Jul 2002 11:49:35 -0700
Status: RO

You might start by putting a pair of Levis 501s next to a pair of regular 
trousers, and looking at both at the same time.  Or you might go to a 
vintage clothing place and looking at an original.  And there must be 
repro-patterns out there, for less than the price of a book.

>Help!  Can anyone refer me to a book with clear instructions on how to
>construct a button fly?
>
>I've been through all my sewing books and I'm starting to get really
>frustrated.  Esepecially with books titled things like "The Complete Book
>of Tailoring" that don't even *mention* menswear.  It seems a rather large
>area to ignore, after all.
>
>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


Kayta

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Date: Tue, 9 Jul 2002 13:00:55 -0600
Status: RO


	http://www.esther-williams.com/swimwear.htm

					...eliz
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Thread-Topic: [h-cost] Picture of Sleeveless Italian Chemise
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Subject: [h-cost] Sleeveless Chemise in Koehler
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Date: Tue, 9 Jul 2002 12:01:19 -0700
Status: RO

Katya wrote:

<<Koehler has a photo of a real one of these in his book.  I don't remember 
the period he said it was, but it's even in the Dover reprint.>>

Since Koehler is considered a dubious source by many, I've tracked the picture and the information from his book back to the original source that he obtained it from.
The book is _Fünf Bücher Deutscher Hausaltertümer von den Ältesten Geschichtlichen Zeiten Bis Zum 16. Jahrhundert_ by Moriz Heyne, published in Leipzig in 1903.  The picture in Koehler is the exact same picture shown in the Heyne book.  The chemise was found in 1867 in Castle Rhanis (Burg Rhanis) in Thuringen in Germany with other items that were dated from the early 14th century.

The most recent information I have from the curator at the museum at Castle Rhanis is that the chemise is no longer there.  The castle was in private hands prior to and during WWII and from the information that I have so far, the Russians took everything that was in the castle with them when they came through at the end of WWII.  I have a contact checking to see if, by some miracle, it survived to make it into a Moscow museum, but no news so far.

Best regards,

Colleen
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Subject: Re: [h-cost] Seeking Button Fly instructions
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Date: Tue, 9 Jul 2002 14:01:52 -0500
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Smoke and Fire have a button fly pants pattern available for $11.00. 


Karen

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Date: Tue, 9 Jul 2002 12:19:28 -0700
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> Koehler has a photo of a real one of these in his book.  I don't
> remember the period he said it was, but it's even in the Dover
> reprint.

That's the one which sparked off this discussion. Colleen had been 
trying to track it down but evidently it was carried off by invading 
Russians in WWII. It's a 14th C German chemise. There are also 
the Bohemian "bath house girls" but Colleen is looking for 
specifically Italian 14th century sleeveless chemises.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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A friend of mine has put in a request for pictures of enlisted personnel,
too <g>.

-- Mara


On Tue, 9 Jul 2002 seamstrix@juno.com wrote:

> Hi Nicole!
>
>
> I love seeing the less common eras of costuming! Your mantua looks great.
> Can we get some detail shots of the laces on the gentleman's coat? Some
> detail shots of your lace would be great as well!
>
>
> Karen
>
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 --- Kevin & Mara Riley <lindo@Radix.Net> wrote: > A friend of mine has put in
a request for pictures of enlisted personnel,
> too <g>.
> 
> -- Mara

personnel? *grins* red- or blackhaired?

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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--=====================_41066938==_.ALT
Content-Type: text/plain; charset="iso-8859-1"; format=flowed
Content-Transfer-Encoding: quoted-printable

Sorry for the massive cross-post, but Buny's running an email sale and I=20
get to handle it!!! This is good for the month of July ONLY, so hurry and=20
get yours!!!!.  Minimum order is 5 yards, shipping INCLUDED in the price=20
(where else are you going to find a deal like that???):

ACETATE:  $40 for 5 yards, $60 for 10 yards, and $6/yd including shipping=20
for every additional yard after 10.

PANNE: $30 for 5 yards, $50 for 10 yards, and $5/yd including shipping for=
=20
each additional yard over 10.

COLORS:
black
burgundy
hunter green
royal blue
navy
purple
red

PayPal preferred, and it ships the soonest!  Address for PayPal is=20
velvet4sale@aol.com.  The website where you can see these fabrics is=20
http://www.velvetfabric.com, but this sale is email only, not on the site=20
at all!! When you write to her, the subject of the email should say "Vik=20
sent me" or "Email sale".  If you have to send any other form of Paymant,=20
send it to:

Kay Cushing
15735 Garfield Ave. Suite 36
Paramount, CA 90723

For more great deals and to be informed about future sales, sign up for her=
=20
mailing list!  New newsletter subscribers get a discount coupon that can be=
=20
used on her website in the month of July!

Me?  I'm off to order more velvet!!!

Vik, very very very happy customer... what colors did I need again?  oh=20
yeah....


=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=
=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=
=B0`=B0=BA=A4
Lady Victoria's Castle Closet:
Custom Clothing and Fine Renaissance Designs
http://bluedragyn.net/~lvcc/index2.html
Gallery: http://bluedragyn.net/~lvcc/castle-creations

15% discount to List Members, PayPal accepted

--=====================_41066938==_.ALT
Content-Type: text/html; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<html>
Sorry for the massive cross-post, but Buny's running an email sale and I
get to handle it!!! This is good for the month of July ONLY, so hurry and
get yours!!!!.&nbsp; Minimum order is 5 yards, shipping INCLUDED in the
price (where else are you going to find a deal like that???):<br>
<br>
ACETATE:&nbsp; $40 for 5 yards, $60 for 10 yards, and $6/yd including
shipping for every additional yard after 10.<br>
<br>
PANNE: $30 for 5 yards, $50 for 10 yards, and $5/yd including shipping
for each additional yard over 10.<br>
<br>
COLORS:<br>
black<br>
burgundy<br>
hunter green<br>
royal blue <br>
navy <br>
purple<br>
red<br>
<br>
PayPal preferred, and it ships the soonest!&nbsp; Address for PayPal is
velvet4sale@aol.com.&nbsp; The website where you can see these fabrics is
<a href=3D"http://www.velvetfabric.com/" eudora=3D"autourl">http://www.velve=
tfabric.com</a>,
but this sale is email only, not on the site at all!! When you write to
her, the subject of the email should say &quot;Vik sent me&quot; or
&quot;Email sale&quot;.&nbsp; If you have to send any other form of
Paymant, send it to:<br>
<br>
Kay Cushing <br>
15735 Garfield Ave. Suite 36 <br>
Paramount, CA 90723<br>
<br>
For more great deals and to be informed about future sales, sign up for
her mailing list!&nbsp; New newsletter subscribers get a discount coupon
that can be used on her website in the month of July!&nbsp; <br>
<br>
Me?&nbsp; I'm off to order more velvet!!!<br>
<br>
Vik, very very very happy customer... what colors did I need again?&nbsp;
oh yeah....<br>
<br>
<x-sigsep><p></x-sigsep>
<div align=3D"center">
=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=
=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=
=B0`=B0=BA=A4<br>
<font face=3D"Crusades" size=3D6 color=3D"#800080">Lady Victoria's Castle
Closet:</font> <br>
<font face=3D"Blackadder ITC" size=3D5>Custom Clothing and Fine Renaissance
Designs <br>
</font><a href=3D"http://bluedragyn.net/~lvcc/index2.html"=
 eudora=3D"autourl">http://bluedragyn.net/~lvcc/index2.</a><a=
 href=3D"http://bluedragyn.net/~lvcc/index2.html" eudora=3D"autourl">html<br=
>
</a><font face=3D"Book Antiqua, Bookman" size=3D4><b>Gallery</b></font>:
<a href=3D"http://bluedragyn.net/~lvcc/castle-creations"=
 eudora=3D"autourl">http://</a>bluedragyn<a=
 href=3D"http://bluedragyn.net/~lvcc/castle-creations"=
 eudora=3D"autourl">.net/~lvcc/castle-creations</a><br>
<br>
<font color=3D"#800080"><b>15% discount to List Members,
</font><font size=3D4 color=3D"#FF00FF">PayPal accepted<br>
</font></b></div>
</html>

--=====================_41066938==_.ALT--

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From h-costume-admin@indra.com  Tue Jul  9 17:34:22 2002
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References: <3D281088.31243.3E7DF54@localhost><p05100304b94e692bbb99@[209.86.9.254]><3D290EC2.8030101@attbi.com> <5.1.0.14.0.20020707225807.009f8610@pop.telus.net>
Subject: Re: [h-cost] Nettle allergy
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Date: Mon, 8 Jul 2002 07:19:16 +0100
Status: RO

There would be no sting on nettle cloth, even wet nettle have no sting

Mel
This e-mail, and any attachment, is confidential. If you have received
it in error, please delete it from your system, do not use or disclose
the information in any way, and notify me immediately. The contents of
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From: "Linda Walton" <linda.walton@dsl.pipex.com>
To: <h-costume@indra.com>
References: <F100wY6YHkidcDjoYAP00007c07@hotmail.com>
Subject: Re: Flax was Re: [h-cost] Nettles
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Date: Mon, 8 Jul 2002 22:43:25 +0100
Status: RO

> Now you made me think of an old question that's been resurfacing in my
head
> but that I never did anything with before...
>
> How WAS flax prepared? Any good website? How was it spun into thread?
>


Sara Von Tresckow has a wonderful website at:-

http://www2.powercom.net/~sarav/id11.htm

which covers all practical aspects of flax from growing (see the flaxcam
pictures!) to preparing, through spinning and weaving, to wearing.

Linda Walton.

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From h-costume-admin@indra.com  Tue Jul  9 17:38:28 2002
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Speaking of weeds....
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Date: Tue, 9 Jul 2002 19:15:23 +0100
Status: RO

Yes, a friend of mine has a demonstration hank of wool dyed with tansy, 
and she says she wants to renew it because it's not as loud as it was. 
We were considering doing surcoats with it and giving them to people as 
"stewards" - high-visibility surcoats!

Jean

Sue Clemenger <mooncat@in-tch.com> wrote
>Speaking of using plants we may often consider weeds, some friends of
>mine, who are into natural dyeing, have discovered that you can get
>really nifty shades of green using tansy or knapweed (whole plant, no
>root in both cases), both of which are ubiquitous around here (Montana
>has a bad problem with these and other "noxious weeds.").  You even get
>a really decent darker green if you do an iron bath on the fibers after
>the dyeing.  I've just seen the results on wool and silk fibers (the
>wool definitely took the dye more strongly), although they apparently
>played with some linen threads as well.  No idea how colorfast it is,
>but now I'm sure wishing I could find some white wool
>*fabric.*....*sigh* ;-)
>--sue, who's also discovered you get a really good, screaming yellow
>using dandelion flowers, which makes an eye-popping bright green when
>you overdye it with indigo <g>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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-- 
Jean Waddie
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Photos of 1700 costumes from the event this weekend
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Date: Tue, 9 Jul 2002 19:57:19 +0100
Status: RO

I have to say, the gentlemen in their coats and wigs were definitely the 
spiffiest thing at the event - Huzzah!

Jean


N Kipar <nicolas_fouquet@yahoo.com> wrote
>Hi All,
>
>I finally got some photos of the Officer's uniform coat and breeches and
>waistcoat I have been working on so madly in the past weeks for ben.
>Unfortunately he had his coat closed and you can't see the beautiful red silk
>and gold brocade waistcoat. *laughs* I will take more photos though soon.
>
>http://arts-humanities.cant.ac.uk/Temp/Hounslow/
>
>My mantua and fontange was made by Ninya Mikhaila, costumier to Hampton Court
>amongst other places. Mine and Ben's wigs were made by Derek Easton (again,
>like the 1660s one) our shoes by Sarah Juniper (all our shoes are). All my lace
>is 19th century lace, some handmade venetian gros needlepoint (lace stomacher,
>tucker and wrist frills), which I got from Marla Mallett, textile collector;
>the lappets of the fontange are 19th c. chemical lace lappets from a cape, the
>dark red silk ribbon is Victorian too. The belt buckle is a genuine one from
>1700, a mopped back to shine meal detector find. All of these last items are
>from eBay. The linen and silk cream brocade of the petticoat is an actual
>period pattern taht was woven as 'wallpaper' for a stately period home here in
>England and I got the narrow remnants, 10 meters of it. The black silk and
>silver metal brocade of the actual mantua is from Russia, and the gold real
>metal braid edging is from Germany. All the other silks and silk brocades are
>from merchants in the UK.
>Ben's coat is made from scarlet superfine cloth from Hainsworth, which is the
>actual same that is used by the Ministry of Defense for dress and parade
>uniforms. A beautiful beautiful cloth, but a pain to sew, it is so tightly
>woven. The silver lace is the B&S pattern for state livery, it's mylar not 90%
>silver because te latter was impossible to get, and I got it from Hand's, the
>oldest established (and still going) goldlacemen in London, supliers to the
>Ministry of defense and the Royal household too. The coat is lined with scarlet
>taffeta silk. The early tricorne hat (rolled up, wired and NOT folded) with
>silver lacing was made by Jane Smith, hatmaker in London, who usually works for
>the big theatre companies like the National Theatre. The brocade of Ben's
>waistcoat is from Russia too, and is linen lined.
>
>There you are, a big long explanation of what you see on the pix :-)
>
>Hope you enjoy, something completely else for once!
>
>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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>from News and Sport to Email and Music Charts
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-- 
Jean Waddie
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Subject: Re: [h-cost] Seeking Button Fly instructions
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Margo.....shall I send you my method of doing it? I just sorta figured it out 
on my own but it works and looks just like "the real thing" [it IS the real 
thing as far as I can tell]. I find them easier than zipper flies.

Let me type up some instructions tonight.

In the mean time see if you can find a sewing book from the 1950s or earlier. 
It should have button flies in it.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>Margo.....shall I send you my method of doing it? I just sorta figured it out on my own but it works and looks just like "the real thing" [it IS the real thing as far as I can tell]. I find them easier than zipper flies.
<BR>
<BR>Let me type up some instructions tonight.
<BR>
<BR>In the mean time see if you can find a sewing book from the 1950s or earlier. It should have button flies in it.</FONT></HTML>

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From: "Jane Williams" <jane@williams.nildram.co.uk>
To: h-costume@indra.com
MIME-Version: 1.0
Subject: Re: [h-cost] velvet for sale (cross-posted, not spam, please forgive me, it's too good to pass up)
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Date: Tue, 9 Jul 2002 22:34:34 +0100
Status: RO

On 4 Jul 2002 at 12:40, Victoria Wickens wrote:

> ACETATE: $40 for 5 yards, $60 for 10 yards, and $6/yd including shipping for every additional 
> yard after 10.
> 
> PANNE: $30 for 5 yards, $50 for 10 yards, and $5/yd including shipping for each additional yard 
> over 10.

That looks like a lot of velvet for not very much 
money: but I now realise that my total knowledge of 
velvet is "I can't afford it" (and even that is now 
wrong!)

Could someone advise on what these two types are, 
please? Also when they would have been used, and 
for what? 

(Yes, I *am* a beginner, you're absolutely right!)




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 Strange it seems to be working fine from this end too.

--Original Message Text---
From: Rose Amberwulf
Date: Tue, 09 Jul 2002 02:23:37 -0700

Has anyone else try this website?  I wasn't able to get anywhere with it=
.  I am quite eager to take a look at the 
beads.

Roscelin

Hi Folks
OK the bead CD is now up on Professor Carlssons site.
For those interested have a look at :- 
http://www16.aname.net/~arkeodok/


Fr=94jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com


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<HTML>


<FONT FACE=3D"Times New Roman" DEFAULT=3D"FACE"><FONT SIZE=3D"3" POINTSI=
ZE=3D"12" DEFAULT=3D"SIZE"> Strange it seems to be working fine from thi=
s end too.<BR>
<BR>
--Original Message Text---<BR>
<B>From:</B> Rose Amberwulf<BR>
<B>Date:</B> Tue, 09 Jul 2002 02:23:37 -0700<BR>
<BR>
Has anyone else try this website?  I wasn't able to get anywhere with it=
.  I am quite eager to take a look at the beads.<BR>
<BR>
Roscelin<BR>
<BR>
<FONT COLOR=3D000000 DEFAULT=3D"COLOR">Hi Folks<BR>
OK the bead CD is now up on Professor Carlssons site.<BR>
For those interested have a look at :- <FONT COLOR=3D0000ff><U><BR>
http://www16.aname.net/~arkeodok/<FONT COLOR=3D000000 DEFAULT=3D"COLOR">=
</U><BR>
<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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In a message dated 7/8/02 12:05:54 AM Eastern Daylight Time, 
h-costume-request@indra.com writes:


> I know we've all
> moved past the idea that women just stopped wearing ANY corset in the
> 1790's-1810's, but when did corsets start to change?
> 

A literary costume note I've always found interesting: Mary Shelley's 1/2 
sister Fanny commits suicide in 1816;  Fanny is identified by her mother's 
stays that she's wearing.  The stays must be circa at least 1795  (the year 
her mother died).  So in 1816 she was wearing a 1795 (or earlier) corset.  
Made me wonder how long stays lasted, if you were not wealthy how long would 
you wear the same corset?

Cheers,

Loren Dearborn
marionetta@aol.com

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>In a message dated 7/8/02 12:05:54 AM Eastern 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">I know we've all<BR>
moved past the idea that women just stopped wearing ANY corset in the<BR>
1790's-1810's, but when did corsets start to change?<BR>
</BLOCKQUOTE><BR>
<BR>
A literary costume note I've always found interesting: Mary Shelley's 1/2 sister Fanny commits suicide in 1816;&nbsp; Fanny is identified by her mother's stays that she's wearing.&nbsp; The stays must be circa at least 1795&nbsp; (the year her mother died).&nbsp; So in 1816 she was wearing a 1795 (or earlier) corset.&nbsp; Made me wonder how long stays lasted, if you were not wealthy how long would you wear the same corset?<BR>
<BR>
Cheers,<BR>
<BR>
Loren Dearborn<BR>
marionetta@aol.com</FONT></HTML>

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 2002 06:31:23 pm"
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Date: Tue, 9 Jul 2002 15:35:04 -0700 (PDT)
Status: RO

well, i have bras from high school still -- the special occasion ones at 
least -- and they aren't even well made.  



> In a message dated 7/8/02 12:05:54 AM Eastern Daylight Time, 
> h-costume-request@indra.com writes:
> 
> 
> > I know we've all
> > moved past the idea that women just stopped wearing ANY corset in the
> > 1790's-1810's, but when did corsets start to change?
> > 
> 
> A literary costume note I've always found interesting: Mary Shelley's 1/2 
> sister Fanny commits suicide in 1816;  Fanny is identified by her mother's 
> stays that she's wearing.  The stays must be circa at least 1795  (the year 
> her mother died).  So in 1816 she was wearing a 1795 (or earlier) corset.  
> Made me wonder how long stays lasted, if you were not wealthy how long would 
> you wear the same corset?
> 
> Cheers,
> 
> Loren Dearborn
> marionetta@aol.com

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Date: Tue, 09 Jul 2002 16:44:35 -0700
Status: RO

At 05:28 PM 07/09/2002 EDT, AlbertCat@aol.com wrote:
>Margo.....shall I send you my method of doing it? 

Yes, please!  


>In the mean time see if you can find a sewing book from the 1950s or
>earlier. It should have button flies in it. 

Unfortunately all my older sewing books ignore the topic of men's
tailoring, and the newer ones only give zipper instructions.  The
frustrating thing is, I made a pair of slops about 8 years ago, and the
client requested a buttoned fly.  I remeber following directions in a book,
but I can't figure out for the life of me which one it was!

I'm planning to buy this book soon:
http://www.amazon.com/exec/obidos/ASIN/0870054317/qid=1026236027/sr=2-1/ref=
sr_2_1/104-5744739-8328736
in the hopes that it will answer this sort of question for me.  Does anyone
know if it includes button fly instructions?

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Seeking Button Fly instructions
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Date: Tue, 09 Jul 2002 16:43:26 -0700
Status: RO



>
>Help!  Can anyone refer me to a book with clear instructions on how to
>construct a button fly?
>
>I've been through all my sewing books and I'm starting to get really
>frustrated.  Esepecially with books titled things like "The Complete Book
>of Tailoring" that don't even *mention* menswear>Margo
>"One Tough Costumer"

Check out THREADS Magazine's webpage.  They have all kinds of things like 
that.  Now that I think of it I think I'll go cruise around myself.  ;)

http://www.taunton.com/threads/index.asp



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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To: h-costume@indra.com
Subject: Re: [h-cost] Seeking Button Fly instructions
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Date: Tue, 09 Jul 2002 17:02:51 -0700
Status: RO




>From: Margo Anderson <margo@margospatterns.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: [h-cost] Seeking Button Fly instructions
>Date: Tue, 09 Jul 2002 10:32:00 -0700
>
>Help!  Can anyone refer me to a book with clear instructions on how to
>construct a button fly?
>
>I've been through all my sewing books and I'm starting to get really
>frustrated.  Esepecially with books titled things like "The Complete Book
>of Tailoring" that don't even *mention* menswear.  It seems a rather large
>area to ignore, after all.
>
>Margo


I did find a company that sells a pattern for button fly trousers.


http://www.tailorsguide.com/bf-trous.htm


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: "Kim Baird" <kbaird@cableone.net>
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Subject: RE: [h-cost] Seeking Button Fly instructions
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Date: Tue, 9 Jul 2002 19:46:19 -0500
Status: RO

I've used several patterns for men's trousers with a button fly, and the
best instructions I've found are in Laughing Moon's California pants.
It's a very good pattern.

http://www.lafnmoon.com/california_pants.htm

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Margo Anderson
Sent: Tuesday, July 09, 2002 12:32 PM
To: h-costume@indra.com
Subject: [h-cost] Seeking Button Fly instructions

Help!  Can anyone refer me to a book with clear instructions on how to
construct a button fly?  

I've been through all my sewing books and I'm starting to get really
frustrated.  Esepecially with books titled things like "The Complete
Book
of Tailoring" that don't even *mention* menswear.  It seems a rather
large
area to ignore, after all.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From h-costume-admin@indra.com  Tue Jul  9 21:14:13 2002
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Picture of Sleeveless Italian Chemise
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Date: Tue, 9 Jul 2002 20:21:50 -0500 (CDT)
Status: RO


On Tue, 9 Jul 2002 MaddNancy@aol.com wrote:

> Looking through Italian Renaissance Interiors I came across a picture
> of a Birth (may be the Virgin; may be John the Baptist: book says
> Virgin; website says Baptist) by Giusto de' Menabuoi in the Cathedral
> Baptistry in Padua (1376-78).  I got very excited...there is a woman
> wearing a sleeveless chemise that is belted under the breasts.  I
> would normally assume that she is the wetnurse, but she's wearing a
> balzo, although that may indicate that the painter assumed that the
> Baptist (or Virgin) would have a noble wetnurse.

It's hard to tell from the online version, but is her right breast exposed
through a nursing slit? If so, you've definitely got a wetnurse. Perhaps
someone with a hardcopy reproduction of this image can tell us.

Sure does look like a sleeveless chemise, and I'd consider this a pretty
clear-cut source (the attendants look pretty realistic). There are some
curious details throughout worth noting: the belt on the chemise, the
lines (decoration? seams?) on the mother's gown/chemise, the general
plumpness of the women, and the servant you already noticed with the
shortsleeved chemise with the sleeveless gown.

Next step: Find more art by this artist and compare styles and
presentation. Then, if possible, other art from the same place and time to
see if his quirks are unique or occur elsewhere.

--Robin

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Subject: [h-cost] A question from a friend
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Date: Tue, 09 Jul 2002 20:58:36 -0400
Status: RO

My husband figured that I would know the answer to this question. And 
of course I wouldn't want to let him down. But a person at his work 
wanted to know the answer to this question.

And the question is:

>  I was wondering if you could help me, do you know what the name of a
>  nightshirt or gown that was worn by a king called?  This would be from the
>  13th Century forward.

I can't come up with anything other than an undershirt or chemise 
(but I thought those were women's wear).  I will be sure to credit 
the correct answerer, of course.

Any ideas?

Linda K-S
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Subject: Re: [h-cost] Movie: "Druids"
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Date: Tue, 09 Jul 2002 22:47:27 -0400
Status: RO

> *From:* Rose Amberwulf
> *Date:* Tue, 09 Jul 2002 02:23:37 -0700
> 
> Has anyone else try this website? I wasn't able to get anywhere with it. 
> I am quite eager to take a look at the beads.

Hi Roscelin-
	it works fine on my end, and I've tromped through the site as 
well. It's possible that you got caught by the same thing a 
friend of my got caught with: when the url was posted there 
was an extra underscore at the beginning and at the end of 
the address. The one at the beginning wasn't a problem 
because it was on a different line, but the one at the end 
seem to travel with the url. My first try gave me a 404 
error message. I realized what probably happened and erased 
the line at the end and it worked just fine. Try this: 
http://www16.aname.net/~arkeodok/index.html


	-Judy Mitchell


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Subject: [h-cost] The 1796 nettlecloth dress
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Date: Tue, 09 Jul 2002 19:46:40 -0700
Status: RO

The photos were someone supplied appear to have been scanned in from a
modern copyrighted book, Ellen Anderson's _Moden 1790-1840_.  This
book includes a scale pattern of the same dress with notes.  It also
includes 18 other scale patterns for women's and men's garments, and
many photos including those for which no pattern is provided.  It was
published in 1986 by the Nationalmuseet in Copenhagen. I think I
bought mine from Fred Struthers--his email is fsbks@mcn.org.

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] Re: Costume College
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Date: Mon, 08 Jul 2002 23:41:48 -0500
Status: RO

We're going to Costume College as well.  We're teaching a class on Trims on 
Saturday at 1 pm, and a limited attendance workshop on creating headpieces 
and headdresses (mostly Fantasy oriented, but...) late Sunday afternoon.  I 
at least will try to remember to put a red H on my badge.  If you're going 
to the gala Saturday night, I will be in bright orange and yellow, and 
Pierre will be in black and silver gray.

Sandy

>From: AlbraKat@aol.com
>I'll be going to Costumne College----and will be teaching the gold
>bullion/metal thread /pearl embroidery class on saturday morning:) Arriving
>friday late afternoon--leaving sunday by noon.  I'll put a red H next to my
>name on my name badge---Kathryn Wolters----and would love to meet up for an
>h-costumne lunch. Hope to meet more of you there!!
>Albra/Kathryn

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda


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From: MaddNancy@aol.com
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Subject: RE: [h-cost] Picture of Sleeveless Italian Chemise
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Date: Wed, 10 Jul 2002 00:49:37 EDT
Status: RO


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In a message dated 7/9/02 2:02:36 PM Eastern Daylight Time, 
Colleen.McDonald@mackie.com writes:


> I may be able to document that sleeveless chemise in Italy yet!

Colleen,

Remind me please, what exactly are you trying to document the sleeveless 
chemise for?  Do you have any particular exterior garments that you want to 
recreate to wear over them?  This area really fascinates me, so I'm really 
interested in what you've tried so far.  This era and the clothes in Italy of 
that time are on my "wish list".  I want to look like one of the babes in the 
Tacuinam Sanitatis!

Nancy

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 7/9/02 2:02:36 PM Eastern Daylight Time, Colleen.McDonald@mackie.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I may be able to document that sleeveless chemise in Italy yet!</BLOCKQUOTE><BR>
<BR>
Colleen,<BR>
<BR>
Remind me please, what exactly are you trying to document the sleeveless chemise for?&nbsp; Do you have any particular exterior garments that you want to recreate to wear over them?&nbsp; This area really fascinates me, so I'm really interested in what you've tried so far.&nbsp; This era and the clothes in Italy of that time are on my "wish list".&nbsp; I want to look like one of the babes in the Tacuinam Sanitatis!<BR>
<BR>
Nancy</FONT></HTML>

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Subject: [h-cost] Intro and Revolution In Fashion book
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Date: Tue, 09 Jul 2002 18:57:33 -0700
Status: RO

Hello, everyone -

My name is Julie, and I've been lurking here for a few months. Sort of 
waiting for the right moment (and the nerve) to jump in and join the fun. <g>

Costuming is a hobby I've indulged in as far back as I can remember. I just 
plain like to make costumes. Not professionally, but just for myself and 
sometimes some friends. I'm not really into the SCA or Ren Faire, my 
primary interest is the research and construction of the costumes 
themselves. My favorite time period has always been Regency (with some side 
trips to the Renaissance, both English and Italian). For the last few years 
I've been away from costuming, but lately I've gotten back into it and I've 
got several projects scattered around the house. I just recently converted 
part of (well, MOST of) the closet in the guest room to fabric storage so I 
can put my hands on anything in my fabric stash whenever I need to. I've 
got lots of questions and pleas for help, but that'll come later.

First things first - I think I can help a bunch of people here. There's 
been some talk recently about the book The Revolution In Fashion from the 
Kyoto Costume Institute. I noticed every seemed to be in agreement that the 
book was out of print and unable to be found anywhere. Well, I just came 
across this book recently (I live near Los Angeles and was in AlterYears a 
few weeks ago and I drooled over the store copy) and of course the moment I 
saw it I knew I had to have a copy. I did a little searching on the 
Internet and found that most people were right, it was no where to be 
found. But then I decided to check the source and the end result is I'm 
sitting here with a brand new copy of Revolution In Fashion clutched in my 
hands as I type this!

I found it at, of all places, the Kyoto Costume Institute website. They 
have it listed in their catalog, and I just emailed the contact person, 
received a reply within 24 hours, and here I am, two weeks later with the 
book. The best part, it cost just $30, and that included shipping from 
Kyoto! They said the only way they can ship it is C.O.D, which is a bit of 
a pain because I had to wait here for the delivery, but it was so worth it!

Here's the address for the catalog 
page:  http://www.kci.or.jp/cgi-bin/catalogue.cgi?lang=e
If I was able to purchase it, I'm sure anyone else who wants a copy will be 
able to, too!

I've got to go find a drool rag so I can sit down and enjoy the book!

Julie

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: RE: [h-cost] Picture of Sleeveless Italian Chemise
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Date: Wed, 10 Jul 2002 00:49:46 -0500 (CDT)
Status: RO


On Wed, 10 Jul 2002 MaddNancy@aol.com wrote:

> This era and the clothes in Italy of that time are on my "wish list".  
> I want to look like one of the babes in the Tacuinam Sanitatis!

Which Tacuinam? There are five or so manuscripts of that name whose
illustrations are frequently reproduced, with some differences in style
among them. They may be nominally Italian, but they're from Northern
Italy, and in some of the manuscripts, the fashions are almost
indistinguishable from the French.

And, which Italy? If you're looking for "Italian" style, you need to
consider which of the several distinct styles lumped under that name you
actually mean. Each of the regions had its own look, and the farther south
you go, the more it differs from Western Europe. For instance, the image
we were just looking at, with the sleeveless chemise, is very different in
look from what you see in many of the Tacuinum manuscripts.

And this is one reason I don't go anywhere near Italian costume! I can't
wrap my head around the degree of variation, and I've never tried to work
out which of the variations line up with which of the regions. But I use
some of the Tacuinum illustrations when I teach International Gothic
fashions, because they fall close enough (geographically and
stylistically) to the Franco-Flemish to be classed with them.

--Robin

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Subject: Re: [h-cost] Intro and Revolution In Fashion book
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Date: Wed, 10 Jul 2002 02:09:47 -0400
Status: RO

> I found it at, of all places, the Kyoto Costume Institute website. They
> have it listed in their catalog, and I just emailed the contact person,
> received a reply within 24 hours, and here I am, two weeks later with the
> book. The best part, it cost just $30, and that included shipping from
> Kyoto! They said the only way they can ship it is C.O.D, which is a bit of
> a pain because I had to wait here for the delivery, but it was so worth
it!
>
> Here's the address for the catalog
> page:  http://www.kci.or.jp/cgi-bin/catalogue.cgi?lang=e
> If I was able to purchase it, I'm sure anyone else who wants a copy will
be
> able to, too!

Oh, wow, THANKS!! Btw, there's one copy on ebay now, but last time I checked
it was up to 92$ - and they don't ship to Canada :-) Your way is MUCH
better!!!

The worst thing is, I went to their website yesterday night, saw the video
of the same name, didn't see the book... ehehe :-)
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From: Rose Amberwulf <roscelin@attbi.com>
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Subject: [h-cost] History of beads
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Date: Wed, 10 Jul 2002 00:10:37 -0700
Status: RO

Thank you, Judy.  It is working for me now with your correction.  I 
can't wait to get the CD.  I've been a beader for sometime, but have 
just started to think about working on a research paper about the use 
and history of  beads.

Roscelin

Judy Mitchell wrote:

>> *From:* Rose Amberwulf
>> *Date:* Tue, 09 Jul 2002 02:23:37 -0700
>>
>> Has anyone else try this website? I wasn't able to get anywhere with 
>> it. I am quite eager to take a look at the beads.
>
>
> Hi Roscelin-
>     it works fine on my end, and I've tromped through the site as 
> well. It's possible that you got caught by the same thing a friend of 
> my got caught with: when the url was posted there was an extra 
> underscore at the beginning and at the end of the address. The one at 
> the beginning wasn't a problem because it was on a different line, but 
> the one at the end seem to travel with the url. My first try gave me a 
> 404 error message. I realized what probably happened and erased the 
> line at the end and it worked just fine. Try this: 
> http://www16.aname.net/~arkeodok/index.html
>
>
>     -Judy Mitchell
>
>


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Subject: Re: [h-cost] Photos of 1700 costumes from the event this weekend
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Date: Wed, 10 Jul 2002 08:53:49 +0100 (BST)
Status: RO

 --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > I have to say, the
gentlemen in their coats and wigs were definitely the 
> spiffiest thing at the event - Huzzah!
> 
> Jean

Thanks Jean! *grins* wait till I have finished ben's coat for good and he has
silver lace around the shoulders (two rows) and down the sides (two rows) and
along the outside of the breeches (yet another two row) he's gonna be
glow-in-the-dark-officer.
hehehehe

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, 10 Jul 2002 09:36:10 +0100
Status: RO

Nicole, I wish I could  have been there to see you all (though it was exciting singing in Beethoven's 9th in Derby Cathedral!) I spoke to a friend from our music group last night, but they seem to have spent all their spare time at the event watching another friend's American Civil War group.
I'm most impressed with your hairstyle; I see you say it was a wig, but even so it must have taken a lot of skill and patience to arrange.



Kate Bunting
Library, University of Derby

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Date: Wed, 10 Jul 2002 09:49:21 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > Nicole, I wish I could 
have been there to see you all (though it was
> exciting singing in Beethoven's 9th in Derby Cathedral!) 

Wow, now that does sound exciting indeed.

I spoke to a friend
> from our music group last night, but they seem to have spent all their spare
> time at the event watching another friend's American Civil War group.

We met some from the general's musick, do you know them? The ECW dance troupe.
Very nice indeed.

> I'm most impressed with your hairstyle; I see you say it was a wig, but even
> so it must have taken a lot of skill and patience to arrange.

*GRINS* No, no, the wig is actually made into this style. Ninya arranged the
fontange onto he wig and all I do is pop on the wig cum fontange like a hat.
Takes 2 ticks. Derek has arranged all the long hair of the wig in a bun, where
the fontange cap sits on, and the front is fastened godness how wigmakers do
it, but it is very sturdy. What I alys do is send the wig(s) back to him after
the season to be washed and re-set. 35 quid per wig well spent! It enhances the
life of them indefinitely. I just bought a human hair wig in the same colour
though, long and straight, no bangs, which I can wear 'before' my hair is
dressed. :-))

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, 10 Jul 2002 10:02:06 +0100
Status: RO

Nicole wrote:
>We met some from the general's musick, do you know them? The ECW >dance troupe.
>Very nice indeed.

That *is* our group, though the dancers are actually an independent group, Renaissance Footnotes, who often join forces with us. We've just heard that we have been booked to appear together at the Museum of London in the New Year, which will be our most prestigious gig yet!


Kate Bunting
Library, University of Derby

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] small towns
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Date: Wed, 10 Jul 2002 10:25:13 +0000 (GMT)
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> Ah, this explains it all: to me, Dunstable is a suburb of Luton.
> Just like Stopsley, where I grew up. And to get this at least
> slightly back on topic, both close enough to the town centre to be
> linked to the Luton hat-making industry, I think? 

Yep, though it was (dunno about now) still regarded a s a seperate 
town by the people living there and Dunstable had a reasonable rep 
of it's own for straw hatmaking too, at one time.


Teddy
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Date: Wed, 10 Jul 2002 21:57:22 +1200
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> *GRINS* No, no, the wig is actually made into this style. Ninya arranged
the
> fontange onto he wig and all I do is pop on the wig cum fontange like a
hat.
> Takes 2 ticks. Derek has arranged all the long hair of the wig in a bun,
where
> the fontange cap sits on, and the front is fastened godness how wigmakers
do
> it, but it is very sturdy.

When I did my bit as Lady wishfort I used my own hair and merrily mocked the
heck out of the style. Well Lady Wishfort is "of a certain age" and trying
desperately to impress this bit of tasty crumpet and so I decided that she
was overdoing the effort.

I wound the front section of my hair around bobby pins and did loose
ringlets at the back, pinned to the head.. and they started to fall out of
place (which added to the comedy of me chasing this young man about the
room). When the front section was unwound and brushed... well you could have
used me to clean chimneys! I really wish I'd had photos.. I was a sight...

But it was very easy to do and required no styling products thanks to the
really tight curls.

When we saw a production of it the next year, they seemed to have set it 50
years on in time. So yes, 1690-1710 is a very underdone era of fashion
history.

michaela


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Subject: Re: Flax was Re: [h-cost] Nettles 
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> How WAS flax prepared? Any good website? How was it spun into thread? Or was 
> 
> it used as is to make very thin fabric? Does it grow around here? (here 
> being Montreal, Canada) 

As a kid, I went on a field trip in New York (USA) to a reenactment village.  
They let us spin our own flax.  This is as much as I can remember.:

Flax stalks looked like straw to me.  They had a board that was maybe 8 
inches wide and 1 inch thick standing upright about 3 feet high, mounted to a 
base.  The board had a hole near the top where you put the ends of the flax 
strands; the rest of the flax hung along the board to be beaten with a 
paddle.  I can't remember if the paddle was flat or spiked, but it was used 
to crack the hard outer shell of the plant off the soft inner fibers.  Once 
the shells were off, you grabbed the bunch by the ends and wrapped them 
around a spindle.  Ya held that up to about chest height and set it spinning. 
 This gave you a loose yarn, some of which we made into bracelets as 
souveniers.  The rest was then set on a spinning wheel to refine the yarn 
into thread, which was then looped onto a loom for weaving.

My dictionary also says this.:

"1.a.  A plant of the genus Linum, esp. a widely cultivated species, L. 
usitatissimum, having blue flowers, seeds that yeild linseed oil, and slender 
stems from which a fine, light-colored textile fiber is obtained."

I think the flowers were removed before spinning, as were any roots, because 
I only remember seeing clean pre-cut stems.  Not sure where you'd get seeds, 
but hopefully my info was helpful.

--Gillian

--part1_82.1e182d22.2a5d68df_boundary
Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><FONT  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">How WAS flax prepared? Any good website? How was it spun into thread? Or was <BR>
it used as is to make very thin fabric? Does it grow around here? (here <BR>
being Montreal, Canada) </BLOCKQUOTE><BR>
<BR>
As a kid, I went on a field trip in New York (USA) to a reenactment village.&nbsp; They let us spin our own flax.&nbsp; This is as much as I can remember.:<BR>
<BR>
Flax stalks looked like straw to me.&nbsp; They had a board that was maybe 8 inches wide and 1 inch thick standing upright about 3 feet high, mounted to a base.&nbsp; The board had a hole near the top where you put the ends of the flax strands; the rest of the flax hung along the board to be beaten with a paddle.&nbsp; I can't remember if the paddle was flat or spiked, but it was used to crack the hard outer shell of the plant off the soft inner fibers.&nbsp; Once the shells were off, you grabbed the bunch by the ends and wrapped them around a spindle.&nbsp; Ya held that up to about chest height and set it spinning.&nbsp; This gave you a loose yarn, some of which we made into bracelets as souveniers.&nbsp; The rest was then set on a spinning wheel to refine the yarn into thread, which was then looped onto a loom for weaving.<BR>
<BR>
My dictionary also says this.:<BR>
<BR>
"1.a.&nbsp; A plant of the genus Linum, esp. a widely cultivated species, L. usitatissimum, having blue flowers, seeds that yeild linseed oil, and slender stems from which a fine, light-colored textile fiber is obtained."<BR>
<BR>
I think the flowers were removed before spinning, as were any roots, because I only remember seeing clean pre-cut stems.&nbsp; Not sure where you'd get seeds, but hopefully my info was helpful.<BR>
<BR>
--Gillian</FONT></HTML>

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> Photos of 1700 costumes from the event this weekend
> 
That gown is TO DIE FOR!!!  And that's not even my period (Elizabethan).  
Please tell me more about that Russian source for the black and silver 
brocade!


--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  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">Photos of 1700 costumes from the event this weekend<BR>
</BLOCKQUOTE><BR>
That gown is TO DIE FOR!!!&nbsp; And that's not even my period (Elizabethan).&nbsp; Please tell me more about that Russian source for the black and silver brocade!<BR>
<BR>
<BR>
--Gillian<BR>
</FONT></HTML>
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Date: Wed, 10 Jul 2002 21:59:39 +1000
Status: RO

Nicole,

Now this IS dedication!!

 I just bought a human hair wig in the same colour
> though, long and straight, no bangs, which I can wear 'before' my hair is
> dressed. :-))

Glenda.

Can't cope with the idea of getting heatstroke over there, though - our
current (winter) temps are about the same as yours is now - I don't feel
the heat until about 35C, and don't really suffer until the heat is over
body temp. - don't try me in the cold, though :-) Hope you're feeling better
now.





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Date: Wed, 10 Jul 2002 06:06:38 -0600
Status: RO

He almost is, already, with the scarlet of that coat! <g>
You guys look *great*! Besides enjoying how great Ben looks (what is it
about good clothes and long hair on men...yum, yum <g>), I also drooled
at your fabric (for the mantua? some sort of grey and silver brocade?),
and your description of all the places you used to acquire bits of your
outfits....I sure wish I had some of your resources!
About the event at which these photos were taken...was this an event
wholey dedicated to just this time period? or one of those mass events I
hear about, with a whole bunch of different time periods and
encampments? Were you doing it purely for yourselves, or were you also
available to the public? (my group pretty much does it for the former
reason, but I've heard of groups that do it for the latter...)
--Sue, up early so she can work on her eternal (darned near "infernal")
blackwork project, and think about the early period Norse outfit she's
planning (*sigh*....so many centuries, so little time.....;-)

N Kipar wrote:
> 
>  --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > I have to say, the
> gentlemen in their coats and wigs were definitely the
> > spiffiest thing at the event - Huzzah!
> >
> > Jean
> 
> Thanks Jean! *grins* wait till I have finished ben's coat for good and he has
> silver lace around the shoulders (two rows) and down the sides (two rows) and
> along the outside of the breeches (yet another two row) he's gonna be
> glow-in-the-dark-officer.
> hehehehe
>
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Date: Wed, 10 Jul 2002 13:44:31 +0000 (GMT)
Status: RO

Hi Julie,

Welcome to h-costume!



Teddy
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From h-costume-admin@indra.com  Wed Jul 10 09:35:08 2002
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Subject: Re: [h-cost] Photos of 1700 costumes from the event this weekend
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Date: Wed, 10 Jul 2002 14:18:31 +0100 (BST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > He almost is, already, with
the scarlet of that coat! <g>

actually, not kidding, he does kinda glow, we walked back to the tents from the
beertent and I thought he was rather visible. :-)

> You guys look *great*! Besides enjoying how great Ben looks (what is it
> about good clothes and long hair on men...yum, yum <g>),

hehe, he really does have long hair underneath the wig.

 I also drooled
> at your fabric (for the mantua? some sort of grey and silver brocade?),

black silk and silver thread, it looks greyish in the photos but is actually
silver.

> and your description of all the places you used to acquire bits of your
> outfits....I sure wish I had some of your resources!

oh, most of it is online! only a small amount of things comes from the UK.

> About the event at which these photos were taken...was this an event
> wholey dedicated to just this time period? or one of those mass events I
> hear about, with a whole bunch of different time periods and
> encampments? 

It was a multi-period event, which are my favourites. Hundreds of re-enactors
of almost all time periods, fantastic. This year for the first time we had
Greek hoplites!

Were you doing it purely for yourselves, or were you also
> available to the public? (my group pretty much does it for the former
> reason, but I've heard of groups that do it for the latter...)

actually, 'classic' re-enactors work for the public. people who don't aren't
seen as re-enactors but as people who like costumes. (waits to get stick for
that now, but it's true!)

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] Photos of 1700 costumes from the event this weekend
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Date: Wed, 10 Jul 2002 14:36:02 +0100 (BST)
Status: RO

 --- Glenda Robinson <glendar@compassnet.com.au> wrote: > 

> Can't cope with the idea of getting heatstroke over there, though - our
> current (winter) temps are about the same as yours is now - I don't feel
> the heat until about 35C, and don't really suffer until the heat is over
> body temp. - don't try me in the cold, though :-) Hope you're feeling better
> now.

*laughs* I think I would die iver at your place. I hate heat, hate it with a
deep vengeance. My skin is white, my eyes are pale, my organism needs several
liters of water, my brain doesn't function when it's too warm, and my ancestors
come from Russia.

20 celsius and a gentle breeze under a sunny sky, that is perfect for costumes!

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  Wed Jul 10 09:59:07 2002
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Subject: Re: [h-cost] aurora bleacheries - help
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Date: Wed, 10 Jul 2002 09:42:11 EDT
Status: RO

I'm one of those people "lurking" in the background, enjoying all the 
information and glad to be able to offer some in return.  We used to live in 
Chicago area, and are now in St. Louis area, so I've used the Aurora 
Bleachery, but not recently.  Their new name is Aurora Textile Finishing, and 
the old telphone number is still good:  (630)-892-7651.  I called, and a 
recording says the remnant shop is open Monday through Friday, 9 to 2:30.  
The recording gives directions from I-88 (East-West Tollroad):  exit at Route 
31 (Lake St.) south to Aurora, go 5 stop lights,  turn left onto service 
road.  From there the directions get complicated, so I assume they are still 
in the old location, but the little access road has changed due to 
construction.  I suggest you call them for complete directions. 

For those who are not familiar with the Aurora Bleachery, they sell cotton 
and  cotton blend remnants by weight, of whatever fabrics they are finishing, 
from a small area within their plant.  I used to buy white, black and 
unbleached muslin from them for making shirts.  As far as I know, they only 
sell if you go to the plant.  

Hope this helps.  

Carol Inkpen 
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From h-costume-admin@indra.com  Wed Jul 10 10:15:21 2002
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Date: Wed, 10 Jul 2002 08:04:12 -0600
Status: RO

*snort* You sound like me! Except that my ancestors came from Britain
and Ireland <ggg>, and I have the fair (freckled/pink) skin and blue
eyes to show for it, although I'm brown-haired.  I've learned to deal
with the extreme temperatures in my part of the world (Montana in the
U.S., not Australia), but I completely *loathe* heat, and I sunburn very
badly unless I'm careful.  I'm at my best, mentally and physically, when
it's in the 60s and low 70s (farenheit, not sure of celsius
equivalent).  Made me wonder, more than once, how much of heat/cold
tolerance is acquired (i.e., just a matter of what you're used to), and
how much of it may be inherited in some way.
--Sue

N Kipar wrote:
> 
>  --- Glenda Robinson <glendar@compassnet.com.au> wrote: >
> 
> > Can't cope with the idea of getting heatstroke over there, though - our
> > current (winter) temps are about the same as yours is now - I don't feel
> > the heat until about 35C, and don't really suffer until the heat is over
> > body temp. - don't try me in the cold, though :-) Hope you're feeling better
> > now.
> 
> *laughs* I think I would die iver at your place. I hate heat, hate it with a
> deep vengeance. My skin is white, my eyes are pale, my organism needs several
> liters of water, my brain doesn't function when it's too warm, and my ancestors
> come from Russia.
> 
> 20 celsius and a gentle breeze under a sunny sky, that is perfect for costumes!
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Subject: RE: [h-cost] Picture of Sleeveless Italian Chemise
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Thread-Topic: [h-cost] Picture of Sleeveless Italian Chemise
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From: "Colleen McDonald" <Colleen.McDonald@mackie.com>
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Date: Wed, 10 Jul 2002 07:22:02 -0700
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Nancy wrote:=20
<< Remind me please, what exactly are you trying to document the =
sleeveless chemise for? >>
=20
I'm gearing up to enter a complete Italian outfit (around 1350-1365, =
Florence) in a big competition next March, something along the lines of =
the purple dress in the Last Judgment (Nardo di Cione, Santa Maria =
Novella, 1350).  I want to have everything as documented as possible =
(well, and still finish on time).  I'm starting with the chemise and =
working from the skin out. =20
=20
Here's a link to the picture: =
http://www.kfki.hu/~arthp/html/n/nardo/index.html.
=20
I'm also working to learn tablet/card weaving to recreate the trim on =
the neck line and wrists of the garment.
=20
I've completed a more generic 14th century Italian dress for a previous =
competition at a lower level, so now I'm refining my research.
=20
Thanks to everyone for the help and suggestions so far!
=20
Colleen

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; =
charset=3Diso-8859-1">


<META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR></HEAD>
<BODY>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002><FONT color=3D#0000ff>Nancy=20
wrote:&nbsp;</FONT></SPAN></FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002><FONT =
color=3D#0000ff>&lt;&lt;&nbsp;</FONT></SPAN>Remind=20
me please, what exactly are you trying to document the sleeveless =
chemise=20
for?<SPAN class=3D950451314-10072002><FONT=20
color=3D#0000ff>&nbsp;&gt;&gt;</FONT></SPAN></FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002>I'm gearing up to enter a complete Italian =
outfit=20
(around 1350-1365, Florence) in a big competition next March, something =
along=20
the lines of the purple dress in the Last Judgment (Nardo di Cione, =
Santa Maria=20
Novella, 1350).&nbsp; I want to have everything as documented as =
possible (well,=20
and still finish on time).&nbsp; I'm starting with the chemise and =
working from=20
the skin out.&nbsp; </SPAN></FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002>Here's a link to the picture: <A=20
href=3D"http://www.kfki.hu/~arthp/html/n/nardo/index.html">http://www.kfk=
i.hu/~arthp/html/n/nardo/index.html</A>.</SPAN></FONT></FONT></FONT></DIV=
>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002>I'm also working to learn tablet/card weaving =
to=20
recreate the trim on the neck line and wrists of the=20
garment.</SPAN></FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002>I've completed a more generic 14th century =
Italian=20
dress for a previous competition at a lower level, so now I'm refining =
my=20
research.</SPAN></FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002>Thanks to everyone for the help and =
suggestions so=20
far!</SPAN></FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><FONT lang=3D0 FAMILY=3D"SANSSERIF"><FONT =
size=3D2><SPAN=20
class=3D950451314-10072002>Colleen</SPAN></FONT></FONT></FONT></DIV></BOD=
Y></HTML>

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Date: Wed, 10 Jul 2002 12:28:39 -0400
Status: RO


Dear all-knowing List:

For some reason my internet service isn't connecting today, but my email is.
Does anyone know an on-line source for pictures of the "Devonshire
Tapestries"? A friend is looking and I can't search. They are a set of
tapestries, apparently, with hunting scenes. A color print source would be
good, too. She has seen only a B&W of one of the panels? tapestries?
figures? She is particularly interested in a figure of a falconer, but she
would like to see any and all. I thought someone here might know.

Gail Finke


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Subject: Re: [h-cost] devonshire tapestries
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Date: Wed, 10 Jul 2002 11:36:11 -0500
Status: RO

The Devonshire Tapestries are huge wall hangings which are in the
Victoria and Albert in London. The figures are mostly life size. I have
several slides of the tapestries which I got at the V&A for research
purposes. If you can contact the museum, they may still have them
available. The figures have wonderful clothing, some of which I suspect
is a bit fantastical, but the more bucolic figures seem to be more
realistic. I don't know of a good print source, that's why I got the
slides!


Karen


On Wed, 10 Jul 2002 12:28:39 -0400 Gail & Scott Finke <gailscott@eos.net>
writes:
> 
> Dear all-knowing List:
> 
> For some reason my internet service isn't connecting today, but my 
> email is.
> Does anyone know an on-line source for pictures of the "Devonshire
> Tapestries"? A friend is looking and I can't search. They are a set 
> of
> tapestries, apparently, with hunting scenes. A color print source 
> would be
> good, too. She has seen only a B&W of one of the panels? 
> tapestries?
> figures? She is particularly interested in a figure of a falconer, 
> but she
> would like to see any and all. I thought someone here might know.
> 
> Gail Finke
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] devonshire tapestries
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Date: Wed, 10 Jul 2002 12:19:53 -0500 (CDT)
Status: RO


On Wed, 10 Jul 2002 seamstrix@juno.com wrote:

> The Devonshire Tapestries are huge wall hangings which are in the
> Victoria and Albert in London. The figures are mostly life size. I
> have several slides of the tapestries which I got at the V&A for
> research purposes. If you can contact the museum, they may still have
> them available. The figures have wonderful clothing, some of which I
> suspect is a bit fantastical, but the more bucolic figures seem to be
> more realistic. I don't know of a good print source, that's why I got
> the slides!

The good print source is this:

_The Devonshire Hunting Tapestries_, by George Wingfield Digby. London:  
Victoria & Albert Museum, 1971.

It's hardback, about 12x12, with full foldouts of all four tapestries,
closeups (some in color) of interesting details, and LOTS of good
analysis. Be sure to read the text. It's important to know that the
tapestries were not originally made as a set, but were combined to form a
set, and the dates on them differ. That means you can't safely mix and
match details from the indiscriminately. Also, because this style of
tapestry was practically mass-produced in workshops (which often
recombined pieces of cartoons of different dates) and because these
particular ones have undergone some alterations, there are other dating
problems. I am dead certain, for instance, that one figure (wearing a
princess-seamed dress on her overgown, a flounced hem on her undergown,
and a partlet!)  was a later repair or addition. There are many such
anomalies in the tapestries, and it's worth reading the analysis to sort
some of it out. I would not recommend the costume analysis section,
however.

I'd guess the book is available ILL. I was at the V&A in the early 80s
when it was still on sale. It cost me about $10. I should have bought the
whole stack.

--Robin

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Subject: Re: [h-cost] Intro and Revolution In Fashion book
In-Reply-To: <OE39h8e3U5zjzjPWL0J00004d7b@hotmail.com> "from Audrey Bergeron-Morin
 at Jul 10, 2002 02:09:47 am"
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Date: Wed, 10 Jul 2002 10:39:23 -0700 (PDT)
Status: RO

thanks for the info!  who did you email to get the book?  I emailed 
their "info" address but I wasn't sure if it was the right one.


> > I found it at, of all places, the Kyoto Costume Institute website. They
> > have it listed in their catalog, and I just emailed the contact person,
> > received a reply within 24 hours, and here I am, two weeks later with the
> > book. The best part, it cost just $30, and that included shipping from
> > Kyoto! They said the only way they can ship it is C.O.D, which is a bit of
> > a pain because I had to wait here for the delivery, but it was so worth
> it!
> >
> > Here's the address for the catalog
> > page:  http://www.kci.or.jp/cgi-bin/catalogue.cgi?lang=e
> > If I was able to purchase it, I'm sure anyone else who wants a copy will
> be
> > able to, too!
> 
> Oh, wow, THANKS!! Btw, there's one copy on ebay now, but last time I checked
> it was up to 92$ - and they don't ship to Canada :-) Your way is MUCH
> better!!!
> 
> The worst thing is, I went to their website yesterday night, saw the video
> of the same name, didn't see the book... ehehe :-)
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Photos of 1700 costumes from the event this weekend
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Date: Wed, 10 Jul 2002 19:25:20 +0100
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote
> --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > I have to say, the
>gentlemen in their coats and wigs were definitely the
>> spiffiest thing at the event - Huzzah!
>>
>> Jean
>
>Thanks Jean! *grins* wait till I have finished ben's coat for good and he has
>silver lace around the shoulders (two rows) and down the sides (two rows) and
>along the outside of the breeches (yet another two row) he's gonna be
>glow-in-the-dark-officer.
>hehehehe
>
>Nicole
>
We'll have to match him with someone in a tansy-dyed surcoat and see who 
glows best!

Jean
-- 
Jean Waddie
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Date: Wed, 10 Jul 2002 16:31:34 -0400
Status: RO

Hi,
Those of you who regularly sell on EBay, could you give me your IDs so I can
take a look once in a while?
Also, if you have AMAZING merchants you would love other people to buy from,
I'd take a look...
Thanks!
Audrey
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Date: Wed, 10 Jul 2002 16:59:56 -0500
Status: RO

Dear List

After some confusion and missteps, I have unsubbed 
as "mzscahlett" and resubbed under this email.  This 
is a test to see if I've done it all properly.  Sorry 
for the misuse of bandwidth, but I just had to be sure 
I hadn't lost y'all forever.

angela
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com

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Subject: Re: [h-cost] Photos of 1700 costumes from the event this weekend
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Date: Wed, 10 Jul 2002 17:11:41 -0400
Status: RO

can i add a most enthusiastic "me too"?
i'm of dutch/english/scottish descent on my mom's side and
french-canadian/indian (wyandot) on my father's. blue eyes, brown hair and
freckles. can't do heat for nothin'. humidity is even worse. as my hair gets
bigger, so do the complaints:)
right now i'm preparing for our big yearly event in the sca (pennsic  war)
and i'm working through a large pile of linen. we're hoping (as we do every
year) that it'll be a cool war. we'll see.
laurie
> *snort* You sound like me! Except that my ancestors came from Britain
> and Ireland <ggg>, and I have the fair (freckled/pink) skin and blue
> eyes to show for it, although I'm brown-haired.  I've learned to deal
> with the extreme temperatures in my part of the world (Montana in the
> U.S., not Australia), but I completely *loathe* heat, and I sunburn very
> badly unless I'm careful.  I'm at my best, mentally and physically, when
> it's in the 60s and low 70s (farenheit, not sure of celsius
> equivalent).  Made me wonder, more than once, how much of heat/cold
> tolerance is acquired (i.e., just a matter of what you're used to), and
> how much of it may be inherited in some way.
> --Sue
> 
> N Kipar wrote:
>> 
>> --- Glenda Robinson <glendar@compassnet.com.au> wrote: >
>> 
>>> Can't cope with the idea of getting heatstroke over there, though - our
>>> current (winter) temps are about the same as yours is now - I don't feel
>>> the heat until about 35C, and don't really suffer until the heat is over
>>> body temp. - don't try me in the cold, though :-) Hope you're feeling better
>>> now.
>> 
>> *laughs* I think I would die iver at your place. I hate heat, hate it with a
>> deep vengeance. My skin is white, my eyes are pale, my organism needs several
>> liters of water, my brain doesn't function when it's too warm, and my
>> ancestors
>> come from Russia.
>> 
>> 20 celsius and a gentle breeze under a sunny sky, that is perfect for
>> costumes!
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] EBay?
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Date: Wed, 10 Jul 2002 14:02:24 -0700
Status: RO


>Those of you who regularly sell on EBay, could you give me your IDs so I can
>take a look once in a while?
>Also, if you have AMAZING merchants you would love other people to buy from,
>I'd take a look...

Yes.  It seems perfectly on-topic to post this sort of info.  I have just 
begun to browse e-bay regularly, and even bought something a couple of days 
ago (some lace bits the dealer called 'costume accessories').

Kayta

    //// \\\
   ////-@@\\\
  ((((   7 )))
   (((  <> ))))
      )   ((((((
/----\   /---\))

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From h-costume-admin@indra.com  Wed Jul 10 18:44:09 2002
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Date: Wed, 10 Jul 2002 18:27:16 -0400
Status: RO

I see you Angela!

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


----- Original Message -----
From: "Angela F. Lazear" <CABBAGE_ROSE@sbcglobal.net>
To: "H-Costume" <h-costume@indra.com>
Sent: Wednesday, July 10, 2002 5:59 PM
Subject: [h-cost] Testing new address/ot


> Dear List
>
> After some confusion and missteps, I have unsubbed
> as "mzscahlett" and resubbed under this email.  This
> is a test to see if I've done it all properly.  Sorry
> for the misuse of bandwidth, but I just had to be sure
> I hadn't lost y'all forever.
>
> angela
> Cabbage Rose Costumes
> Theatrical Costume Design
> www.cabbagerosecostumes.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  Wed Jul 10 19:12:04 2002
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Subject: [h-cost] Costume Trivia
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Date: Wed, 10 Jul 2002 18:55:57 -0400
Status: RO

This past week I have run across some costume trivia that I thought I'd
share...

>From a 1923 Lane Bryant catalog:
Ladies coats with fur collars and cuffs made from possum or dyed skunk (you
get a choice of either fur).  Make you think of the cartoon with Peppy la
Pew following the lady with the black and white stole!  LOL!

>From one of our classes, Cowgirls and Shady Ladies:
Prostitutes in western boomtowns were required by law to wear yellow
dresses.  This was to distinguish them from the average female citizens.

Now I have a trivial question... I am working on fashion designers of the
1920s.  I keep coming across a designer named Madeleine & Madeleine from
1920-1925.  I have searched my books and all I can find are design
illustrations but no history of the designer.  Could this be Vionnet?
Whoever it is, is a Paris design house.  I know Vionnet opened her design
house in 1912. But did she go under the name Vionnet then?

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  Wed Jul 10 19:24:11 2002
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Date: Wed, 10 Jul 2002 19:07:00 -0400
Status: RO

Greetings All!

I was just wondering how have your spending habits changed over time while you have been costuming?  Have your spending habits gone up or down?  Also, your fabric choices; better, worse?

For me, although my fabric choices have gotten "better" (for the most part) I have gotten cheaper.  For example: I will find a beautiful fine linen, but am no longer willing to spend $15.00 a yard on it.  (And I started shopping in the LA Garment District.)

Thanks in advance for indulging my curiosity.  I am looking forward to the responses.
Kit
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From h-costume-admin@indra.com  Wed Jul 10 19:51:23 2002
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Subject: Re: [h-cost] Intro and Revolution In Fashion book
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Date: Wed, 10 Jul 2002 11:26:13 -0700
Status: RO

I just emailed the info address. It looks weird, but they answered within a 
day or so.

The book IS there, I just looked. It's listed at 2200 yen, which is about 
$22. There's also a video, which is 15000 yen. That's too steep for me, 
that's $150!!

At 11:01 AM 7/10/2002, you wrote:Message: 10
>From: Heather Meadows <alice@wonderland.com>
>Subject: Re: [h-cost] Intro and Revolution In Fashion book
>To: h-costume@indra.com
>Date: Wed, 10 Jul 2002 10:39:23 -0700 (PDT)
>Reply-To: h-costume@mail.indra.com
>
>thanks for the info!  who did you email to get the book?  I emailed
>their "info" address but I wasn't sure if it was the right one.
>
>
> > > I found it at, of all places, the Kyoto Costume Institute website. They
> > > have it listed in their catalog, and I just emailed the contact person,
> > > received a reply within 24 hours, and here I am, two weeks later with the
> > > book. The best part, it cost just $30, and that included shipping from
> > > Kyoto! They said the only way they can ship it is C.O.D, which is a 
> bit of
> > > a pain because I had to wait here for the delivery, but it was so worth
> > it!
> > >
> > > Here's the address for the catalog
> > > page:  http://www.kci.or.jp/cgi-bin/catalogue.cgi?lang=e
> > > If I was able to purchase it, I'm sure anyone else who wants a copy will
> > be
> > > able to, too!
> >
> > Oh, wow, THANKS!! Btw, there's one copy on ebay now, but last time I 
> checked
> > it was up to 92$ - and they don't ship to Canada :-) Your way is MUCH
> > better!!!
> >
> > The worst thing is, I went to their website yesterday night, saw the video
> > of the same name, didn't see the book... ehehe :-)
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
>
>--__--__--
>
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>
>End of h-costume Digest

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Subject: Re: [h-cost] Testing new address/funny story ot
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Date: Wed, 10 Jul 2002 16:37:11 -0700
Status: RO

You all have to laugh at me. Late last night, I added
cabbagerose@sbcglobal.net as my new email.  Then I promptly lost the paper
with my "oh so clever" password on it.  Then I spent all morning trying to
hack into my confirmation of resubbing to the list (in this total panic that
I had cut myself off from you forever)...   Result: couldn't do it and had
to add another form of cabbage_rose.  Now I have two emails, but this time
I've protected myself.  Not only did I print the dang password I select
remember it so the computer will know it at home AND then I happily confirm
my re-subscription. Am I home free? No, I'm such an idiot I promptly hid
"add to block" and put h-costume in the spam bucket.  Frantically.... I
search for the way to undo this drastic and nefarious deed ... Heart
racing... blood pounding... I hastily attempt to undo this error.  Have I
again sent H-costume into the nightmare world of silence?  Will I ever hear
from corset makers and ruff experts EVER again?  Is the world of lovely
seams and pretty fabrics forever gone?.... Okay, a bit dramatic, but I was
freaking out.  This was my third sub, and I had messed it up again.  (I
forgot I accidentally subbed to my work addy cause I was really tired this
morning, but I just didn't confirm that one)...  So then, I get it back, I
undo the dreaded "this is spam" block on the h-costume email and reload the
page... only to discover I had reblocked it!  Needless to say, if you're all
getting this, it's fixed.  Holey Moley what a day.  See what you've done?
I'm reduced to jello at the thought of going cold h-costume-less turkey for
a mere two hours... I think I was momentarily possessed by the spirit of one
of Teddy's misadventures. Happy to have found my rather roundabout way home.

angela

----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Wednesday, July 10, 2002 3:27 PM
Subject: Re: [h-cost] Testing new address/ot


> I see you Angela!
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
>
>
> ----- Original Message -----
> From: "Angela F. Lazear" <CABBAGE_ROSE@sbcglobal.net>
> To: "H-Costume" <h-costume@indra.com>
> Sent: Wednesday, July 10, 2002 5:59 PM
> Subject: [h-cost] Testing new address/ot
>
>
> > Dear List
> >
> > After some confusion and missteps, I have unsubbed
> > as "mzscahlett" and resubbed under this email.  This
> > is a test to see if I've done it all properly.  Sorry
> > for the misuse of bandwidth, but I just had to be sure
> > I hadn't lost y'all forever.
> >
> > angela
> > Cabbage Rose Costumes
> > Theatrical Costume Design
> > www.cabbagerosecostumes.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 h-costume-admin@indra.com  Wed Jul 10 19:54:11 2002
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From: Heather Meadows <alice@wonderland.com>
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Subject: Re: [h-cost] Intro and Revolution In Fashion book
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 "from Kiloran@worldnet.att.net at Jul 10, 2002 11:26:13 am"
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Date: Wed, 10 Jul 2002 16:37:49 -0700 (PDT)
Status: RO

ok -- I haven't heard back from them yet, but at least I know it was the right
address.  


> I just emailed the info address. It looks weird, but they answered within a 
> day or so.
> 
> The book IS there, I just looked. It's listed at 2200 yen, which is about 
> $22. There's also a video, which is 15000 yen. That's too steep for me, 
> that's $150!!
> 
> At 11:01 AM 7/10/2002, you wrote:Message: 10
> >From: Heather Meadows <alice@wonderland.com>
> >Subject: Re: [h-cost] Intro and Revolution In Fashion book
> >To: h-costume@indra.com
> >Date: Wed, 10 Jul 2002 10:39:23 -0700 (PDT)
> >Reply-To: h-costume@mail.indra.com
> >
> >thanks for the info!  who did you email to get the book?  I emailed
> >their "info" address but I wasn't sure if it was the right one.
> >
> >
> > > > I found it at, of all places, the Kyoto Costume Institute website. They
> > > > have it listed in their catalog, and I just emailed the contact person,
> > > > received a reply within 24 hours, and here I am, two weeks later with the
> > > > book. The best part, it cost just $30, and that included shipping from
> > > > Kyoto! They said the only way they can ship it is C.O.D, which is a 
> > bit of
> > > > a pain because I had to wait here for the delivery, but it was so worth
> > > it!
> > > >
> > > > Here's the address for the catalog
> > > > page:  http://www.kci.or.jp/cgi-bin/catalogue.cgi?lang=e
> > > > If I was able to purchase it, I'm sure anyone else who wants a copy will
> > > be
> > > > able to, too!
> > >
> > > Oh, wow, THANKS!! Btw, there's one copy on ebay now, but last time I 
> > checked
> > > it was up to 92$ - and they don't ship to Canada :-) Your way is MUCH
> > > better!!!
> > >
> > > The worst thing is, I went to their website yesterday night, saw the video
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume Trivia
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Date: Wed, 10 Jul 2002 16:24:58 -0700
Status: RO


> >From one of our classes, Cowgirls and Shady Ladies:
>Prostitutes in western boomtowns were required by law to wear yellow
>dresses.  This was to distinguish them from the average female citizens.

Every single Western boomtown, in every state and territory, in Canada and 
the US, in every year?  I find that amount of co-operation and 
co-ordination, in a time of no mass media other than a telegraph (when they 
even had that), unbelievable.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Fabric Prices
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Date: Wed, 10 Jul 2002 16:40:39 -0700
Status: RO


>Have your spending habits gone up or down?

Down.  I have a lot less money than when I was married.

>   Also, your fabric choices; better, worse?

Better in several ways:

I no longer cruise fabric stores (or thrift stores) just to see what's 
there.  That got me in a lot of trouble, storage-space-wise and 
financially.  Much of that impulse stuff got given away when, for example, 
I stopped thinking I was going to get into quilting.  Many boxes of calico 
went.

I can tell the difference between natural and synthetic now, when a few 
years ago I couldn't do this very well, so now, when I do buy, I buy more 
silk, real linen, etc. than before.

I try not to buy something just because I can think of a use for it, a big 
change from my young and married days, when I would buy anything that 
was  pretty or that I could think of a use for.  Some of that fabric is my 
current stash, and some got given away.

These days I only buy fabric for specific purposes, or costumes when I have 
some event to wear it to.  I shop more sales, outlets, and thrift stores 
than I used to, and make myself do entire outfits from fabric I already 
have, as much as possible.  Time to use up that stash.

Kayta

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Date: Wed, 10 Jul 2002 17:07:21 -0700 (PDT)
Status: RO


Carolyn Kayta Barrows <kayta@frys.com> wrote:
> > >From one of our classes, Cowgirls and Shady Ladies:
> >Prostitutes in western boomtowns were required by law to wear yellow
> >dresses.  This was to distinguish them from the average female citizens.
> 
> Every single Western boomtown, in every state and territory, in Canada and 
> the US, in every year?  I find that amount of co-operation and 
> co-ordination, in a time of no mass media other than a telegraph (when they 
> even had that), unbelievable.

Agreed.  I think someone misunderstood "yellow rose of texas."  A yellow
gal or yellow girl was a creole, half-black.  They were often free women,
but that didn't mean they had much money.  In many places, yellow gals made
up most of the whorehouse "stable."  

This seems to have been concatinated with the commonly repeated factoid
that whores in classical rome wore yellow veils.  I call this a factoid
because I've also heard it said about Byzantium and various renaissance
period italian city-states.

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  Wed Jul 10 20:38:06 2002
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Date: Wed, 10 Jul 2002 20:21:33 EDT
Status: RO

Kayta's experiences echo my own :) 
I used to spend a lot more $$--- and shop a lot less wisely----as well as buy 
things I did'nt have a specific use for --JUST because it was gorgeous and/or 
 a good buy or it would make a TERRIFIC (fill in the blank). Can't afford to 
do that stuff anymore. Knowledge and experience has taught me to shop much 
more wisely for more quality stuff---and buy only what I have a specific use 
for in the VERY near future:)
Cheers and Best---
Albra/Kathryn
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From h-costume-admin@indra.com  Wed Jul 10 20:57:31 2002
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Date: Wed, 10 Jul 2002 20:40:27 -0400
Status: RO

Wait... I didn't say every boomtown.  I sent a message to our instructor,
Marna Jean and have her come on the list and explain this one.  Hang in
there... hopefully she will come on tonight.

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





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Date: Wed, 10 Jul 2002 19:41:00 -0500
Status: RO

Oh, my choices have definitely become more refined - I REALLY try to keep to
100% natural. But I do really try to keep the prices down - watch those
sales! Actually, one of my favorite places is Vogue Fabrics in Evanston. If
you dig through their remant section, you can often find 2 or 3 pieces of
the same fabric for about 1/2 the price off the bolt!

**********************
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: <kitsune242@aol.com>
To: <h-costume@indra.com>
Sent: Wednesday, July 10, 2002 6:07 PM
Subject: [h-cost] Fabric Prices


> Greetings All!
>
> I was just wondering how have your spending habits changed over time while
you have been costuming?  Have your spending habits gone up or down?  Also,
your fabric choices; better, worse?
>
> For me, although my fabric choices have gotten "better" (for the most
part) I have gotten cheaper.  For example: I will find a beautiful fine
linen, but am no longer willing to spend $15.00 a yard on it.  (And I
started shopping in the LA Garment District.)
>
> Thanks in advance for indulging my curiosity.  I am looking forward to the
responses.
> Kit
> _______________________________________________
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Subject: Re: [h-cost] Photos of 1700 costumes from the event this
  weekend
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Date: Wed, 10 Jul 2002 21:01:37 -0400
Status: RO

At 09:33 PM 7/9/2002 +0100, you wrote:
> --- Kevin & Mara Riley <lindo@Radix.Net> wrote: > A friend of mine has
put in
>a request for pictures of enlisted personnel,
>> too <g>.
>> 
>> -- Mara
>
>personnel? *grins* red- or blackhaired?
>
>Nicole

Um... yes?  <grin> 

-- Mara

Kevin + Mara Riley

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Date: Wed, 10 Jul 2002 21:33:59 -0400
Status: RO

This is a multi-part message in MIME format.

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Message: 14
Date: Mon, 08 Jul 2002 23:41:48 -0500
To: h-costume@indra.com
From: Pierre & Sandy Pettinger <costumrs@radiks.net>
Subject: [h-cost] Re: Costume College
Reply-To: h-costume@mail.indra.com

We're going to Costume College as well.  We're teaching a class on Trims on
Saturday at 1 pm, and a limited attendance workshop on creating headpieces
and headdresses (mostly Fantasy oriented, but...) late Sunday afternoon.  I
at least will try to remember to put a red H on my badge.  If you're going
to the gala Saturday night, I will be in bright orange and yellow, and
Pierre will be in black and silver gray.

Sandy


		- I will be attending this class, and look forward to seeing you there! I
will also be at the gala, in a green "mock Fortuny" and whatever else I find
to go with it.

		- I am saving these emails and will work up a list of nametags to look
for!

		- Allison

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<P><FONT SIZE=3D2>Message: 14</FONT>

<BR><FONT SIZE=3D2>Date: Mon, 08 Jul 2002 23:41:48 -0500</FONT>

<BR><FONT SIZE=3D2>To: h-costume@indra.com</FONT>

<BR><FONT SIZE=3D2>From: Pierre &amp; Sandy Pettinger =
&lt;costumrs@radiks.net&gt;</FONT>

<BR><FONT SIZE=3D2>Subject: [h-cost] Re: Costume College</FONT>

<BR><FONT SIZE=3D2>Reply-To: h-costume@mail.indra.com</FONT>
</P>

<P><FONT SIZE=3D2>We're going to Costume College as well.&nbsp; We're =
teaching a class on Trims on </FONT>

<BR><FONT SIZE=3D2>Saturday at 1 pm, and a limited attendance workshop =
on creating headpieces </FONT>

<BR><FONT SIZE=3D2>and headdresses (mostly Fantasy oriented, but...) =
late Sunday afternoon.&nbsp; I </FONT>

<BR><FONT SIZE=3D2>at least will try to remember to put a red H on my =
badge.&nbsp; If you're going </FONT>

<BR><FONT SIZE=3D2>to the gala Saturday night, I will be in bright =
orange and yellow, and </FONT>

<BR><FONT SIZE=3D2>Pierre will be in black and silver gray.</FONT>
</P>

<P><FONT SIZE=3D2>Sandy</FONT>
</P>
<BR>

<P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <FONT SIZE=3D2>- I will be =
attending this class, and look forward to seeing you there! I will also =
be at the gala, in a green &quot;mock Fortuny&quot; and whatever else I =
find to go with it.</FONT></P>

<P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <FONT SIZE=3D2>- I am saving =
these emails and will work up a list of nametags to look for!</FONT>
</P>

<P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <FONT SIZE=3D2>- =
Allison</FONT>
</P>

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From: Megan Irvine <mirv01@yahoo.com>
Subject: Re: [h-cost] EBay?
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Date: Wed, 10 Jul 2002 19:07:50 -0700 (PDT)
Status: RO

--- Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote:
> Hi,
> Those of you who regularly sell on EBay, could you give me your IDs
> so I can
> take a look once in a while?
> Also, if you have AMAZING merchants you would love other people to
> buy from,
> I'd take a look...
> Thanks!
> Audrey

I have an eBay "storefront" at
http://www.stores.ebay.com/darkthreadsdesigns, and I use the id
darkthreads. I was hoping to use it to sell a wider range of costume
items, but only the belly dance gear and sewing patterns have really
taken off. 



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

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Date: Wed, 10 Jul 2002 22:41:13 -0400
Status: RO

Hi, All. Sue, I have tansy all over the place, as well as false indigo. We
haven't used it as dye yet (but we will try it), but it a great strewing
herb to keep away flies (the tansy, that is). We cut it in season (which,
coincidentally, falls within fly season) and hang up bundles in the shop.
It is easy to see why our ancestors found so many coincidences in nature
(the abovementioned, as well as dockweed growing in close proximity to
nettle, etc), and attributed them to an overall system that, although
eventually found to be false, nevertheless evidences a strong correlation
between ourselves and nature. Speaking of natural dyes, I constantly amaze
folks with the display pieces we have at our historic site which, although
over 10 years old, still maintain their vivid colors. Aside from stylistic
preferences and financial considerations, I have found that, prior to
modern chemical dyeing, there was a great deal of color that could be
gotten from natural dyes. Mike T.



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Date: Thu, 11 Jul 2002 02:52:12 +0000
Status: RO

I haven't really gotten cheaper - I've always enjoyed the bargain find. But 
the amount of fabric I buy has gone up. By that I mean the yardage has gone 
up. Where I used to only buy at most three yards, I now only have a few 
pieces that small.

As for better choices - I've cetainly gone more natural. I use linen a LOT 
more often now. Both for "costume" and for modern clothes. But then I DO 
live in Texas and can't handle heat...

Mary/Katerine

>Greetings All!
>
>I was just wondering how have your spending habits changed over time while 
>you have been costuming?  Have your spending habits gone up or down?  Also, 
>your fabric choices; better, worse?
>
>For me, although my fabric choices have gotten "better" (for the most part) 
>I have gotten cheaper.  For example: I will find a beautiful fine linen, 
>but am no longer willing to spend $15.00 a yard on it.  (And I started 
>shopping in the LA Garment District.)
>
>Thanks in advance for indulging my curiosity.  I am looking forward to the 
>responses.
>Kit
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume




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Date: Wed, 10 Jul 2002 20:08:54 -0700
Status: RO


> Hi, All. Sue, I have tansy all over the place, as well as false
> indigo.

One of the problems in the US is that there are two kinds of tansy. 
There is tansy ragwort which is a noxious weed (because it kills 
cattle) and there is true tansy, which works well for dyeing. It's too 
bad that so many different plants have names which are similar or 
the same. 

 


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 10 Jul 2002 23:08:36 -0400
Status: RO

Hi. You might want to consider Augsburg, about 45 min. west of Munich. It has the oldest intact stained glass windows in Europe in the cathedral, a Roman museum, the Fuggerei (homes built for the poor in the 16th cent.), a nice art museum
with many famous paintings, and a lot of history in and around the area. Also Rothenburg, a little north, is an intact Medieval/ Renaissance walled town and Coburg has a nice armor collection and an art museum, too, I think.  Mike T.



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From: Lynn Downward <lynnie1@pacbell.net>
Subject: Re: [h-cost] Costume College?
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Date: Wed, 10 Jul 2002 20:37:25 -0700
Status: RO

Me too.

LynnD
(Oakland, CA)

----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Sunday, July 07, 2002 5:47 PM
Subject: Re: [h-cost] Costume College?


> I'll be there as well!
>
> .heather.
>
>
> > Costume College (http://www.costumecollege.org/) happens every year in
Van
> > Nuys, Calif. (near LA).  It's a weekend of costume classes (both lecture
and
> > hands-on workshops) which is quite fabulous!
> >
> > Allison, I'll be there Sat. & Sun. and would be happy to meet up!  Maybe
we
> > can have an h-costume lunch?
> >
> > - Kendra
> >
> >
> >
> > _______________________________________________
> > 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
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Date: Thu, 11 Jul 2002 00:28:08 -0400
Status: RO

----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>


> ok -- I haven't heard back from them yet, but at least I know it was the
right
> address.

If you do hear from them, let me know, they haven't answered yet either.
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Date: Wed, 10 Jul 2002 22:55:52 -0600
Status: RO

Is that *with* an iron afterbath, or *without?*
--sue, completely enamored of tansy-dyed wool.....

Jean Waddie wrote:
> 
> N Kipar <nicolas_fouquet@yahoo.com> wrote
> > --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > I have to say, the
> >gentlemen in their coats and wigs were definitely the
> >> spiffiest thing at the event - Huzzah!
> >>
> >> Jean
> >
> >Thanks Jean! *grins* wait till I have finished ben's coat for good and he has
> >silver lace around the shoulders (two rows) and down the sides (two rows) and
> >along the outside of the breeches (yet another two row) he's gonna be
> >glow-in-the-dark-officer.
> >hehehehe
> >
> >Nicole
> >
> We'll have to match him with someone in a tansy-dyed surcoat and see who
> glows best!
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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Thu, 11 Jul 2002 09:29:17 BST
Status: RO

Leigh Tartaglio <mikes@dandy.net> wrote :

> Hi. You might want to consider Augsburg, about 45 min. west of Munich. It has
> the oldest intact stained glass windows in Europe in the cathedral, a Roman
> museum, the Fuggerei (homes built for the poor in the 16th cent.), a nice art
> museum
> with many famous paintings, and a lot of history in and around the area. 

Sounds good!

http://www.hhog.de/augsburg/history.htm
and looks good! Thanks, we'll try that.


> Also Rothenburg, a little north, is an intact 
> Medieval/ Renaissance walled town

Yes, we stayed there a few years ago. Lovely!


> Coburg has a nice armor collection and an art museum, 

Right, that's on the list, too.






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Subject: [h-cost] What to embroider on a 16yh century forepart?
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Date: Thu, 11 Jul 2002 11:01:44 +0200
Status: RO


Hi,

I have a gold silk/satin forepart and I am looking for an embroidery
pattern.
The dress is from aboud 1562 and is Italian.
In Janet Arnolds Patterns of fasihon 1560-1620, on page 49, picture 347
and 348 is a nice example of a forepart.
But it is 1580-95 and probably made in England.
I have just one year to embroider it, but I am going to embroider te
part that you can see if the dress is worn over it.

Are there any books for sale with exampels of embroidered foreparts and 
the different stiches that were used?
Would this book be intresting?
Exploring Elizabethan embroidery by Dorothy Clarke
Or this book?
Embroidery in Britain From 1200 to 1750: The Victoria & Albert
                    Museum's Textile Collection
                    by Donald King, Santina Levey


Greetings,
    Deredere


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Subject: [h-cost] Re: Costume trivia
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 Plus, even if it was the law somewhere, sumptuary legislation has existed for centuries, but was rarely, if ever adhered to, because of the difficulty in enforcing.
But as another piece of trivia, in the 15th (I think!) century a law was passed in England stating that all prostitutes had to wear their clothes inside out to mark out their profession (although agian, unlikely to have been enforced).
Debbie.




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<P> Plus, even if it was the law somewhere, sumptuary legislation has existed for centuries, but was rarely, if ever adhered to, because of the difficulty in enforcing.
<P>But as another piece of trivia, in the 15th (I think!) century a law was passed in England stating that all prostitutes had to wear their clothes inside out to mark out their profession (although agian, unlikely to have been enforced).
<P>Debbie.</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Subject: [h-cost] Re: Photos of 1700 costumes from the event this weekend
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Date: Thu, 11 Jul 2002 10:16:53 +0100 (BST)
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 Just want to say thanks to Nicole for the pictures.  Being stuck on the traders field at the opposite end of the site I didn't get to do much costume ogling!  (Although I had a fantastic view of the WWII fashion show by The Spitfires, which was excellent.)
And Jean, had to laugh at the mental image of our lot wearing tansy surcotes.  We should definitely get them to do it (talk about glowing!)
Debbie.
  




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<P> Just want to say thanks to Nicole for the pictures.&nbsp; Being stuck on the traders field at the opposite end of the site I didn't get to do much costume ogling!&nbsp; (Although I had a fantastic view of the WWII fashion show by The Spitfires, which was excellent.)
<P>And Jean, had to laugh at the mental image of our lot wearing tansy surcotes.&nbsp; We should definitely get them to do it (talk about glowing!)
<P>Debbie.
<P>&nbsp; </P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Testing new address/funny story ot
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Date: Thu, 11 Jul 2002 10:39:07 +0000 (GMT)
Status: RO

> I think I was momentarily possessed by the spirit of one of Teddy's
> misadventures. 

May the Costume Gods (if any such exist!) protect all costumers 
from *that*



Teddy
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Fabric Prices
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Date: Thu, 11 Jul 2002 12:25:55 +0100 (BST)
Status: RO

 --- kitsune242@aol.com wrote: > Greetings All!
> 
> I was just wondering how have your spending habits changed over time while
> you have been costuming?  Have your spending habits gone up or down?  Also,
> your fabric choices; better, worse?

My spending habits went up according to my financial situation. When beinga
student while working part time  a little at Uni I wouldn't have dreamt of
spending what I spend now. At the same time the quality and fabric choice has
gone up accordingly. I would NEVER use slubby dupion silk anymore, because it
is plain wrong for the period I am doing. I always use taffeta now, but I do
shop around trying to find the cheapest retailer. I hate shopping though and do
most of my purchases via the internet.
Same with woolens, we buy almost all of our wool from hainsworth now, 100% pure
wool, superfines and meltons, quite simply because with the job came the
problem of not having any time. If I go and madly sew every waking and
non-working hour for ben, then I am not using a cheap and tacky cloth.
I do though tend to overspend, but I anticipate this for any given project and
will spend next year paying off my credit card.
All in all I know EXACTLY what I want and what I do not use, and thus are able
to shop for the cheapest price of what I want. Now and then though... same with
the metal brocade for my mantua, I go 'oh sod it, gonna be broke!' and indulge
myself, knowing I'll have to pay off the minus.
I am lucky though, full time job, no kids, no mortgage, no rent even, all I
have to pay is a contribution to my food and living costs, the petrol and
insurance and tax for my car (quite a lot, petrol is so expensive here), my
private health insurance and my huge web site hosting. I am very very lucky, I
know.

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] Re: different velvets
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Date: Thu, 11 Jul 2002 07:29:06 -0400
Status: RO

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At 10:51 PM 7/9/02 -0600, you wrote:
>That looks like a lot of velvet for not very much
>money: but I now realise that my total knowledge of
>velvet is "I can't afford it" (and even that is now
>wrong!)

Velvet's become very affordable.

>Could someone advise on what these two types are,
>please? Also when they would have been used, and
>for what?

Acetate-Nylon is typically what you find being sold in Jo-Anne's for=20
$20+.  Panne is crushed velvet... looks like it's been sat on and ironed=20
that way.  It's a neat look, but not for most historical garb that I've=20
ever seen.

>(Yes, I *am* a beginner, you're absolutely right!)

*chuckle*  We all had to start somewhere!!

Vik

=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=
=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=
=B0`=B0=BA=A4
Lady Victoria's Castle Closet:
Custom Clothing and Fine Renaissance Designs
http://www.castlecloset.cc
Gallery: http://bluedragyn.net/~lvcc/castle-creations
15% discount to List Members,

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<html>
At 10:51 PM 7/9/02 -0600, you wrote:<br>
<blockquote type=3Dcite class=3Dcite cite>That looks like a lot of velvet fo=
r
not very much <br>
money: but I now realise that my total knowledge of <br>
velvet is &quot;I can't afford it&quot; (and even that is now <br>
wrong!)</blockquote><br>
Velvet's become very affordable.<br>
<br>
<blockquote type=3Dcite class=3Dcite cite>Could someone advise on what these
two types are, <br>
please? Also when they would have been used, and <br>
for what? </blockquote><br>
Acetate-Nylon is typically what you find being sold in Jo-Anne's for
$20+.&nbsp; Panne is crushed velvet... looks like it's been sat on and
ironed that way.&nbsp; It's a neat look, but not for most historical garb
that I've ever seen.<br>
<br>
<blockquote type=3Dcite class=3Dcite cite>(Yes, I *am* a beginner, you're
absolutely right!)</blockquote><br>
*chuckle*&nbsp; We all had to start somewhere!!<br>
<br>
Vik<br>
<x-sigsep><p></x-sigsep>
<div align=3D"center">
=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=
=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=
=B0`=B0=BA=A4<br>
<font face=3D"Crusades" size=3D6 color=3D"#800080">Lady Victoria's Castle
Closet:</font> <br>
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Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 13:11:34 BST
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Victoria Wickens <windsong@broadviewnet.net> wrote :


> Acetate-Nylon is typically what you find being sold in Jo-Anne's for
> $20+.

Errm.. what's a "Jo-Anne's"? Is being sold there a good thing or a bad thing?

Although possibly the world "nylon" tells me all I need to know. Even as a beginner, I suspect that the amount of that used in medieval times was quite low. What *was* velvet made from? Cotton? And is the "real thing" even vaguely affordable now?


>Panne is crushed velvet... looks like it's been sat on and
> ironed that way.&nbsp; It's a neat look, but not for most historical garb
> that I've ever seen.

Nice for cushions, I would imagine.





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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: different velvets
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 --- jane@williams.nildram.co.uk wrote: > 
> Errm.. what's a "Jo-Anne's"? Is being sold there a good thing or a bad thing?

It's an American thing, dear. A chain of fabric stores, thus whenever you see
mails with a subject like 'Jo Anne's (insert sale/shops/offers etc)' arrives,
you can delete it straight away. :-) Same with Hancock's, or Wal mart.

> Although possibly the world "nylon" tells me all I need to know. Even as a
> beginner, I suspect that the amount of that used in medieval times was quite
> low. 

Non-existent indeed.

What *was* velvet made from? Cotton? And is the "real thing" even
> vaguely affordable now?

It was made from silk, 100% silk. Aparently one can still get tha SOMEwhere but
the price is prohibitive. Modern 'silk velvet' is usually 80% rayon (the pile)
and 20% silk (the backing) and can be dyed well and also used for burning
patterns into it.

Cotton velvet or velveteeen as many call it, is an aceptable an suitable
alternative and looks way more period than the rayon velvet. Just be careful
with some 'veveteen's' their nap is too short, looks like upholstery velvet.

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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If all those places are on your list you might want to map your trip to 
follow the so called castle road. It starts in Mannheim, goes via Heidelberg 
all the way to Nuernberg.  It is a regular highway that you can drive with 
castles all along it.  Some are ruins, some are restaurants, one is a wild 
bird refuge, with falcons and eagles (I think they do a show daily), etc. 
etc.  It is a little slower traveling than on the Autobahn (German 
Expressway) but it is definitely worth it. All depends on how much time you 
have.
I did not mention it before cause you said Southern Germany/Austria area.  
Also part of this or actually a lot of it is considered Southern Germany, I 
thought it was too far from where you originally wanted to go.  As far as I 
am concerned the castle road is a trip in itself.
Because there is so many things to see that might not be necessarily in 
tourist guides.  For example outside of Mannheim towards Heidelberg is a 
little city called Ladenburg.  They found quite a few Roman remains there.  
Not as much as Trier, but still.
At the University Library in the City of Heidelberg, at the foot of the 
Heidelberg castle, is the Codex Manesse.  With a prior appointment you can 
get into the rare book section and see an ancient facsimile.  The real one is 
locked in a vault and does not get taken out unless it is an extreme 
situation or a head of State wants to see it.  If I remember correctly when I 
took some friends from the States there we were told they only take it out 
about once every 50 years.  The facsimile is several hundred years or so 
worth seeing in itself.  Plus they have several Hildegard von Bingen and 
other period texts.
The Wild Bird refuge is real close to Heidelberg as well.  As a matter of 
fact within a 20 mile radius I think there is something like 7 castles, some 
in ruins.

If you are going to Coburg you might consider going via Schweinfurt.  The 
Georg Schaefer library is there.  It has the most extend period collection 
for period book printing and printed materials, (Gutenberg Bible, 
Schaedelsche Weltchronic (3 copies) several Modelbuch, etc,) .  Within half 
an hour from Schweinfurt is Wuerzburg, with the gorgeous Bishop residence 
castle, fabulous churches, etc.
As I said before I am from Germany.  I grew up close to where the former East 
German and Tchec borders used to meet, close to Hof.  That area has a lot of 
textile industry, Spinning, weaving and garment industry.  My parents moved 
fro there to Schweinfurt. I went to college in Aschaffenburg, another city 
worth visiting (castle and summer residence) and later lived in Mannheim.  I 
have only been back stateside about 4 years.
As a matter of fact last month I was home for 12 days, because my father 
celebrated his 90th Birthday.  Since I am a member of the SCA I wrote a 
travel report  to my Kingdom while there.  It is a three part report and some 
things may not be relevant.  I will repost it to this list for a lot might be 
interesting to you as well.
Elisabeth
    
   

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>If all those places are on your list you might want to map your trip to follow the so called castle road. It starts in Mannheim, goes via Heidelberg all the way to Nuernberg. &nbsp;It is a regular highway that you can drive with castles all along it. &nbsp;Some are ruins, some are restaurants, one is a wild bird refuge, with falcons and eagles (I think they do a show daily), etc. etc. &nbsp;It is a little slower traveling than on the Autobahn (German Expressway) but it is definitely worth it. All depends on how much time you have.
<BR>I did not mention it before cause you said Southern Germany/Austria area. &nbsp;Also part of this or actually a lot of it is considered Southern Germany, I thought it was too far from where you originally wanted to go. &nbsp;As far as I am concerned the castle road is a trip in itself.
<BR>Because there is so many things to see that might not be necessarily in tourist guides. &nbsp;For example outside of Mannheim towards Heidelberg is a little city called Ladenburg. &nbsp;They found quite a few Roman remains there. &nbsp;Not as much as Trier, but still.
<BR>At the University Library in the City of Heidelberg, at the foot of the Heidelberg castle, is the Codex Manesse. &nbsp;With a prior appointment you can get into the rare book section and see an ancient facsimile. &nbsp;The real one is locked in a vault and does not get taken out unless it is an extreme situation or a head of State wants to see it. &nbsp;If I remember correctly when I took some friends from the States there we were told they only take it out about once every 50 years. &nbsp;The facsimile is several hundred years or so worth seeing in itself. &nbsp;Plus they have several Hildegard von Bingen and other period texts.
<BR>The Wild Bird refuge is real close to Heidelberg as well. &nbsp;As a matter of fact within a 20 mile radius I think there is something like 7 castles, some in ruins.
<BR>
<BR>If you are going to Coburg you might consider going via Schweinfurt. &nbsp;The Georg Schaefer library is there. &nbsp;It has the most extend period collection for period book printing and printed materials, (Gutenberg Bible, Schaedelsche Weltchronic (3 copies) several Modelbuch, etc,) . &nbsp;Within half an hour from Schweinfurt is Wuerzburg, with the gorgeous Bishop residence castle, fabulous churches, etc.
<BR>As I said before I am from Germany. &nbsp;I grew up close to where the former East German and Tchec borders used to meet, close to Hof. &nbsp;That area has a lot of textile industry, Spinning, weaving and garment industry. &nbsp;My parents moved fro there to Schweinfurt. I went to college in Aschaffenburg, another city worth visiting (castle and summer residence) and later lived in Mannheim. &nbsp;I have only been back stateside about 4 years.
<BR>As a matter of fact last month I was home for 12 days, because my father celebrated his 90th Birthday. &nbsp;Since I am a member of the SCA I wrote a travel report &nbsp;to my Kingdom while there. &nbsp;It is a three part report and some things may not be relevant. &nbsp;I will repost it to this list for a lot might be interesting to you as well.
<BR>Elisabeth
<BR> &nbsp;&nbsp;&nbsp;
<BR> &nbsp;&nbsp;</FONT></HTML>

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To Everyone on the list Greetings from Elisabeth Johanna von der Flossenburg

Today is June 6, 2002.  I am writing this knowing fully well that I cannot 
mail it out until bqack in the States.  Also I brought my laptop with me due 
to the telephone systen here in Germany (wallplugs, lines, connections, etc.) 
I cannot access a line.  O well.  But I do not want to forget anything so I 
am writing it down as I go.

I have some great stuff that others may be interested in as well so I thought 
I would better share.

I arrived last Friday night very late (almost midnight) in London.  What a 
city!!!!!
We spent Saturday and Sunday visiting The British Museum and the Wallace 
Collection, as well as friends.  I partook in the pre-feast my friends were 
cooking and it was absolutely excellent.  (They wanted to try it out before 
serving it at the Lamas event).  Once again I realized how much we are really 
missing in the Statres by not being able to just walk down the street, catch 
"the tube" (underground railroad) and then walking a little ways and there 
you are at the museum with all its treasures.

Even more so I realized that when back in Germany.  On Monday early (& am) I 
continued my journey home).  Also I spent most of Monday at the Embassy in 
Frankfurt, (unfortunately going through security at London Heathrow my Alien 
Registration Card, which I kept in my passport, ended up missing during one 
of the many passport checks.  At the embassy,where I was repremanded for 
being careless, I  was given travel documents to be able to return to the 
States.  What a hazzle, but I guess I deserve that for not being more 
careful.) we finally made it to Amberg, where my in-laws live.  On the way to 
Amberg we stoppeed in Nuernberg at the Germanische Nationalmuseum, which 
unfortunately was closed But their library was open.  They had to pry me out 
of there.  I did get a copy of the article from waffen und Kostuemkunde about 
the historical find of male clothing dated 1490 -1520.  With patternsd and 
all.  Those of you who do German from this time frame please contact me I 
will share.  The patterns are of hose incl. attached feet, a doublet, a 
shirt/nightshirt (similar to the Duerer paintings, Mistress Allison, Mistress 
Michaele one can see nthe pleating/smocking!!!!!!) and a pair of sewn 
stockings.   I will translate this article as soon as I have time.  It is 32 
pages.  (Sir Reinhard and Mistress berengaria, this is the article I told you 
about),

I spent Tuesday morning in Amberg, a great little medieval city with the old 
city walls and fortifications intact, got an illustrated book about the 
"Amberger Hochzeit 1474" (Amburg Wedding in 1474) with original texts and 
illustrations.  I also found one on the history of "fire weapons", guns, by 
the Kuchenreuther family and the steal production industry in the region 
Oberpfalz starting in the 15th century.   

Tuesday afternoon came the highlight of my trip so far.  I went by train 
(45minutes) to Nuernberg andf visited the museum shop of the Germanische 
Nationalmuseum.  Yes, I would have loved to go into the museum, but rather 
than not having the time to really look at things I explored the shop.  It is 
almost like a museum in itself.  Lots of rare books.  I spent too much money 
but I will share the list with you for certain books may be of interest to 
many of you.  
I initially went there for the book : Textiler Hausrat, Kleidung und 
Haustextilien in Nuernberg 1500 - 1650.  This book has been out of print and 
she has about 6 copies left, which I reserved because various other lists I 
am on want it as well.  This book covers home textiles, clothing, hats, 
(male, female, children's) as well qas household inventories, the sale and 
resale of such, etc. Definetly recommended for the serious costumer.
Right down the line of costuming I found a book of Paintings:  Spaetgotische 
Tafelmalerei in Sachsen  (Board (???) paintings of the Late Gothik in Saxony) 
Again lots of paintings of the Cranach style clothing, lots of back views as 
well.  Great book for costumers.
A gem no longer available and I still cannot believe I found it is the book 
set:
Das Hausbuch der Mendelschen Zwoelfbruederstiftung.
This book is the Chronic of a special charitable order started by the Mendel 
family in Nuernberg in 1388, by giving old and ill males a home to spent the 
rest of their live.  The special thing about this book set is it has 
faxcimilles a depiction (drawing) of every craftsman who ever entered the 
order.  Only one member of each craft was allowed to join at a time.  Not 
only is this bookset a wealth of information as to which professions were in 
Nuernberg until what time, it also has the depictions of the craftsman 
showing clothing, tools, etc.  It is fabulous.  
Next a book that was just published but I think a must for every person 
interested in period research:  Weltchronik 1493 by Hartmann Schedel.  Again 
a faxcimile.  One of the art critics calls it the picture book of the middle 
ages/renaissance.
It is illuminated and along with the stories of the bilble gives a run down 
of which city was founded when, who rukes where, etc. etc.  It is absolutely 
great.  It is bound in velvet and I could not believe the price.  I monly 
paid 65.00 Euros (about $65).  This book can still be bought at that price 
from the museum.
I also picked up a book on West European Illuminations 8-16 Century housed at 
the Russion National Library, St. Petersburg.  This book was a whole 25 
Euros.  Unbelievable!
Furthermore I picked up the annual publication of the Germanische 
Nationalmuseum from 1991-1994, and 1996.  All have grand articles in them on 
the vqarious collections housed in the museum or on traveling exhibits.
Yesterday I came to Schweinfurt, where we celebrated my Dad's 90th Birthday.
Tomorrow I have an appointment to see the Georg and Otto Scaefer Collections 
(Old German Paintings 1400-1600 and grapgics like edgings, engravings, etc).  
Among other things I will get to actually touch embroidery pattern books from 
1563.  I am very excited.  So tomorrow will be a follow up report.
Please contact me if you want to see any of my new treasures. or for info as 
to how to get copies of the books still available.  Sorry I am running out of 
funds so i cannot get duplicates right now.
Elisabeth
  
  

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I am forwarding this to you for it has much more details than I can remember.
Elisabeth

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>I am forwarding this to you for it has much more details than I can remember.
<BR>Elisabeth</FONT></HTML>

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June 7, 2002

Today was an experiece I will not forget in a loooong time.  I was able to 
look at and touch, to leave through and read books that were printed in 
period.
I was able to go to the Otto Schaefer Library in Schweinfurt.  I had called 
and had gotten an appointment for 2 pm.  Today was the first time I regretted 
not having taken the digital camera with me.  

When I got there I had to sign in with ID Card (passport) and the whole nine 
yards.  In the guest register all the books I was going to look at were 
recorded.  

The first one was: "Ein new kunstlich Modelbuch" published by Quentell in 
Cologne, Germany in 1536.
The paper is almost comparable with some of the calligraphy paper I saw in 
the States.  The pages have yellowed slightly.  The book had a long 
explanation .as to what the designs can be used for: Embroidery, Weaving, 
Lace making.
There were designs by Duerer Holbein and Cranach.  Some very simple 
geometrics others very intricate for reticella lace.  It was wonderful.
Next I was given the Original of the Amman Trachtenbuch. The edition was 
called Gynaeceum.  Published 1586  I do have a Dover reprint, but it in no 
way does the original any justice.  The lines on the woodcuts are clear.  The 
paint as fresh as the day it was printed.  The text completely in Latin.  It 
was really hard to believe the Art and clearness of the print.  Totally 
amazing that books can actually survive this long.  I had to think odf all 
the hands that had touched this book over the years and centuries.  I can 
only hope that some of the modern art can survive as long and be in as good a 
shape.
Then I saw a Modelbuch again this one was by Sibmacher and called "Neues 
Modelbuch in Kupffer" published 1604.
It showed many heraldic motives for Cross Stitch.  Yes for Cross Stitch.  The 
charts looked exactly like modern counted cross stitch charts.  Just no 
legends for assigning colors to the symbiols.  Most of them wwere for 2 or 3 
colors.  After the cross stitch charts (heraldic beasts, arms, geometric 
designs) was an few pages for blackwork, then reticella and finally 
needlepainting.  The decriptions on several "cross stitch charts " read: 
    "Kreuzstich und franzoesischer Stich auch ins Gestrueck zu nehmen"  
    "Cross stitch and French Stitch can also be used in knitting
A complete section on designs for patterns for clocks on stockings.
It was amazing.  Today we do not do as intricate a design anymore.  It really 
shows how much more skilled these needleworkers from period were.  Through 
the technical age sooooo much knowledge and skill was lost.  It is 
unfortunate.

The next book I was shown was illustrated by Jost Amman (woodcuts) again.  It 
was a book on clothing of the clergy:  
    Ordenstrachten by Johann Adam Lonitzer, published in 1585
It briefly listed the clothing ordinances for each picture, each depicting a 
different order and rank.  It was mainly the male orders, but also a few 
female ones.  

The final original I was able to see was:
    Fabian von Auerwald's Ringerbuch published 1537
This book explains each move allowed in wrestling with the accompanying 
picture.

This book was interesting to me since each man in the illustration was 
dressed in the Landsknechrt style.  The instructiuons for each move were 
clear and concise.  
The old German  language spoken then (or better printed then) was hardly 
different from the current German.

I was in a daze. They would have let me look at other books in the vaulted 
library, if I had asked.  But by the time I had studied the ones I just wrote 
about I was overwhelmed.  
The reading room where I was is lined with books.  Most of the first editions 
from 1900 - 1950.  Only the "old" books were in the vault.  Books dating 
priror to 1900.
I was allowed to look in there.  I had imagined a small room.  WRONG!  It was 
a large room with rows and rows of bookshelves lined with books.
The books they had selected for me all dealt with fashion.  I was offered to 
look at others.  There are many many original Duerer engravings, drawings and 
edgings.  There are original fencing books, etc. etc. etc.  2 copies of the 
original Weltchronic (the one I just bought a faxcimile copy off) and more 
and more.  It was hard to believe.
It is my understanding that Mr. Otto Schaefer has one of the most extensive 
collections of printed graphics especially from the 15th and 16th Century.  
Mr. Otto Schaefer passed away 2 years ago.  About 10 years ago he opened his 
library to the public.  For a small price of 3 Euros per adult one can tour 
whichever exhibit is being shown at the time. As to being able to do what i 
was able to do one only has to make an appointment.  
They do have a web page:  www.bibliothek-otto-schaefer.de
I think many of Aethelmearc's illuminators would have been just as excited as 
I was.  Also there are few actual written documents, there are many 
illuminated printed documents and books.
Of course I bought books there as well that were published by and for the 
Otto Schaefer Library.
     3 book Set:  Duerer as storyteller
                    Duerer: the Art to "travel" in nature
                    Duerer - Heaven and Earth   

    Amor als Topograph - 500 years Amores by Conrad Celtis

    Der Buchschmuck der Sensenschmidt Bibel, Nuernberg about 1476
      depicting all  the illuminated Capital letters of the Sensenschmidt 
bible

    Kostbare Drucke und Einbaende aus 6 Jahrhunderten
    Precious prints and covers from 6 Centuries

    Einbandkunst aus sechs Jahrhunderten
    Artful Covers from 6 centuries

Tomorrow, Saturday I hope to still find the time to visit the Georg Schaefer 
Museum which is home to the Art Collection (Paintings.  Georg Schaefer 
collected mainly German Masters.  I do have a printed Catalogue of one of the 
special exhibits which were almost entirely paintings from the Cranach School 
of painters.
But since a lot of these paintings are loaned out to various museums all over 
the world I cannot hope to see that collection in its entirety.  But that 
would be overwhelming anyhow.  And I do have to spend some time with my 
father.  Afterall he is the reason I came to visit.
I am getting scared however off getting all these books home.  The suitcases 
(I brought an empty one to start out with) are getting awfully heavy.  Books 
way a ton.
But I will not leave my new treasures behind.

I know I had not mentioned it before but I did get a copy of the Schuette 
Embroidery Book, which has been out of print forever and I have been trying 
for the last 10 years to find.  It covers all the embroidery in period from 
the Bayeuz Tapestry on.  It is the Embroiderer's bible.

Well I better go, it is getting late and I need to get some sleep.
 
Anyone wanting to see any of the new books please get in touch with me 
directly.

Elisabeth
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June 8, 2002

Made it to the Georg Schaefer Museum.  It was a disappointment.  They are 
holding a Spitzweg Exhibit.  Way past our period.  All the old masters are in 
the vault, no way to see them.  O well.  I cannot win them all.  The 
remainder of the trip will be somewhat boring.  Visits with family.  I am 
looking forward to returning home.  Sure would have liked to spent more time 
in Nuernberg, but that could not be helped.  I did get to see most of what I 
wanted to see, and lots more than I expected.
This pretty mmuch concludes all interesting things from this trip.  I will 
write more once back in the States.

As I said before, anyone interested in the books I bought please contact me 
personally.  Your Excellency Baroness Liadain I got your playing cards, and I 
did get the requested items for Master Charles of Alden as well.  Please 
contact me so we can get together.

Thanks
Elisabeth

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Date: Thu, 11 Jul 2002 07:06:13 -0600
Status: RO

I'd have to ask our local weed expert (former baron of our SCA group,
who just happens to be the Main Weed Guy for one of the counties our
barony comprises) which type of tansy this is...it grows fairly tall,
has feathery-looking leaves, and a kind of umbrella-shaped, composite
flower head (reminds me of same sort of shape as, say, queen anne's
lace, or dill), with bright yellow, round flowers no bigger than my
thumb nail.  I'm pretty sure it's the same stuff that occasionally shows
up in medieval recipes.  The plants my friends used had not yet
flowered--they're gonna try just using the flower heads later this
summer when it blooms.
We actually have a lot of problems with invasive and noxious weeds in
Montana--sometimes they're trouble just because there aren't enough
natural predators/consumers of the plant, and it spreads so rapidly that
it crowds out native vegetation, and you end up with half a hillside
that's only got one plant species on it.  Some of these are quite useful
(knapweed for honey, st. john's wort for possible medicinal uses, dyer's
woad for dyeing), but still an overall pest.  Dyer's woad, for instance,
is so bad that you can't even legally grow woad in your garden (well,
apparently you can grow something called "japanese indigo," but that's
it).  If you want to dye with indigo or woad here, you pretty much have
to import or buy the actual dyestuff.
I'm looking forward to this weekend--we have a local (SCA) event, at
which several people are going to be doing a dye-in.  I've got skeins of
prepared threads and yarns (different types of silk and wool) to add to
the dye baths--think they're doing indigo, logwood (beautiful shades of
purple), madderroot, brazilwood, maybe some osage orange, and probably
more knapweed and tansy.  I'd very much like to dye some fabric for an
outfit someday, but don't have the appropriate base fabric at the
moment, so these threads are intended primarily for embroidery and
test-bits of knitting.  Should be loads of fun!
--Sue

kat@grendal.rain.com wrote:
> 
> > Hi, All. Sue, I have tansy all over the place, as well as false
> > indigo.
> 
> One of the problems in the US is that there are two kinds of tansy.
> There is tansy ragwort which is a noxious weed (because it kills
> cattle) and there is true tansy, which works well for dyeing. It's too
> bad that so many different plants have names which are similar or
> the same.
>
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Date: Thu, 11 Jul 2002 06:27:42 -0700
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------=_NextPart_001_0002_01C228A4.0FD21910
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Hello!  I've been frantically moving since June, and have missed/deleted =
most threads because of time constraints.  However, is this thread about =
the Costume College happening in Grand Rapids, MI?  =20

Sorry to ask in mid thread...
Thanks!
Gia/Giacinta
----- Original Message -----
From: Allison Thurman
Sent: Wednesday, July 10, 2002 6:39 PM
To: h-costume@indra.com
Subject: [h-cost] Re: Costume College

Message: 14 =20
Date: Mon, 08 Jul 2002 23:41:48 -0500 =20
To: h-costume@indra.com =20
From: Pierre & Sandy Pettinger <costumrs@radiks.net> =20
Subject: [h-cost] Re: Costume College =20
Reply-To: h-costume@mail.indra.com =20
We're going to Costume College as well.  We're teaching a class on Trims =
on =20
Saturday at 1 pm, and a limited attendance workshop on creating headpiece=
s =20
and headdresses (mostly Fantasy oriented, but...) late Sunday afternoon. =
 I =20
at least will try to remember to put a red H on my badge.  If you're goin=
g =20
to the gala Saturday night, I will be in bright orange and yellow, and =20
Pierre will be in black and silver gray. =20
Sandy =20


                - I will be attending this class, and look forward to see=
ing you there! I will also be at the gala, in a green "mock Fortuny" and =
whatever else I find to go with it.
                - I am saving these emails and will work up a list of nam=
etags to look for! =20
                - Allison =20

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<HTML><BODY STYLE=3D"font:10pt verdana; border:none;"><DIV>Hello!&nbsp; I=
've been frantically moving since June, and have missed/deleted most thre=
ads because of time constraints.&nbsp; However, is this thread about the =
Costume College happening in Grand Rapids, MI?&nbsp; </DIV> <DIV>&nbsp;</=
DIV> <DIV>Sorry to ask in mid thread...</DIV> <DIV>Thanks!</DIV> <DIV>Gia=
/Giacinta</DIV> <BLOCKQUOTE style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5p=
x; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> =
<DIV style=3D"FONT: 10pt Arial">----- Original Message -----</DIV> <DIV s=
tyle=3D"BACKGROUND: #e4e4e4; FONT: 10pt Arial; COLOR: black"><B>From:</B>=
 Allison Thurman</DIV> <DIV style=3D"FONT: 10pt Arial"><B>Sent:</B> Wedne=
sday, July 10, 2002 6:39 PM</DIV> <DIV style=3D"FONT: 10pt Arial"><B>To:<=
/B> h-costume@indra.com</DIV> <DIV style=3D"FONT: 10pt Arial"><B>Subject:=
</B> [h-cost] Re: Costume College</DIV> <DIV>&nbsp;</DIV> <META content=3D=
"MS Exchange Server version 6.0.4417.0" name=3DGenerator><!-- Converted f=
rom text/plain format --> <P><FONT size=3D2>Message: 14</FONT> <BR><FONT =
size=3D2>Date: Mon, 08 Jul 2002 23:41:48 -0500</FONT> <BR><FONT size=3D2>=
To: h-costume@indra.com</FONT> <BR><FONT size=3D2>From: Pierre &amp; Sand=
y Pettinger &lt;costumrs@radiks.net&gt;</FONT> <BR><FONT size=3D2>Subject=
: [h-cost] Re: Costume College</FONT> <BR><FONT size=3D2>Reply-To: h-cost=
ume@mail.indra.com</FONT> </P> <P><FONT size=3D2>We're going to Costume C=
ollege as well.&nbsp; We're teaching a class on Trims on </FONT><BR><FONT=
 size=3D2>Saturday at 1 pm, and a limited attendance workshop on creating=
 headpieces </FONT><BR><FONT size=3D2>and headdresses (mostly Fantasy ori=
ented, but...) late Sunday afternoon.&nbsp; I </FONT><BR><FONT size=3D2>a=
t least will try to remember to put a red H on my badge.&nbsp; If you're =
going </FONT><BR><FONT size=3D2>to the gala Saturday night, I will be in =
bright orange and yellow, and </FONT><BR><FONT size=3D2>Pierre will be in=
 black and silver gray.</FONT> </P> <P><FONT size=3D2>Sandy</FONT> </P><B=
R> <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp; <FONT size=3D2>- I will be attending this class, and l=
ook forward to seeing you there! I will also be at the gala, in a green "=
mock Fortuny" and whatever else I find to go with it.</FONT></P> <P>&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=
;&nbsp; <FONT size=3D2>- I am saving these emails and will work up a list=
 of nametags to look for!</FONT> </P> <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n=
bsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <FONT size=3D2>- Al=
lison</FONT> </P></BLOCKQUOTE></BODY></HTML>

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Date: Thu, 11 Jul 2002 07:36:52 -0600
Status: RO

Hi, Kit.  Great question!
My fabric-shopping habits have definitely changed, somewhat for the
better, and oft times, more expensive.  (short version)
(Longer version) As I've learned more and more about historical
costuming and clothing, I've stopped buying inexpensive cottons, etc.,
and gone with linens and wools (when I can find them).  I do still
consider okay (in my SCA-related context) to use good quality cotton
velveteens and some corduroys as substitutes for some of the period,
napped fabrics, as they are my best available substitutes (even if not
what I'd *dream* of having <g>...I got to see some of the Real Thang
last fall....*drool*).
Luckily, I've never been fond of artificial fibers like polyester, etc.,
so that wasn't a fabric habit I had to break as I learned to become more
authentic in my fiber choices.
In general, I've become pickier (especially in the last couple of
years--this list has had a strong influence on me and my levels of
commitment to having more authentic clothing!), and less willing to go
with the "it's good enough for a tourney event" stuff....This may partly
explain why my costuming interests, at least for the immediate future,
have shifted from the really late renaissance stuff, to earlier cultures
(early Anglo-Saxon, which is completely Ben's fault, Nicole <g>), or
Robin's Gothic Fitted Gowns.  Someday I'll no doubt dabble in the
Elizabethans again, but right now I'm having loads of fun working with
earlier garments.  I can feed my obsessive Authenticity Jones by
concentrating on period seam finishes, sewing techniques, etc.
I prefer to buy cheap, if I can, but that's very, very difficult where I
live (Montana's about the size of Spain, but doesn't even have a million
people in it).  We have one "Jo Ann's" store in town that's largely
nasty craft junk and cheap seasonal fabrics ($2/yd. acetate taffetas at
Spring Prom time, etc.).  And that's it.  We have to go several hours,
or find it on the internet, if we want anything better.  When I started
costuming about 15 years ago, we had 5? fabric stores in town, one of
which just did wool (oh, drool.....*sigh*).  I have been so far unable
to find a good source for wools (geez, I miss the g-street fabrics
website), but have bought lots of good linens on line, and have sources
for silk, but am holding off on buying some until I get some outfits
made (I'm a pretty bad hoarder).
If I've got a specific need for fabric, though, and it's expensive, I
don't let that stop me.  Sometimes the only way to get it is to be
willing to pay for it.  My most expensive stuff (carefully folded in my
grandmother's old trunk, so I can save it by throwing it through a
window if there's ever a house fire) is this divine, scrumptious,
black-and-gold upholstery brocade I paid $25/yd for.  I will, someday,
be using it to make a reproduction of the Phoenix portrait of Elizabeth
I.
I could talk about fabrics all day (and have!), but I gotta get off this
ding-dong computer, and go to work.
Thanks for letting me talk!
--sue

kitsune242@aol.com wrote:
> 
> Greetings All!
> 
> I was just wondering how have your spending habits changed over time while you have been costuming?  Have your spending habits gone up or down?  Also, your fabric choices; better, worse?
> 
> For me, although my fabric choices have gotten "better" (for the most part) I have gotten cheaper.  For example: I will find a beautiful fine linen, but am no longer willing to spend $15.00 a yard on it.  (And I started shopping in the LA Garment District.)
> 
> Thanks in advance for indulging my curiosity.  I am looking forward to the responses.
> Kit
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Date: Thu, 11 Jul 2002 06:59:15 -0700 (PDT)
Status: RO

where do you find your silks online?  I'd love to find some nice
duschess satins....

.heather.


>  --- kitsune242@aol.com wrote: > Greetings All!
> > 
> > I was just wondering how have your spending habits changed over time while
> > you have been costuming?  Have your spending habits gone up or down?  Also,
> > your fabric choices; better, worse?
> 
> My spending habits went up according to my financial situation. When beinga
> student while working part time  a little at Uni I wouldn't have dreamt of
> spending what I spend now. At the same time the quality and fabric choice has
> gone up accordingly. I would NEVER use slubby dupion silk anymore, because it
> is plain wrong for the period I am doing. I always use taffeta now, but I do
> shop around trying to find the cheapest retailer. I hate shopping though and do
> most of my purchases via the internet.
> Same with woolens, we buy almost all of our wool from hainsworth now, 100% pure
> wool, superfines and meltons, quite simply because with the job came the
> problem of not having any time. If I go and madly sew every waking and
> non-working hour for ben, then I am not using a cheap and tacky cloth.
> I do though tend to overspend, but I anticipate this for any given project and
> will spend next year paying off my credit card.
> All in all I know EXACTLY what I want and what I do not use, and thus are able
> to shop for the cheapest price of what I want. Now and then though... same with
> the metal brocade for my mantua, I go 'oh sod it, gonna be broke!' and indulge
> myself, knowing I'll have to pay off the minus.
> I am lucky though, full time job, no kids, no mortgage, no rent even, all I
> have to pay is a contribution to my food and living costs, the petrol and
> insurance and tax for my car (quite a lot, petrol is so expensive here), my
> private health insurance and my huge web site hosting. I am very very lucky, I
> know.
> 
> 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] The 1796 nettlecloth dress
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Date: Thu, 11 Jul 2002 10:01:45 -0400 (EDT)
Status: RO

Thank you, Fran.  Does Fred have a web site?


On Tue, 9 Jul 2002, Lavolta Press wrote:

> The photos were someone supplied appear to have been scanned in from a
> modern copyrighted book, Ellen Anderson's _Moden 1790-1840_.  This
> book includes a scale pattern of the same dress with notes.  It also
> includes 18 other scale patterns for women's and men's garments, and
> many photos including those for which no pattern is provided.  It was
> published in 1986 by the Nationalmuseet in Copenhagen. I think I
> bought mine from Fred Struthers--his email is fsbks@mcn.org.
>
> Fran Grimble

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Date: Thu, 11 Jul 2002 10:03:57 -0400 (EDT)
Status: RO

On Wed, 10 Jul 2002, Penny Ladnier wrote:
> >From one of our classes, Cowgirls and Shady Ladies:
> Prostitutes in western boomtowns were required by law to wear yellow
> dresses.  This was to distinguish them from the average female citizens.

Ok, is that true, or yet another costume myth?  Sounds like someone saw
something about (medieval Italian, I think? can't remember which city or
century) prostitutes wearing yellow and extrapolated...?  Would love to
see documentation, because it just sounds fishy.

-- Mara

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Fabric Prices
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Date: Thu, 11 Jul 2002 09:32:39 -0500 (CDT)
Status: RO


Add me to the list of those who buy less and better. I have been slowly
getting rid of the stash of "finds" I stocked up in my youth, when I had
less discriminating tastes (and was still using cotton). Now I buy only
linen, silk, and wool for costume use.

Alas, I'm now working one day a week at a fabric store that specializes in
linen, silk, and wool, at clearance prices, plus employee discount. So
being more discriminating hasn't necessarily brought down the *quantity*
of purchases. But I have so many riches to choose from, and a restricted
budget! I have in the last couple of months watched with equanimity as a
table of wonderful 100% linens, as low as $3/yard, has slowly disappeared.
I restricted myself to just 10 yards of red, 6 of blue, about 8 of white.
(Hmm, now it doesn't sound that restricted, does it? But there were dozens
of bolts, any of which I'd have snapped up if I'd seen it at that price as
a single find at Jo-Anns, in my pre-employee days.)

--Robin, waiting hungrily for the fall wools to arrive

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Date: Thu, 11 Jul 2002 09:35:23 -0500 (CDT)
Status: RO


On Thu, 11 Jul 2002, Heather Meadows wrote:

> where do you find your silks online?  I'd love to find some nice
> duschess satins....

Anatol's, which is local to me, carries duchess silk satins, and I believe
they have an online presence -- try http://www.bridalfabric.com . But
they're really expensive.

--Robin

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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 10:13:00 -0400 (EDT)
Status: RO

On Thu, 11 Jul 2002, [iso-8859-1] N Kipar wrote:
> What *was* velvet made from? Cotton? And is the "real thing" even
> > vaguely affordable now?
>
> It was made from silk, 100% silk. Aparently one can still get tha SOMEwhere but
> the price is prohibitive. Modern 'silk velvet' is usually 80% rayon (the pile)
> and 20% silk (the backing) and can be dyed well and also used for burning
> patterns into it.

I'm sure I've heard of wool velvet, for the 18th c. at least.  Am told one
can find wool velvet used for theatre seats and curtains.

Cheers,
Mara

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 "from Robin Netherton at Jul 11, 2002 09:35:23 am"
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Date: Thu, 11 Jul 2002 07:22:42 -0700 (PDT)
Status: RO

doesn't look like they sell it, online, in silk.  oh well.


> 
> On Thu, 11 Jul 2002, Heather Meadows wrote:
> 
> > where do you find your silks online?  I'd love to find some nice
> > duschess satins....
> 
> Anatol's, which is local to me, carries duchess silk satins, and I believe
> they have an online presence -- try http://www.bridalfabric.com . But
> they're really expensive.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: "Marna Jean" <marnajean@shootingstarhistory.com>
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Date: Thu, 11 Jul 2002 09:42:13 -0500
Status: RO

Hi, that one is my fault it is true- not in every boom town though.
 I am currently searching for the book I found it in again, BUT the original
source(for the book) was a newspaper article. I have misplaced both book and
my brain has shut down on trying to remember the title. But the story goes
thusly-

You see the ladies of a particular western town were a bit upset because the
prostitutes in town were blending a bit too well- they were afraid they(the
upstanding proper ladies) would be mistaken for the "soiled doves"(or the
doves would be mistaken for proper ladies!). So they pressured their
husbands in to making a law that the ladies be required to wear yellow bows
in their hair so everyone would know who they were (this was in the
1870's-1880's when yellow was not a particularly fashionable color- I mean
true yellow not the golden yellow) Well the "doves" decided to retaliate and
soon every girl in town was dressed in nothing BUT yellow!

 I use it as an example in my classes, because a common mistake the students
make or have it the notion that only "bad women" wore the color red. In the
1880's red was a very fashionable color- in fact most magazines from that
era will list about 3-7 shades of it in any one month!
Marna Jean(MJ)
BTW Hi, everyone! Penny invited me to come and defend her on this thread!
I'm a clothing historian/seamstress who focus on the Victorian era but
especially the Old West and the bustle periods.Glad to be here.

Doug and Marna Jean Davis
Shooting Star Enterprises
Living History & Custom Historical Clothing
http://www.shootingstarhistory.com/home.html
 oakley@access-one.com
Alternate email-
oakley@shootingstarhistory.com

Instructor for www.costumeclassroom.com -
 Victorian and Old West Era
Online Classes in History and Period Sewing
-----Original Message-----
From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume <h-costume@indra.com>
Date: Thursday, July 11, 2002 9:05 AM
Subject: Re: [h-cost] Costume Trivia


>On Wed, 10 Jul 2002, Penny Ladnier wrote:
>> >From one of our classes, Cowgirls and Shady Ladies:
>> Prostitutes in western boomtowns were required by law to wear yellow
>> dresses.  This was to distinguish them from the average female citizens.
>
>Ok, is that true, or yet another costume myth?  Sounds like someone saw
>something about (medieval Italian, I think? can't remember which city or
>century) prostitutes wearing yellow and extrapolated...?  Would love to
>see documentation, because it just sounds fishy.
>
>-- Mara
>
>_______________________________________________
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Subject: [h-cost] Fabric Prices
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Date: Thu, 11 Jul 2002 09:27:25 -0500
Status: RO

I also seem to buy less on impulse, but what I buy is better quality.  No more, "oh, that's pretty, what can I do with it, oh heck I'll get it anyway" but "100 % linen/silk/wool, at that price!?!, I can do X!" .  

Probably the biggest change is now knowing *where* to shop, and that includes online resources.  I am still a bargain hunter but I think those are thrifty habits I inherited from my depression era grandmother.  I am lucky enough to have a large space for stash (and a large cutting table, built to my height!) but even it has a few empty shelves these days.

Catherine

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Date: Thu, 11 Jul 2002 09:49:25 -0500
Status: RO

try thaisilks.com- limited colors in the duchess satin 11 colors and $23- 30
yd
- but good service and reasonable prices on most of their stuff- some of the
brocades and velvet are rayon/silk blends but have good hand (though the
velvet is very soft!) I adore their silk/cotton batiste. Periodically I get
a backorder but not often.
MJ



>doesn't look like they sell it, online, in silk.  oh well.
>
>
>>
>> On Thu, 11 Jul 2002, Heather Meadows wrote:
>>
>> > where do you find your silks online?  I'd love to find some nice
>> > duschess satins....
>>
>> Anatol's, which is local to me, carries duchess silk satins, and I
believe
>> they have an online presence -- try http://www.bridalfabric.com . But
>> they're really expensive.
>>
>> --Robin
>>
>> _______________________________________________
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Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 09:46:02 -0500
Status: RO

mohair- not wool- slight difference one's from a sheep the other from a
goat- though I suppose one of the longwool breeds like the leicester or
cotswold might make passable velvet- I think it is still available or was a
few years back- I had a friend who was a large presence in the Angora goat
industry and she special ordered mohair velvet for her 19th century couch
and chair to be recovered in.
MJ

>
>I'm sure I've heard of wool velvet, for the 18th c. at least.  Am told one
>can find wool velvet used for theatre seats and curtains.
>
>Cheers,
>Mara
>
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Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 16:08:10 BST
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote :

> --- jane@williams.nildram.co.uk
> wrote: > 
> > Errm.. what's a "Jo-Anne's"? Is being sold there a good thing or a bad
> thing?
> 
> It's an American thing, dear. A chain of fabric stores,

And from the look of the context in other messages since, cheap&nasty fabric stores? Or did I misinterpret that?


> What *was* velvet made from? Cotton? And is the "real thing" even
> > vaguely affordable now?
> 
> It was made from silk, 100% silk. Aparently one can still get tha SOMEwhere
> but
> the price is prohibitive. Modern 'silk velvet' is usually 80% rayon (the
> pile)
> and 20% silk (the backing) and can be dyed well and also used for burning
> patterns into it.
> 
> Cotton velvet or velveteeen as many call it, is an aceptable an suitable
> alternative and looks way more period than the rayon velvet. Just be careful
> with some 'veveteen's' their nap is too short, looks like upholstery velvet.

Just what I wanted to know: thanks. So this amazingly cheap stuff would in fact look wrong to those who knew about these things, and I should probably avoid it.

(Just been visiting the suggested Silk sites, and drooling over the keyboard. But as yet it would not be a good idea for me to take scissors to fabric of that sort of quality and price).





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Date: Thu, 11 Jul 2002 10:13:19 -0500
Status: RO

OH yeah, in the late 1870's cotton velvet was pretty popular- I have several
Demorest's that discuss it as being a good "wearable" item- one that did not
wear badly- eventually they started calling it velveteen about the mid
1880's but what I have read it was a bit "plusher" than most of the
velveteen is now- more like the cotton/rayon velveteen.
MJ
(p.s. please forgive for me just jumping in here- like I said my specialty
is mid-late 19th century and you are probably discussing an earlier period)
:
>> What *was* velvet made from? Cotton? And is the "real thing" even
>> > vaguely affordable now?
>
>Cheers,
>Mara
>
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Date: Thu, 11 Jul 2002 16:18:31 BST
Status: RO

Marna Jean <marnajean@shootingstarhistory.com> wrote :

> (p.s. please forgive for me just jumping in here- like I said my specialty
> is mid-late 19th century and you are probably discussing an earlier period)

I'm just trying to increase my general knowledge (starting from zero).

How far back does velvet go, anyway?





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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 16:19:54 +0100 (BST)
Status: RO

 --- jane@williams.nildram.co.uk wrote: > N Kipar <nicolas_fouquet@yahoo.com>
wrote :

> Just what I wanted to know: thanks. So this amazingly cheap stuff would in
> fact look wrong to those who knew about these things, and I should probably
> avoid it.

Yes, I have to admit I would take only one look and know it is wrong/synthetic,
f it is synthetic. Using the wrong materials destroys all the effort of a
costume. Start with something simpler, use natural materials which you can buy
at the re-enactors markets and multi-period events in the trader markets (the
linen is UNBELIEVABLY fanastic and cheap 4-5 quid usually) and then you don't
fear so much to do something wrong.
Which period are you doing?
Where are you 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] Re: different velvets
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Date: Thu, 11 Jul 2002 16:29:50 BST
Status: RO

Jane@williams.nildram.co.uk wrote :

> I'm just trying to increase my general knowledge (starting from zero).
> 
> How far back does velvet go, anyway?

A bit of Google hunting has found some answers to that one, but having just been advised about Ruritanian Purple Feathers, I'm taking them with a degree of caution.

12th and 13th Century Velvet:
http://www.geocities.com/Area51/Lair/5459/bliaut3.html
includes the comment "Fragments of twill and cotton velvet have been found dating back to 9th century France".
I wonder what they used it for back then? T-tunics?

http://www.costumes.org/pages/textiles/velvet.htm
suggests it goes back to the Egyptians.

And there I was thinking it was comparatively modern, being a complicated sort of thing.





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Date: Thu, 11 Jul 2002 11:02:01 -0500 (CDT)
Status: RO


On Thu, 11 Jul 2002 jane@williams.nildram.co.uk wrote:

> > > Errm.. what's a "Jo-Anne's"? Is being sold there a good thing or a bad
> > thing?
> > 
> > It's an American thing, dear. A chain of fabric stores,
> 
> And from the look of the context in other messages since, cheap&nasty
> fabric stores? Or did I misinterpret that?

They cater mostly to quilters and crafters, with some home decorating, and
modern dress fabrics. That means a lot of cotton prints and synthetics,
mostly undesirable for historic use. But they (and the other large chain,
Hancock's) are the only local fabric source in many American towns.  
Because the clearances run nationwide and the same fabrics can be found in
many stores, people on the list like to alert others when they discover
something suitable there for historical use, particularly when it's on
sale. I always comb the local Jo-Ann's during the season clearances -- I
have many times caught the stray bolt of 100% linen or wool that the
crafters passed up.

--Robin


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Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 11:12:40 -0500 (CDT)
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On Thu, 11 Jul 2002 jane@williams.nildram.co.uk wrote:

> 12th and 13th Century Velvet:
> http://www.geocities.com/Area51/Lair/5459/bliaut3.html
> includes the comment "Fragments of twill and cotton velvet have been
> found dating back to 9th century France". I wonder what they used it
> for back then? T-tunics?

Someone on the list, a few years ago, posted some useful background on
velvet use in medieval Europe. I don't recall the sources (I probably have
them saved somewhere), but the take-home message that I committed to
memory was that the primary use for velvets before the 14th century was in
household furnishings -- e.g. bed hangings, cushions. If the velvets were
cotton, that's consistent with the idea that cottons were typically used
in household furnishing fabrics, but not in garments, in medieval Europe.
Note that I'm saying *primary* and *typical* use here. Of course there are
always exceptions.

Given all that, I would be reluctant to use velvet for clothing before the
14th centur. I would be happy to see a good source for clothing use, but I
think it's unlikely that we'll see any indication that clothing use of
velvet was at all routine or common, even among the rich, before the 14th
century or later.

The real sticking point for me is finding a suitable velvet that can pass
for a period velvet. Unless I had something very close, I think the entire
garment would suffer, so I avoid it. Since velvet wasn't exactly an
essential wardrobe fabric, I don't think I'm missing much without it.

--Robin


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Date: Thu, 11 Jul 2002 08:55:04 -0700
Status: RO

Fred's URL is:

http://www.mcn.org/e/fsbks/HTML/fred.htm

He specializes in imported and used costume books.  However, his (large)
inventory is not online.  I am sure he will be happy to answer inquiries
and/or mail a print catalog.  I'm  not sure how much Fred would want me to
publicize this, but he will do special orders of costume books if there is
enough interest.  I often use him for special ordering from foreign vendors
and publishers who I have failed to communicate with language-wise, or who
won't accept any currency or form of payment I can give them, or I can't
find out their address--that kind of thing.  I'm not inexperienced in
foreign orders myself, but Fred is a pro at it.

Fran

Kevin & Mara Riley wrote:

> Thank you, Fran.  Does Fred have a web site?
>
> On Tue, 9 Jul 2002, Lavolta Press wrote:
>
> > The photos were someone supplied appear to have been scanned in from a
> > modern copyrighted book, Ellen Anderson's _Moden 1790-1840_.  This
> > book includes a scale pattern of the same dress with notes.  It also
> > includes 18 other scale patterns for women's and men's garments, and
> > many photos including those for which no pattern is provided.  It was
> > published in 1986 by the Nationalmuseet in Copenhagen. I think I
> > bought mine from Fred Struthers--his email is fsbks@mcn.org.
> >
> > Fran Grimble
>
>

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


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Date: Thu, 11 Jul 2002 09:02:24 -0700
Status: RO


> I'm sure I've heard of wool velvet, for the 18th c. at least.  Am told
> one can find wool velvet used for theatre seats and curtains.

For the 16th C as well (although the pieces that the V&A had from 
that time period looked more like upholstery weight then clothing 
weight.)

The first velvets show up in the 12th century but initially they were 
only used by the church in vestments, altar cloths and the like. 
Use for non-church clothing came a bit later.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Thu, 11 Jul 2002 11:38:04 -0500
Status: RO

I seem to recall (TM) that there were some finds of Silk banding /applique
on some norse garments- the expensive/imported fabric moved
from garment to garment as the main fabric wore out..
as I use the early designs, those are easy to cut out- rectangles and
squares..
So, fear not!!
Betsy

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of jane@williams.nildram.co.uk
Sent: Thursday, July 11, 2002 11:08 AM
To: h-costume@indra.com
Cc: jane@williams.nildram.co.uk
Subject: Re: [h-cost] Re: different velvets



(Just been visiting the suggested Silk sites, and drooling over the
keyboard. But as yet it would not be a good idea for me to
take scissors to fabric of that sort of quality and price).





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Date: Thu, 11 Jul 2002 14:47:26 -0400
Status: RO

Hello all.  I unsubb'd many moons ago, but as my sewing is getting better, I
kind of miss this list....  Anyway, for those that care, I am in the SCA.
Currently, I have gotten a wild hair, and am interested in two portrait,
both by Parmigianino, the Roman Courtesan and the Turkish Slave.....

Apollonia

Apollonia Margherita
*****************************************************************
Edmund:
     It's green.
Percy:
     Yes, my lord!
Edmund:
     Percy, the colour of gold, is gold. Whatever you have discovered if it
has a name would be called green.
Percy: [on discovering the secret of alchemy]
     Oh Edmund can it be true, that I hold in my mortal hands a nugget of
purest GREEN?

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Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 14:57:33 -0400 (EDT)
Status: RO

Yes, sometimes they surprise me by getting in real linen or wool -- I
recently bought some 100% wool suiting on sale, and sometimes their cotton
prints _are_ appropriate for something historical (I just found an actual
repro print in the quilting cotton racks, and found some other fabric that
looks like a plausible early 19th c. pattern).  So you never know!

I think that cotton velvet (if it's not too short-napped) is fine for
17th/18th c. costuming, in proper contexts; I've got some lovely red
cotton velvet that I found on Hancock's sale table a few years ago that is
just waiting for me to get around to cutting it into 17th c. sleeves ;D

-- Mara

On Thu, 11 Jul 2002, Robin Netherton wrote:
> They cater mostly to quilters and crafters, with some home decorating, and
> modern dress fabrics. That means a lot of cotton prints and synthetics,
> mostly undesirable for historic use. But they (and the other large chain,
> Hancock's) are the only local fabric source in many American towns.
> Because the clearances run nationwide and the same fabrics can be found in
> many stores, people on the list like to alert others when they discover
> something suitable there for historical use, particularly when it's on
> sale. I always comb the local Jo-Ann's during the season clearances -- I
> have many times caught the stray bolt of 100% linen or wool that the
> crafters passed up.
>
> --Robin

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Date: Thu, 11 Jul 2002 15:54:34 -0400
Status: RO


----- Original Message -----
From: "Kevin & Mara Riley" <lindo@Radix.Net>
To: <h-costume@indra.com>
Sent: Thursday, July 11, 2002 2:57 PM
Subject: Re: [h-cost] Re: different velvets


> Yes, sometimes they surprise me by getting in real linen or wool -- I
> recently bought some 100% wool suiting on sale, and sometimes their cotton
> prints _are_ appropriate for something historical (I just found an actual
> repro print in the quilting cotton racks, and found some other fabric that
> looks like a plausible early 19th c. pattern).  So you never know!

And right now their linens, linen-looks, and linen blends are 66% off.  I
found a bolt of 100% black heavyweight linen for $12 before discount, and
some lovely linen/cotton blends for $7 before discount in my local store.
Gotta read the bolt ends though...

Jeanne
A headon collision between Morticia Adams and Martha Stewart.


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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Thu, 11 Jul 2002 21:49:33 +0100
Status: RO

On 11 Jul 2002 at 8:53, BOSTONHAHN@aol.com 
wrote:

> 
> If all those places are on your list you might want to map your trip to follow the so called castle 
> road. It starts in Mannheim, goes via Heidelberg all the way to Nuernberg.

We may well do at least part of this.

 > I did not mention it before cause you said 
Southern Germany/Austria area. Also part of this or 
> actually a lot of it is considered Southern Germany, I thought it was too far from where you 
> originally wanted to go.

It's places we can do on the way there and on the 
way back. The trip from Calais will be a gentle 
meander rather than an attempted teleport, I think.

The information here, plus those forwarded reports, 
makes me think we might not even get to Austria :)

Thanks!

(About to find out how to switch this list to no-mail for 
a bit).



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Date: Thu, 11 Jul 2002 13:55:51 -0700
Status: RO

I would have to agree... I know in the Italian Renaissance there was 
something similar to this (especially in Venice) involvine yellow skirts and 
yellow veils... But I don't think it was ever something in the Wild West. :)

-Laura

--------------------------
Message: 12
Date: Wed, 10 Jul 2002 16:24:58 -0700
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume Trivia
To: h-costume@indra.com
Reply-To: h-costume@mail.indra.com


 > >From one of our classes, Cowgirls and Shady Ladies:
 >Prostitutes in western boomtowns were required by law to wear yellow
 >dresses.  This was to distinguish them from the average female citizens.

Every single Western boomtown, in every state and territory, in Canada and
the US, in every year?  I find that amount of co-operation and
co-ordination, in a time of no mass media other than a telegraph (when they
even had that), unbelievable.


Kayta

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From h-costume-admin@indra.com  Thu Jul 11 17:39:04 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Pendleton wool cheap (was Re: [h-cost] Fabric Prices
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Date: Thu, 11 Jul 2002 14:22:22 -0700
Status: RO


>I have been so far unable
>to find a good source for wools

Try the Pendleton Wool outlet in Washugal, WA.  The 800 number is 
1-800-568-2480.  Call them to find out what they've got, how much it is, 
and how they can get it to you.  Feel free to pass this number around - I 
got it off their flyer in their store.

I've been there in person (it's across the river from Portland, Oregon), 
and the remnant section has bins of 1.5 to 3 yard pieces of wool fabric in 
several weights and colours.  These will cost anywhere from $1.50/yd. to 
$5/yd.  The selection of colours will be limited, so ask the person on the 
phone what they have, and how much of it there is, in how big pieces.  They 
may have anything from winter-coat-weight to summer-suit-weight.  They can 
arrange to ship your fabric to you.

They did have a couple of plaids, last time I was there, but almost all was 
solid colours in plain weave, herringbone, or twill.  I have black, dark 
blue, light blue, dark green, creamy-white, and mauve from two trips there 
(I live in California).  I didn't see much bright yellow, bright red, or 
white-white.  I didn't see any tweed.  But I did see photos of re-enactors 
who used their wool.  And I saw striped blankets similar to the Hudson Bay 
ones.





Kayta

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From h-costume-admin@indra.com  Thu Jul 11 17:41:03 2002
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From: "Marna Jean" <marnajean@shootingstarhistory.com>
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Subject: Re: [h-cost] Costume Trivia
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Date: Thu, 11 Jul 2002 16:22:39 -0500
Status: RO

If it makes sense to you for on time/period place why not another? (just
curious and not meaning to be offensive or problematic...- maybe the ladies
got the idea from reading an Italian history? Just because one lived "out
west" in the 1880's did not mean they were uneducated or "wild" themselves)

It wasn't the dresses that they were required to wear it was yellow
hairbows- they wore the dresses out of retaliation.  I swear upon my honor
it was taken from a newspaper account in a book I read- but unfortunately it
was before I developed my survival instinct of being able to quote exactly
where I found stuff at, and was 2 moves and a divorce ago when I did that
particular research. I will eventually "refind" it but my time is rather
pressed at the moment. I've been fighting the "red dress" myth for years
now.

Unlike Hollywood I spend a large portion of my time researching the late
Victorian era- and the old west women's clothing in particular. I don't
think this one is myth- we were discussing how different areas had different
ways to distinguish "parlour houses" and "soiled doves" and how Hollywood
gets so much of the saloon/brothel bits wrong. One lady's grandmother said
in their area brothels were required to have a slate framed in barnwood on
the outside of the house. Then there was the "red light" requirement in some
districts. Proper women in the west generally stayed away from poodle dogs
because it was a favorite among the soiled doves who carried them when they
wen on their "advertisement" strolls...
Just a different way in each local to recognize those who were not accepted
into the community as equals...
MJ


>I would have to agree... I know in the Italian Renaissance there was
>something similar to this (especially in Venice) involvine yellow skirts
and
>yellow veils... But I don't think it was ever something in the Wild West.
:)
>
>-Laura
>
>--------------------------
>Message: 12
>Date: Wed, 10 Jul 2002 16:24:58 -0700
>From: Carolyn Kayta Barrows <kayta@frys.com>
>Subject: Re: [h-cost] Costume Trivia
>To: h-costume@indra.com
>Reply-To: h-costume@mail.indra.com
>
>
> > >From one of our classes, Cowgirls and Shady Ladies:
> >Prostitutes in western boomtowns were required by law to wear yellow
> >dresses.  This was to distinguish them from the average female citizens.
>
>Every single Western boomtown, in every state and territory, in Canada and
>the US, in every year?  I find that amount of co-operation and
>co-ordination, in a time of no mass media other than a telegraph (when they
>even had that), unbelievable.
>
>
>Kayta
>
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>
>
>
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Photos of 1700 costumes from the event this weekend
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Date: Thu, 11 Jul 2002 22:33:41 +0100
Status: RO

Sue Clemenger <mooncat@in-tch.com> wrote
>Is that *with* an iron afterbath, or *without?*
>--sue, completely enamored of tansy-dyed wool.....

I think the best glow comes from the plutonium afterbath :-)  (sorry, 
I'm not the dyer, I have absolutely no idea!)

Jean

>
>Jean Waddie wrote:
>>
>> N Kipar <nicolas_fouquet@yahoo.com> wrote
>> > --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > I have to say, the
>> >gentlemen in their coats and wigs were definitely the
>> >> spiffiest thing at the event - Huzzah!
>> >>
>> >> Jean
>> >
>> >Thanks Jean! *grins* wait till I have finished ben's coat for good 
>> >and he has
>> >silver lace around the shoulders (two rows) and down the sides (two 
>> >rows) and
>> >along the outside of the breeches (yet another two row) he's gonna be
>> >glow-in-the-dark-officer.
>> >hehehehe
>> >
>> >Nicole
>> >
>> We'll have to match him with someone in a tansy-dyed surcoat and see who
>> glows best!
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 22:40:16 +0100
Status: RO

Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Thu, 11 Jul 2002 jane@williams.nildram.co.uk wrote:
>
>> 12th and 13th Century Velvet:
>> http://www.geocities.com/Area51/Lair/5459/bliaut3.html
>> includes the comment "Fragments of twill and cotton velvet have been
>> found dating back to 9th century France". I wonder what they used it
>> for back then? T-tunics?
>
>Someone on the list, a few years ago, posted some useful background on
>velvet use in medieval Europe. I don't recall the sources (I probably have
>them saved somewhere), but the take-home message that I committed to
>memory was that the primary use for velvets before the 14th century was in
>household furnishings -- e.g. bed hangings, cushions. If the velvets were
>cotton, that's consistent with the idea that cottons were typically used
>in household furnishing fabrics, but not in garments, in medieval Europe.
>Note that I'm saying *primary* and *typical* use here. Of course there are
>always exceptions.
>
>Given all that, I would be reluctant to use velvet for clothing before the
>14th centur. I would be happy to see a good source for clothing use, but I
>think it's unlikely that we'll see any indication that clothing use of
>velvet was at all routine or common, even among the rich, before the 14th
>century or later.
>
>The real sticking point for me is finding a suitable velvet that can pass
>for a period velvet. Unless I had something very close, I think the entire
>garment would suffer, so I avoid it. Since velvet wasn't exactly an
>essential wardrobe fabric, I don't think I'm missing much without it.
>
>--Robin
>
Just off the top of my head, I can't picture anything that would hang 
right in velvet earlier than that 14th century date.  The first thing I 
can imagine is maybe the very late, very structured sideless surcoats 
with fur edging. When you get on to things like houppelandes and V-neck 
gowns, then you can start to imagine velvet works with that much heavier 
look.

Jean

-- 
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Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 22:31:20 +0100
Status: RO

Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Thu, 11 Jul 2002 jane@williams.nildram.co.uk wrote:
>
>> > > Errm.. what's a "Jo-Anne's"? Is being sold there a good thing or a bad
>> > thing?
>> >
>> > It's an American thing, dear. A chain of fabric stores,
>>
>> And from the look of the context in other messages since, cheap&nasty
>> fabric stores? Or did I misinterpret that?
>
>They cater mostly to quilters and crafters, with some home decorating, and
>modern dress fabrics. That means a lot of cotton prints and synthetics,
>mostly undesirable for historic use. But they (and the other large chain,
>Hancock's) are the only local fabric source in many American towns.
>Because the clearances run nationwide and the same fabrics can be found in
>many stores, people on the list like to alert others when they discover
>something suitable there for historical use, particularly when it's on
>sale. I always comb the local Jo-Ann's during the season clearances -- I
>have many times caught the stray bolt of 100% linen or wool that the
>crafters passed up.
>
>--Robin
>
I'm surprised to hear most towns are so short of fabric shops - since I 
was completely stunned to find fabric in Wal-Mart in the middle of 
Connecticut last year.  Fabric in a supermarket? (We needed to do quick 
curtains for the windows in the front and side doors of our rented 
apartments - a yard of fabric and a bit of masking tape was OK for a 
week or two).  And in one mall in Quebec there were three shops selling 
cloth and knitting yarn. Fabric shops in the UK are generally specialist 
and found down obscure side-streets - never, ever in a mall!  Was I just 
very fortunate in the places I went?

Jean
-- 
Jean Waddie
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From: "Marna Jean" <marnajean@shootingstarhistory.com>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 17:07:33 -0500
Status: RO

speaking of awl-mart fabrics ours has started carrying real 100% cotton
sateen- (very useful for bustle era- don't know about earlier) in about 7
colors! Surprised me!
MJ

- since I
>was completely stunned to find fabric in Wal-Mart in the middle of
>Connecticut last year.  >--
>Jean Waddie
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 11 Jul 2002 17:32:43 -0500 (CDT)
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On Thu, 11 Jul 2002, Jean Waddie wrote:

> I'm surprised to hear most towns are so short of fabric shops - since
> I was completely stunned to find fabric in Wal-Mart in the middle of
> Connecticut last year.  Fabric in a supermarket? (We needed to do
> quick curtains for the windows in the front and side doors of our
> rented apartments - a yard of fabric and a bit of masking tape was OK
> for a week or two).  And in one mall in Quebec there were three shops
> selling cloth and knitting yarn. Fabric shops in the UK are generally
> specialist and found down obscure side-streets - never, ever in a
> mall!  Was I just very fortunate in the places I went?

Yes and no.  In general, the independent fabric store in the U.S. seems to
be as scarce now as the independent bookstore. They were common enough 10
years ago, but more and more of them are folding, either because of
competition from chains, declining sales (fewer people are sewing these
days), or general ill climate for small businesses. If you've got one in
your town, it's a thing to treasure.

Wal-Mart is a different sort of case. It's not what we would call a
supermarket (a term we use for large food stores that also sell soaps,
drugs, sundries, and other household consumables). Wal-Mart falls into the
category of "discount department store," and brings up the cheapest end of
that classification. The chain built its success by bringing mass-market
goods at low prices to small towns and other areas that did not have large
shopping centers and a broad selection of stores. Wal-Mart located its
large retail stores on low-priced property just outside town, offering a
one-stop shop for a large range of useful things -- clothes, hardware,
toys, household goods -- at prices made possible only by high-volume sales
and chain-store scale. (This created a great deal of ill will among small
downtowns, whose smaller, more specialized shops often died from the
competition of the Wal-Mart down the road.)

Anyway, in areas where the nearest fabric store might be an hour away, or
there might be only a single tiny specialty shop, Wal-Mart became the
chief source of fabric. The stores in less-populated areas thus often have
a large fabric department, with a selection catering to the needs of the
home crafter/sewer: basic low-priced fabrics for casual and family
clothing, quilting supplies, curtain materials, thread and tools, basic
craft items.

In more urban areas where fabric is easier to come by, Wal-Mart is not the
consumer's top choice for fabric shopping, so those stores often have a
smaller fabric department or none at all. (In my metro area, I might pick
up thread at Wal-Mart while I'm shopping there for something else, but I
don't go there specifically for fabric, unless maybe I need cheap cotton.)

As to mall stores, a few of the U.S. fabric store chains (So-Fro, Piece
Goods) were often located in malls, but I see less and less of those these
days. Most of the ones I know are in older malls and are well-established.
The idea of three fabric stores in one mall does surprise me. Remember,
too, there's a great difference between the mall culture of North America
and that of the UK. We also have a large presence of "strip centers" --
collections of stores, often parallel to a road with a shared parking lot,
that provide the advantage of clustered stores without the parking
problems or expensive architecture of malls. Fabric stores often are
located in these groupings.

--Robin

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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Another thing you might want to consider on your way to Germany from Calais:
France has many EXPENSIVE toll roads.  You might want to consider going via 
Belgium and the Netherlands.  You would end up close to Aachen when you come 
into Germany.  It is further mileagewise, but it might pay considering the 
tolls!  When we used to go to England that is the route we used to take, but 
I also have to admit we were able to use military gas coupons in the 
Netherlands which also made a major difference on gas prices.  So before 
mapping out your route check the Gad Prices as well as the toll costs.

Should you decide to go that route you must check out Aachen.  It is the city 
where the Emperors of The Roman Empire were crowned (Charles the great as we 
Germans call him, etc.)  It is worth the time.  Not sure about which museums 
there, but I am sure there are some you would not want to miss.

Some other places on that route to check put would be Gent and Brugge.  
(Bobbin Lace, etc.)

Now I really gave you something to think about.  Sorry.  How much time do you 
have?  You also might try to post questions to the Drachenwald Mailing List.  
Drachenwald is the name of the European SCA "Kingdom", which does encompass 
Europe, South Africa, Turkey and Israel.  There are groups everywhere who can 
tell you about the museums etc. in the various towns.  Specially the ones 
that are a little of the beaten track.  
As I said before I am from Southern Germany, so I am not as familiar with the 
Northern parts.

I am not trying to push SCA here, but this is one way how to get lots of info 
from locals.

Good Luck.  Have fun.  I think you will be extremely busy!!!!!
Elisabeth

--part1_5b.2a9993fc.2a5f5f6e_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Another thing you might want to consider on your way to Germany from Calais:
<BR>France has many EXPENSIVE toll roads. &nbsp;You might want to consider going via Belgium and the Netherlands. &nbsp;You would end up close to Aachen when you come into Germany. &nbsp;It is further mileagewise, but it might pay considering the tolls! &nbsp;When we used to go to England that is the route we used to take, but I also have to admit we were able to use military gas coupons in the Netherlands which also made a major difference on gas prices. &nbsp;So before mapping out your route check the Gad Prices as well as the toll costs.
<BR>
<BR>Should you decide to go that route you must check out Aachen. &nbsp;It is the city where the Emperors of The Roman Empire were crowned (Charles the great as we Germans call him, etc.) &nbsp;It is worth the time. &nbsp;Not sure about which museums there, but I am sure there are some you would not want to miss.
<BR>
<BR>Some other places on that route to check put would be Gent and Brugge. &nbsp;(Bobbin Lace, etc.)
<BR>
<BR>Now I really gave you something to think about. &nbsp;Sorry. &nbsp;How much time do you have? &nbsp;You also might try to post questions to the Drachenwald Mailing List. &nbsp;Drachenwald is the name of the European SCA "Kingdom", which does encompass Europe, South Africa, Turkey and Israel. &nbsp;There are groups everywhere who can tell you about the museums etc. in the various towns. &nbsp;Specially the ones that are a little of the beaten track. &nbsp;
<BR>As I said before I am from Southern Germany, so I am not as familiar with the Northern parts.
<BR>
<BR>I am not trying to push SCA here, but this is one way how to get lots of info from locals.
<BR>
<BR>Good Luck. &nbsp;Have fun. &nbsp;I think you will be extremely busy!!!!!
<BR>Elisabeth</FONT></HTML>

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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: <h-costume@indra.com>
Subject: Re: Pendleton wool cheap (was Re: [h-cost] Fabric Prices
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Date: Thu, 11 Jul 2002 17:26:54 -0500 (CDT)
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There are Pendleton outlets all over the country.  The two in Nebraska
usually charge $1/lb for their reminants (which tend to be in pieces 2
yards long or less, though I did luck out on one eight yard royal purple
herribone twill that had some dye flaws I can cut around)) and their rolls
range from $3 to $6/yd.  They also have finished goods, including blankets
and clothing, both overstocks and seconds, all discounted.

Emma

On Thu, 11 Jul 2002, Carolyn Kayta Barrows wrote:
>
> Try the Pendleton Wool outlet in Washugal, WA.


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Date: Thu, 11 Jul 2002 19:11:20 -0400
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Does anyone know of one anywhere near Florida?  I could only find the ones
in Oregon listed on the website.
Moira


>
> There are Pendleton outlets all over the country.

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: Pendleton wool cheap (was Re: [h-cost] Fabric Prices
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Date: Thu, 11 Jul 2002 16:13:56 -0700
Status: RO


>There are Pendleton outlets all over the country.

Woo hoo!

>The two in Nebraska
>usually charge $1/lb for their reminants (which tend to be in pieces 2
>yards long or less, though I did luck out on one eight yard royal purple
>herribone twill that had some dye flaws I can cut around)) and their rolls
>range from $3 to $6/yd.  They also have finished goods, including blankets
>and clothing, both overstocks and seconds, all discounted.


Kayta

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Date: Thu, 11 Jul 2002 16:12:40 -0700
Status: RO


>If it makes sense to you for on time/period place why not another?

Because just because it could have happened doesn't prove that it did happen.

>(just
>curious and not meaning to be offensive or problematic...- maybe the ladies
>got the idea from reading an Italian history? Just because one lived "out
>west" in the 1880's did not mean they were uneducated or "wild" themselves)

Trying not to be offensive or problematic too.  And nobody ever said these 
women were uneducated.  My family, in the wilds of the Territory of Montana 
in the 1880s, were as well read as they could manage.

>I swear upon my honor
>it was taken from a newspaper account in a book I read- but unfortunately it
>was before I developed my survival instinct of being able to quote exactly
>where I found stuff at, and was 2 moves and a divorce ago when I did that
>particular research. I will eventually "refind" it but my time is rather
>pressed at the moment.

I believe you read something a while ago, and that only makes me want you 
to find it so we all can see it.  I would, for example, like to find out 
which town, and which year, this article mentioned.

Kayta

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Date: Thu, 11 Jul 2002 21:14:44 -0400
Status: RO


Ditto what Robin said. I just thought I'd add that another good way to look
at Wal-Mart (a store I hate) is that it's sort of a mini-mall all in itself.
The US had "variety stores" for decades, but Wal-Mart took the idea a whole
level up by building truly giant stores that sold/sell everything you might
possibly want, at inexpensive prices. So Wal-Marts are rather like small
grocery stores, small clothing stores, small toy stores, small automotive
stores, small fabric and craft stores, etc. all rolled into one.

One of the SCA groups in our Barony (we're very unusual in that we have six
groups) is located in a very small farm town in Northwest Ohio. The members
get all their fabric at Wal-Mart. And while their clothes aren't exactly
reenactment level, they have a wonderful time and they are searching for
bargains. If they had to deal with a small-town independent store, I imagine
that they would end up paying a lot more for the same sort of goods.

Gail Finke


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Date: Thu, 11 Jul 2002 21:08:41 -0500
Status: RO


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I don't know if this will help, but www.silkconnection.com has heavy 
bridal satin (23 mm).

Karen

Robin Netherton wrote:

>On Thu, 11 Jul 2002, Heather Meadows wrote:
>
>>where do you find your silks online?  I'd love to find some nice
>>duschess satins....
>>
>
>Anatol's, which is local to me, carries duchess silk satins, and I believe
>they have an online presence -- try http://www.bridalfabric.com . But
>they're really expensive.
>
>--Robin
>
>_______________________________________________
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<html>
<head>
</head>
<body>
I don't know if this will help, but <a class="moz-txt-link-abbreviated" href="http://www.silkconnection.com">www.silkconnection.com</a> has heavy bridal
satin (23 mm).<br>
<br>
Karen<br>
<br>
Robin Netherton wrote:<br>
<blockquote type="cite" cite="mid:Pine.LNX.4.10.10207110933190.14266-100000@shell.nightowl.net">
  <pre wrap="">On Thu, 11 Jul 2002, Heather Meadows wrote:<br><br></pre>
  <blockquote type="cite">
    <pre wrap="">where do you find your silks online?  I'd love to find some nice<br>duschess satins....<br></pre>
    </blockquote>
    <pre wrap=""><!----><br>Anatol's, which is local to me, carries duchess silk satins, and I believe<br>they have an online presence -- try <a class="moz-txt-link-freetext" href="http://www.bridalfabric.com">http://www.bridalfabric.com</a> . But<br>they're really expensive.<br><br>--Robin<br><br>_______________________________________________<br>h-costume mailing list<br><a class="moz-txt-link-abbreviated" href="mailto:h-costume@mail.indra.com">h-costume@mail.indra.com</a><br><a class="moz-txt-link-freetext" href="http://mail.indra.com/mailman/listinfo/h-costume">http://mail.indra.com/mailman/listinfo/h-costume</a><br><br></pre>
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Subject: [h-cost] flax
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Date: Thu, 11 Jul 2002 20:39:05 -0500
Status: RO

I mostly lurk, and I got a little behind reading, but I do remember someone
asking for a source of flax seed in small quantities.

Please contact me privately.

I've grown flax and I've spun flax, but I've not spun my own home grown flax
(yet).   We have wild nettle weeds here, but I've not managed to harvest any
to try and prepare it for spinning (yet).

We also have hemp here, and I have spun hemp, but it was from a commercial
source. In the USA it is a crime to have hemp plants in your possession,
regardless of the intended use. The hemp that grows here (Iowa) is escaped
varieties of cultivated rope hemp that was grown by farmers prior to WWII (I
believe) and isn't any good for smoking anyway. So I'm told.  :-)

Ozzie
landofoz@netins.net

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Date: Thu, 11 Jul 2002 23:19:09 -0500
Status: RO

Robin Netherton wrote:

> from a practical standpoint, it's a royal nuisance to use a toilet when
> you're wearing underwear beneath long, full skirts, and that nuisance
> would be compounded to near impossibility with a chamberpot. By contrast,
> without the encumbrance of underwear, chamberpot use in full skirts would
> be simple -- straddle and squat.

My great-grandmother (born 1899) told me a story of when she was a
girl.  She had to work in the potato fields in Maine and wore long
skirts.  She said they didn't wear underwear because it made it easier
to relieve themselves in the field without having to walk over to
bushes.

--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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Subject: [h-cost] Fwd: [SCA-U] CONF: Elizabeth's Body
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Date: Thu, 11 Jul 2002 17:29:40 -0700
Status: RO

This is NOT a costume conference, but I thought it might interest someone!

>Date:         Thu, 11 Jul 2002 08:53:55 -0400
>From: Hope Greenberg <hope.greenberg@UVM.EDU>
>Subject:      [SCA-U] CONF: Elizabeth's Body
>To: SCA-UNIVERSITAS@LIST.UVM.EDU
>
>We are seeking a third panelist for a session on "Elizabeth's Aging 
>Body" to be proposed for *Elizabeth R.*, the conference 
>commemorating the 400th anniversary of the death of Queen Elizabeth 
>I to be held 21-23 March 2003 at Southern Illinois University 
>Edwardsville.
>
>We welcome papers that address representations of Elizabeth's body
>during the last decade of her reign, and/or in the immediate aftermath of her
>death.  Topics might include the "mask of youth" or other 
>constructions of Elizabeth's
>body in the propaganda of her later reign, visual or verbal 
>descriptions of the
>queen's body as subject or not subject to time, discussions of 
>specific funeral or posthumous depictions, and/or the cultural 
>effects of the queen's aging on conceptions of the political or 
>natural body.
>
>Please send abstracts (250-300 words) by 26 July to:
>Cora Fox <cora.fox@asu.edu>, and Richelle Munkhoff <rmunkhof@tulane.edu>
>----------------------------
>Richelle Munkhoff
>Assistant Professor
>Department of English
>Tulane University
>New Orleans, LA 70118
>504-862-8171 (o)
>504-862-8958 (f)
>rmunkhof@tulane.edu


-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Fri, 12 Jul 2002 08:46:34 +0100 (BST)
Status: RO

 --- BOSTONHAHN@aol.com wrote: > Another thing you might want to consider on
your way to Germany from Calais:
> France has many EXPENSIVE toll roads. 

I personally don't find them that expensive, but then I live in England... and
I fully agree if you go to Germany, don't go via France if you come from
Calais, but definitely via Belgium (use the Amsterdam route, not the Brussels
and Liege one, unless it is late at night. Brussels ringroad is even more
congested usually than Amsterdam) That's the route I always take, can you tell?
:-)

 You might want to consider going via 
> Belgium and the Netherlands.  You would end up close to Aachen when you come 
> into Germany. 

Oh yes, oh yes! Go and see Aachen! See Charlemagne's magnificent cathedral, go
and have a fantastic coffee and warm apple strudel with vanilla ice and cream
in the Alt Aachener Kaffeestuben right to the left of the medieval town hall in
the town square. And please, plaese, give a greeting to Aachen from an
expatriat who loved Aachen very much for the 12 years of living there.

 It is further mileagewise, but it might pay considering the 
> tolls! 

Hmm.. I actually find it not too bad, but then I always go via Aachen anyway. I
also agree that you should definitely pay a visit to Bruge and to Ghent if
possible. The rest of Belgium is, let's say, flat and deadly boring. :-)

 When we used to go to England that is the route we used to take, but 
> I also have to admit we were able to use military gas coupons in the 
> Netherlands which also made a major difference on gas prices.  So before 
> mapping out your route check the Gad Prices as well as the toll costs.

hehehe, once again I can only say, when you live in England you consider petrol
prices CHEAP everywhere else. 

> Should you decide to go that route you must check out Aachen.  It is the city
> where the Emperors of The Roman Empire were crowned (Charles the great as we 
> Germans call him, etc.)  It is worth the time.  Not sure about which museums 
> there, but I am sure there are some you would not want to miss.

The Couven museum is nice, and the treasure, you HAVE to see the cathedral
treasure, they have changing exhibitions of textiles there! The Suermondt
Ludwig museum is nice too. Don't forget to buy Aachener chocolate Printen.
*drools* and you MUST have some Belgian fries with Belgian mayonnaise before
you get to Aachen. Oh my, it's only early morning and I am already thinking
about the great continental food.

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] Re: different velvets
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Date: Fri, 12 Jul 2002 08:48:27 +0100 (BST)
Status: RO

 --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: >

> cloth and knitting yarn. Fabric shops in the UK are generally specialist 
> and found down obscure side-streets - never, ever in a mall!  Was I just 
> very fortunate in the places I went?

Ha, I can contradict you, there is a small one in the Chatham Pentagon shopping
centre (something like a nmart I'd say) 
:-)))

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] Speaking of weeds....
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Date: Fri, 12 Jul 2002 09:28:43 +0100
Status: RO

Sue wrote:
>>>I'd have to ask our local weed expert which type of tansy this is...it grows fairly tall, has feathery-looking leaves, and a kind of umbrella-shaped, composite flower head (reminds me of same sort of shape as, say, queen anne's lace, or dill), with bright yellow, round flowers no bigger than my
thumb nail.  

Sounds like the tansy I know. The flowers are like little yellow buttons. I don't think we have tansy ragwort in the UK, but presumably it is so called because it belongs to the ragwort family but looks rather like tansy.

Kate Bunting
Library, University of Derby

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Subject: [h-cost] Jo Anns and Wal Mart
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Date: Fri, 12 Jul 2002 08:04:55 -0500
Status: RO

We are lucky to have two of the big Jo Ann's Etc. in my area, altho they are on opposite sides of town.  There are two smaller ones nearer to where I live.  Availability of a particular fabric seems to be hit or miss, found some great linen blends left at one, nothing but bright or pastels at the others.  Just means I have to visit them all on a regular basis to keep up with the inventory :).

Wal-Mart has moved into town as well and sometimes they have some *great* bargains on the $1 or $2 tables.  One year I made a killing on lightweight washable wool :).  These bargains seem to be fewer and far between however and the new super Wal-Mart that open about a year and a half ago only has the pre-measured fabric, no cut-to-order on the bolts, yuk!

Catherine

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Subject: [h-cost] Re: fabric stores, was: different velvets
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 I do look in the fabric department of every Wal-Mart that I happen to be in. You just never know what you're going to find on the dollar a yard racks. I've gotten 10 yards of a 60" wide black linen blend, 7 yards of a 36" wide moss green linen blend--treasures like that. And it's a great place if you're dressing teenagers for Pennsic (SCA)--2 weeks of camping means loads of clothing, especially for 2 girls!
The reason that you're seeing fewer Piece Goods stores is that they were bought by Jo-Ann's several years ago. I also seem to remember that So-Fro has gone under too (all of the local ones have been gone for at least 5 years).
I just hate going into the Jo-Ann's ETC. The fabric's overpriced and the clerks don't know where anything is outside of their own department. When Jo-Ann's got ready to open the ETC, they closed all of their other local stores. Aside from the ETC and Wal-Mart, there's nothing within an hour's drive in any direction from my house. The closest Hancock's is about 1-1/4 hours east of here.
I did write to Hancock and suggested that they might want to consider opening a store in the area, but they said that they'd done a study and it just wasn't viable. I do think it's odd that there are NO Hancock stores in the area, though. They are in Cleveland (North), Youngstown (East), and in Columbus (2.5 hours South). Hmph! I think that they're afraid of Jo-Ann's--Jo-Ann's corporate headquarters are a little over an hour from here. But that's just my personal opinion. 
kate
  Robin Netherton <robin@shell.nightowl.net> wrote: 
*snip*
In more urban areas where fabric is easier to come by, Wal-Mart is not the
consumer's top choice for fabric shopping, so those stores often have a
smaller fabric department or none at all. (In my metro area, I might pick
up thread at Wal-Mart while I'm shopping there for something else, but I
don't go there specifically for fabric, unless maybe I need cheap cotton.)

As to mall stores, a few of the U.S. fabric store chains (So-Fro, Piece
Goods) were often located in malls, but I see less and less of those these
days. Most of the ones I know are in older malls and are well-established.
The idea of three fabric stores in one mall does surprise me. Remember,
too, there's a great difference between the mall culture of North America
and that of the UK. We also have a large presence of "strip centers" --
collections of stores, often parallel to a road with a shared parking lot,
that provide the advantage of clustered stores without the parking
problems or expensive architecture of malls. Fabric stores often are
located in these groupings.

--Robin




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<P> I do look in the fabric department of every Wal-Mart that I happen to be in. You just never know what you're going to find on the dollar a yard racks. I've&nbsp;gotten 10 yards of a 60" wide black linen blend, 7 yards of a 36" wide moss green linen blend--treasures like that. And it's a great place if you're dressing teenagers for Pennsic (SCA)--2 weeks of camping means loads of clothing, especially for 2 girls!
<P>The reason that you're seeing fewer Piece Goods stores is that they were bought by Jo-Ann's several years ago. I also seem to remember that So-Fro has gone under too (all of the local ones have been gone for at least 5 years).
<P>I just hate going into the Jo-Ann's ETC. The fabric's overpriced and the&nbsp;clerks don't know where anything is outside of their own department.&nbsp;When&nbsp;Jo-Ann's got ready to open the ETC, they closed all of their other local stores. Aside from the ETC and Wal-Mart, there's nothing within an hour's drive in any direction from my house. The closest Hancock's is about 1-1/4 hours&nbsp;east of&nbsp;here.
<P>I did write to Hancock and suggested that they might want to consider opening a store in the area, but they said that they'd done a study and it just wasn't viable. I do think it's odd that there are NO Hancock stores in the area, though. They are in Cleveland (North), Youngstown (East), and in Columbus (2.5 hours&nbsp;South). Hmph! I think that they're afraid of Jo-Ann's--Jo-Ann's corporate headquarters are a little over an&nbsp;hour from here. But that's just my personal opinion. 
<P>kate
<P>&nbsp; <B><I>Robin Netherton &lt;robin@shell.nightowl.net&gt;</I></B> wrote: 
<P>*snip*<BR>In more urban areas where fabric is easier to come by, Wal-Mart is not the<BR>consumer's top choice for fabric shopping, so those stores often have a<BR>smaller fabric department or none at all. (In my metro area, I might pick<BR>up thread at Wal-Mart while I'm shopping there for something else, but I<BR>don't go there specifically for fabric, unless maybe I need cheap cotton.)<BR><BR>As to mall stores, a few of the U.S. fabric store chains (So-Fro, Piece<BR>Goods) were often located in malls, but I see less and less of those these<BR>days. Most of the ones I know are in older malls and are well-established.<BR>The idea of three fabric stores in one mall does surprise me. Remember,<BR>too, there's a great difference between the mall culture of North America<BR>and that of the UK. We also have a large presence of "strip centers" --<BR>collections of stores, often parallel to a road with a shared parking lot,<BR>that provide the advantage of clustered stores witho!
ut the parking<BR>problems or expensive architecture of malls. Fabric stores often are<BR>located in these groupings.<BR><BR>--Robin<BR></P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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 Interesting. A few years ago Wal-Mart was thinking about changing all of their stores to pre-cuts only. There was such an overwhelmingly negative response from the public that they decided against doing it.
I hope that they're not changing their mind.
kate
  Catherine Kinsey <Ckinsey@kumc.edu> wrote: 
Wal-Mart has moved into town as well and sometimes they have some *great* bargains on the $1 or $2 tables. One year I made a killing on lightweight washable wool :). These bargains seem to be fewer and far between however and the new super Wal-Mart that open about a year and a half ago only has the pre-measured fabric, no cut-to-order on the bolts, yuk!



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<P> Interesting. A few years ago Wal-Mart was thinking about&nbsp;changing all of their stores to pre-cuts only. There was such an overwhelmingly negative response from the public that they decided against doing it.
<P>I hope that they're not changing their mind.
<P>kate
<P>&nbsp; <B><I>Catherine Kinsey &lt;Ckinsey@kumc.edu&gt;</I></B> wrote: 
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">
<P>Wal-Mart has moved into town as well and sometimes they have some *great* bargains on the $1 or $2 tables. One year I made a killing on lightweight washable wool :). These bargains seem to be fewer and far between however and the new super Wal-Mart that open about a year and a half ago only has the pre-measured fabric, no cut-to-order on the bolts, yuk!</P></BLOCKQUOTE><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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Subject: [h-cost] Swedish terminology, Bocksten man?
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Date: Fri, 12 Jul 2002 16:22:23 +0200 (CEST)
Status: RO

I'm reading Margareta Nockert's _Bockstenmannen och hans dräkt_ these 
days, and although I understand most of it fine since I speak Norwegian, 
I'm stumped when it comes to specialized terms for types of stitches and 
suchlike. (Also, so much of my research comes from English books that 
I know English terminology better on some points - hopeless when I'm 
talking to other Norwegians. :) ) So I was wondering if anyone out there 
could translate a few things for me? The words I'm wondering about are: 
smygsöm
förstygn
efterstygn
kaststygn

also, I'm not positive that I understand how the seams are finished:

"Alla sömmar, utom de där stadkant ligger mot stadkant, är sydda med 
dubbla sömmar. Tygstyckerna har först satts ihop, sedan har bĺda 
sömsmĺnerna vikts ĺt samma hĺll och sytts ned mot tyget. Fĺllarna längs 
nederkant, ärmlinningar och halsrigning är sydda med enkel vikning. 
Vilken typ av stygn som använts till de olika sömmarna är svĺrt att 
bedömma pĺ grund av det stora antalet stygnmärken i tyget. Möjligen har 
sömmarna sytts ihop med för- eller efterstygn och sedan har sömsmĺnerna 
sytts ned mot tyget med förstygn eller kastestygn. Vid ĺtermonteringen 
syddes alla sömmar med smygsöm og sömsmĺnerna kastades fast ĺt det hĺll 
de strävade. Fĺllerna gick til skillnad mot sömmarna att sy i de 
ursprungliga stygnhĺlen. De har sannolikt varit sydda med kaststygn, 
vilket ocksĺ gjordes vid ĺtermonteringen."

The way I read this, both seam allowances have been double-folded 
together and turned to the same side, while the hems are single-folded. 
Or are the seam allowances single-folded as well? Also, I'm wondering if 
there's any other documentation from around this period for both seam 
allowances being turned down together and not separately - the book 
isn't clear on whether the seam allowances were just put back the way 
they were assembled i 1936 or if there was any change. It does say that 
the seam allowances were sewed down together in the direction they 
leaned (strävade), but that may well be from more than 35 years of being 
bent that way. I don't have access to any of the sources she lists for 
stitches right now, so I thought I'd ask. :)

Ingrid

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Date: Fri, 12 Jul 2002 09:50:49 -0700
Status: RO

I recently discovered this web site:

Janeliunas Jewelry
http://www.jansjewells.com/reproduction.htm

They sell Victorian and Art Deco reproductions, originals (see their
home page), and supplies and findings. I ordered two of their
Victorian repro pieces, which I have not yet received.  The pictures,
at least, look stunning. The site owner is very helpful. I don't want
to pierce my ears, so I only buy earrings that have screw backs (or
that I can have converted to them).  She contacted the manufacturer,
then offered me a choice of two styles of screw back fastenings they
can put on for me.  She says she still has more pieces to put up on
her site, though they may be for her Art Deco line.

Fran

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Subject: [h-cost] Another source for reproduction jewelry
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Date: Fri, 12 Jul 2002 10:11:17 -0700
Status: RO

The London Victorian Ring Company
http://www.london-victorian-ring.com/

I have never bought from this company.  Their stock is "fine" jewelry,

only rings are shown, and they probably sell mostly to the bridal
market.  The styles shown are Victorian, Edwardian, and Art Deco.
They are quite attractive--and possibly some list members are about to

get married.

Fran

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Subject: Re: [h-cost] Re: different velvets
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Date: Fri, 12 Jul 2002 10:42:39 -0700
Status: RO


> I'm surprised to hear most towns are so short of fabric shops - since
> I was completely stunned to find fabric in Wal-Mart in the middle of
> Connecticut last year.  Fabric in a supermarket? (We needed to do
> quick curtains for the windows in the front and side doors of our
> rented apartments - a yard of fabric and a bit of masking tape was OK
> for a week or two).  And in one mall in Quebec there were three shops
> selling cloth and knitting yarn. Fabric shops in the UK are generally
> specialist and found down obscure side-streets - never, ever in a
> mall!  Was I just very fortunate in the places I went?

Oh, yes. Over the last several years we have lost a lot of our fabric 
stores. More and more of them are going to fabrics which are really 
not good for much but curtains or quilts.

Now, my main "fabric run" consists of Mill Ends, Fabric Depot, a 
couple of JoAnn's, the Pendleton woolen mill and maybe a side trip 
to one of the more esoteric places such as Josephine's Dry Goods, 
Daisy Kingdom, Calico Corners Interiors or The Whole Nine Yards.

It used to be that I also had June's Dry Goods in Lake Oswego 
(who carried a completely different line of stuff than Josephine's 
who is very upscale), Jennie's Yardstick in Beaverton, Fabricland 
(several), Hancock's (several) and another one who's name is 
escaping me right now. These were all huge stores with interesting, 
large inventories. That's in less than 10 years that they have 
disappeared. (Some bought out then abandoned, some retired.)

It appears that the "home sewer" is less common and less 
descriminating, so there is no "need" for so many fabric stores. 
Also, there's a lot of on-line stuff with whom they can't compete. It 
won't be long before all we'll have is the out of the way tiny places 
when you want to actually touch and see the drape of a piece of 
fabric before you buy it. (Touching a sample will help, but no tiny 
piece is going to tell me the drape and hand of a particular piece.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: Pendleton wool cheap (was Re: [h-cost] Fabric Prices
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Date: Fri, 12 Jul 2002 10:42:39 -0700
Status: RO


> Try the Pendleton Wool outlet in Washugal, WA.  The 800 number is
> 1-800-568-2480.  Call them to find out what they've got, how much it
> is, and how they can get it to you.  Feel free to pass this number
> around - I got it off their flyer in their store.
> 
> I've been there in person (it's across the river from Portland,
> Oregon), and the remnant section has bins of 1.5 to 3 yard pieces of
> wool fabric in several weights and colours.  These will cost anywhere
> from $1.50/yd. to $5/yd.  The selection of colours will be limited, so
> ask the person on the phone what they have, and how much of it there
> is, in how big pieces.  They may have anything from winter-coat-weight
> to summer-suit-weight.  They can arrange to ship your fabric to you.

As a regular Washougal customer (it's about a 15 minute drive from 
my house), I don't know if I'd trust them to ship it to me. Since the 
fabrics are all irregulars, you don't know whether you will be getting 
the stuff which is only irregular because it is 1" too wide or too 
narrow, or whether you will get stuff with great hunken holes all the 
way along it. I watch them like a hawk when it is rolled out, since 
sometimes the hole will appear at just the wrong minute.

Most of the time lately, the cost is $3 a yard but you can 
sometimes get a full 20yard bolt. They have some special stuff 
(usually weird brocades) for $10 a yard. While it is an excellent 
source, I don't feel that it's wise to shop for this one shipped 
without looking at it first, unless they give you some sort of 
guarentee. (Frankly, the bolts are so inexpensive these days that I 
just don't bother with the remnants. When I want wool, I usually 
want a minimum of 6 yards at a time.)



Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: fabric stores, was: different velvets
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Date: Fri, 12 Jul 2002 10:10:50 -0700
Status: RO


>The reason that you're seeing fewer Piece Goods stores is that they were 
>bought by Jo-Ann's several years ago. I also seem to remember that So-Fro 
>has gone under too (all of the local ones have been gone for at least 5 
>years).

I used to work at New York Fabrics (unrelated to the state of New York), 
and quit shortly after Jo-Anns bought them out.  The first thing they did 
was rip out the carpet, and our feet started hurting right after that.  I 
haven't willingly been in a Jo-Anns since.  But that's ancient 
history.  (Fortunately there are other fabric stores in my area.)

Kayta

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From: Kiloran@worldnet.att.net
Subject: [h-cost] Re: fabric stores, was: different velvets
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Date: Fri, 12 Jul 2002 12:02:26 -0700
Status: RO

I live in Los Angeles the San Fernando Valley. The only fabric stores we 
have in the Valley are JoAnn's. The ETC store is interesting, but I 
absolutely loathe the smaller stores. They've closed a lot of them, and the 
few that are left are expensive, badly stocked, and staffed (mostly) 
arrogant incompetents. That pretty much reflects the attitude of the 
company itself, I feel. I really hate shopping there, but I can't run 
downtown every time I need a spool of thread, or a yard of ribbon. About 
the only worthwhile thing at JoAnns is their periodic sale on patterns when 
they sell all patterns except Vogue for 99 cents. I know I'm lucky to live 
reasonably close to downtown Los Angeles and the garment district there. I 
can't imagine what I'd do if the only access to fabric I had was JoAnns. 
That's a scary thought!

We've got two WalMarts, but they're both the "town" version, with very 
limited fabric supplies. I check there every time I'm in one, but I've 
never found anything particularly special there.

The nearest Hancocks to me is about 50 miles away. Idon't think I've ever 
been in one. I did write to them suggesting this area was ripe and ready 
for a Hancocks, especially since JoAnns has closed so many stores in the 
Valley. After about 4 months they responded and said their location scout 
was going to be in Southern California in the near future and did I have 
any specific areas to suggest they look at. I emailed detailed specifics 
(there's a brand new mall opened in Burbank, that's absolutely huge, and is 
the perfect place for a fabric store) so we'll see if anything happens. I 
mean, the Valley alone has a population of 1.6 million people - three 
regular JoAnn's and one ETC store is not enough! There's plenty of room for 
competition. Maybe if there WERE some competition JoAnns would be forced to 
clean up their act.

Julie

At 11:02 AM 7/12/2002, you wrote:
>Message: 1
>Date: Fri, 12 Jul 2002 06:25:19 -0700 (PDT)
>From: kj green <macailith@yahoo.com>
>To: h-costume@indra.com
>Subject: [h-cost] Re: fabric stores, was: different velvets
>Reply-To: h-costume@mail.indra.com
>
>--0-868670239-1026480319=:45385
>Content-Type: text/plain; charset=us-ascii
>
>
>  I do look in the fabric department of every Wal-Mart that I happen to be 
> in. You just never know what you're going to find on the dollar a yard 
> racks. I've gotten 10 yards of a 60" wide black linen blend, 7 yards of a 
> 36" wide moss green linen blend--treasures like that. And it's a great 
> place if you're dressing teenagers for Pennsic (SCA)--2 weeks of camping 
> means loads oof clothing, especially for 2 girls!
>The reason that you're seeing fewer Piece Goods stores is that they were 
>bought by Jo-Ann's several years ago. I also seem to remember that So-Fro 
>has gone under too (all of the local ones have been gone for at least 5 years).
>I just hate going into the Jo-Ann's ETC. The fabric's overpriced and the 
>clerks don't know where anything is outside of their own department. When 
>Jo-Ann's got ready to open the ETC, they closed all of their other local 
>stores. Aside from the ETC and Wal-Mart, there's nothing within an hour's 
>drive in any direction from my house. The closest Hancock's is about 1-1/4 
>hours east of here.
>I did write to Hancock and suggested that they might want to consider 
>opening a store in the area, but they said that they'd done a study and it 
>just wasn't viable. I do think it's odd that there are NO Hancock stores 
>in the area, though. They are in Cleveland (North), Youngstown (East), and 
>in Columbus (2.5 hours South). Hmph! I think that they're afraid of 
>Jo-Ann's--Jo-Ann's corporate headquarters are a little over an hour from 
>here. But that's just my personal opinion.
>kate
>   Robin Netherton <robin@shell.nightowl.net> wrote:
>*snip*
>In more urban areas where fabric is easier to come by, Wal-Mart is not the
>consumer's top choice for fabric shopping, so those stores often have a
>smaller fabric department or none at all. (In my metro area, I might pick
>up thread at Wal-Mart while I'm shopping there for something else, but I
>don't go there specifically for fabric, unless maybe I need cheap cotton.)
>
>As to mall stores, a few of the U.S. fabric store chains (So-Fro, Piece
>Goods) were often located in malls, but I see less and less of those these
>days. Most of the ones I know are in older malls and are well-established.
>The idea of three fabric stores in one mall does surprise me. Remember,
>too, there's a great difference between the mall culture of North America
>and that of the UK. We also have a large presence of "strip centers" --
>collections of stores, often parallel to a road with a shared parking lot,
>that provide the advantage of clustered stores without the parking
>problems or expensive architecture of malls. Fabric stores often are
>located in these groupings.
>
>--Robin

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Swedish terminology, Bocksten man?
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Date: Fri, 12 Jul 2002 15:14:52 -0700
Status: RO

>I'm reading Margareta Nockert's _Bockstenmannen och hans dräkt_ these
>days, and although I understand most of it fine since I speak Norwegian,
>I'm stumped when it comes to specialized terms for types of stitches and
>suchlike. (Also, so much of my research comes from English books that
>I know English terminology better on some points - hopeless when I'm
>talking to other Norwegians. :) ) So I was wondering if anyone out there
>could translate a few things for me? The words I'm wondering about are:
>smygsöm

>förstygn
>efterstygn
>kaststygn


Unfortunately, none of these happen to be in the Swedish booklet on 
medieval embroidery I have -- although it confirms that both "-söm" 
and "-stygn" seem roughly equivalent to "-stitch" in the sense of 
identifying a particular type of sewing (which you probably already 
knew).  But just on the off chance that this may be useful to someone 
else, the booklet is "Prydnadssömmar under medeltiden" by Anne Marie 
Franzen (Kungl. Vitterhets Historie och Antikvitets Akademien, 
Stockholm, 1997).  The stitch names (which have accompanying 
diagrams) are:

Stjälksöm -- stem stitch
Klyvsöm -- split stitch
Plattsöm -- seems to include a couple things we'd distinguish in 
English, including satin stitch and a couple I don't know the names 
or off the top of my head (a satin-type stitch, but where you just 
catch under a thread at the end of each stitch, leaving virtually no 
thread showing on the back; and a sort of back-stitch producing two 
rows of offset straight stitches -- I ought to know the name of this 
one)
Atlassöm -- this is a satin stitch done in rows with each row 
slightly overlapping the neighboring ones (with the stitches going in 
between those of the next row, not splitting them)
Schattersöm -- this is what I think is called "short and long", i.e., 
like the previous, but with stitches of irregular lengths, especially 
used when shading
Korssöm -- cross-stitch; the diagram shows a short-armed cross-stitch
Tvistsöm -- the diagram shows a fairly tightly worked herring-bone 
stitch done in close-packed rows, maybe even in a counted-thread 
fashion, the accompanying pictures show it being used to solidly 
cover the ground fabric.  It's unclear to me how much of this is part 
of the definition of the stitch.The work _almost_ looks like a 
long-armed cross stitch, but the diagram shows herringbone very 
clearly.
Förstygn och rutsöm -- from the diagram and photographs, this seems 
to be describing counted double-running stitch (i.e. "Holbein 
stitch") work
Vävsöm -- counted pattern darning
Neddragen läggsöm -- underside couching
Vanlig läggsöm -- topside couching; the diagram and photo both show 
the couching done in patterns, but it's unclear that the name of the 
stitch necessarily implies this
Dubbel läggsöm -- laid-and-couched work
Lasursöm -- or nué; i.e., patterned topside couching where the 
couching thread "shades"  the metallic thread


So, totally useless for the immediate question, but maybe useful to 
someone else.


>also, I'm not positive that I understand how the seams are finished:
>
>"Alla sömmar, utom de där stadkant ligger mot stadkant, är sydda med
>dubbla sömmar. Tygstyckerna har först satts ihop, sedan har bĺda
>sömsmĺnerna vikts ĺt samma hĺll och sytts ned mot tyget. Fĺllarna längs
>nederkant, ärmlinningar och halsrigning är sydda med enkel vikning.
>Vilken typ av stygn som använts till de olika sömmarna är svĺrt att
>bedömma pĺ grund av det stora antalet stygnmärken i tyget. Möjligen har
>sömmarna sytts ihop med för- eller efterstygn och sedan har sömsmĺnerna
>sytts ned mot tyget med förstygn eller kastestygn. Vid ĺtermonteringen
>syddes alla sömmar med smygsöm og sömsmĺnerna kastades fast ĺt det hĺll
>de strävade. Fĺllerna gick til skillnad mot sömmarna att sy i de
>ursprungliga stygnhĺlen. De har sannolikt varit sydda med kaststygn,
>vilket ocksĺ gjordes vid ĺtermonteringen."
>
>The way I read this, both seam allowances have been double-folded
>together and turned to the same side, while the hems are single-folded.
>Or are the seam allowances single-folded as well? Also, I'm wondering if
>there's any other documentation from around this period for both seam
>allowances being turned down together and not separately - the book
>isn't clear on whether the seam allowances were just put back the way
>they were assembled i 1936 or if there was any change. It does say that
>the seam allowances were sewed down together in the direction they
>leaned (strävade), but that may well be from more than 35 years of being
>bent that way. I don't have access to any of the sources she lists for
>stitches right now, so I thought I'd ask. :)

If it's any help, when I was researching constructional sewing in 
archaeological clothing, by far the "default" seam for joining woolen 
fabric on structural seams was something that comes out looking a bit 
like a flat felled seam, except that the sewing is overcasting along 
the folded edge, rather than a running stitch through all the layers. 
That is, the fabric goes something like:

____________________
      ______     ________|
     |______________________

with each folded edge overcast to the other fabric.  I'm wondering if 
this could possible correlate with "double-folded together and turned 
to the same side".  Although it's from an earlier century, Hägg's 
book on the textiles from Hedeby has some fairly exhaustive diagrams 
of the variety of constructional stitches found in that material, and 
some of them seem to involve a "sew right sides together, then 
flatten the allowance and top-stitch" type of approach.

Heather
-- 
*****
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hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] Swedish terminology, Bocksten man?
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>>I'm reading Margareta Nockert's _Bockstenmannen och hans dräkt_ these

>>Unfortunately, none of these happen to be in the Swedish booklet on 
>>medieval embroidery I have

I am going to archive your list for the future.  I may find a book on 
Swedish ethnic embroidery some day, at which time the list will be invaluable.

The closest I ever got to Scandinavian stitches, in their native language, 
was a book on crochet, written in Finnish (in the 1960s, so the crochet 
bridal crowns in it are historical costume).  I managed to parse out the 
basics from the how-to section in the first few pages.  Between that, and 
the really great close-up pictures, I can sort-of crochet in that language.


Kayta

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On Thu, 11 Jul 2002 13:11:34  
 jane wrote:
>Victoria Wickens <windsong@broadviewnet.net> wrote :
>
>
>> Acetate-Nylon is typically what you find being sold in Jo-Anne's for
>> $20+.
>
>Errm.. what's a "Jo-Anne's"? Is being sold there a good thing or a bad thing?
>

A American fabric/craft store chain.  As they are a modern fabric store the usefulness of their fabric for historical costuming varies and what proportion of their stock is useful varies from store to store.

>Although possibly the world "nylon" tells me all I need to know. >Even as a beginner, I suspect that the amount of that used in >medieval times was quite low. What *was* velvet made from? Cotton? >And is the "real thing" even vaguely affordable now?
>

IIRC it was made out of silk, I don't know when cotton velvet (velveteen) became avalible.  Dharma Trading Company (www.dharma.com) sells silk/rayon velvet (silk pile, rayon ground) for $10/yard iirc.  I haven't seen 100% silk velvet, so I don't know how it compares.

-Katie
---
 I was actually at Woodstock. That was a weird gig. I fed off a flowerperson, and I spent 
the next six hours watchin' my hand move.
-Spike












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Greetings all!

I've got a new email address!  I've got the old one still, but that will =
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Looking forward to continuing reading this list!
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Oh wow...

Thai Silks has put their inventory online, with swatches and online =
ordering and everything!  This may be really bad for my bank account...

http://www.thaisilks.com/

- Kendra


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swatches and online ordering and everything!&nbsp; This may be really =
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<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
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<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
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Date: Sat, 13 Jul 2002 06:34:45 -0400
Status: RO

At 04:22 PM 7/11/2002 -0500, you wrote:
>If it makes sense to you for on time/period place why not another? (just
>curious and not meaning to be offensive or problematic...- maybe the ladies
>got the idea from reading an Italian history? Just because one lived "out
>west" in the 1880's did not mean they were uneducated or "wild" themselves)

I don't think that's the problem...  I guess what we're reacting to is the
tendency for someone to hear one thing (i.e., one Western town did this)
and apply it to the whole of the West, or America, or all time: anyone
wearing a yellow dress is a prostitute.  But one can hardly help someone
else taking a snippet of misunderstood information and running with it!

-- Mara
Kevin + Mara Riley

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume Trivia
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Date: Sat, 13 Jul 2002 07:07:05 -0700
Status: RO


> >If it makes sense to you for on time/period place why not another? (just
> >curious and not meaning to be offensive or problematic...- maybe the ladies
> >got the idea from reading an Italian history? Just because one lived "out
> >west" in the 1880's did not mean they were uneducated or "wild" themselves)
>
>I don't think that's the problem...  I guess what we're reacting to is the
>tendency for someone to hear one thing (i.e., one Western town did this)
>and apply it to the whole of the West, or America, or all time: anyone
>wearing a yellow dress is a prostitute.  But one can hardly help someone
>else taking a snippet of misunderstood information and running with it!

Or one can acquire the habit of recognizing imprecision when one sees it, 
again, and double-checking at that point.  I really like to know what I am 
talking about, so I ask a lot of questions to that end.  I like being able 
to claim to 'know' things.  And the older I get the less often I am able to 
make that claim, and the more questions I ask.  So I'd really like, for 
example, to read the article this person read about the wearing of yellow 
by prostitutes, because if it could have happened, maybe this is the place 
it did happen.  Archaic laws are find-able, if one knows where to look, and 
if I have a town and date to target, maybe I can find this one.  Then I can 
claim to know about one law in one town in one set of years.

(I'm trying to work out an idea here, so bear with me as I try to define it 
so you know what I'm thinking.)  Different people have different concepts 
of preciseness.  Two people will look at thing 'a' and thing 'b' and have 
differing opinions on how closely they correspond, point-to-point.  One 
will say 'they're alike', and the other will say 'they differ in the 
following respects'.  Some are used to a certain amount of imprecision, and 
will say 'they did this back then'.  Others will have learned to say 'this 
group did this one thing on or about this date', or 'I read an article that 
claimed this group did this one thing on or about this date'.  One will say 
'it's close enough', and the other will say 'it's not very close because of 
this or that detail'.

How precisely a reproduced historical costume corresponds with a surviving 
historical example, be it a painting or an actual garment, is an example of 
what I am thinking here.  For example, one docent says 'that looks old 
timey', and is satisfied with the correspondence.  Another docent, tape 
measure in hand, will say things like 'the sleeves are not wide enough', 
etc., and will not be satisfied with the correspondence.

It is not my intention to get rude here and call people names.  But it is 
my intention to point out imprecision if I think I see it, in my quest for 
a little more preciseness in my own 'act' (as in, 'clean up my own 
act').  I do re-enactment in the various 'Wild West' periods, have heard 
several rumors about yellow and prostitutes, and would like to have an 
actual historical fact to add to the next conversation I hear about this topic.

Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume Trivia
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Date: Sat, 13 Jul 2002 07:09:43 -0700
Status: RO


> >If it makes sense to you for on time/period place why not another? (just
> >curious and not meaning to be offensive or problematic...- maybe the ladies
> >got the idea from reading an Italian history? Just because one lived "out
> >west" in the 1880's did not mean they were uneducated or "wild" themselves)
>
>I don't think that's the problem...  I guess what we're reacting to is the
>tendency for someone to hear one thing (i.e., one Western town did this)
>and apply it to the whole of the West, or America, or all time: anyone
>wearing a yellow dress is a prostitute.  But one can hardly help someone
>else taking a snippet of misunderstood information and running with it!

I just finished the long-winded version, and sent it, so now the 
short-winded version comes to me clear:  I wanted to know, and she didn't 
tell me at all precisely, and I still want to know.


Kayta

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From h-costume-admin@indra.com  Sat Jul 13 11:31:39 2002
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Subject: [h-cost] different velvets/finding fabric
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Date: Sat, 13 Jul 2002 10:17:22 -0500
Status: RO

In the states unfortunately it seems to be where you live.  Here in Missouri
you can find fabric in Walmart, its a discount store/supermarket.  The main
fabric stores in the St Louis area are Hancock's, JoAnn's, and a few locally
owned/run such as FashionFabrics, Jackmann's, Eunice Farmer, Anatol's, Sew I
Seams.  And, yes years ago, there were a few fabric stores in the malls.
But then department stores like Penney's and Sear's used to have fabric
departments up til about the mid to late 70's.

Genie

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Date: Sat, 13 Jul 2002 10:20:45 -0500
Status: RO

Robin, 

you give a much better description than I did.

Genie
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From: "Maggie Secara" <maggiros@hotmail.com>
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Date: Sat, 13 Jul 2002 13:06:33 -0700
Status: RO

In other words, we're back to "Ruritanians wore purple feathers on St. 
Elstrid's Day." :)

MaggiRos


>From: Carolyn Kayta Barrows <kayta@frys.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] Costume Trivia
>Date: Sat, 13 Jul 2002 07:07:05 -0700
>
>
>> >If it makes sense to you for on time/period place why not another? (just
>> >curious and not meaning to be offensive or problematic...- maybe the 
>>ladies
>> >got the idea from reading an Italian history? Just because one lived 
>>"out
>> >west" in the 1880's did not mean they were uneducated or "wild" 
>>themselves)
>>
>>I don't think that's the problem...  I guess what we're reacting to is the
>>tendency for someone to hear one thing (i.e., one Western town did this)
>>and apply it to the whole of the West, or America, or all time: anyone
>>wearing a yellow dress is a prostitute.  But one can hardly help someone
>>else taking a snippet of misunderstood information and running with it!
>

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Date: Sat, 13 Jul 2002 17:12:31 -0400
Status: RO

Okay, this was my fault for reading something fast and not quoting it.  I
was just trying to lighten things up on the list with some trivia.  I tend
to scan read, and messed this one up.  My apologies to all.

I can understand about Marna Jean not having the source on hand since it was
research from years ago.  It would be nice to have the source, especially
since I research color, but I can understand losing documentation and in
your earlier days of not documenting something properly.

Many of the old timers on the list, knew that I was compiling color names
and trends over 18 fashion periods.  I had a database with over 3,000 colors
names and was planning to write a book with the information.  I documented
even down to the library that I found the source.  Sadly, my computer
crashed two years ago and I lost the entire database.  We could find
everything backed up from the computer but the database.  I was so upset and
still am.  I worked three years on this project and lost it all.  The only
thing that I have left is my first Excel sheets with 6 months of research.
The spreadsheet cut off the sources of the colors. EK!  Now, I remember a
lot of the names and trends but do not remember the sources.  Should I never
speak of my findings because I no longer have a list of the documentation
sources?  I hope not.  Since the crash, I had no inspiration to work on my
research again.  I was really heartbroken.  Last weekend, I found some old
disks and searched each one praying there was a copy of my database.  No
luck!  This past week, I received a Paris designer book from the 1922, that
provides lots of fashion color names for the major designers.  So this has
given me a little inspiration to maybe add to what is left of my research.

BTW, yes, I have learned to backup any project that I am working on.

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





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Subject: [h-cost] OT: My novel!
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Date: Sat, 13 Jul 2002 15:07:32 -0700
Status: RO

I know this is off-topic, but I just have to share this with you all!  I 
just got off the phone with a small publisher I happen to know, and well, 
they want to publish my first novel!  Complete details of covers, design, 
pub date and all that are still pending, but wheeeeeee!!!  I'm SO excited, I 
can't stand it!!!

Doing the Happy Dance in L.A. Wheeeeeee!

MaggiRos
Obligatory costume content: Everyone in the novel wears 17th century 
clothes, many of which are taken directly from pictures posted on Nicole 
Kipar's website. :)

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Subject: Re: [h-cost] OT: My novel!
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Date: Sat, 13 Jul 2002 23:25:12 +0100 (BST)
Status: RO

 --- Maggie Secara <maggiros@hotmail.com> wrote: > 
> MaggiRos
> Obligatory costume content: Everyone in the novel wears 17th century 
> clothes, many of which are taken directly from pictures posted on Nicole 
> Kipar's website. :)

Ohhhh, the honour, the honour! 
Congratulations maggiRos!

Nicole - happy to be of service *grins*

=====
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] Kyoto Costume Institute (WAS: Intro and Revolution In Fashion book)
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Date: Sat, 13 Jul 2002 15:27:14 -0700
Status: RO

I'm assuming everyone found the Kyoto Costume Institute's digital
collections, but in case you didn't, they have some great photos of costumes
from their collection at:

http://www.kci.or.jp/collection/collset-e.html

- Kendra



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From: "Marna Jean" <marnajean@shootingstarhistory.com>
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Subject: Re: [h-cost] Costume Trivia
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Date: Sat, 13 Jul 2002 19:07:46 -0500
Status: RO

I know it is very nice to have the source- once again- I mainly introduced
the fact into my class because most ladies will quote the "proper ladies
don't wear red" thing back at you when you ask about  "proper" and
"improper" Victorian clothing- its one of those reenactorisms that someone
started and is hard to overthrow. I mearly told them that the only color I
knew that had been associated with prostitutes in that era was yellow- and
that one town had made a law requiring yellow hairbows and the "doves"
retaliated by wearing all yellow.  So if they were going to pick a "color"
for the soiled doves they would be more correct to pick yellow than to pick
red. I did also state that the upper class prostitutes would also be most
likely to be pretty well dressed the same as the proper ladies of town.

Something that comes up in several sources is proper ladies trying to make
sure that the soiled doves were set apart from them. Therefore, when I did
the original research,- the yellow bow thing did not seem out of the
ordinary. I did make particular note of it at the time because we were
writing a skit for competition that revolved around the ladies and saloon
girls interaction in a town- so that's why it stuck and why I'm quite sure I
didn't "mis-remember"- sadly I don't have access to the library that I know
I got the original book from- (or I'd just go browse the shelves)and it was
a small country library to boot- so no interlibrary loan, etc., etc....


I too, am very fond of being able to "know" something or at least where to
look for it- and it upsets me greatly I can not find the book again (I can
tell you which ones it is NOT in on the subject!- I re-read several here
lately to "refresh my memory" in preparation for class- ha!)

I am a big fan of "on the average"- something a lot of reenactors of my
period like to leave out and don't like to "prove something" with just one
quote or source(otherwise I have this tintype of this wild looking hairstyle
from the early bustle era). However, because this was such a hushed
profession it makes any information all that much harder to find. It is
rather tooth grinding to research, and what I have found is most towns in
the old west instead of totally outlawing prostitution, had a tendency to
tax and fine it heavily and make all manner of rules and regulations- some
quite bizarre- In 1868 in San Antonio Texas the "town fathers" literally
"drove" the prostitutes out of the town limits- with no food or shelter.
Women would write to local papers complaining of "incursions of the vilest
elements of the community" when housing bans on brothel locations were
lifted(Tombstone, AZ 1882) and ask incredulously whether they were supposed
to just "invite them to our homes, our social circles...?" (Cheyenne, WY
1870) -(from Anne Butler's Daughters of Joy, Sisters of Misery).
There were some pretty strange laws on the book- I'm not saying it was
universal- just that it had occurred. All I want it the acceptance that it
might have been a possibility considering other similar laws concerning
prostitutes.

MJ



.  Archaic laws are find-able, if one knows where to look, and
>if I have a town and date to target, maybe I can find this one.  Then I can
>claim to know about one law in one town in one set of years.


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Date: Sat, 13 Jul 2002 20:10:22 EDT
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<<I was just wondering how have your spending habits changed over time while 
you have been costuming?  Have your spending habits gone up or down?  Also, 
your fabric choices; better, worse?>>

Hard questions to answer...  I'd say my fabric choices have gotten better in 
the sense that I now know from experience which types of fabric really "work" 
for certain styles -- i.e. drape correctly, hold their shape, etc.  Also, 
I've found many websites and other sources over the years that reduced my 
costs per yard.  This means I can afford to buy better fabrics for the same 
prices (or cheaper!) than I was paying for lesser fabrics in my college 
years.  So, have my costs gone down?  Probably not.  Since I can afford to 
buy more fabric at the cheaper prices, I now make my skirts more full -- 
which means I buy more yardage.  Plus, I'm finding my new fascination with 
embellishment means I spend more on trims and beads than I do on the fabric 
for an outfit.  And now I can afford accessories... which gets me into even 
more trouble!  

How to I keep myself out of bankruptcy, then, and still get my sewing fix?  
Well, I became a seamstress.  Now I sew other people's fabric at other 
people's expense and get paid to do it!  Ha ha! (laughing at myself)  I also 
find that if I work 35 hrs a week sewing, I tend not to want to sew as much 
on my off days.  That means I go through my stash much slower and can't 
justify buying more fabric.

--Gillian


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">&lt;&lt;I was just wondering how have your spending habits changed over time while you have been costuming?&nbsp; Have your spending habits gone up or down?&nbsp; Also, your fabric choices; better, worse?&gt;&gt;<BR>
<BR>
Hard questions to answer...&nbsp; I'd say my fabric choices have gotten better in the sense that I now know from experience which types of fabric really "work" for certain styles -- i.e. drape correctly, hold their shape, etc.&nbsp; Also, I've found many websites and other sources over the years that reduced my costs per yard.&nbsp; This means I can afford to buy better fabrics for the same prices (or cheaper!) than I was paying for lesser fabrics in my college years.&nbsp; So, have my costs gone down?&nbsp; Probably not.&nbsp; Since I can afford to buy more fabric at the cheaper prices, I now make my skirts more full -- which means I buy more yardage.&nbsp; Plus, I'm finding my new fascination with embellishment means I spend more on trims and beads than I do on the fabric for an outfit.&nbsp; And now I can afford accessories... which gets me into even more trouble!&nbsp; <BR>
<BR>
How to I keep myself out of bankruptcy, then, and still get my sewing fix?&nbsp; Well, I became a seamstress.&nbsp; Now I sew other people's fabric at other people's expense and get paid to do it!&nbsp; Ha ha! (laughing at myself)&nbsp; I also find that if I work 35 hrs a week sewing, I tend not to want to sew as much on my off days.&nbsp; That means I go through my stash much slower and can't justify buying more fabric.<BR>
<BR>
--Gillian<BR>
<BR>
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Subject: Re: [h-cost] A question from a friend
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Date: Sat, 13 Jul 2002 20:47:45 -0400
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Hi. Your question leaves out much info. Which country are we talking about? Any
time from the 13th cent. onward? A nightshirt and a gown are two different
things, even in 21st cent. costuming vocabulary, and neither one might be what is
being looked for, depending on the answers above. If the questioner could be a
little more detailed in what they are trying to do with the info (doctoral
thesis, fantasy fiction, newspaper article, Girl Scout guidebook, crossword
puzzle, bar bet, etc.), perhaps the answer can be more detailed. Cheers, Mike T.



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 Greetings.
A friend of mine wants me to make her a nosegay of posies suitable for a late 1890's ball (don't know if the locale is England or the US).
I'd like to make it as correct as possible. So, does anyone know what would have been appropriate for the time? 
Thanks!
kate
 



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<P> Greetings.
<P>A friend of mine wants me to make her a nosegay of posies suitable for a late 1890's ball (don't know if the locale is England or the US).
<P>I'd like to&nbsp;make it as correct as possible. So, does anyone know what would have been appropriate for the time? 
<P>Thanks!
<P>kate
<P>&nbsp;</P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
<a href="$rd_url/welcome/?http://autos.yahoo.com/">Yahoo! Autos</a> - Get free new car price quotes
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<< <I sure wish I had some of your resources!>

oh, most of it is online! only a small amount of things comes from the UK.>>

Do share those online sources, by all means!

--Gillian



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">&lt;&lt; &lt;I sure wish I had some of your resources!&gt;<BR>
<BR>
oh, most of it is online! only a small amount of things comes from the UK.&gt;&gt;<BR>
<BR>
Do share those online sources, by all means!<BR>
<BR>
--Gillian<BR>
<BR>
<BR>
</FONT></HTML>
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h-costume-request@indra.com writes:

> Acetate-Nylon is typically what you find being sold in Jo-Anne's for=20
> $20+.  Panne is crushed velvet... looks like it's been sat on and ironed=20
> that way.  It's a neat look, but not for most historical garb that I've=20
> ever seen.
> 
More info:
Acetate-Nylon  is woven and does not stretch.  The drape is...kinda like a 
thick curtain (trying to put it in newbie terms).  This is the fabric you see 
on formal occasion dresses in department stores in winter.  It's mostly a 
solid color.  Dry clean only.

Panne is a knit, so it stretches and can be made into very slinky outfits.  
It's multi-faceted -- because of the fact the velvet's been crushed -- giving 
it a sparkle.   I see panne at many LARPs and at Renfairs; it's also a goth 
favorite.  I'm a goth, and I wear it all the time.  It is not a historical 
fabric, though.  Washable!

The choice between them depends on where you are wearing the outfit, and the 
design of the outfit.  If it's "black tie," go for the Acetate-Nylon (or 
Rayon-acetate).  If it's a Renaissance fair that's usually muddy, go for the 
washable and more breathable panne.  If it's got to be historically accurate 
or the pattern demands something a bit stiff, go for the Acetate-Nylon.  If 
you want an outfit to skim your curves and never need ironing, go for the 
panne.

Both are difficult to sew as a beginner, though.  Panne stretches, so you 
must stretch it by hand as you sew.  Use a ball point needle in your sewing 
machine.  I also recommend a narrow zigzag or any "broken" stitch -- as 
opposed to a straight stitch -- to allow the seam thread to stretch along 
with the fabric.  Knits like this do not fray at the edges, and panne is 
generally not see-through, so you can usually get away without a lining in 
the garment/outfit.

"Real" velvet (acetate-nylon, rayon-acetate, or even silk-rayon-acetate) 
shifts all over as you sew because of the thick "pile" (=fur) on it.  You 
really need a "velvet foot" or "V foot" attachment for your sewing machine to 
keep it under control.  You also cannot iron the seams open nomally, because 
you'll make permanent dents in the pile/fur.  Some stores sell "velvet 
needleboards" for ironing on, but the hook side of Velcro works well too.  
Place the Velcro strip hook-side-up atop your ironing board, then lay the 
seam you wanna press on top (pile-side-down) and iron gently.

Hope all this helped!
Gillian-the-seamstress

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">h-costume-request@indra.com writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Acetate-Nylon is typically what you find being sold in Jo-Anne's for=20<BR>
$20+.&nbsp; Panne is crushed velvet... looks like it's been sat on and ironed=20<BR>
that way.&nbsp; It's a neat look, but not for most historical garb that I've=20<BR>
ever seen.<BR>
</BLOCKQUOTE><BR>
More info:<BR>
Acetate-Nylon&nbsp; is woven and does not stretch.&nbsp; The drape is...kinda like a thick curtain (trying to put it in newbie terms).&nbsp; This is the fabric you see on formal occasion dresses in department stores in winter.&nbsp; It's mostly a solid color.&nbsp; Dry clean only.<BR>
<BR>
Panne is a knit, so it stretches and can be made into very slinky outfits.&nbsp; It's multi-faceted -- because of the fact the velvet's been crushed -- giving it a sparkle.&nbsp;&nbsp; I see panne at many LARPs and at Renfairs; it's also a goth favorite.&nbsp; I'm a goth, and I wear it all the time.&nbsp; It is not a historical fabric, though.&nbsp; Washable!<BR>
<BR>
The choice between them depends on where you are wearing the outfit, and the design of the outfit.&nbsp; If it's "black tie," go for the Acetate-Nylon (or Rayon-acetate).&nbsp; If it's a Renaissance fair that's usually muddy, go for the washable and more breathable panne.&nbsp; If it's got to be historically accurate or the pattern demands something a bit stiff, go for the Acetate-Nylon.&nbsp; If you want an outfit to skim your curves and never need ironing, go for the panne.<BR>
<BR>
Both are difficult to sew as a beginner, though.&nbsp; Panne stretches, so you must stretch it by hand as you sew.&nbsp; Use a ball point needle in your sewing machine.&nbsp; I also recommend a narrow zigzag or any "broken" stitch -- as opposed to a straight stitch -- to allow the seam thread to stretch along with the fabric.&nbsp; Knits like this do not fray at the edges, and panne is generally not see-through, so you can usually get away without a lining in the garment/outfit.<BR>
<BR>
"Real" velvet (acetate-nylon, rayon-acetate, or even silk-rayon-acetate) shifts all over as you sew because of the thick "pile" (=fur) on it.&nbsp; You really need a "velvet foot" or "V foot" attachment for your sewing machine to keep it under control.&nbsp; You also cannot iron the seams open nomally, because you'll make permanent dents in the pile/fur.&nbsp; Some stores sell "velvet needleboards" for ironing on, but the hook side of Velcro works well too.&nbsp; Place the Velcro strip hook-side-up atop your ironing board, then lay the seam you wanna press on top (pile-side-down) and iron gently.<BR>
<BR>
Hope all this helped!<BR>
Gillian-the-seamstress</FONT></HTML>

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> My most expensive stuff (carefully folded in my
> grandmother's old trunk, so I can save it by throwing it through a
> window if there's ever a house fire) is this divine, 
> scrumptious,black-and-gold upholstery brocade I paid $25/yd for.  I will, 
> someday,
> be using it to make a reproduction of the Phoenix portrait of Elizabeth
> I.
> 
Oh Sue!  You've hit one of my favorites!  Please do get around to making that 
and share LOTS OF PICS!

I don't usually want to make exact replicas of paintings, because I don't 
like knowing my outfit's "been done before".  The Phoenix is one exception.  
I've never found the appropriate brocade, so I told myself that if I ever buy 
an embroidery machine, the first thing I'm doing is making that fabric.  
Ambitious, I know...

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  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"><B>My most expensive stuff (carefully folded in my<BR>
grandmother's old trunk, so I can save it by throwing it through a<BR>
window if there's ever a house fire) is this divine, scrumptious,black-and-gold upholstery brocade I paid $25/yd for.&nbsp; I will, someday,<BR>
be using it to make a reproduction of the Phoenix portrait of Elizabeth<BR>
I.<BR>
</BLOCKQUOTE></B><BR>
Oh Sue!&nbsp; You've hit one of my favorites!&nbsp; Please do get around to making that and share LOTS OF PICS!<BR>
<BR>
I don't usually want to make exact replicas of paintings, because I don't like knowing my outfit's "been done before".&nbsp; The Phoenix is one exception.&nbsp; I've never found the appropriate brocade, so I told myself that if I ever buy an embroidery machine, the first thing I'm doing is making that fabric.&nbsp; Ambitious, I know...<BR>
<BR>
--Gillian</FONT></HTML>

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mohair- not wool- slight difference one's from a sheep the other from a
goat- though I suppose one of the longwool breeds like the leicester or
cotswold might make passable velvet- I think it is still available or was a
few years back- I had a friend who was a large presence in the Angora goat
industry and she special ordered mohair velvet for her 19th century couch
and chair to be recovered in.
MJ


Ok, am I allergic to every period fabric but silk?!  Grr...  I could make 
such wonderfully authentic garb if I didn't get rashes from wool, linen, 
mohair/angora, and many of the wild animals they used for fur trim.  Just 
call me synthetic.

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">mohair- not wool- slight difference one's from a sheep the other from a<BR>
goat- though I suppose one of the longwool breeds like the leicester or<BR>
cotswold might make passable velvet- I think it is still available or was a<BR>
few years back- I had a friend who was a large presence in the Angora goat<BR>
industry and she special ordered mohair velvet for her 19th century couch<BR>
and chair to be recovered in.<BR>
MJ</BLOCKQUOTE><BR>
<BR>
<BR>
Ok, am I allergic to every period fabric but silk?!&nbsp; Grr...&nbsp; I could make such wonderfully authentic garb if I didn't get rashes from wool, linen, mohair/angora, and many of the wild animals they used for fur trim.&nbsp; Just call me synthetic.<BR>
<BR>
--Gillian</FONT></HTML>

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In a message dated 7/12/02 2:03:08 PM Eastern Daylight Time, 
h-costume-request@indra.com writes:


> Interesting. A few years ago Wal-Mart was thinking about changing all of 
> their stores to pre-cuts only. There was such an overwhelmingly negative 
> response from the public that they decided against doing it.
> I hope that they're not changing their mind.
> 

Oh gods!  Me too!  I like that if I find a fabric I adore on the dollar 
table, I can just buy the whole bolt and not worry about dye lots.  Also, you 
waste less fabric if you can arrange your patterns on a continuous piece, so 
the bolt really stretches my budget. 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 7/12/02 2:03:08 PM Eastern 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">Interesting. A few years ago Wal-Mart was thinking about changing all of their stores to pre-cuts only. There was such an overwhelmingly negative response from the public that they decided against doing it.<BR>
I hope that they're not changing their mind.<BR>
</BLOCKQUOTE><BR>
<BR>
Oh gods!&nbsp; Me too!&nbsp; I like that if I find a fabric I adore on the dollar table, I can just buy the whole bolt and not worry about dye lots.&nbsp; Also, you waste less fabric if you can arrange your patterns on a continuous piece, so the bolt really stretches my budget. </FONT></HTML>

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Date: Sun, 14 Jul 2002 11:00:28 -0300
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        My most expensive stuff (carefully folded in my grandmother's old
trunk....

Not to be a wet blanket, but could you roll it instead of folding it?  Won't
the creases be hard to get out?

Martha



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In a message dated 7/12/02 2:03:08 PM Eastern Daylight Time, 
h-costume-request@indra.com writes:


> possibly some list members are about to
> 
> get married.
> 

Like me!

--Gillian, who is venue-searching for Oct 2003

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 7/12/02 2:03:08 PM Eastern 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">possibly some list members are about to<BR>
<BR>
get married.<BR>
</BLOCKQUOTE><BR>
<BR>
Like me!<BR>
<BR>
--Gillian, who is venue-searching for Oct 2003</FONT></HTML>

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I used to work at Jo-Ann's.  I was the "Costume Consultant," according to my 
manager.  Anyway, I know how all the sales work.

1) It's a good idea to hit joann.com and sign up for their mailing list.  
They'll send you flyers of what's on sale.  Only the mailed flyers (not the 
ones you can pick up in the store) have coupons on the back.  Every couple of 
flyers the coupon will be for "50% off one regular price item".  You can use 
this on any single cut cut of fabric.  Need 20 yards of upholstery brocade?  
Make your own sale with this coupon -- good the whole 20-yard cut!  If you 
want a fabric that's not listed as on sale,  wait for this coupon.

2) "Season Finale" is 66% to 75% off.  If you see a fabric you want on this 
sale, BUY IT!  Do not wait for it to go on clearance to the "Bargain 
Section", because the clearance price fabric will not be as cheap!  Not true 
for trims, which get clearanced at insane prices, like the one I got for 10 
cents a yd down from $4/yd.  That's because they only put trims on clearance 
when the manufacturer has discontinued the line or Jo-Ann's is dropping that 
supplier.

3) DO look for the "Fabric Bonanza" section.  These fabrics are odd lots from 
other companies sold at $1.96/yd.  Some of the fabrics here are nasty, but 
I've found 100% wool too (not that I care wear wool).  Better yet, wait until 
you get a flyer saying $0.99/yd Fabric Bonanza.  Not only is this half price, 
but the stores tend to get a large new shipment right before this sale so as 
not to have upset customers.

4) Close to Christmas, they sometimes (most years) have a $5/yd velvet sale.  
Look for it in flyers and get there early!  It includes the rayon velvets, 
burnouts, etc, and it's cheaper than online because there's no shipping.

5) You can occasionally find brocades or interesting jaquards on the flatfold 
table.  Flatfolds are NOT remnants; they are upholstery fabrics that do not 
come on a bolt, so there can be 12 yds there.   Just be careful not to get a 
rubber-backed fabric for sewing clothes.  The most expensive flatfold is 
$9.96/yd, so if you use your 50% coupon...

6) If you sew as a business, you should ask the manager about their 15% 
Discount.

7) Last but not least, it helps to make friends with the salespeople.  They 
get insider "heads up"s on big sales, and in the smaller (non-ETC) stores 
they'll often remember an avid costumer. They'll tell you when new stuff 
you'd like comes in or gets marked down for clearance.  (I got e-mail when 
all the velvet ribbon was discontinued and marked down to 5 and 10 cents a 
yard.

Time for bed now...

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I used to work at Jo-Ann's.&nbsp; I was the "Costume Consultant," according to my manager.&nbsp; Anyway, I know how all the sales work.<BR>
<BR>
1) It's a good idea to hit joann.com and sign up for their mailing list.&nbsp; They'll send you flyers of what's on sale.&nbsp; Only the mailed flyers (not the ones you can pick up in the store) have coupons on the back.&nbsp; Every couple of flyers the coupon will be for "50% off one regular price item".&nbsp; You can use this on any single cut cut of fabric.&nbsp; Need 20 yards of upholstery brocade?&nbsp; Make your own sale with this coupon -- good the whole 20-yard cut!&nbsp; If you want a fabric that's not listed as on sale,&nbsp; wait for this coupon.<BR>
<BR>
2) "Season Finale" is 66% to 75% off.&nbsp; If you see a fabric you want on this sale, BUY IT!&nbsp; Do not wait for it to go on clearance to the "Bargain Section", because the clearance price fabric will not be as cheap!&nbsp; Not true for trims, which get clearanced at insane prices, like the one I got for 10 cents a yd down from $4/yd.&nbsp; That's because they only put trims on clearance when the manufacturer has discontinued the line or Jo-Ann's is dropping that supplier.<BR>
<BR>
3) DO look for the "Fabric Bonanza" section.&nbsp; These fabrics are odd lots from other companies sold at $1.96/yd.&nbsp; Some of the fabrics here are nasty, but I've found 100% wool too (not that I care wear wool).&nbsp; Better yet, wait until you get a flyer saying $0.99/yd Fabric Bonanza.&nbsp; Not only is this half price, but the stores tend to get a large new shipment right before this sale so as not to have upset customers.<BR>
<BR>
4) Close to Christmas, they sometimes (most years) have a $5/yd velvet sale.&nbsp; Look for it in flyers and get there early!&nbsp; It includes the rayon velvets, burnouts, etc, and it's cheaper than online because there's no shipping.<BR>
<BR>
5) You can occasionally find brocades or interesting jaquards on the flatfold table.&nbsp; Flatfolds are NOT remnants; they are upholstery fabrics that do not come on a bolt, so there can be 12 yds there.&nbsp;&nbsp; Just be careful not to get a rubber-backed fabric for sewing clothes.&nbsp; The most expensive flatfold is $9.96/yd, so if you use your 50% coupon...<BR>
<BR>
6) If you sew as a business, you should ask the manager about their 15% Discount.<BR>
<BR>
7) Last but not least, it helps to make friends with the salespeople.&nbsp; They get insider "heads up"s on big sales, and in the smaller (non-ETC) stores they'll often remember an avid costumer. They'll tell you when new stuff you'd like comes in or gets marked down for clearance.&nbsp; (I got e-mail when all the velvet ribbon was discontinued and marked down to 5 and 10 cents a yard.<BR>
<BR>
Time for bed now...<BR>
<BR>
--Gillian<BR>
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: Photos of 1700 costumes from the event this weekend
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Date: Sun, 14 Jul 2002 18:10:23 +0100 (BST)
Status: RO

 --- Azelana@aol.com wrote: > << <I sure wish I had some of your resources!>
> 
> oh, most of it is online! only a small amount of things comes from the UK.>>
> 
> Do share those online sources, by all means!
> 
> --Gillian

eBay, as I said, eBay. Months and months and months of careful hour long
trawlings through eBay. That, and teh fact I have quite a well known web site,
Marla mallett contacted me when she sold the needlelace. I bought it within 15
minutes of her mail. :-)

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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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: different velvets
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Date: Sun, 14 Jul 2002 19:34:18 +0100
Status: RO

Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Thu, 11 Jul 2002, Jean Waddie wrote:
>
>> I'm surprised to hear most towns are so short of fabric shops - since
>> I was completely stunned to find fabric in Wal-Mart in the middle of
>> Connecticut last year.  Fabric in a supermarket? (We needed to do
>> quick curtains for the windows in the front and side doors of our
>> rented apartments - a yard of fabric and a bit of masking tape was OK
>> for a week or two).  And in one mall in Quebec there were three shops
>> selling cloth and knitting yarn. Fabric shops in the UK are generally
>> specialist and found down obscure side-streets - never, ever in a
>> mall!  Was I just very fortunate in the places I went?
>
>Yes and no.  In general, the independent fabric store in the U.S. seems to
>be as scarce now as the independent bookstore. They were common enough 10
>years ago, but more and more of them are folding, either because of
>competition from chains, declining sales (fewer people are sewing these
>days), or general ill climate for small businesses. If you've got one in
>your town, it's a thing to treasure.
>
>Wal-Mart is a different sort of case. It's not what we would call a
>supermarket (a term we use for large food stores that also sell soaps,
>drugs, sundries, and other household consumables). Wal-Mart falls into the
>category of "discount department store," and brings up the cheapest end of
>that classification. The chain built its success by bringing mass-market
>goods at low prices to small towns and other areas that did not have large
>shopping centers and a broad selection of stores. Wal-Mart located its
>large retail stores on low-priced property just outside town, offering a
>one-stop shop for a large range of useful things -- clothes, hardware,
>toys, household goods -- at prices made possible only by high-volume sales
>and chain-store scale. (This created a great deal of ill will among small
>downtowns, whose smaller, more specialized shops often died from the
>competition of the Wal-Mart down the road.)
>
>Anyway, in areas where the nearest fabric store might be an hour away, or
>there might be only a single tiny specialty shop, Wal-Mart became the
>chief source of fabric. The stores in less-populated areas thus often have
>a large fabric department, with a selection catering to the needs of the
>home crafter/sewer: basic low-priced fabrics for casual and family
>clothing, quilting supplies, curtain materials, thread and tools, basic
>craft items.
>
>In more urban areas where fabric is easier to come by, Wal-Mart is not the
>consumer's top choice for fabric shopping, so those stores often have a
>smaller fabric department or none at all. (In my metro area, I might pick
>up thread at Wal-Mart while I'm shopping there for something else, but I
>don't go there specifically for fabric, unless maybe I need cheap cotton.)
>
>As to mall stores, a few of the U.S. fabric store chains (So-Fro, Piece
>Goods) were often located in malls, but I see less and less of those these
>days. Most of the ones I know are in older malls and are well-established.
>The idea of three fabric stores in one mall does surprise me. Remember,
>too, there's a great difference between the mall culture of North America
>and that of the UK. We also have a large presence of "strip centers" --
>collections of stores, often parallel to a road with a shared parking lot,
>that provide the advantage of clustered stores without the parking
>problems or expensive architecture of malls. Fabric stores often are
>located in these groupings.
>
>--Robin
>
I can't think of any chain with national coverage in the UK that stocks 
fabric.  The only one would be John Lewis, a fairly upmarket department 
store which has an outlet in most cities and a few of the large towns 
around London.  Their dress fabrics are expensive and their stock has 
been shrinking for years.  There are some small chains that cover 
selected areas - Kings Fabrics turns up in a number of Scottish towns, 
but it's years since I found anything there I wanted.

Many general stores and bargain stores stock basic mending kit - thread, 
needles, maybe some tape or self-adhesive patching, but not cloth.  The 
idea of needing to cater to the home sewer - well, I don't think any of 
the marketing bods in general retail would even recognise the existence 
of home sewing in this country.

There are an increasing number of shops, and even chains, selling 
curtains and soft furnishings, but it's mostly ready-made, or for them 
to make to measure - they rarely expect you to take it home to sew.  I 
am really worried that our very good local fabric store is going that 
way, as their curtain fabric range is expanding, and they are going to 
start selling ready-made, and cushions and stuff, and their dress fabric 
is getting stuffed away under the new "mezzanine floor" where all this 
is going.

There are also lots of patchwork shops, and those selling fabric for 
Asian traditional clothing, but neither of those are much good for 
historic costuming, or even modern Western clothes.  In the areas I've 
been, all the Asian stores sell 100% polyester only.  Dressmaking is 
becoming one of those niche areas, where you have to bump into those in 
the know to be able to find supplies, or get them mail-order.  It's 
almost as bad as...re-enactment.  Hold on, I see a connection here!

Jean

-- 
Jean Waddie
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Walmart pre-cuts?
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Date: Sun, 14 Jul 2002 13:11:43 -0700
Status: RO




>
> > Interesting. A few years ago Wal-Mart was thinking about changing all of
> > their stores to pre-cuts only. There was such an overwhelmingly negative
> > response from the public that they decided against doing it.
> > I hope that they're not changing their mind.
> >
>
>Oh gods!  Me too!  I like that if I find a fabric I adore on the dollar
>table, I can just buy the whole bolt and not worry about dye lots.  Also, 
>you
>waste less fabric if you can arrange your patterns on a continuous piece, 
>so
>the bolt really stretches my budget.

Not to mention the fact that no one EVER gets the precuts the right length 
for anything I'd want to make.  I either get stuck with twice as much as I 
wanted or not quite as much as I needed.


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: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: different velvets
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Date: Sun, 14 Jul 2002 16:43:07 -0500 (CDT)
Status: RO


On Sun, 14 Jul 2002, Jean Waddie wrote:

> The idea of needing to cater to the home sewer - well, I don't think
> any of the marketing bods in general retail would even recognise the
> existence of home sewing in this country.

I think you hit an important difference there between the UK and the US. I
have a sense that sewing is not as typical an occupation for the British
as it is for us.

For example, in the States, when I was in school at least, girls had many
chances to learn to sew, and you'd be more surprised to find a girl who
didn't have at least some basic sewing experience than one who did. We
could take "home economics" or sewing classes in school. (Boys were more
likely to take "shop" classes that included woodworking and similar
skills. Today I gather that the names of the classes are less
gender-oriented, and students are welcome to take whichever they want, but
I suspect some noticeable gender division remains in class makeup.) I
didn't take sewing in school because I'd learned in Girl Scouts, another
typical option. Some of my friends learned from their mothers,
grandmothers, or sisters. It's common to have a sewing machine in one's
home -- even my mother, who doesn't sew, had (and still has) a machine for
mending. Also, crafts such as quilting, which require some sewing
equipment and knowledge, are extremely popular.

Am I correct in my impression that this is not the state in Britain? If
sewing is considered a specialty skill or hobby, fabric stores would be
considered specialty stores. That's the niche that leather or woodworking
stores occupy here -- that is, those are crafts that require specific
materials, but you're very lucky if you have a suitable supplier in town,
and you'd expect to find them in out-of-the-way places.

I suspect that if it wasn't for the huge popularity of quilting and
similar crafts here, sewing stores would be far less common and accessible
than they are today.

--Robin

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Subject: Re: [h-cost] Re: different velvets
From: randl <randl@adelphia.net>
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Date: Sun, 14 Jul 2002 18:57:40 -0400
Status: RO

My husband and I were fortunate in that we were able to honeymoon in London
'lo those many (5:) years ago. We took the 'rail out to Bath as a daytrip
and discovered a rather hole-in-the-wall fabric shop. I took pictures to
show a friend that owns/runs a similar styled store locally. If the store in
question is still around, I highly recommend it as they carried a fair
selection of silk, linen and wool. I don't recall the name of it, but Bath
isn't terribly large. I do recall that it wasn't far from the roman baths.
Laurie 
> I can't think of any chain with national coverage in the UK that stocks
> fabric.  The only one would be John Lewis, a fairly upmarket department
> store which has an outlet in most cities and a few of the large towns
> around London.  Their dress fabrics are expensive and their stock has
> been shrinking for years.  There are some small chains that cover
> selected areas - Kings Fabrics turns up in a number of Scottish towns,
> but it's years since I found anything there I wanted.
> 
> Many general stores and bargain stores stock basic mending kit - thread,
> needles, maybe some tape or self-adhesive patching, but not cloth.  The
> idea of needing to cater to the home sewer - well, I don't think any of
> the marketing bods in general retail would even recognise the existence
> of home sewing in this country.
> 
> There are an increasing number of shops, and even chains, selling
> curtains and soft furnishings, but it's mostly ready-made, or for them
> to make to measure - they rarely expect you to take it home to sew.  I
> am really worried that our very good local fabric store is going that
> way, as their curtain fabric range is expanding, and they are going to
> start selling ready-made, and cushions and stuff, and their dress fabric
> is getting stuffed away under the new "mezzanine floor" where all this
> is going.
> 
> There are also lots of patchwork shops, and those selling fabric for
> Asian traditional clothing, but neither of those are much good for
> historic costuming, or even modern Western clothes.  In the areas I've
> been, all the Asian stores sell 100% polyester only.  Dressmaking is
> becoming one of those niche areas, where you have to bump into those in
> the know to be able to find supplies, or get them mail-order.  It's
> almost as bad as...re-enactment.  Hold on, I see a connection here!
> 
> Jean

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Running dye question
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Date: Sun, 14 Jul 2002 20:41:04 -0500 (CDT)
Status: RO


This isn't quite a historic issue, but it's a fabric issue, and this list
probably contains the expertise to help!

I bought some printed linen: black background, splashy white flowers.
After I bought it, I realized it had tiny bit of lycra in it, too -- one
of those new "stretch linen" fabrics. (Why do they keep ruining perfectly
good linens and wools by adding lycra?) I decided the stretch wouldn't be
a problem for this particular (non-historic) project, but I also realized
I'd better avoid the higher heat settings for washing/drying/ironing I'd
usually use with linen.

So I washed it on warm, dried it delicate. And the black dye bled all over
the white flowers. The result was a batik-like grey streaking across the
entire print. Oddly, I like it better this way! The original design was a
bit too stark for my taste, and I almost didn't buy it for that reason.

So now I have a print with a really nice irregular grey pattern behind the
white areas. My question: How do I keep it this way? Should I expect that
the dye will continue to run on further washings, or will it stay put?
Should I just dry-clean the finished garment? I don't want to run it
through the wash with a dye magnet, because I want to keep the streaking
that's already there.

--Robin

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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Kyoto Costume Institute (WAS: Intro and Revolution In Fashion book)
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Date: Sun, 14 Jul 2002 18:18:18 -0700
Status: RO

Wow, I hate to admit my biased expectations, but I was expecting
oriental fashions!  Fabulous stuff-thank you for sharing-I'd not have
known about it otherwise.
SG

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Kendra Van Cleave
**Sent: Saturday, July 13, 2002 3:27 PM
**To: h-costume@indra.com
**Subject: [h-cost] Kyoto Costume Institute (WAS: Intro and 
**Revolution In Fashion book)
**
**
**I'm assuming everyone found the Kyoto Costume Institute's 
**digital collections, but in case you didn't, they have some 
**great photos of costumes from their collection at:
**
**http://www.kci.or.jp/collection/collset-e.html
**
**- Kendra
**
**
**
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Subject: [h-cost] 73 Online Fabric Stores
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Date: Sun, 14 Jul 2002 18:30:57 -0700
Status: RO

Greetings to one and all,
  Since the subject came up about fabric stores (online or actual 
stores). I thought I would see what I could find online.  And I found 
fabric heaven.  :)  I've only went through a couple of the stores so far 
since I'm not feeling so well right now.
  Here is the website addy:   
http://www.rollanet.org/~anderson/fabricstores.html 
<http://www.rollanet.org/%7Eanderson/fabricstores.html>
   
In the Service of Sewing (even if I am a 43 yr old beginner),
Roscelin/Rose

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Subject: Re: [h-cost] Running dye question
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Date: Sun, 14 Jul 2002 19:07:28 -0700 (PDT)
Status: RO


Robin Netherton <robin@shell.nightowl.net> wrote:
[...] 
> So now I have a print with a really nice irregular grey pattern behind the
> white areas. My question: How do I keep it this way? Should I expect that
> the dye will continue to run on further washings, or will it stay put?
> Should I just dry-clean the finished garment? I don't want to run it
> through the wash with a dye magnet, because I want to keep the streaking
> that's already there.

Try a dye fixative.  Dharma Trading Company's house brand one is what
I use to fix batiks on the rare occasion that I do batik.  Since I've
been doing a bunch of vat dyeing using black, red and bright blue this
week, I've been using the dye fixative in the final rinse (their suggestion
for colors that run and fade).  The only catch is that the dye fixative
needs to be used with hot water.
http://www.dharmatrading.com/html/eng/1569-AA.shtml

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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Subject: Re: [h-cost] Running dye question
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Date: Sun, 14 Jul 2002 19:28:05 -0700 (PDT)
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--0-1695768816-1026700085=:51157
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 Would the new Shout color catcher sheets help? 
One of our local TV stations has a "Let Joe Try It" segment where Joe gets to try new products/informercial products to see if they actually work as well as they're claimed.
For the Color Catcher sheets, he put a freshly dyed garment in the laundry with a light colored tee shirt as well as one of the color catcher sheets and it captured the excess color from the dyed garment--the tee shirt came out absolutely spotless.It just removes excess dye particles that are  in the water, it won't take the dye out of garments that have already been dyed/stained.
Maybe this would help you keep the dye from further coloring your linen.
kate
  Robin Netherton <robin@shell.nightowl.net> wrote: 
This isn't quite a historic issue, but it's a fabric issue, and this list
probably contains the expertise to help!

I bought some printed linen: black background, splashy white flowers.
After I bought it, I realized it had tiny bit of lycra in it, too -- one
of those new "stretch linen" fabrics. (Why do they keep ruining perfectly
good linens and wools by adding lycra?) I decided the stretch wouldn't be
a problem for this particular (non-historic) project, but I also realized
I'd better avoid the higher heat settings for washing/drying/ironing I'd
usually use with linen.

So I washed it on warm, dried it delicate. And the black dye bled all over
the white flowers. The result was a batik-like grey streaking across the
entire print. Oddly, I like it better this way! The original design was a
bit too stark for my taste, and I almost didn't buy it for that reason.

So now I have a print with a really nice irregular grey pattern behind the
white areas. My question: How do I keep it this way? Should I expect that
the dye will continue to run on further washings, or will it stay put?
Should I just dry-clean the finished garment? I don't want to run it
through the wash with a dye magnet, because I want to keep the streaking
that's already there.

--Robin


---------------------------------
Do You Yahoo!?
Yahoo! Autos - Get free new car price quotes
--0-1695768816-1026700085=:51157
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<P> Would the new Shout color catcher sheets help? 
<P>One of our local TV stations has a "Let Joe Try It" segment where Joe gets to try new products/informercial products to see if they actually work as well as they're claimed.
<P>For the Color Catcher sheets, he put a freshly dyed garment in the laundry with a light colored tee shirt as well as one of the color catcher sheets and it captured the excess color from the dyed garment--the tee shirt came out absolutely spotless.It just removes excess dye particles that are&nbsp; in the water, it won't take&nbsp;the dye out of garments&nbsp;that have already been dyed/stained.
<P>Maybe this would help you keep the dye from further coloring your linen.
<P>kate
<P>&nbsp; <B><I>Robin Netherton &lt;robin@shell.nightowl.net&gt;</I></B> wrote: 
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid"><BR>This isn't quite a historic issue, but it's a fabric issue, and this list<BR>probably contains the expertise to help!<BR><BR>I bought some printed linen: black background, splashy white flowers.<BR>After I bought it, I realized it had tiny bit of lycra in it, too -- one<BR>of those new "stretch linen" fabrics. (Why do they keep ruining perfectly<BR>good linens and wools by adding lycra?) I decided the stretch wouldn't be<BR>a problem for this particular (non-historic) project, but I also realized<BR>I'd better avoid the higher heat settings for washing/drying/ironing I'd<BR>usually use with linen.<BR><BR>So I washed it on warm, dried it delicate. And the black dye bled all over<BR>the white flowers. The result was a batik-like grey streaking across the<BR>entire print. Oddly, I like it better this way! The original design was a<BR>bit too stark for my taste, and I almost didn't buy it!
 for that reason.<BR><BR>So now I have a print with a really nice irregular grey pattern behind the<BR>white areas. My question: How do I keep it this way? Should I expect that<BR>the dye will continue to run on further washings, or will it stay put?<BR>Should I just dry-clean the finished garment? I don't want to run it<BR>through the wash with a dye magnet, because I want to keep the streaking<BR>that's already there.<BR><BR>--Robin</BLOCKQUOTE><p><br><hr size=1><b>Do You Yahoo!?</b><br>
<a href="http://autos.yahoo.com/">Yahoo! Autos</a> - Get free new car price quotes
--0-1695768816-1026700085=:51157--
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Date: Sun, 14 Jul 2002 21:35:48 -0600
Status: RO

Ohhhhh.....gawdd.....You *would* have to post something like that....oh,
man, oh man, oh man.....I think you've *killed* my credit card....
See, here's the scoop....A friend and I (who both do historical
clothing, and, oddly enough, both know Robin) will be in Bath for
several days in eary September.  We already have shopping and the Roman
baths on the list (along with the Costume Museum, and the Assembly
Rooms).  We live in a part of the U.S. where we get decent snowy
winters, and *no d@mned wool fabric*!!!!, so finding something yummy
while we're in England would just be a superlative coup!
--Sue, who would be doing a decent "happy dance" if she weren't so
blessed *hot* [day 4? 5? of record-breaking temperatures, and *NO* a/c
or swamp cooler ;-( ]

randl wrote:
> 
> My husband and I were fortunate in that we were able to honeymoon in London
> 'lo those many (5:) years ago. We took the 'rail out to Bath as a daytrip
> and discovered a rather hole-in-the-wall fabric shop. I took pictures to
> show a friend that owns/runs a similar styled store locally. If the store in
> question is still around, I highly recommend it as they carried a fair
> selection of silk, linen and wool. I don't recall the name of it, but Bath
> isn't terribly large. I do recall that it wasn't far from the roman baths.
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Date: Mon, 15 Jul 2002 00:15:25 -0400
Status: RO

Hi. Another note for the hubby interested in WWII. When I was in Aachen, so many
years ago, I remember still seeing buildings on the outskirts of town that were
abandoned since the terrible battle that occurred in town in 1945. I was amazed
that, some 35 or so years later, there were still houses all shot up. I'm sure (or
at least mostly so) that they have been fixed up since, but, who knows? I know in
one of the in-town cemeteries, within walking distance of the train station and the
Kaffeestuben that Nicole mentions, there are graves of both the German and American
troops killed back then. I still have the photos that I shot (I was an exchange
student in England at the time studying theater in London, and I made a side trip
to complete a photo assignment I had).  Mike T.


> Oh yes, oh yes! Go and see Aachen! See Charlemagne's magnificent cathedral, go
> and have a fantastic coffee and warm apple strudel with vanilla ice and cream
> in the Alt Aachener Kaffeestuben right to the left of the medieval town hall in
> the town square. And please, plaese, give a greeting to Aachen from an
> expatriat who loved Aachen very much for the 12 years of living there.
>

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Date: Mon, 15 Jul 2002 00:45:33 -0400
Status: RO



Hi, All. Something someone just said rung a bell in my head (or perhaps it
was just me getting kicked too many times there...), but I remembered
something my old Doctor said to me. He was an old-fashioned sort (Bless his
soul, he passed on this year), but when I first went to his practice, I had
my patter all in order. He asked me if I had any allergies, and I dutifully
replied, as I had been taught by my Mother, "Penicillin and Compozine".
Rather than just write these down (dutifully), he asked my why I thought I
had those allergies. The first was inherited, I told him, and the second
came from an episode when I was 18, when my appendix burst. He then asked if
I had ever been tested for these "allergies". I said "no", and he told me
that what I thought I had in the first case was unproven, and in the second
was a reaction, not an allergy. He asked if I wished to be tested for the
above. I haven't since, but I thought I'd mention it. If you think you have
an "allergy" to a particular thing, and it is making you make lifestyle
changes that are difficult, you might want to look into it to see if you can
be tested. This might lead you into an area through which you can work out
where your problems are, and help you to expand those areas where you might
have thought you could never go. If you find that you have real allergies,
I'm sorry, but if you can find a way around them, all the better. Good Luck,
Mike T. PS Please don't respond to this by becoming defensive. It isn't an
attack, but a means of possibly helping folks, and was meant in that way.

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Subject: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 05:41:00 +0000
Status: RO


Kendra, Thank you so much for sharing the link to the Kyoto Costume 
Institute.  It was so much fun drooling over all the pictures of the 
garments.  I wish I could wear them all...

I know this is completely stating the obvious, but I was really struck by 
how much the woman's silhouette has changed over time.  I know that in the 
20th century, the styles that women have worn have changed dramatically.  
Every decade has a characteristic silhouette and style that was popular at 
that time.  For some reason, I just assumed that such a variety of styles 
had been the product of a time where the media has been such an influence.  
We can see the most recent styles and fashions by picking up a nationally or 
worldwide distributed magazine.  We can know that white prairie style skirts 
are in fashion right now, because Penelope Cruz is seen wearing one on TV or 
the Internet...  I also thought that ready-made clothes had contributed to 
the variety of styles in recent decades.  We can just go to the store and 
find a similar version of what the fashion icons are creating.

Anyway, I know that styles have changed dramatically over the last 300 
years, but I was just really struck by just how dramatically.  For instance 
- 1790 to 1800 was not a very long time.  However, the basic shape of the 
silhouette changes considerably.  The full skirts and bodiced natural waist 
gave way to more relaxed skirts and the empire style waistline.  I think 
this is a huge change for a time when the media was completely different as 
an influence in the styles that women wore.

I am very tired, so I'm sure when I look at this again tomorrow, I'll be 
thinking that it really isn't that remarkable...  but then again it really 
makes me think about how styles came to be.  Who were the influences in 
making those characteristic changes and who were the people who embraced 
these new fashions?  Also, how did a dramatic style change spread from town 
to town and country to country?  I think it is all very interesting...

Some ramblings (or obvious statements/observations)...

:) jessica



>From: "Kendra Van Cleave" <kendrav@attbi.co
>To: <h-costume@indra.com>
>Date: Sat, 13 Jul 2002 15:27:14 -0700
>Subject: [h-cost] Kyoto Costume Institute (WAS: Intro and Revolution In 
>Fashion book)
>Reply-To: h-costume@mail.indra.com
>
>I'm assuming everyone found the Kyoto Costume Institute's digital
>collections, but in case you didn't, they have some great photos of 
>costumes
>from their collection at:
>
>http://www.kci.or.jp/collection/collset-e.html
>
>- Kendra


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Date: Mon, 15 Jul 2002 05:48:23 +0000
Status: RO


Welcom Back Apollonia.

I just had to comment on your tag line...  It's very nice to see someone who 
has recongnized the fantastic genious of the Black Adder!  He is one of the 
Greats!!!

Again, welcome.

:) jessica


>Edmund:
>      It's green.
>Percy:
>      Yes, my lord!
>Edmund:
>      Percy, the colour of gold, is gold. Whatever you have discovered if 
>it
>has a name would be called green.
>Percy: [on discovering the secret of alchemy]
>      Oh Edmund can it be true, that I hold in my mortal hands a nugget of
>purest GREEN?
>


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Subject: [h-cost] Dye fixative
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Date: Sun, 14 Jul 2002 23:21:16 -0700 (PDT)
Status: RO


D'Oh.  The dye fixative is used in a cool bath.  Synthropol and Milsoft
are used in hot soaks.  I'm on my third round of vat dyeing this weekend,
so I'm getting a little addled.  Fire Red this time.  

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: Mon, 15 Jul 2002 02:34:56 -0400
Status: RO

The web site is excellent, but there is still a lot more info in
the "Revolution" book...I am tempted to order some of the
other books &/or videos offered in the catalog...
Has anyone seen the videos? Are they all in Japanese?
Are the other books in Japanese/English like "Revolution"?
Deb R

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Mon, 15 Jul 2002 08:23:02 +0100 (BST)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > Hi. Another note for the hubby
interested in WWII. When I was in Aachen, so
> many
> years ago, I remember still seeing buildings on the outskirts of town that
> were
> abandoned since the terrible battle that occurred in town in 1945. I was

There hasn't been anything like that for the past 14-15 years I was living
there. Moved to Aachen in '88.

> amazed
> that, some 35 or so years later, there were still houses all shot up. I'm

A memento.

> sure (or
> at least mostly so) that they have been fixed up since, but, who knows? I

_I_ know, because I come from there. There is absolutely nothing of that sort
there. Aachen is a beautiful city.

> know in
> one of the in-town cemeteries, within walking distance of the train station
> and the
> Kaffeestuben that Nicole mentions, there are graves of both the German and
> American
> troops killed back then. 

They are still finding renmains of American soldiers lost in the Huertgenforest
and never accounted for. There are Germans who have taken over the task of
trawling through the woods with metal detectors and dogs in their very own
spare time, finding bits and pieces, then calling the US authorities in who
then dig around. By now they have already helped find the mortal remains of
over a dozen soldiers, that could then finally laid to rest back home and
mourned properly by their families. There is nothing worse than not having a
grave. I know, because there are so many Germans never accounted for in
Siberia.

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: Mon, 15 Jul 2002 08:30:43 +0100 (BST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Ohhhhh.....gawdd.....You
*would* have to post something like that....oh,
> man, oh man, oh man.....I think you've *killed* my credit card....
> See, here's the scoop....A friend and I (who both do historical
> clothing, and, oddly enough, both know Robin) will be in Bath for
> several days in eary September.  

Sue, why don't you just cal up Hainsworth and have their fantastic wool
delivered to somewhere to pick it up while you're in England?

http://www.hainsworth.co.uk/abimelech/index1.html

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: Mon, 15 Jul 2002 09:08:55 +0100
Status: RO

According to my Swedish dictionary:

F"orstygn = running stitch
Efterstygn = back stitch

Smygs"om isn't listed as such, but possibly = slip stitch?

Kate Bunting
Library, University of Derby

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Date: Mon, 15 Jul 2002 09:15:08 +0100
Status: RO

Congratulations, MaggiRos!
What is the setting for your novel?
 

Kate Bunting
Library, University of Derby

>>> maggiros@hotmail.com 07/13/02 11:07pm >>>
I know this is off-topic, but I just have to share this with you all!  I 
just got off the phone with a small publisher I happen to know, and well, 
they want to publish my first novel!  Complete details of covers, design, 
pub date and all that are still pending, but wheeeeeee!!!  I'm SO excited, I 
can't stand it!!!

Doing the Happy Dance in L.A. Wheeeeeee!

MaggiRos
Obligatory costume content: Everyone in the novel wears 17th century 
clothes, many of which are taken directly from pictures posted on Nicole 
Kipar's website. :)

_________________________________________________________________
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Date: Mon, 15 Jul 2002 09:34:22 +0100
Status: RO

I don't know how much sewing is taught in British schools today. We had needlework classes when I was at a girls' school in the 60s, but the teacher tended to neglect me because I wasn't much good at it! Neither was my Mum; for what little dressmaking we did, she made do with her mother-in-law's old hand-operated Singer (which I still have).
I have the impression that fewer women do home dressmaking now than in my childhood. There used to be a specialist fabric shop in Derby; there are now only market stalls selling dress fabrics. There's such a huge choice of cheap fashionable clothes available that I suppose people only sew if they really want to.

Kate Bunting
Library, University of Derby

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Thread-Topic: Fabric shops in the UK
From: "freyalyn" <freyalyn@ivillage.com>
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Date: Mon, 15 Jul 2002 01:54:24 -0700
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It's getting more and more difficult to find decent stuff in general
shopping areas.

I'm extremely lucky, as about a mile from where I live there is a
fabulous fabric shop "The Shuttle". If any
of you are ever in the Bradford, West Yorkshire, area, ask me where it
is. (It's even worth a special trip) It has seasonal fabrics,
furnishing,
cottons, linens, silks, some very good sales, and the owner will get
stuff in for you if you ask.

We also have various Indian/SE Asian fabric shops all over Bradford, but
again, they sell mostly polyesters and
synthetics. Unfortunately the Asian population in Bradford is not such
to encourage luxury fabric for saris and shalwar-kameez.

Freyalyn, who doesn't have enough time in the day. 

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<HTML>
<BODY>
It's getting more and more difficult to find decent stuff in general shopping areas.<br>
<br>
I'm extremely lucky, as about a mile from where I live there is a fabulous fabric shop "The Shuttle".  If any<br>
of you are ever in the Bradford, West Yorkshire, area, ask me where it is.  (It's even worth a special trip) It has seasonal fabrics, furnishing,<br>
cottons, linens, silks, some very good sales, and the owner will get stuff in for you if you ask.<br>
<br>
We also have various Indian/SE Asian fabric shops all over Bradford, but again, they sell mostly polyesters and<br>
synthetics.  Unfortunately the Asian population in Bradford is not such to encourage luxury fabric for saris and shalwar-kameez.<br>
<br>
Freyalyn, who doesn't have enough time in the day.
</BODY></HTML>
<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

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Subject: Re: Home sewing UK/US, was [h-cost] Re: different velvets
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Date: Mon, 15 Jul 2002 10:11:02 +0100
Status: RO

>I don't know how much sewing is taught in British schools today

Next to nothing & none of the basic skills from what my kids have done !!

We were taught from an early age in school, but it was a very old fashioned
school & some time ago :)

Looking at patterns they are so simple these days they are barely worth
buying, so the average sewer musty be pretty poor

Mel


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From h-costume-admin@indra.com  Mon Jul 15 05:43:06 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Fabric shops in the UK
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Date: Mon, 15 Jul 2002 10:25:00 +0100 (BST)
Status: RO

 There is a superb silk shop in Guildford, Surrey. It is Hansson Silks. Indian
run, beautiful silk taffetas, all for 14 quid per mter, gorgeous silk
embrideries, and brocades. he people are very helpful. They have a web site and
do mail order, send them a colour sample, tell them what you want and off you
go.

http://www.hansson-silks.co.uk/

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] Swedish terminology, Bocksten man?
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Date: Mon, 15 Jul 2002 21:48:28 +1200
Status: RO

Does anybody have the original Swedish, I have a swedish friend and if it's
not too long I'm sure shed be happy to translate it. As it's a favour I'd be
asking, and not one that directly benefits me I'd rather not ask too much of
her as she just sent me a postcard from London (she's on holiday).

Maybe she can help translate it in context.. you know how different
languages have diffrerent rhythems and patterns.

michaela


> According to my Swedish dictionary:
>
> F"orstygn = running stitch
> Efterstygn = back stitch
>
> Smygs"om isn't listed as such, but possibly = slip stitch?
>
> Kate Bunting
> Library, University of Derby
>
> _______________________________________________
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
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Subject: [h-cost] Curing Rabbit Pelts
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Date: Mon, 15 Jul 2002 11:21:58 +0100 (BST)
Status: RO

Can anyone help?

As the other half seems to enjoy thinning out the local rabbit population and bringing them home
for us to eat.  I decided it might be worth doing something with all the furs, that otherwise
would go in the bin.  Does anyone have any idea how furs were cured in 16th Century England.  I
have heard of using alum or alum and saltpeter but I have no idea if these were used then and what
quantities would be required.

Many Thanks

Rachel

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Date: Mon, 15 Jul 2002 06:55:14 -0400
Status: RO

> Looking at patterns they are so simple these days they are barely worth
> buying, so the average sewer musty be pretty poor
>
> Mel
   I felt sad when I discovered a line of patterns called something like
"Sewing for Dummies" in JoAnn's.
Rowena

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Subject: Re: [h-cost] Re: h-costume digest, Vol 1 #1046 - 12 msgs
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Date: Mon, 15 Jul 2002 06:56:33 -0400
Status: RO

on 7/15/02 1:48 AM, jessica stier at jessicastier@hotmail.com wrote:

> 
> Welcom Back Apollonia.
> 
> I just had to comment on your tag line...  It's very nice to see someone who
> has recongnized the fantastic genious of the Black Adder!  He is one of the
> Greats!!!
> 
> Again, welcome.
> 
> :) jessica
> 
> 
>> Edmund:
>> It's green.
>> Percy:
>> Yes, my lord!
>> Edmund:
>> Percy, the colour of gold, is gold. Whatever you have discovered if
>> it
>> has a name would be called green.
>> Percy: [on discovering the secret of alchemy]
>> Oh Edmund can it be true, that I hold in my mortal hands a nugget of
>> purest GREEN?
>> 
 my fave:

edmond: "You do know what irony is, don't you Baldric?"

baldric: "Yeah...its like goldy and bronzy."

edmond harassing percy about his ruff size was great too.
laurie

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Subject: Re: [h-cost] Re: different velvets
From: randl <randl@adelphia.net>
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Date: Mon, 15 Jul 2002 06:59:07 -0400
Status: RO

on 7/14/02 11:35 PM, Sue Clemenger at mooncat@in-tch.com wrote:

> Ohhhhh.....gawdd.....You *would* have to post something like that....oh,
> man, oh man, oh man.....I think you've *killed* my credit card....
> See, here's the scoop....A friend and I (who both do historical
> clothing, and, oddly enough, both know Robin) will be in Bath for
> several days in eary September.  We already have shopping and the Roman
> baths on the list (along with the Costume Museum, and the Assembly
> Rooms).  We live in a part of the U.S. where we get decent snowy
> winters, and *no d@mned wool fabric*!!!!, so finding something yummy
> while we're in England would just be a superlative coup!
> --Sue, who would be doing a decent "happy dance" if she weren't so
> blessed *hot* [day 4? 5? of record-breaking temperatures, and *NO* a/c
> or swamp cooler ;-( ]
> 
sorry:)
laurie

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From h-costume-admin@indra.com  Mon Jul 15 07:31:16 2002
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From: Lee Thompson-Herbert <lee@retro.com>
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Subject: [h-cost] dye experiment
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Date: Mon, 15 Jul 2002 04:33:54 -0700 (PDT)
Status: RO


Okay, so I finally finished totally with my batch of red dyeing.
I used Dharma's procion MX dye #10, Fire Red.  I used the dye fixative
as the last rinse, then a hot wash with Milsoft to restore the fabric's
hand.  The final result is a vibrant true red (no orange tones).  On
both cotton gauze and cotton-lycra knit, the shade is remarkably similar
to the traditional red flannel you can still buy.  Not an exact match,
but very, very close.  This red appears to be colorfast if you use 
enough soda ash and salt in the dye vat and if you use the fixative with
your last rinse (after the excess dye and soda are rinsed out).  I'm 
impressed for a red this bright.  

My previous experiment used procion MX #250 Jet Black, the densest of
the four blacks Dharma offers.  It _is_ possible to get a true black out
of this dye, however it has a reddish-brown cast to it.  Next time around,
I'll probably add some #70 Sapphire Blue to the mix to correct that. Jet
Black tends to wash out quite a bit, which is why the Dharma folks suggested
using the dye fixative.  My first attempt didn't stay in the dye bath 
nearly long enough, and I probably had the pot too crowded as well.  I got
a dark charcoal shade from it, which is still darker than I ever got out
of black RIT dye.  The second try stayed in the dye bath 4 hours, and it's
a true black.  After two cycles through the hot wash (after the fixative),
the dye no longer runs.  The procion dye is also definitely less toxic than
the black Dylon I've used _once_.  That stuff made my whole house smell 
like tar.  On the whole, the procion dyes have been much less noxious
than either Dylon or Deka-L.

Next experiment: #56 Azure Blue.  Dharma staff warns that their bright 
blues need higher temperatures (good thing I do this on the stovetop).
Some of the other blues also need glauber's salt, but this one does not.
I've been told to expect a lot of bleeding until the last of the excess
dye rinses out (even more than the Jet Black).  I think I'll be using
the dye fixative on this one as well.  

All in all, I find the procion dyes to be pretty easy to use, if you're
willing to do it on the stovetop.  My washing machine...er, well, it 
sucks _and_ it wastes a lot of water and electricity.  I've never had
good results with _any_ dye in that machine.  While the procion dyes are
slightly more complicated than the acid dyes I use for silks, it's not
_too_ much moreso, and the dye isn't particularly nasty smelling or toxic.
I still keep the stove hood fan on just to keep the fumes from going all
over the house, but it's not _vile_ like some of the union dyes I've tried.
It can safely be used in the house.

[toddling off to bed now...]
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: =?iso-8859-1?Q?Ingrid_G=2E_Storr=F8?= <ingridgs@studorg.hiof.no>
To: h-costume@indra.com
Subject: Re: [h-cost] Swedish terminology, Bocksten man?
In-Reply-To: <002901c22be4$c63512a0$cdd3adcb@michaela>
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Date: Mon, 15 Jul 2002 13:39:21 +0200 (CEST)
Status: RO

On Mon, 15 Jul 2002, michaela wrote:

> Does anybody have the original Swedish

Yup! :) 

"Alla sömmar, utom de där stadkant ligger mot stadkant, är sydda med 
dubbla sömmar. Tygstyckerna har först satts ihop, sedan har bĺda 
sömsmĺnerna vikts ĺt samma hĺll och sytts ned mot tyget. Fĺllarna längs 
nederkant, ärmlinningar och halsrigning är sydda med enkel vikning. 
Vilken typ av stygn som använts till de olika sömmarna är svĺrt att 
bedömma pĺ grund av det stora antalet stygnmärken i tyget. Möjligen har 
sömmarna sytts ihop med för- eller efterstygn och sedan har sömsmĺnerna 
sytts ned mot tyget med förstygn eller kastestygn. Vid ĺtermonteringen 
syddes alla sömmar med smygsöm og sömsmĺnerna kastades fast ĺt det hĺll 
de strävade. Fĺllerna gick til skillnad mot sömmarna att sy i de 
ursprungliga stygnhĺlen. De har sannolikt varit sydda med kaststygn, 
vilket ocksĺ gjordes vid ĺtermonteringen."

Translation of the word "smygsöm" is basically the only thing left that 
I'm wondering about; even though I'm still not entirely certain that I 
understand how the seam allowances are fastened. But I _think_ I 
understand how. If your friend has input on that as well that would 
be great. But it it's a lot of trouble for her to translate, please 
don't bother her. :)  

Thanks for the help so far, people! :)

Ingrid 

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From: "Amanda Reeves" <alr@io.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Curing Rabbit Pelts
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Date: Mon, 15 Jul 2002 06:42:08 -0500
Status: RO

Don't know the time frame, but it seems old to me. Pelts can be cured by
rubbing the skin side with lard or shortening, sprinkling them with
flour, rolling them fur side out, tying them with twine and storing them
for a period of time. You need to experiment as to what that period of
time is, but if I remember correctly, it's about 3-4 weeks. I had good
luck with curing deer hides, but usually lost them to the coyotes. They
are persistent little critters and could break into any shed I tried to
keep them out of.

Check out the Foxfire books.

Amanda
GRITS Rule
Girls Raised In The South


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Rachel
Sent: Monday, July 15, 2002 5:22 AM
To: europe16thc; H-costume list
Subject: [h-cost] Curing Rabbit Pelts


Can anyone help?

As the other half seems to enjoy thinning out the local rabbit
population and bringing them home for us to eat.  I decided it might be
worth doing something with all the furs, that otherwise would go in the
bin.  Does anyone have any idea how furs were cured in 16th Century
England.  I have heard of using alum or alum and saltpeter but I have no
idea if these were used then and what quantities would be required.

Many Thanks

Rachel

=====
Rachel

Tudor Bibliography http://website.lineone.net/~reholliday/Tudor/

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Date: Mon, 15 Jul 2002 22:35:45 +0930
Status: RO

<html><div style='background-color:'><DIV>Hi</DIV>
<DIV>A cousin of mine has a commemorative book of Queen Elizabeth II's coronation, and in it is a bit about the weavers of woolen velvet used in the robes of the English nobles, and apparantly has been used for several 100 years. He also owns a robe/cloak worn by one of the baroness' (I think), pictured in the book. But I'm yet to see it.</DIV>
<DIV>My cousin is an antique dealer.</DIV>
<DIV>Rebecca</DIV>
<DIV>&nbsp;</DIV>
<DIV>&gt;I'm sure I've heard of wool velvet, for the 18th c. at least.&nbsp; Am told one<BR>&gt;can find wool velvet used for theatre seats and curtains.<BR>&gt;<BR>&gt;Cheers,<BR>&gt;Mara<BR>&gt;</DIV></div><br clear=all><hr>MSN Photos is the easiest way to share and print your photos: <a href='http://g.msn.com/1HM1ENAU/c156??PI=44314'>Click Here</a><br></html>
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Subject: [h-cost] Wal-mart pre-cuts
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Date: Mon, 15 Jul 2002 08:44:44 -0500
Status: RO

I'm happy to hear there was such an uproar over the pre-cuts.  I haven't been back to this particular store in my area, despite it's being one of the really big Wal-marts, because of the pre-cuts.  I guess I will have to give them a try.  I did find a nice period looking 'wool' at another store this weekend.  It has burn tested with at least some poly but at $1 a yard it looks period enough for some folks I know that want to try Viking.

Silk; one of the best, and most fun, places I found for silk shopping was in the Indian sari shops in Vancouver, British Columbia.  The owners were very helpful to two chicks who obviously didn't 'belong' and we found some real treasures buried on the shelves.  It was also fun to drool over the tunics and trousers displayed for sale.  They assured me they could make something to fit me but I declined :).

Catherine

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From: Crissy <sewinggoddess@att.net>
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Subject: [h-cost] English fabric shops
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Date: Mon, 15 Jul 2002 10:55:22 -0400
Status: RO




>
> <snip> We took the 'rail out to Bath as a daytrip
> and discovered a rather hole-in-the-wall fabric shop. <snip> I don't recall
> the name of it, but Bath
> isn't terribly large. I do recall that it wasn't far from the roman baths.

    Oooh! I'm actually in  the planning stage of a trip to England next May and,
if anyone can give me specifics as to where this shop is, I'd appreciate it!
Time is going to be very limited, so the less hunting I can do to find a
location, the better.
    I'm also going to have a day or so free in London on this trip.   It seems
that I'm the local person who all my friends go to for advice on fabrics and
where to find the hard to find stuff. They're already asking about the  fabric
shopping in London! It doesn't seem to matter that I've never been there
before...

    What we're specifically looking for is a place that sells good quality
English Wools, in tropical weights. We're all from Florida that are going on
this trip, so lightweight wool is the goal!  We do SCA reenactment, different
countries and eras of specialties.   My era is Italian, 1450-1525, although we
do have a few people that specialize in England and france around the same time
frame on this trip. Also, Middle Eastern, too. (Yes I know we are a very mixed
group!)
     Any advice on those Sari shops, needlework shops ( Bjarne-- what was the
address and name of that one on Oxford street?) , places that sell steel boning,
and are any of these places open at night or do they all close at five pm ?
Any "off the wall" places I really need to visit because it's not period for
anything we do but it's such cool fabrics anyway?
     I've costumed people ranging from Brides to exotic dancers and just about
every time frame except futuristic/fantasy, and that seems to be looming on the
horizon as we speak!   Any advice y'all can give this fabric junkie  to arrange
a once in a lifetime London halfday fabric tour would be greatly appreciated!
( the other half of the day is going to be spent at the V& A Museum.  I've
always wanted to go there and I *know* a half day is not enough time.....)

  Thanks for the help and advice and locations!
Crissy


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Subject: [h-cost] Very OT, but important if you're a Yahoo user
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Date: Mon, 15 Jul 2002 08:00:40 -0700 (PDT)
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 If you use Yahoo, did you ever notice that your email doesn't always say what you wrote? Read on...

BTW--I did try it and the words *are* changed. Since this is going out through my yahoo account, I put astericks in place of a vowel in each word that Yahoo changes.

Date: Sun, 14 Jul 2002 11:03:19 -0400
> To: Declan McCullagh <declan@well.com>
> From: Monty Solomon <monty@roscom.com>
> Subject: Do y*u Y*h**?
> 
> http://www.ntk.net/2002/07/12/
> 
>                                   >> HARD NEWS <<
> 
>                                  in powers of two
> 
>            Nice to see, in the midst of all these scandals, Yahoo
>            turning a healthy profit. But as other companies fiddle the
>            figures, Yahoo's been busy instead with fiddling its own
>            users' private correspondence. In a fantastically clumsy
>            attempt to prevent cross-site scripting attacks, the free
>            e-mail wing of the sprawling giant has long been replacing
>            complete English words in the text of HTML mail sent to its
>            users. Mention "m*cha" in an HTML mail to a friend with a
>            @yahoo.com account, and your choice in coffee will be
>            silently switched to "espresso". Talk about "free
>            expressi*n", and your recipient will think you said "free
>            statement". Here's the full list of swaperoos:
>            http://www.ntk.net/2002/07/12/yahoo.txt
>                                    - try not to mail it to your friends
> 
>            This fiddling has been going on now for over a year year
>            (the ever vigilant RISKS digest noted it back in March
>            2001). But because of Yahoo's underhand methods, very few
>            people have spotted the turnabout - certainly far fewer than
>            if Yahoo had done the sensible thing and, say, "**"'ed out
>            the vowels in the word, or, God forbid, written a smarter
>            parser. But the sneakier you are, the wider the damage
>            spreads. The word "medi*val" (since it contains the
>            javascript command "eval") is converted in Yahoo mail to
>            "medireview". Google now shows over 640 sites (and 1,150
>            separate instances) of the word "medireview" being used as a
>            synonym for medieval. University papers, bibliographies and
>            book reviews, Indian newspaper columnists, and endless
>            enthusiast sites drop it unseen into texts. People have
>            begun to ask where it originally came from, and does it have
>            a subtler meaning beyond "medieval"? Is Yahoo ever going to
>            fix its filters? Or is it time we pushed to get the first
>            regexp-obfuscated word into the Oxford English Dictionary?
>            http://catless.ncl.ac.uk/Risks/21.34.html
>              - does anyone still at Yahoo even know how to turn it off?
>            http://www.google.com/search?q=medireview
>                             - NTK now entirely filled with google links
> 
> 
> 
> 
> -------------------------------------------------------------------------
> POLITECH -- Declan McCullagh's politics and technology mailing list
> You may redistribute this message freely if you include this notice.
> To subscribe to Politech: http://www.politechbot.com/info/subscribe.html
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<P>&nbsp;If you use Yahoo, did you ever notice that your email doesn't always say what you wrote? Read on...</P>
<P>BTW--I did try it and the words *are* changed. Since this is going out through my yahoo account, I put astericks in place of a vowel in each word that Yahoo changes.</P>
<P>Date: Sun, 14 Jul 2002 11:03:19 -0400<BR>&gt; To: Declan McCullagh &lt;<A href="mailto:declan@well.com">declan@well.com</A>&gt;<BR>&gt; From: Monty Solomon &lt;<A href="mailto:monty@roscom.com">monty@roscom.com</A>&gt;<BR>&gt; Subject: Do y*u Y*h**?<BR>&gt; <BR>&gt; <A href="http://www.ntk.net/2002/07/12/">http://www.ntk.net/2002/07/12/</A><BR>&gt; <BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &gt;&gt; HARD NEWS &lt;&lt;<BR>&gt; <BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; in powers of two<BR>&gt; <BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nice to see, in the midst of all these scandals, Yahoo<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&!
nbsp;&nbsp;&nbsp;&nbsp;&nbsp; turning a healthy profit. But as other companies fiddle the<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; figures, Yahoo's been busy instead with fiddling its own<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; users' private correspondence. In a fantastically clumsy<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; attempt to prevent cross-site scripting attacks, the free<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; e-mail wing of the sprawling giant has long been replacing<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; complete English words in the text of HTML mail sent to its<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; users. Mention "m*cha" in an HTML mail to a friend with a<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; @yahoo.com account, and your choice in coffee will be<BR>&gt; &nbsp!
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; silen!
tly switched to "espresso". Talk about "free<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; expressi*n", and your recipient will think you said "free<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; statement". Here's the full list of swaperoos:<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <A href="http://www.ntk.net/2002/07/12/yahoo.txt">http://www.ntk.net/2002/07/12/yahoo.txt</A><BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; - try not to mail it to your friends<BR>&gt; <BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; This fiddling has been going on now for over a year year<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (the ever vigilant RISKS digest noted it back in March<BR>&gt; &nbsp;&nbsp;&nbsp;&nb!
sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2001). But because of Yahoo's underhand methods, very few<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; people have spotted the turnabout - certainly far fewer than<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; if Yahoo had done the sensible thing and, say, "**"'ed out<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; the vowels in the word, or, God forbid, written a smarter<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; parser. But the sneakier you are, the wider the damage<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; spreads. The word "medi*val" (since it contains the<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; javascript command "eval") is converted in Yahoo mail to<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; "medireview". Google now shows over 640 sites (and 1,150<BR>&gt; &!
nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s!
eparate instances) of the word "medireview" being used as a<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; synonym for medieval. University papers, bibliographies and<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; book reviews, Indian newspaper columnists, and endless<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; enthusiast sites drop it unseen into texts. People have<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; begun to ask where it originally came from, and does it have<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; a subtler meaning beyond "medieval"? Is Yahoo ever going to<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; fix its filters? Or is it time we pushed to get the first<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; regexp-obfuscated word into the Oxford English Dictionary?<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp!
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <A href="http://catless.ncl.ac.uk/Risks/21.34.html">http://catless.ncl.ac.uk/Risks/21.34.html</A><BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; - does anyone still at Yahoo even know how to turn it off?<BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <A href="http://www.google.com/search?q=medireview">http://www.google.com/search?q=medireview</A><BR>&gt; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; - NTK now entirely filled with google links<BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; -------------------------------------------------------------------------<BR>&gt; POLITECH -- Declan McCullagh's politics and technology mailing list<BR>&gt; You may redistribute this message freely if you include this notice.<BR>&gt; To subscribe to Politech: <A href="http://www.politechbot.!
com/info/subscribe.html">http://www.politechbot.com/info/subs!
cribe.html</A><BR>&gt; This message is archived at <A href="http://www.politechbot.com/">http://www.politechbot.com/</A><BR>&gt; Declan McCullagh's photographs are at <A href="http://www.mccullagh.org/">http://www.mccullagh.org/</A><BR>&gt; -------------------------------------------------------------------------<BR>&gt; Like Politech? Make a donation here: <A href="http://www.politechbot.com/donate/">http://www.politechbot.com/donate/</A><BR>&gt; -------------------------------------------------------------------------<BR></P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Kyoto Costume Institute (WAS: Intro and Revolution In Fashion book)
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Date: Mon, 15 Jul 2002 15:05:30 +0000
Status: RO

Hm yes, it's really fun to browse...

But I really wish they would answer me about buying the book...

Maybe they're on vacation???


>From: "Kendra Van Cleave" <kendrav@attbi.com>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: [h-cost] Kyoto Costume Institute (WAS: Intro and Revolution In 
>Fashion book)
>Date: Sat, 13 Jul 2002 15:27:14 -0700
>
>I'm assuming everyone found the Kyoto Costume Institute's digital
>collections, but in case you didn't, they have some great photos of 
>costumes
>from their collection at:
>
>http://www.kci.or.jp/collection/collset-e.html
>
>- Kendra
>
>
>
>_______________________________________________
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From: "Cynthia Abel" <brujne@bluejay.creighton.edu>
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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 10:09:26 -0500
Status: RO

The rather sudden move to a high-waisted, narrow-skirted gown in lighter
fabrics in the 1785-1800 timeframe was truly revolutionary and a big shock
to ladies' wardrobes. (I have this book, by the way!)Englishwomen followed a
more bulky look in the skirt with some heavier fabrics and obviously more
petticoats than the fashion leaders of France in the same time frame. This
may have been a result of climate as well as culture for both countries.
Marie Antoinette had made more casual, but still expensive, gowns of
imported muslin(much to the rage of the silk-weaving trade in Lyons,
France)and Englishwomen had first hand-painted or printed silks, and then
hand-painted or printed cottons from British Empire colonies and trade
connections in Asia and India all well before 1785.(I wish Dover would
reprint some of the plates from the English "Gallery of Fashion" in their
original colors to show the English style of the higher waist c1794-1804).
It really shows that what we call the "empire look" was considered best on
tall women with some weight to them. "Does my butt look big enough in this"
(pear-shaped women rejoyced) might have been the query of the day from wives
to husbands.

The last high-waisted look had been in vogue 1620's-30's, but skirts had
been full. Many women simply let down hems and raised the skirt to the new,
higher level under the bust, keeping the extra material, as evidenced by
some surviving gowns, within the dress. Clearly women thought the higher
waist was a fad, a craze, for things "antique" and when all these
revolutionaries came to their senses, fashion would revert to the "normal"
waistline.


Cindy Abel


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Wal-mart pre-cuts
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Date: Mon, 15 Jul 2002 10:15:47 -0700
Status: RO


>I'm happy to hear there was such an uproar over the pre-cuts.  I haven't 
>been back to this particular store in my area, despite it's being one of 
>the really big Wal-marts, because of the pre-cuts.  I guess I will have to 
>give them a try.

I routinely strike out at WalMart, in the fabric section.  But I look every 
time I go to one for something else (last time it was for a new car 
battery).  I did score big once only, and that was finding a couple of 
bundled remnants of windowpane muslin (batiste-thin cloth with a thicker 
thread every half inch both ways, making a grid).  I'd read about it, and 
seen pictures of it, but I never saw it for sale anywhere, before or 
since.  I'm not sure if I want to do a Regency day dress with it, or part 
of an Edwardian lingerie dress.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 10:20:49 -0700
Status: RO


>Clearly women thought the higher
>waist was a fad, a craze, for things "antique" and when all these
>revolutionaries came to their senses, fashion would revert to the "normal"
>waistline.

But it did - took about 25+ years to do it, but it did.


Kayta

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From h-costume-admin@indra.com  Mon Jul 15 14:04:12 2002
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Date: Mon, 15 Jul 2002 13:46:21 -0400
Status: RO

Hi folks,
I've been away for awhile but saw some emails about Costume College in Van Nuys.  I'll be teaching a class on Sunday on making a Dickens Carolling Bonnet.  If possible, perhaps the h-costume group there could get together for lunch.  I'd love to join you!  Please let me know. See you there!

Donna Scarfe
Fyne Hats By Felicity
Period Hats for Past Ages
www.fynehatsbyfelicity.com
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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 11:43:22 -0700
Status: RO

Oh boy, I'm feeling really embarrassed now, because it seems no one has 
heard from the Kyoto Costume Institute about the book, even though I had no 
problems. :-(  If it helps any, this is the address of the person who 
responded to me, and this is the email they responded with:

From: "zK" <kci-suwa@wacoal.co.jp>
To: <Kiloran@worldnet.att.net>
Subject: Re: books from museum catalog
Date: Fri, 28 Jun 2002 15:25:47 +0900
X-Mailer: Microsoft Outlook Express 5.00.2615.200

Thank you for your mail.
I could send you the catalogue by C.O.D..
It is the only way to send you it.
When you order one catalogue, the estimation is
about US$45.(including the delivery cost)
Excuse me.The price you wrote in the mail is
only in Japan.
If you could accept this condition, please let me know
your address and telephone number.

Sincerely,
Motofumi Suwa
The Kyoto Costume Institute

-----------------------------------------------------------------
Maybe you can try emailing this person directly. Maybe that'll help. Maybe 
they =are= on vacation....

Julie


At 11:04 AM 7/15/2002, you wrote:

>Message: 1
>From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>To: h-costume@indra.com
>Subject: Re: [h-cost] Kyoto Costume Institute (WAS: Intro and Revolution 
>In Fashion book)
>Date: Mon, 15 Jul 2002 15:05:30 +0000
>Reply-To: h-costume@mail.indra.com
>
>Hm yes, it's really fun to browse...
>
>But I really wish they would answer me about buying the book...
>
>Maybe they're on vacation???


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Date: Mon, 15 Jul 2002 13:00:47 -0700
Status: RO


> There are also lots of patchwork shops, and those selling fabric for
> Asian traditional clothing, but neither of those are much good for
> historic costuming, or even modern Western clothes.  In the areas I've
> been, all the Asian stores sell 100% polyester only. 

And often calling it "palace silk" making you think you're getting 
real silk. ;)



Kat 

Kat(June Russell)
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Subject: RE: Re: [h-cost] Fabric Prices 
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Date: Mon, 15 Jul 2002 13:00:47 -0700
Status: RO


>         My most expensive stuff (carefully folded in my grandmother's
>         old
> trunk....
> 
> Not to be a wet blanket, but could you roll it instead of folding it? 
> Won't the creases be hard to get out?

Rolling does not totally negate creasing. I found out the hard way 
(because I thought that rolling would not wrinkle things as much as 
folding) that sometimes rolling is even worse. The whole thing 
turned into one mass of wrinkles.

Technique while rolling is also important. Putting layers of acid free 
paper as you roll and rolling more loosely as you roll and putting 
nothing on top helps.

However, since many conservators still fold (but open it out, air it 
out, put the acid free paper back in and then fold it using a different 
folding pattern), folding is still an option. (You just have to do it right 
too.)

Keeping your special fabrics and clothing items conserved is time 
consuming and can be expensive if done 100% right (special acid 
free constructed closets with special humidity and airflow 
characteristics, acid free containers, acid free papers around 
everything.)


Kat 

Kat(June Russell)
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Subject: Re: [h-cost] Allergies vs Reactions
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Date: Mon, 15 Jul 2002 13:00:47 -0700
Status: RO


>  He asked me if I had
> any allergies, and I dutifully replied, as I had been taught by my
> Mother, "Penicillin and Compozine". Rather than just write these down
> (dutifully), he asked my why I thought I had those allergies. The
> first was inherited, I told him, and the second came from an episode
> when I was 18, when my appendix burst. He then asked if I had ever
> been tested for these "allergies". I said "no", and he told me that
> what I thought I had in the first case was unproven, and in the second
> was a reaction, not an allergy. He asked if I wished to be tested for
> the above.

One of the problems with allergies *is* the terminology and also is 
"folk lore".

A common "folklore" is that if your parent is allergic to something, 
then you are probably allergic to it too. However, have an allergic 
parent just means that you have a higher chance of being allergic 
to *anything* (and not necessarily the same thing as your parent.) 
Having two parents with allergies raises the risk still more (basic 
genetics.)

An example, my mother is allergic to penicillin, but I'm allergic, not 
in the least to penicillin, but to codeine, sulfa and a few other 
things. Lucky me. But at least I didn't have the penicillin allergy too.

*What* you become allergic to is totally dependant upon your 
exposure. If you get sulfa at the wrong time, rather than penicillin, 
then it is sulfa you will become allergic to.

And there is *no* predicting what you will become allergic to. You 
can have an allergy starting on your last day of the medication (as 
you have to have some exposure *before* your first dose to acquire 
the allergy) or the first day (if and only if you were previously 
exposed, such as while your mom was nursing you she was on 
antibiotics for a breast infection, you've had the med before without 
any known problems, or it was in small doses in something else 
like the meat you ate at some point, or in extremely rare cases in 
a vegetable that had some naturally occurring medication in it.)

Then there is the "allergy" which is because you had a bad time 
with a medication (such as vomiting, wry neck, dizziness, 
euphoria, etc.) People frequently say they have an allergy to things 
like wool, compazine, pain meds, etc. for this type of reason, 
which is more of a "reaction" than an allergy.

Unfortunately, not everything that someone is allergic to can be 
tested for. Also, the means of testing can be "monitored trial" (ie. 
taking the substance, food or medication, while you are close to 
the doctor's office in case of problems), "food challenge" (eating the 
food to see if it still is a problem), blood tests (for some foods and 
meds), skin prick testing (for some foods, meds, animals, foreign 
substances such as chemicals, dust, dustmites and the like) and 
patch testing (chemicals, fabrics, etc.) Which type you use 
depends on the type and/or severity of the allergy (with true 
anaphylaxis being the most severe and skin rashes not considered 
severe unless it is major hives, aka true urticaria.)

Some things they have tests for are not accurate for the thing they 
are testing. There was a big thing for food blood testing about 10 
years ago where they did IgA testing. However, IgE testing is the 
only blood testing that works. IgA testing just means that you have 
been exposed to the item, usually recently, not that you have an 
allergy to it. It is sometimes useful for determining which things to 
do food challenges on (for food that don't have prick tests or IgE 
testing.)

Hope that helps.


June M. Russell, MD
<kat@grendal.rain.com>
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From h-costume-admin@indra.com  Mon Jul 15 16:40:04 2002
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Subject: Re: [h-cost] Very OT, but important if you're a Yahoo user
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Date: Mon, 15 Jul 2002 13:23:54 -0700
Status: RO

Yet another good reason not to use HTML mail.

MaggiRos


>From: kj green <macailith@yahoo.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: [h-cost] Very OT, but important if you're a Yahoo user
>Date: Mon, 15 Jul 2002 08:00:40 -0700 (PDT)
>
>
>  If you use Yahoo, did you ever notice that your email doesn't always say 
>what you wrote? Read on...
>
>BTW--I did try it and the words *are* changed. Since this is going out 
>through my yahoo account, I put astericks in place of a vowel in each word 
>that Yahoo changes.
>
>Date: Sun, 14 Jul 2002 11:03:19 -0400
> > To: Declan McCullagh <declan@well.com>
> > From: Monty Solomon <monty@roscom.com>
> > Subject: Do y*u Y*h**?
> >
> > http://www.ntk.net/2002/07/12/
> >
> >                                   >> HARD NEWS <<
> >
> >                                  in powers of two
> >
> >            Nice to see, in the midst of all these scandals, Yahoo
> >            turning a healthy profit. But as other companies fiddle the
> >            figures, Yahoo's been busy instead with fiddling its own
> >            users' private correspondence. In a fantastically clumsy
> >            attempt to prevent cross-site scripting attacks, the free
> >            e-mail wing of the sprawling giant has long been replacing
> >            complete English words in the text of HTML mail sent to its
> >            users.


<snip>

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Date: Mon, 15 Jul 2002 17:03:03 -0400
Status: RO

I'm beginning to feel lucky...New York's an hour (depending on traffic - though I
usually take the train) north and Philadelphia is a hour south.  I've got Little
India about 45 minutes away and an okay Jo-Ann's and Rag Shop close by plus one
independent who seems to get fabric castoffs from New York in addition to other
stuff.

Kate



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Date: Mon, 15 Jul 2002 14:23:56 -0700
Status: RO

This happens in plaintext E-mail as well.  I've had it happen to me, both 
sending and receiving.  It may be that the problem only occurs when you 
send the E-mail from a Yahoo address, because mail sent from Yahoo Mail 
passes through Yahoo's JavaScript composition page.

Betsy Perry


At 01:23 PM 7/15/2002 -0700, you wrote:
>Yet another good reason not to use HTML mail.
>
>MaggiRos
>
>
>>From: kj green <macailith@yahoo.com>
>>Reply-To: h-costume@indra.com
>>To: h-costume@indra.com
>>Subject: [h-cost] Very OT, but important if you're a Yahoo user
>>Date: Mon, 15 Jul 2002 08:00:40 -0700 (PDT)
>>
>>
>>  If you use Yahoo, did you ever notice that your email doesn't always 
>> say what you wrote? Read on...
>>
>>BTW--I did try it and the words *are* changed. Since this is going out 
>>through my yahoo account, I put astericks in place of a vowel in each 
>>word that Yahoo changes.
>>
>>Date: Sun, 14 Jul 2002 11:03:19 -0400
>> > To: Declan McCullagh <declan@well.com>
>> > From: Monty Solomon <monty@roscom.com>
>> > Subject: Do y*u Y*h**?
>> >
>> > http://www.ntk.net/2002/07/12/
>> >
>> >                                   >> HARD NEWS <<
>> >
>> >                                  in powers of two
>> >
>> >            Nice to see, in the midst of all these scandals, Yahoo
>> >            turning a healthy profit. But as other companies fiddle the
>> >            figures, Yahoo's been busy instead with fiddling its own
>> >            users' private correspondence. In a fantastically clumsy
>> >            attempt to prevent cross-site scripting attacks, the free
>> >            e-mail wing of the sprawling giant has long been replacing
>> >            complete English words in the text of HTML mail sent to its
>> >            users.
>
>
><snip>
>
>_________________________________________________________________
>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
>http://mail.indra.com/mailman/listinfo/h-costume
>

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

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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: Re: [h-cost] OT Allergies vs Reactions
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Date: Mon, 15 Jul 2002 18:48:26 -0400
Status: RO



> 
> >  He asked me if I had
> > any allergies, and I dutifully replied, as I had been taught by my
> > Mother, "Penicillin and Compozine". Rather than just write these 
down
> > (dutifully), he asked my why I thought I had those allergies. The
> > first was inherited, I told him, and the second came from an episode
> > when I was 18, when my appendix burst. He then asked if I had ever
> > been tested for these "allergies". I said "no", and he told me that
> > what I thought I had in the first case was unproven, and in the 
second
> > was a reaction, not an allergy. He asked if I wished to be tested 
for
> > the above.
> 
> One of the problems with allergies *is* the terminology and also is 
> "folk lore".
> 
> A common "folklore" is that if your parent is allergic to something, 
> then you are probably allergic to it too. However, have an allergic 
> parent just means that you have a higher chance of being allergic 
> to *anything* (and not necessarily the same thing as your parent.) 
> Having two parents with allergies raises the risk still more (basic 
> genetics.)

Interesting... I discovered I was allergic to penicillin after my first 
wisdom tooth extraction when I was 21.  Up until that point, I had been 
routinely given penicillin (and amoxicillin) as a kid to combat strep 
throat infections that I would get nearly every year up until I was 
17.  After a week of being on the penicillin as a precaution following 
the oral surgery I broke out in a mild rash on my torso.  The doctor 
took one look at it and said "You're having an allergic reaction.  Quit 
taking the penicillin and never touch another antibiotic that ends in '-
cillin' ever again."  I stopped the penicillin and the rash went away 
and that was that.  My dad was deathly allergic to penicillin, but we 
never assumed that would be enough to keep either my sister or I from 
taking it.  His allergy showed up pretty much the same way mine did, 
though: After years of taking it as a kid, at the age of 21, after 
being drafted for Vietnam, he came down with a horrendous case of 
pneumonia.  The doctors gave him penicillin and he broke out in huge 
purple welts all over his body.  After that if he so much as breathed 
spores from mouldy bread he had an allergic reaction.  My allergy is no 
where near as bad, and I sometimes wonder if I really was having 
allergic reaction, but my doctor advised me to just avoid the -cillin 
drugs to be on the safe side (he mentioned the possibility of inducing 
a worse reaction with a second exposure, and since I have a killer 
immune system and the drugs are rather over-prescribed to begin with, 
I'm not terribly worried).

Sarah
http://www.elizabethanlady.com
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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
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Subject: [h-cost] dress questions
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Date: Mon, 15 Jul 2002 17:54:06 -0500
Status: RO

http://www.marquise.de/1500/weigel/wgl22.shtml

I just found this picture which is almost the exact same dress as the
respectable woman of Geneva in Janet Arnold's book. I would like some of
your opinions on a few questions I have.

1) The collar - how would this be made? attached? kept in an upright
position?
2) The skirt/bodice meeting point - since her arms are crossed in front, can
anyone take a guess if this is a separate bodice and skirt or a one-piece
gown? Would the bodice come to a point in the front or be flat? On a second
look, the guarding from the bodice does not follow down the front of the
skirt. Would bodice and skirt, if separate, be different fabrics?
3) My guess is that there is no farthingale under this skirt - anyone else?
4) Any comments on the head gear? This is different than the Genevan woman,
who has what looks like a caul and some sort of soft cap/hat on over that.
Is this some variation of coif, perhaps?
5) Anyone know where Argentoratensis is?

**********************
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
**********************


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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] Re: fabric stores, was: different velvets
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Date: Mon, 15 Jul 2002 17:53:52 -0400
Status: RO

Really... That should put you in central New Jersey.

So, where exactly are you. I'm in Whippany and the Garment district 
(seems at least) is a second home.

Linda K-S

At 5:03 PM -0400 7/15/02, Kate Pinner wrote:
>I'm beginning to feel lucky...New York's an hour (depending on 
>traffic - though I
>usually take the train) north and Philadelphia is a hour south. 
>I've got Little
>India about 45 minutes away and an okay Jo-Ann's and Rag Shop close 
>by plus one
>independent who seems to get fabric castoffs from New York in 
>addition to other
>stuff.
>
>Kate
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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 19:37:02 -0400
Status: RO

How many people are interested in ordering a copy of the book?  Maybe we can
do better on the communications side if they only have to deal with one large
order instead of lots of individual ones . . .


--jen




Kiloran@worldnet.att.net wrote:

> Oh boy, I'm feeling really embarrassed now, because it seems no one has
> heard from the Kyoto Costume Institute about the book, even though I had no
> problems. :-(  If it helps any, this is the address of the person who
> responded to me, and this is the email they responded with:
>
> From: "zK" <kci-suwa@wacoal.co.jp>
> To: <Kiloran@worldnet.att.net>
> Subject: Re: books from museum catalog
> Date: Fri, 28 Jun 2002 15:25:47 +0900
> X-Mailer: Microsoft Outlook Express 5.00.2615.200
>
> Thank you for your mail.
> I could send you the catalogue by C.O.D..
> It is the only way to send you it.
> When you order one catalogue, the estimation is
> about US$45.(including the delivery cost)
> Excuse me.The price you wrote in the mail is
> only in Japan.
> If you could accept this condition, please let me know
> your address and telephone number.
>
> Sincerely,
> Motofumi Suwa
> The Kyoto Costume Institute
>
> -----------------------------------------------------------------

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Date: Mon, 15 Jul 2002 18:55:43 -0500
Status: RO

I'd be interested in a copy for $45. If an order goes in, please count me
in on it!


Karen

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Subject: Re: [h-cost] Fabric Prices
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Date: Mon, 15 Jul 2002 19:23:05 -0600
Status: RO

The stuff I've got in there is either not stuff that creases easily, or
it's something like handkerchief linen that'll crease no matter what you
do <g>, until you wash it and iron it.  Also, some of it's carefully
folded with the right kind of paper.
I live in a trailer, and don't really have any sort of room for rolled
fabrics.  I can put my best stuff (the really expensive brocades, the
embroidered antique silk satin from my grandfather, the better pieces of
wool, and my even-count-same-thread-count-in-both-directions
handkerchief linen into that trunk and know that it's safe from critter
nibbling (not mice, necessarily...I have a cat that eats silk and wool),
and dust and snagging that might happen if it were on a roll and crammed
into one of my two closets.
--Sue

Martha Kelly wrote:
> 
>         My most expensive stuff (carefully folded in my grandmother's old
> trunk....
> 
> Not to be a wet blanket, but could you roll it instead of folding it?  Won't
> the creases be hard to get out?
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From h-costume-admin@indra.com  Mon Jul 15 21:51:07 2002
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From: "Allison Thurman" <athurman@cybergal.com>
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Subject: [h-cost] Costume College - final tally
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Date: Mon, 15 Jul 2002 21:35:22 -0400
Status: RO

This is a multi-part message in MIME format.

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I've made up a list of the folks who will be at Costume College. If others
are interested, email me privately and I'll send it to you in .txt (plain
text) format.

I'd like to meet some of yall, and I thought the idea of adding a red "H" to
our tags is as good an identified as any. Is that what I should look for,
and put on my tag?

Allison

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<P><FONT SIZE=3D2>I've made up a list of the folks who will be at =
Costume College. If others are interested, email me privately and I'll =
send it to you in .txt (plain text) format.</FONT></P>

<P><FONT SIZE=3D2>I'd like to meet some of yall, and I thought the idea =
of adding a red &quot;H&quot; to our tags is as good an identified as =
any. Is that what I should look for, and put on my tag?</FONT></P>

<P><FONT SIZE=3D2>Allison</FONT>
</P>

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From h-costume-admin@indra.com  Mon Jul 15 21:52:22 2002
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Subject: RE: [h-cost] OT Allergies vs Reactions
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Date: Mon, 15 Jul 2002 21:48:29 -0400
Status: RO

The first stage penicillin reaction is the fine rash, I had
it too.
But that's just the sensitivity stage.

	Next time, watch out.  You may very well have an
anaphylactic reaction----hives, swelling---including major
swelling shut of the airway!----and extremely irregular
heart beat.
	In other words, you can be dead in 5 or 10 minutes, and it
won't be fun.

	I was about 45 when I got the rash, and was also told never
to take any "illin" again also, unless as a last resort.

	And if you do ever wind up taking some, stick around, don't
let them leave you alone.  If it's going to happen, it will
probably be right away, and can be treated.

Diane S.






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From h-costume-admin@indra.com  Mon Jul 15 21:58:57 2002
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Date: Mon, 15 Jul 2002 21:50:51 -0400
Status: RO

STRAIGHT wrote:
> The first stage penicillin reaction is the fine rash, I had
> it too.
> But that's just the sensitivity stage.
> 
> 	Next time, watch out.  You may very well have an
> anaphylactic reaction----hives, swelling---including major
> swelling shut of the airway!----and extremely irregular
> heart beat.
>

	That's what someone told me, too but I wasn't sure if she 
knew what she was talking about. I've now gotten the rash 
reaction from 4 different antibiotics (I carry a note in my 
wallet on top of my license), and I've wondered if this 
could happen if somehow I got dosed with something by mistake.
	E-mycin, Amoxy, Bactrim and Sulfa (unless I'm confusing the 
last two and forgot what the 4th is) are all out of bounds 
for me.
	-Judy Mitchell


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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 18:55:16 -0700
Status: RO

I'd be interested in the Revolution in Fashion book... Just haven't gotten
around to contacting them.

- Kendra



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From h-costume-admin@indra.com  Mon Jul 15 22:54:21 2002
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To: h-costume@indra.com
From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Mon, 15 Jul 2002 21:35:15 -0500
Status: RO

At 07:37 PM 7/15/2002 -0400, you wrote:
>How many people are interested in ordering a copy of the book?  Maybe we can
>do better on the communications side if they only have to deal with one large
>order instead of lots of individual ones . . .
>
>
>--jen

I would definitely be interested.  I've been lusting after that book for 
awhile...

Cheers,
Danielle

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Subject: Re: [h-cost] Kyoto Costume Institute
In-Reply-To: <5.0.0.25.2.20020715213434.036900c0@mail.attbi.com>
 "from Danielle Nunn-Weinberg at Jul 15, 2002 09:35:15 pm"
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Date: Mon, 15 Jul 2002 19:42:04 -0700 (PDT)
Status: RO

me too -- and I did contact them, and heard back once, but not again.


.heather.

> At 07:37 PM 7/15/2002 -0400, you wrote:
> >How many people are interested in ordering a copy of the book?  Maybe we can
> >do better on the communications side if they only have to deal with one large
> >order instead of lots of individual ones . . .
> >
> >
> >--jen
> 
> I would definitely be interested.  I've been lusting after that book for 
> awhile...
> 
> Cheers,
> Danielle
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 

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Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Mon, 15 Jul 2002 23:16:02 -0400
Status: RO

Hi. Sorry, I wasn't meaning to say that Aachen wasn't anything other than
beautiful, just recounting what I found when I was there long ago, but quite a few
years after the war. I'm glad that things were cleaned up. I was truly surprised
when I came across the buildings back then. I also got a nasty surprise that day
when I was stopped by the Grenschutzpolizei while perusing a Red Brigades/ Bader
Meinhoff Gang poster. Up until that time, I had never had a fully automatic loaded
and cocked weapon pointed at me. It made me realize that I had taken my American
freedoms for granted (which I never have again, and is even more meaningful in
these latter days). I'm glad to know that things improved since then. I have always
been and will always be a Germanophile. As to the obligatory costume content, I
believe that the Cathedral at Aachen has some lovely textiles from Charlemagne's
time onward on display, as well as some furniture and jewelry. Besides that, it is
the crossroads into the three other neighboring countries.  Cheers, Mike T.



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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Tue, 16 Jul 2002 00:13:24 -0400
Status: RO

I'd be interested.
Moira


> How many people are interested in ordering a copy of the book?  Maybe we
can
> do better on the communications side if they only have to deal with one
large
> order instead of lots of individual ones . . .
>
>
> --jen
>
>
>
>
> Kiloran@worldnet.att.net wrote:
>
> > Oh boy, I'm feeling really embarrassed now, because it seems no one has
> > heard from the Kyoto Costume Institute about the book, even though I had
no
> > problems. :-(  If it helps any, this is the address of the person who
> > responded to me, and this is the email they responded with:
> >
> > From: "zK" <kci-suwa@wacoal.co.jp>
> > To: <Kiloran@worldnet.att.net>
> > Subject: Re: books from museum catalog
> > Date: Fri, 28 Jun 2002 15:25:47 +0900
> > X-Mailer: Microsoft Outlook Express 5.00.2615.200
> >
> > Thank you for your mail.
> > I could send you the catalogue by C.O.D..
> > It is the only way to send you it.
> > When you order one catalogue, the estimation is
> > about US$45.(including the delivery cost)
> > Excuse me.The price you wrote in the mail is
> > only in Japan.
> > If you could accept this condition, please let me know
> > your address and telephone number.
> >
> > Sincerely,
> > Motofumi Suwa
> > The Kyoto Costume Institute
> >
> > -----------------------------------------------------------------
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Tue, 16 Jul 2002 00:31:02 -0400
Status: RO

I'm very interested. I contacted them already through the general address -
no luck. So if someone is organizing a general order and has more luck with
it, I'd very gladly jump in!
Audrey

> > How many people are interested in ordering a copy of the book?  Maybe we
> can
> > do better on the communications side if they only have to deal with one
> large
> > order instead of lots of individual ones . . .
> >
> >
> > --jen
> >

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Date: Tue, 16 Jul 2002 01:01:29 -0400
Status: RO

Two days ago I sent e-maile to kci-suwa@wacoal.co.jp.
My order was for the book "Japonism in Fashion" and
"Revolution in Fashion", the video (I already have the book)..
I have yet to receive a response as well. My guess is that there
is probably only one person there who speaks enough English to
respond properly & when that person gets the veritable diluge of messages
they've received from us, he/she will respond...
I mean, there's obviously someone there, right? Sometimes these things take
time..
Deb R.

>  How many people are interested in ordering a copy of the book?  Maybe we can
> do better on the communications side if they only have to deal with one large
> order instead of lots of individual ones . . .
>

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Date: Tue, 16 Jul 2002 01:21:05 -0400
Status: RO


<<<<<<<<<E-mycin, Amoxy, Bactrim and Sulfa (unless I'm
confusing the
last two and forgot what the 4th is) are all out of bounds
for me.   -Judy Mitchell>>>>>>.

That's a nice assortment.  Pretty well covers most of the
major antibiotic families.  For heaven's sake, don't stick
yourself with anything "interesting"!

	Erithromycin-----there's a whole "family" of mycins and
myecins (which are not quite the same thing, I did not
misspell them).
.
      Amoxy -----is amoxicillin, another penicillin,
specifically good for ear infections.  They give it to kids
a lot, and adults for sinus infections and stuff like that.
Seems to work better for some people than others.

	Bactrim ----I don't know much about that one, but it sounds
like Bacitracin or Bactine, the common stuff for cuts, etc.
Read the labels and ask the druggist, it's in a lot of tubes
of over-the-counter meds, like Triple Antiobiotic, etc.

	Sulfa -----baddie.  My daughter had a reaction to this one,
big blisters on her face that took 2 weeks to heal.  They
use it for urinary infections, and you have to drink a LOT
of water to avoid worse bladder problems. One of the kid's
antibiotics is half sulfa and half something else.  I can't
remember the name, guess I better go look that one up and
keep it handy.

	I find it interesting that a lot of people don't get along
with sulfa, yet it is, or was, the basic item in the
military first aid kits.

	Probably was not very interesting to somebody who got hurt,
then had a bad reaction to the sulfa on top of it.

Diane S.



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Date: Mon, 15 Jul 2002 22:22:24 -0700
Status: RO

Just got a note from Kristin Payne who used to be at Boydell and Brewer
publishers.  She has now moved on to David Brown Book Company, and sent
along some information on textile books they carrying.

In addition to Stepping Through Time: a history of shoes from Pre-history to
1800 they carry this one, something that a number of people on this list
have been interested in:


Ancient Danish Textiles from Bogs and Burials
MARGARETHE HALD
This ‘comparative study of costume and Iron Age textiles’ discusses the
often remarkably well preserved textiles and other garments from
prehistoric deposits and burials in Denmark’s numerous mose. Hald examines
in turn textiles and skins from peat bogs; textiles from settlements and
graves; raw materials and spinning; woven fabrics and their construction;
dating prehistoric Danish weaves; looms and fabrics; needle and sewing;
prehistoric costume.
8 74800 312 3, 398p with 465 figs & illus., Hardback (National Museum of
Denmark 1980)
Publishers Price US $70.00
DBBC Price US $56.00

Otheres are:


North European Textiles until AD. 1000
LISE BENDER JORGENSEN
This book is firstly an enormous catalogue of all textile finds from
prehistoric, Roman and medieval contexts in Great Britain, Ireland, the
Netherlands, Germany, Poland and Scandinavia. This data is used to show
that the first steps towards organized textile production in northern
Europe were taken more than 2,500 years ago, and that the industry that was
to centre itself around the English Channel and North Sea coastal areas
played an important part in the rise of the Carolingian Empire and
Anglo-Saxon England. 8 77288 416 9, 285p with 206 figs, maps, photos and
illus., Hardback, (Aarhus UP 1992)
Publishers Price US $59.95
DBBC Price US $47.96

Textiles in European Archaeology
LISE BENDER JORGENSEN
Thirty-three articles by 38 authors on various aspects of archaeological
textiles from the prehistoric, Roman, Migration period, Viking Age,
Medieval and later periods. These papers were given at the 6th triennial
meeting of the North European Symposium for Archaeological Textiles held
7th-11th May 1995 in Borĺs.
9 18595 274 5, 330p, Paperback (GOTARC Series A, Volume 1 Goteborgs
Univeritet)
DBBC Price US $43.50

Archaeological Textiles in Northern Europe
EDITED BY LISE BENDER JORGENSEN AND ELISABETH MUNKSGAARD
The report from the fourth NESAT symposium, held in Denmark in 1990, to
promote the study and publication of textiles from archaeological sites in
northern Europe, contains 26 contributions in English and German. They
include: Neolitische Textilien im Raum Zurich (A Rast-Eicher); Pre-Roman
Iron Age textiles in Europe north of the Alps (L B Jorgensen); Vindolanda
1985-89 (JP Wild); Aspects of the wool textiles from Viking Age Dublin (F
Pritchard); Silk threads on leather objects from the Middle Ages (I R
Pedersen); The wools in some medieval textiles from Bryggen (E Schjolberg);
Experimente am Gewichts-, Rund- und Trittwebstuhl im Mittelalterlicher
Museumsdorf Duppel (A Goldmann); Drying archaeological textiles (E P
Peacock); Quantitative research in ancient textiles and freeze drying (W D
Cooke & E P Peacock).
8 78973 004 6, 237p with figs and illus., Paperback, (Viborg Museum 1992)
DBBC Price US $68.50

Textiles in Northern Archaeology
PENELOPE WALTON
These 25 papers from the third (1987) NESAT symposium at York range from
the Neolithic of Northern Europe and the Swiss lakes to 17th-century
garments in graves at Spitzbergen and in coffins at Roskilde cathedral, by
way of prehistoric to Roman weaving systems in SW Europe, prehistoric dyes,
Anglo-Saxon ‘relic’ boxes, the Maaseik embroideries, Viking age techniques
(spinning, silk and wool headcoverings, women’s dress), Medieval textiles
(in Gdansk, patterned weaves, embroidery) and others. They represent not
only the latest research, but a first rate introduction to the subject. The
volume is dedicated to Elisabeth Crowfoot.
1 87313 205 0, 231p with photos throughout, Paperback, (NESAT/Archetype
1990)
DBBC Price US $30.00

The Roman Textile Industry and its influence
EDITED BY PENELOPE WALTON ROGERS, LISE BENDER JORGENSEN AND ANTOINETTE
RAST-EICHER
Textiles were a hugely important Roman industry yet, because of their
perishable nature, only fragments remain. These twenty-two essays provide a
detailed study of surviving fragments from across the Roman world, from the
dry sands of Egypt to the Atlantic coast and the northern frontiers and
beyond. The result is a comprehensive reconstruction of both everyday and
exotic Roman clothing with information about the influences of fashion and
of Roman weaving techniques. Written by friends and colleagues, the
contributions are offered as a tribute to John Peter Wild whose own studies
of Roman textiles have been the inspiration of so much recent work.
1 84217 046 5, 200p, 4 col pls, illus, Hardback, (Oxbow Books 2001)
Publishers Price US $35.00
DBBC Price US $28.00

Studies in Textile History
EDITED BY VERONIKA GERVERS
This is a diverse collection of 25 essays on ancient textiles presented to
Harold Burnham, former curator of textiles at the Royal Ontario Museum.
Papers include: Icelandic medieval embroidery terms and techniques (Elsa
Gudjonsson); Archaeological and ethnological considerations of the
floor-braced body-tension loom (John Vollmer) and Examples of medieval
tablet-woven bans (Sigrid Muller-Christensen).
0 88854 192 9, 370p, many b/w pls, Hardback, (ROM 1977)
Publishers price US $45.00
DBBC Price US $12.98

Textiles: A Classification of Techniques
ANNEMARIE SEILER-BALDINGER
An illustrated practical guide to the production of threads and fabrics,
weaving and fabric ornamentation and processing which includes ethnographic
and archaeological research from many different cultures. Includes a
substantial bibliography.
1 86333 110 7, 256p, 32 col pls, 300+ b/w figs, Paperback, (Crawford House
1994)
Publishers price US $17.95
DBBC Price US $14.98

Textiles of Late Antiquity
ANNEMARIE STAUFFER
A handbook to a 1996 exhibition at the Metropolitan Museum in New York with
a brief introductory essay and descriptions of 61 exhibited items from
across the Eastern Mediterranean, Asia Minor, Egypt and the Near East.
48p, 30 col pls, b/w illus., Paperback, (Metropolitan Museum 1995)
Publishers price US $8.95
DBBC Price US $3.98

Van Dyck and the Representation of Dress in Seventeenth-Century Portraiture.
E. GORDENKER
This book shows that an understanding of dress can offer a new way of
revealing the associations and ideals that a portrait may have projected,
and that the history of costume provides a unique set of tools with which
to analyse the creativity and contributions of Van Dyck.
2 503 50880 4, 350 p., 100 b/w illus.+16 colour illus., Hardback (Brepols
Publishers 2002)
Publishers Price: $90.00
DBBC Price US $72.00




Wanda

"Never try and apply a Star Trek solution to a Babylon 5 problem!"


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Date: Tue, 16 Jul 2002 01:23:42 -0400
Status: RO

Hey, it's not your fault-don't be embarrased..It's just that now they
have been bombarded with e-mails from all of us here on this list, mostly asking
for that one book. When you wrote them, I'm sure it was probably just you & maybe
one other random person e-mailing them with requests. I saw this happen before on
a button collectors' e-list; everyone decides all at once to order like, one
thing & the folks with the coveted items, in this case the Kyoto, ends up
overwhelmed by a sudden onslaught of demands for merchandise, in this case,
books. But then again, everyone wants what they want, and right now(!), so it's
not likely anyone will wait a while to order..
Deb R.

> Oh boy, I'm feeling really embarrassed now, because it seems no one has heard
> from the Kyoto Costume Institute about the book, even though I had no problems.
> :-(

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Date: Tue, 16 Jul 2002 02:50:50 -0400
Status: RO

You are so right, the silk at this site is absolutely
beautiful and I'm sure it's worth it every cent.
Ye Gods, I wish I had a suitcase full of $20s!
*Sob.*
.........
Deb R.

Love the grapevine embroidery on this page:
http://www.hansson-silks.co.uk/plainembroideries.html

...and the tissue embroidery here...
http://www.hansson-silks.co.uk/tissueembroideries.html


>  There is a superb silk shop in Guildford, Surrey. It is Hansson Silks.

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Austrian/German holiday: suggestions?
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Date: Tue, 16 Jul 2002 08:12:32 +0100 (BST)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > Hi. Sorry, I wasn't meaning to
say that Aachen wasn't anything other than
> beautiful, just recounting what I found when I was there long ago, but quite
> a few
> years after the war. 

You are talking about the 1970s I presume.

I also got a nasty surprise that
> day
> when I was stopped by the Grenschutzpolizei while perusing a Red Brigades/
> Bader
> Meinhoff Gang poster.

You did something apparently foolish in the 1970s. A) there are NO borders
anymore because you are talking about continental Europe. Aachen used to be at
the border to two countries. Holland and Belgium, it still is, but one just
hops to and fro nowadays. I don't know if you realise this, but terrorism was
very bad in the 70s by the RAF, the Bader Meinhoff gang, just like terrorism
was very bad for the UK with teh IRA, I think in the 80s. Well, guess it seems
as if terrorism had shifted now away from Europe. Terrorism is horrendeous, but
we here grew up with it. That doesn't make it any better (gods, no!) but is
just one of thse things. I live between the Royal Engineers and the Gurka
barracks, there are no litterbins anywhere, and still we get the occasional
bomb threat. Oh well, we just gather all with the pets in the nearest safe pub
and wait and see and hope our houses won't explode. I know that sounds off
hand, but there you are, not much can phaze the British I guess. (and the
bloody foreigners living there *laughs*)

Up until that time, I had never had a fully automatic
> loaded
> and cocked weapon pointed at me. 

As I said, it was 1970s and in the height of RAF terrorism. It was terrible,
though I was a kid I do remmeber and I also remeber the satisfaction with which
faces were crossed out on the terrorist posters, when they finally got the
killers.

It made me realize that I had taken my
> American
> freedoms for granted 

EXCUSE ME?! Could you explain what that means, American freedoms? I very much
disagree, what do you think is going on nowadays in America with the terrorism
scare, don't you think the same could happen to you over where you live, when
the fears are high? That doesn't have anything to do with not having freedom.
We never did not have freedom at home. 

(which I never have again, and is even more meaningful
> in
> these latter days). I'm glad to know that things improved since then. I have

It is not about improving, it is about terrorism having died down in germany
and because England was talking to the IRA finally, it has died down here too,
but it still is a threat. Take Spain and the Basks for example.

Sorry, you just hit anerve here, I am a very proud and very happy European and
wouldn't want to be anything else. Very proud indeed.
Better back to costume content.

> believe that the Cathedral at Aachen has some lovely textiles from
> Charlemagne's
> time onward on display, as well as some furniture and jewelry. 

As I said, the treasury has a lovely rotating display, some of the garments are
BEAUTIFUL! You are going to drool about te beading and stones and embroidery...

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] Books from David Brown Book Company
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Date: Tue, 16 Jul 2002 10:03:27 -0400
Status: RO

Wanda,

        First, let me say you can truly be an evil woman!  I don't possibly
have enough Birthdays and Anniversaries/Christmases to get all of these that
I now want.  (thanks, btw- a lot of these are in specific areas I was
interested in going next.)
        Second, I love your signature line.;-D
Moira
a fan of B-5, most Star Trek series', Earth Final Conflict, Quantum Leap,
old Twilight Zone, etc. (gotta corrupt the kids somehow, right?)



In addition to Stepping Through Time: a history of shoes from Pre-history to
1800 they carry this one, something that a number of people on this list
have been interested in:


Wanda

"Never try and apply a Star Trek solution to a Babylon 5 problem!"



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From: "Cynthia Abel" <brujne@bluejay.creighton.edu>
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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Tue, 16 Jul 2002 09:27:02 -0500
Status: RO

At least the price hasn't gone up, even though the cover might have
changed(or is the cover on the website actually the box for the video?). I
bought mine a good five years ago and paid about $45 for it. But my
bookstore(whose employee went the extra mile in return for a peek at the
book)found a stateside source. This book is just priceless!!

BTW, does anyone on the list know a rough conversion from Yen to US$ and if
the video works in US VCR's In Japanese or English, to view some of what's
in the book on video--for us that have frame advance or slow mo features on
our VCRs--to get to view the actual costumes in possibly more than one view.
Yum, Yum!

Cindy Abel
ILL Coordinator
Health Sciences Library
Creighton University
2500 California Plaza
Omaha NE 68178-0210
Phone: 402. 280-5144
Fax:     402.280-5134


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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Re: [h-cost] Books from David Brown Book Company
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Date: Tue, 16 Jul 2002 14:36:42 +0000
Status: RO

Do they have a website one can order from?

Mary/Katerine

>Just got a note from Kristin Payne who used to be at Boydell and Brewer
>publishers.  She has now moved on to David Brown Book Company, and sent
>along some information on textile books they carrying.
>
>In addition to Stepping Through Time: a history of shoes from Pre-history 
>to
>1800 they carry this one, something that a number of people on this list
>have been interested in:
>
>
>Ancient Danish Textiles from Bogs and Burials
>MARGARETHE HALD
>This ‘comparative study of costume and Iron Age textiles’ discusses the
>often remarkably well preserved textiles and other garments from
>prehistoric deposits and burials in Denmark’s numerous mose. Hald examines
>in turn textiles and skins from peat bogs; textiles from settlements and
>graves; raw materials and spinning; woven fabrics and their construction;
>dating prehistoric Danish weaves; looms and fabrics; needle and sewing;
>prehistoric costume.
>8 74800 312 3, 398p with 465 figs & illus., Hardback (National Museum of
>Denmark 1980)
>Publishers Price US $70.00
>DBBC Price US $56.00
>
>Otheres are:
>
>
>North European Textiles until AD. 1000
>LISE BENDER JORGENSEN
>This book is firstly an enormous catalogue of all textile finds from
>prehistoric, Roman and medieval contexts in Great Britain, Ireland, the
>Netherlands, Germany, Poland and Scandinavia. This data is used to show
>that the first steps towards organized textile production in northern
>Europe were taken more than 2,500 years ago, and that the industry that was
>to centre itself around the English Channel and North Sea coastal areas
>played an important part in the rise of the Carolingian Empire and
>Anglo-Saxon England. 8 77288 416 9, 285p with 206 figs, maps, photos and
>illus., Hardback, (Aarhus UP 1992)
>Publishers Price US $59.95
>DBBC Price US $47.96
>
>Textiles in European Archaeology
>LISE BENDER JORGENSEN
>Thirty-three articles by 38 authors on various aspects of archaeological
>textiles from the prehistoric, Roman, Migration period, Viking Age,
>Medieval and later periods. These papers were given at the 6th triennial
>meeting of the North European Symposium for Archaeological Textiles held
>7th-11th May 1995 in Borĺs.
>9 18595 274 5, 330p, Paperback (GOTARC Series A, Volume 1 Goteborgs
>Univeritet)
>DBBC Price US $43.50
>
>Archaeological Textiles in Northern Europe
>EDITED BY LISE BENDER JORGENSEN AND ELISABETH MUNKSGAARD
>The report from the fourth NESAT symposium, held in Denmark in 1990, to
>promote the study and publication of textiles from archaeological sites in
>northern Europe, contains 26 contributions in English and German. They
>include: Neolitische Textilien im Raum Zurich (A Rast-Eicher); Pre-Roman
>Iron Age textiles in Europe north of the Alps (L B Jorgensen); Vindolanda
>1985-89 (JP Wild); Aspects of the wool textiles from Viking Age Dublin (F
>Pritchard); Silk threads on leather objects from the Middle Ages (I R
>Pedersen); The wools in some medieval textiles from Bryggen (E Schjolberg);
>Experimente am Gewichts-, Rund- und Trittwebstuhl im Mittelalterlicher
>Museumsdorf Duppel (A Goldmann); Drying archaeological textiles (E P
>Peacock); Quantitative research in ancient textiles and freeze drying (W D
>Cooke & E P Peacock).
>8 78973 004 6, 237p with figs and illus., Paperback, (Viborg Museum 1992)
>DBBC Price US $68.50
>
>Textiles in Northern Archaeology
>PENELOPE WALTON
>These 25 papers from the third (1987) NESAT symposium at York range from
>the Neolithic of Northern Europe and the Swiss lakes to 17th-century
>garments in graves at Spitzbergen and in coffins at Roskilde cathedral, by
>way of prehistoric to Roman weaving systems in SW Europe, prehistoric dyes,
>Anglo-Saxon ‘relic’ boxes, the Maaseik embroideries, Viking age techniques
>(spinning, silk and wool headcoverings, women’s dress), Medieval textiles
>(in Gdansk, patterned weaves, embroidery) and others. They represent not
>only the latest research, but a first rate introduction to the subject. The
>volume is dedicated to Elisabeth Crowfoot.
>1 87313 205 0, 231p with photos throughout, Paperback, (NESAT/Archetype
>1990)
>DBBC Price US $30.00
>
>The Roman Textile Industry and its influence
>EDITED BY PENELOPE WALTON ROGERS, LISE BENDER JORGENSEN AND ANTOINETTE
>RAST-EICHER
>Textiles were a hugely important Roman industry yet, because of their
>perishable nature, only fragments remain. These twenty-two essays provide a
>detailed study of surviving fragments from across the Roman world, from the
>dry sands of Egypt to the Atlantic coast and the northern frontiers and
>beyond. The result is a comprehensive reconstruction of both everyday and
>exotic Roman clothing with information about the influences of fashion and
>of Roman weaving techniques. Written by friends and colleagues, the
>contributions are offered as a tribute to John Peter Wild whose own studies
>of Roman textiles have been the inspiration of so much recent work.
>1 84217 046 5, 200p, 4 col pls, illus, Hardback, (Oxbow Books 2001)
>Publishers Price US $35.00
>DBBC Price US $28.00
>
>Studies in Textile History
>EDITED BY VERONIKA GERVERS
>This is a diverse collection of 25 essays on ancient textiles presented to
>Harold Burnham, former curator of textiles at the Royal Ontario Museum.
>Papers include: Icelandic medieval embroidery terms and techniques (Elsa
>Gudjonsson); Archaeological and ethnological considerations of the
>floor-braced body-tension loom (John Vollmer) and Examples of medieval
>tablet-woven bans (Sigrid Muller-Christensen).
>0 88854 192 9, 370p, many b/w pls, Hardback, (ROM 1977)
>Publishers price US $45.00
>DBBC Price US $12.98
>
>Textiles: A Classification of Techniques
>ANNEMARIE SEILER-BALDINGER
>An illustrated practical guide to the production of threads and fabrics,
>weaving and fabric ornamentation and processing which includes ethnographic
>and archaeological research from many different cultures. Includes a
>substantial bibliography.
>1 86333 110 7, 256p, 32 col pls, 300+ b/w figs, Paperback, (Crawford House
>1994)
>Publishers price US $17.95
>DBBC Price US $14.98
>
>Textiles of Late Antiquity
>ANNEMARIE STAUFFER
>A handbook to a 1996 exhibition at the Metropolitan Museum in New York with
>a brief introductory essay and descriptions of 61 exhibited items from
>across the Eastern Mediterranean, Asia Minor, Egypt and the Near East.
>48p, 30 col pls, b/w illus., Paperback, (Metropolitan Museum 1995)
>Publishers price US $8.95
>DBBC Price US $3.98
>
>Van Dyck and the Representation of Dress in Seventeenth-Century 
>Portraiture.
>E. GORDENKER
>This book shows that an understanding of dress can offer a new way of
>revealing the associations and ideals that a portrait may have projected,
>and that the history of costume provides a unique set of tools with which
>to analyse the creativity and contributions of Van Dyck.
>2 503 50880 4, 350 p., 100 b/w illus.+16 colour illus., Hardback (Brepols
>Publishers 2002)
>Publishers Price: $90.00
>DBBC Price US $72.00
>
>
>
>
>Wanda
>
>"Never try and apply a Star Trek solution to a Babylon 5 problem!"
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume




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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Fabric Prices
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Date: Tue, 16 Jul 2002 15:35:07 +0000 (GMT)
Status: RO

Robin Netherton <robin@shell.nightowl.net> wrote:

>  watched with equanimity as a table of wonderful 100% linens, as
> low as $3/yard, has slowly disappeared. I restricted myself to
> just 10 yards of red, 6 of blue, about 8 of white. (Hmm, now it
> doesn't sound that restricted, does it? 

I'm trying to decide exactly what I'm going to make with the 10 
metres of diamond and trellis patterned linen damask I bought at 
the weekend (it's white so I can shove finished garments in the 
machine and dye them whatever colour I want - Yay!).  I couldn't 
resist it.  It's too heavy for shirts/smocks but not so heavy that it 
wouldn't need interlining with somthing with a little more body to 
make smooth fitting bodices and doublets.

The  diamonds are about 2.5 inches high from point to point and 
the trellis around them about 3 inches and it just looked so 
sumptuos that I couldn't resist the chance to get a linen (oh so cool 
and comfy to wear in hot weather despite Robin's teasing about not 
needing it in England...<g>) that doesn't look like a linen.

I figure that I could make a couple of pair of 15th century hose from 
it and still have 8 metres or more left to make a big houpellande or 
sevelar smaller garments from... but can't decide what (and will 
probably not get around to makeing them for ages anyway <G>

> Add me to the list of those who buy less and better. I have been
> slowly getting rid of the stash of "finds" I stocked up in my
> youth, when I had less discriminating tastes (and was still using
> cotton). Now I buy only linen, silk, and wool for costume use. 

I no longer get as tempted by fabrics for "fantasy" or SF costumes 
as I used to.  Most of my historicals can edouble up as Fantasy 
ones anyway (so many fantsasty books, films, gaming sustems 
have pseudo-historical settings) that I prefer to emphasise the 
suitability for historical and use the costumes for both than to go for 
something only really suitable for fantasy and SF event use.
 
Now, if only I could get around to using the various patterned 
(mostly checks and tartans) wools I've obtained over the years, my 
stash would be considerably reduced in bulk and I would have 
some justification for having bought so many patterned wools 
(rather than never having used *any* of them)... <stops and 
rethinks>....  except for one pair of very basic drawstring trous and 
a matching teddy-bear from the offcuts.



Teddy
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Date: Tue, 16 Jul 2002 10:46:11 -0400
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silly question -- ya'll have been talking about this Costume College in
Calif.  But when is it?
Kate

> I've made up a list of the folks who will be at Costume College. If
> others are interested, email me privately and I'll send it to you in
> .txt (plain text) format.
>
> I'd like to meet some of yall, and I thought the idea of adding a red
> "H" to our tags is as good an identified as any. Is that what I should
> look for, and put on my tag?
>
> Allison

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silly question -- ya'll have been talking about this Costume College in
Calif.&nbsp; But <i><u>when</u></i> is it?
<br>Kate
<blockquote TYPE=CITE><font size=-1>I've made up a list of the folks who
will be at Costume College. If others are interested, email me privately
and I'll send it to you in .txt (plain text) format.</font>
<p><font size=-1>I'd like to meet some of yall, and I thought the idea
of adding a red "H" to our tags is as good an identified as any. Is that
what I should look for, and put on my tag?</font>
<p><font size=-1>Allison</font></blockquote>
</html>

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Subject: Re: [h-cost] Re: different velvets
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> (Just been visiting the suggested Silk sites, and drooling over the
> keyboard. But as yet it would not be a good idea for me to take
> scissors to fabric of that sort of quality and price).

Hi Jane,

Ask Gillian to tell you the address of the silk place near Dartford 
where we bought the fabric for Kethry's yellow and purple 
renaissance outfit the other year.... 

They don't have much in the way of heavy silks (no velvets) or 
period patterns but the plain-dyed colours of shirt-weight and 
slightly heavier silks are a reasonable price, especailly if you want 
to do something special for Court wear.



Teddy
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Subject: Re: [h-cost] Re: different velvets
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> How far back does velvet go, anyway?

Not far enough for T-tunics to be made of it....<laugh>




Teddy
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Subject: Re: [h-cost] Re: different velvets
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> 12th and 13th Century Velvet:
> http://www.geocities.com/Area51/Lair/5459/bliaut3.html
> includes the comment "Fragments of twill and cotton velvet have been
> found dating back to 9th century France". I wonder what they used it
> for back then? T-tunics?

Perhaps I spoke too soon.... or perhaps it was only a furnishing 
fabric then?


Teddy
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Subject: Re: [h-cost] Re: different velvets
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> For the 16th C as well (although the pieces that the V&A had from
> that time period looked more like upholstery weight then clothing
> weight.) 
> 
> The first velvets show up in the 12th century but initially they
> were only used by the church in vestments, altar cloths and the
> like. Use for non-church clothing came a bit later. 

Don't they have a (13th century I think) embroidered red velvet cope 
on display that was cut up and made into another garment (tunicle 
or dalamtic?) later, then was pieced back together into a cope?

To me it looked just like the worn red velvet of the seats you used 
to get in old cinemas... well the bits not covered in embroidery did 
anyway.


Teddy
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Status: RO


> Sue Clemenger <mooncat@in-tch.com> wrote
> >Is that *with* an iron afterbath, or *without?*
> >--sue, completely enamored of tansy-dyed wool.....
> 
> I think the best glow comes from the plutonium afterbath :-)  (sorry,
> I'm not the dyer, I have absolutely no idea!)

Having seen the sickly colours produced on wool from tansy dying 
this weekend, I have to say I don't care what was used.... The 
colours reminded me of bile with a fluorescent tinge.....<shudder>

As I described that range of colours a few years ago - "the sort of 
green that narrowly misses being a particularly noxious shade of 
yellow and would probably have been better if it hadn't"



Teddy
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Date: Tue, 16 Jul 2002 16:08:24 +0000 (GMT)
Status: RO


> Sue Clemenger <mooncat@in-tch.com> wrote
> >Is that *with* an iron afterbath, or *without?*
> >--sue, completely enamored of tansy-dyed wool.....
> 
> I think the best glow comes from the plutonium afterbath :-)  (sorry,
> I'm not the dyer, I have absolutely no idea!)

Having seen the sickly colours produced on wool from tansy dying 
this weekend, I have to say I don't care what was used.... The 
colours reminded me of bile with a fluorescent tinge.....<shudder>

As I described that range of colours a few years ago - "the sort of 
green that narrowly misses being a particularly noxious shade of 
yellow and would probably have been better if it hadn't"



Teddy
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Subject: Re: [h-cost] Re: fabric stores, was: different velvets
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Date: Tue, 16 Jul 2002 11:21:32 -0400
Status: RO

A tiny town called Allentown, just off exit 7a of the turnpike, between
exits 7 & 8 of 195 so I can be on the turnpike in less than 5 minutes
(or 130 or 206 or on my way to 95 in no time).  Getting to Edison for
Little India is actually the worst traffic 'cause it's route1.
Kate

Linda Krecker-Schkred wrote:

> Really... That should put you in central New Jersey.
>
> So, where exactly are you. I'm in Whippany and the Garment district
> (seems at least) is a second home.
>
> Linda K-S
>
> At 5:03 PM -0400 7/15/02, Kate Pinner wrote:
> >I'm beginning to feel lucky...New York's an hour (depending on
> >traffic - though I
> >usually take the train) north and Philadelphia is a hour south.
> >I've got Little
> >India about 45 minutes away and an okay Jo-Ann's and Rag Shop close
> >by plus one
> >independent who seems to get fabric castoffs from New York in
> >addition to other
> >stuff.
> >
> >Kate
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: kj green <macailith@yahoo.com>
Subject: Re: [h-cost] Costume College - final tally
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Date: Tue, 16 Jul 2002 09:36:32 -0700 (PDT)
Status: RO

It's this coming weekend. A friend of mine is
going--wish I could...*sigh*

kate


--- Kate Pinner <pinner@mccc.edu> wrote:
> silly question -- ya'll have been talking about this
> Costume College in
> Calif.  But when is it?
> Kate
> 
> > I've made up a list of the folks who will be at
> Costume College. If
> > others are interested, email me privately and I'll
> send it to you in
> > .txt (plain text) format.
> >
> > I'd like to meet some of yall, and I thought the
> idea of adding a red
> > "H" to our tags is as good an identified as any.
> Is that what I should
> > look for, and put on my tag?
> >
> > Allison
> 


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Date: Tue, 16 Jul 2002 10:14:41 -0700
Status: RO


> The first stage penicillin reaction is the fine rash, I had
> it too.
> But that's just the sensitivity stage.
> 
>  Next time, watch out.  You may very well have an
> anaphylactic reaction----hives, swelling---including major
> swelling shut of the airway!----and extremely irregular
> heart beat.
>  In other words, you can be dead in 5 or 10 minutes, and it
> won't be fun.

This is not always true. While sometimes this can be the first sign 
that you may have an allergy, it may be some other cause. 
Especially in children and teens, it may be an interaction between 
the antibiotic and the virus (which has *nothing* to do with an 
allergic reaction. Amoxicillin or ampicillin and mononucleosis is a 
very good example, but some cold and stomach "flu" viruses can 
do the same things, such as the echo viruses.) It could be a simple 
viral rash as well (which many of the cold viruses and stomach "flu" 
viruses can do extremely well even without an antibiotic any where 
near.) It's one of the reasons I don't like prescribing antibiotics 
when someone has had a cold for less than 10 days (no matter 
how much the patient or parent begs). We'd get a *lot* less 
"antibiotic allergies" that way!

But then, it's well known that most doctors prescribe *way* too 
many antibiotics for the wrong reasons (faster than talking the 
patient/parent out of it and major pressure from parents/patients.) 

At least since the early 70's we doctors have been told that giving 
antibiotics can cause major shifts in the antibiotic resistance in 
communities. In the early 80s we saw that as a major problem with 
the hemophilus influenza bacteria (aka "H-flu", which HIB prevents) 
and in the last 5 years with streptococcus pneumonia (the 
"pneumococcus", which we also have a vaccine to combat.) We 
don't even need to talk about multiresistant staphylococcus 
("staph" now getting MRSC although that is mostly a problem in 
hospitals and with patients who have major things going on like 
needing special catheters, trachs, surgically implanted feeding 
tubes, etc.)

OK, I'll get down off my soapbox now.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Re: different velvets
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 <Pine.LNX.4.10.10207141630530.3153-100000@shell.nightowl.net>
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Date: Mon, 15 Jul 2002 23:03:16 +0100
Status: RO

Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Sun, 14 Jul 2002, Jean Waddie wrote:
>
>> The idea of needing to cater to the home sewer - well, I don't think
>> any of the marketing bods in general retail would even recognise the
>> existence of home sewing in this country.
>
>I think you hit an important difference there between the UK and the US. I
>have a sense that sewing is not as typical an occupation for the British
>as it is for us.
>
>For example, in the States, when I was in school at least, girls had many
>chances to learn to sew, and you'd be more surprised to find a girl who
>didn't have at least some basic sewing experience than one who did. We
>could take "home economics" or sewing classes in school. (Boys were more
>likely to take "shop" classes that included woodworking and similar
>skills. Today I gather that the names of the classes are less
>gender-oriented, and students are welcome to take whichever they want, but
>I suspect some noticeable gender division remains in class makeup.) I
>didn't take sewing in school because I'd learned in Girl Scouts, another
>typical option. Some of my friends learned from their mothers,
>grandmothers, or sisters. It's common to have a sewing machine in one's
>home -- even my mother, who doesn't sew, had (and still has) a machine for
>mending. Also, crafts such as quilting, which require some sewing
>equipment and knowledge, are extremely popular.
>
>Am I correct in my impression that this is not the state in Britain? If
>sewing is considered a specialty skill or hobby, fabric stores would be
>considered specialty stores. That's the niche that leather or woodworking
>stores occupy here -- that is, those are crafts that require specific
>materials, but you're very lucky if you have a suitable supplier in town,
>and you'd expect to find them in out-of-the-way places.
>
>I suspect that if it wasn't for the huge popularity of quilting and
>similar crafts here, sewing stores would be far less common and accessible
>than they are today.
>
>--Robin
Robin,

I'm sure other people around here know, but I don't have much idea how 
long it is since you were in school.  I'm 33.  My mother taught 
needlework, and in the schools she was in, all the girls (they were 
single-sex schools) did at least one or two years.  We also had 
needlework at school, and I remember making a fluffy rabbit at Brownies, 
but somehow it doesn't go on in this country.  It's one of those things 
they make you do at school but nobody ever does it at home.  It's just 
cultural, I'm not sure why.

I agree, dressmaking nowadays is considered a minority hobby, rather 
than an essential - patchwork and home decorating are on the up, so 
those shops are more common.

I just can't imagine how people survive without sewing - any useful 
thingy I need, I do it with fabric.  I know other people whose skills 
are elsewhere - carpentry or metalwork, and they would make something 
for the same purpose in their own way - I make a bag, they make a box. 
But sewing takes less cleaning up after!

Jean

-- 
Jean Waddie
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Date: Tue, 16 Jul 2002 11:21:33 -0700
Status: RO

Teddy wrote:
> The  diamonds are about 2.5 inches high from point to point and 
> the trellis around them about 3 inches and it just looked so 
> sumptuos that I couldn't resist the chance to get a linen (oh so cool
> and comfy to wear in hot weather despite Robin's teasing about not
> needing it in England...<g>) that doesn't look like a linen.

She obviously wasn't there when I was there. It wasn't the day we 
went to Hampton Court with you, but a couple of the other days 
were in the upper 80s (I don't remember what that was in 
centigrade as I translated it into fahrenheit so that I could figure out 
why I was so miserable.) It was very muggy and hot, but it was a 
complete surprise to the residents as well as us "furiners" since it 
was only late April or early May. I hadn't really brought clothes for 
hot weather so I ended up wearing a skirt rather than my long 
pants. (It was a very short skirt and my research assistant kept 
complaining about how the guys were ogling me on the 
Underground. Not bad for someone in their 40's. Of course, that 
was before I gained 30#!)


Kat 

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Subject: Re: [h-cost] Re: different velvets
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Date: Tue, 16 Jul 2002 11:21:34 -0700
Status: RO

 
> > 12th and 13th Century Velvet:
> > http://www.geocities.com/Area51/Lair/5459/bliaut3.html
> > includes the comment "Fragments of twill and cotton velvet have been
> > found dating back to 9th century France". I wonder what they used it
> > for back then? T-tunics?
> 
> Perhaps I spoke too soon.... or perhaps it was only a furnishing
> fabric then?

I found that quote to mean something different than what the writer 
meant. She was referring to fustian but it seems like she was 
mixing up fustian (which has a nap raised, not by loops but by the 
same method that we sometimes use for flannel) with velvets. I 
wish she had footnoted it a bit, because I've looked through the 
books she mentions to find the information she put in, but I can't 
find it. Also, the looped Egyptian ones she mentions sound more 
like the looped fabric of cotton which we use for towels. (Turkish 
towels or terrycloth, for instance.) However, this is not really a 
"velvet" imitation although it may be a related technique. The 
problem may be with the word meaning in the time compared to 
the current word meaning. There were a lot of changes so you can't 
look up the definition in a modern textile dictionary and be sure that 
it meant the same thing then.

I think that the fragments mentioned were more likely to be 
household goods than clothing in this case.


Kat 

Kat(June Russell)
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Date: Tue, 16 Jul 2002 11:21:33 -0700
Status: RO


>  Erithromycin-----there's a whole "family" of mycins and
> myecins (which are not quite the same thing, I did not
> misspell them).

Erythromycin is the correct spelling but the mycin/myecin is 
correct.

>  Bactrim ----I don't know much about that one, but it sounds
> like Bacitracin or Bactine, the common stuff for cuts, etc.

It has nothing to do with either of those. It is trimethoprim-
sulfamethoxazole (and sometimes goes under the name of Septra).

>  Sulfa -----baddie.  My daughter had a reaction to this one,
> big blisters on her face that took 2 weeks to heal.  They
> use it for urinary infections, and you have to drink a LOT
> of water to avoid worse bladder problems. One of the kid's
> antibiotics is half sulfa and half something else. 

That would be Septra or Bactrim (which are just brand names for 
the same thing.)

>  I find it interesting that a lot of people don't get along
> with sulfa, yet it is, or was, the basic item in the
> military first aid kits.

That's because it was one of the only 2 antibiotics which were 
invented early on (with penicillin and streptomycin the other two.) It 
is more stable than penicillin or streptomycin and definitely less 
expensive than streptomycin. However, it doesn't touch strep or 
staph, which are common wound contaminants. It may get 
tetanus, however. (I don't remember what hits that since we don't 
see it much anymore except in immigrants and old people.)

I think the military uses more Velocef now. I know they use it a lot 
in their VA clinics, although it is rare for doctors to prescribe in the 
"real world" because it's not particularly good. (It's probably 
cheaper.)

Kat 

Kat(June Russell)
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Date: Tue, 16 Jul 2002 11:21:34 -0700
Status: RO


> Don't they have a (13th century I think) embroidered red velvet cope
> on display that was cut up and made into another garment (tunicle or
> dalamtic?) later, then was pieced back together into a cope?

Are you thinking of the red cloak on display in the costume area at 
the V&A which used to be a skirt? It is heavily embroidered. But 
it's 16/17th C and in pretty good shape.

It would not be unusual, however, for the ecclesiastic copes to be 
used to make other ecclesiastic garments (such as dalmatics or 
the like.)
 
> To me it looked just like the worn red velvet of the seats you used to
> get in old cinemas... well the bits not covered in embroidery did
> anyway.

That does sound more like a cope, but I don't remember a red cope 
at the V&A. (I'll have to look through my pictures as I got shots of 
everyone of the copes on display, the the dismay of my research 
assistant.)


Kat 

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Subject: [h-cost]  Sewing, England vs US, was: Re: different velvets
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Date: Tue, 16 Jul 2002 11:30:39 -0700
Status: RO

Jean wrote about England:
> I'm sure other people around here know, but I don't have much idea how
> long it is since you were in school.  I'm 33.  My mother taught
> needlework, and in the schools she was in, all the girls (they were
> single-sex schools) did at least one or two years.  We also had
> needlework at school, and I remember making a fluffy rabbit at
> Brownies, but somehow it doesn't go on in this country.  It's one of
> those things they make you do at school but nobody ever does it at
> home.  It's just cultural, I'm not sure why.
> 
> I agree, dressmaking nowadays is considered a minority hobby, rather
> than an essential - patchwork and home decorating are on the up, so
> those shops are more common.

The US is heading in this direction. I think that's why we are losing 
so many of our good fabric stores. They are either going home 
deco, quilting (which I think is what you mean by patchwork) or 
high scale tailoring. That doesn't leave much for the recreational, 
historical or cheap home sewer.

Part of it is that people used to make clothes at home to save 
money. Now it is cheaper to buy readymade than to make it at 
home. So, why bother to do it (except for people like us who live for 
sewing!)
 
> I just can't imagine how people survive without sewing - any useful
> thingy I need, I do it with fabric.  I know other people whose skills
> are elsewhere - carpentry or metalwork, and they would make something
> for the same purpose in their own way - I make a bag, they make a box.
> But sewing takes less cleaning up after!

Exactly!


Kat 

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Date: Tue, 16 Jul 2002 15:48:56 -0400
Status: RO

> This is not always true. While sometimes this can be the first sign 
> that you may have an allergy, it may be some other cause. 
> Especially in children and teens, it may be an interaction between 
> the antibiotic and the virus (which has *nothing* to do with an 
> allergic reaction. Amoxicillin or ampicillin and mononucleosis is a 
> very good example, but some cold and stomach "flu" viruses can 
> do the same things, such as the echo viruses.) It could be a simple 
> viral rash as well (which many of the cold viruses and stomach "flu" 
> viruses can do extremely well even without an antibiotic any where 
> near.) It's one of the reasons I don't like prescribing antibiotics 
> when someone has had a cold for less than 10 days (no matter 
> how much the patient or parent begs). We'd get a *lot* less 
> "antibiotic allergies" that way!

I had never had a reaction to any -cillin drug before 3 years ago and 
it was only prescribed as a precaution against infection after my oral 
surgery (yeah, I guess that kind of means it's a little over-prescribed 
if they give it to you when you're not sick, but just in case).  Within 
a few days I got the fine rash and was told to stop taking it ASAP.  I 
wasn't sick at the time, there was really no reason for me to be on 
penicillin in the first place and I was properly caring for my suture 
sites so there wasn't much of a risk that I'd develop an infection to 
begin with.  Like I said before, I have an iron constitution and I 
don't tend to aquire viruses (viruii?) and other communal bugs the way 
most people do, so the -cillin allergy isn't a big deal for me.  
Personally, I'm just as happy not to have to take one more 
overprescribed antibiotic.  Which is not to say that I don't agree with 
antibiotics, just that I question the fact that they are so readily 
available and so easy to come by. 

> But then, it's well known that most doctors prescribe *way* too 
> many antibiotics for the wrong reasons (faster than talking the 
> patient/parent out of it and major pressure from parents/patients.) 

Or for "just in case" reasons.  At one point I had 3 full bottles of 
vicodin sitting in my cupboard because two seperate doctors (my oral 
surgeon and my physician) felt that it was better if they gave me 
enough painkillers to render a horse unconscious than risk a 
potentially unhappy patient.  Doesn't matter that vicodin makes me sick 
and I'm just as happy and more conscious on Advil... I flushed all 
three bottles down the toilet, but it just made me shudder that if it 
was *this* easy to come by, no wonder there are people out there who 
are addicted to the stuff!  And don't get me started on the time I 
walked into the hospital and mentioned casually to the NP that I was 
feeling a little "down" and was handed a prescription for Prozac and 
Zoloft!!!

> At least since the early 70's we doctors have been told that giving 
> antibiotics can cause major shifts in the antibiotic resistance in 
> communities. In the early 80s we saw that as a major problem with 
> the hemophilus influenza bacteria (aka "H-flu", which HIB prevents) 
> and in the last 5 years with streptococcus pneumonia (the 
> "pneumococcus", which we also have a vaccine to combat.) We 
> don't even need to talk about multiresistant staphylococcus 
> ("staph" now getting MRSC although that is mostly a problem in 
> hospitals and with patients who have major things going on like 
> needing special catheters, trachs, surgically implanted feeding 
> tubes, etc.)

Exactly my feelings.  For me, it's no biggie to forego the antibiotics 
because I'm not prone to serious illness (a cold here and there, but 
nothing major).  Others are different, and should act accordingly, but 
popping Cipro out of paranoia is just plain stupid.  It's the fastest 
way to creating a new strain of something more resistant to treatment 
than pretty much anything else.  That, and failing to complete 
medication doses...

> 
> OK, I'll get down off my soapbox now.

Oops... Looks like I was taking up my share of the 'ol box, myself. 
Next?  ;)

Sarah
http://www.elizabethanlady.com
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Subject: Re: [h-cost] Books from David Brown Book Company
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Date: Tue, 16 Jul 2002 12:17:54 -0700
Status: RO


>Just got a note from Kristin Payne who used to be at Boydell and Brewer
>publishers.  She has now moved on to David Brown Book Company, and sent
>along some information on textile books they carrying.
>
>In addition to Stepping Through Time: a history of shoes from Pre-history to
>1800 they carry this one, something that a number of people on this list
>have been interested in:

I can't help but notice that their price is less than the publisher's 
price.  So how can we get these books directly from them?

Kayta

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Subject: Re: [h-cost]  Sewing, England vs US, was: Re: different velvets
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Date: Tue, 16 Jul 2002 13:12:34 -0700
Status: RO


>The US is heading in this direction. I think that's why we are losing
>so many of our good fabric stores. They are either going home
>deco, quilting (which I think is what you mean by patchwork) or
>high scale tailoring. That doesn't leave much for the recreational,
>historical or cheap home sewer.

Most sewing stores in the US have re-made half their fabric space into 
craft space.  And most of the craft stuff they stock is junky stuff, or 
no-talent kits.  The quality of the fabric has gone down too.  If Jo-Ann's 
and Walmart ever routinely had good fabric, they don't now except by 
accident.  Everywhere else is a factory outlet or mill outlet store, a 
remnants-only store, a high-end place like Britex, or a quilt fabric store.

>Part of it is that people used to make clothes at home to save
>money. Now it is cheaper to buy readymade than to make it at
>home. So, why bother to do it (except for people like us who live for
>sewing!)

The cheap imported clothing from the Far East has largely made sewing 
skills redundant.  My daughter who is into fashion can't be bothered to do 
her own mending, and bribes me to do it instead of letting her 
sewing-challenged father attempt it.  My daughter who is into costumes, and 
dolls, is learning to sew, embroider, and crochet.

> > I just can't imagine how people survive without sewing - any useful
> > thingy I need, I do it with fabric.  I know other people whose skills
> > are elsewhere - carpentry or metalwork, and they would make something
> > for the same purpose in their own way - I make a bag, they make a box.
> > But sewing takes less cleaning up after!

Quilt-making is much more popular than it was 20 years ago.  Other 
sewing-related crafts are too.  The American Girl Doll company sells a line 
of historical doll clothes patterns (www.americangirl.com).  Major pattern 
companies are selling historically usable costume patterns, and there are 
many little historical costume pattern companies springing up, like Margo's.


Kayta

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Date: Tue, 16 Jul 2002 16:18:12 -0400
Status: RO

>BTW, does anyone on the list know a rough conversion
from Yen to US$?

Yes, I do Cynthia.
The Yen-dollar exchange rate:
1,500.00 JPY = 12.9420 USD,
according to XE.com: Universal Currency Converter
http://www.xe.com/ucc/convert.cgi

 I finally heard from Kyoto today (yay) but alas, they are out of the
Rev in Fashion video which I wanted pretty badly :-(( Oh well.
But I am still ordering the book & video for "Japonism in Fashion",
both of which are in Japanese unfortunately, but what can ya do?
I thought the site said that the videos are in VHS format..
Deb R.



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Date: Tue, 16 Jul 2002 16:51:59 -0400
Status: RO

You guys are getting me worried now...Here's my issue:
If I take Ampicillin for 2 or more days, I always experience awful
stomach cramps & *ahem*- other gastro-intestinal problems..
This is a reaction right? Not an allergy?
Also, until 2 years ago, I had never had problems using topical
anti-biotic ointments (Bacitracin, Neosporin, Polysporin, etc.),
but now, for some reason Polysporin causes my skin to turn bright red
& painful but only the area it's been applied to...
Could this mean I'm becoming allergic to spore-based antibiotics?
Deb R.

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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
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Subject: Re: [h-cost] OT Allergies vs Reactions
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Date: Tue, 16 Jul 2002 17:08:36 -0400
Status: RO

I don't think stomach cramping is an allergic reaction, per se.  If you 
read the literature that comes with the bottle of meds, it usually 
lists nausea and stomach problems as a side effect of the medication.  
Lots of meds have this problem, so it's pretty common.  If it's 
unbearable and doesn't let up if you take the meds with food and/or 
milk, you should probably consult with your doctor.  If you're having 
trouble keeping food down while you're taking the stuff or having 
(pardon me) bloody stools or something that extreme, definately take 
yourself to the emergency room.  As for the ointments, I don't know 
much about that...  I would say that if you're breaking out in a rash 
when you apply something to your skin, you're probably allergic to some 
compound in the ointment, but it may not be the antibacterial portion.  
Could be an alergy to aloe, or petroleum or whatever they're using as a 
base for the antibacterial compounds.  Hope this calms your fears a 
little... :)

Sarah
http://www.elizabethanlady.com

> You guys are getting me worried now...Here's my issue:
> If I take Ampicillin for 2 or more days, I always experience awful
> stomach cramps & *ahem*- other gastro-intestinal problems..
> This is a reaction right? Not an allergy?
> Also, until 2 years ago, I had never had problems using topical
> anti-biotic ointments (Bacitracin, Neosporin, Polysporin, etc.),
> but now, for some reason Polysporin causes my skin to turn bright red
> & painful but only the area it's been applied to...
> Could this mean I'm becoming allergic to spore-based antibiotics?
> Deb R.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." 
-Carl 
Sagab
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Subject: [h-cost] 1870's tie-back skirts
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Okay, this may be a really dumb question, but --

What sort of petticoat do you wear under a late 1870's tie-back skirt?  =
I've looked at some of the sources on my bookshelf, and they talk about =
a petticoat, cut along the same lines as the skirt, with ruffles down =
the back & around the hem, and possibly a small bustle pad at the back.  =
Doesn't this make a lot of bulk to tie the skirt over?  And -- should =
the petticoat also have ties?  Wouldn't that make even more bulk to tie =
the skirt over?

I know somehow I'm over thinking this!

- Kendra


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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Okay, this may be a really dumb =
question, but=20
--</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>What sort of petticoat do you wear =
under a late=20
1870's tie-back skirt?&nbsp; I've looked at some of the sources on my =
bookshelf,=20
and they talk about a petticoat, cut along the same lines as the skirt, =
with=20
ruffles down the back &amp; around the hem, and possibly a small bustle =
pad at=20
the back.&nbsp; Doesn't this make a lot of bulk to tie the skirt =
over?&nbsp; And=20
-- should the petticoat also have ties?&nbsp; Wouldn't that make even =
more bulk=20
to tie the skirt over?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I know somehow I'm over thinking =
this!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>- Kendra</FONT></DIV>
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Date: Tue, 16 Jul 2002 17:42:01 -0400
Status: RO

Thanks Sarah. Naturally I try to avoid drugs that cause
undesirable side-effects. If I need anti-biotics, I usually
will take Erythromycin instead of any of the "illins"..
I know a lot of people experience diarrhea, cramps, etc
from Ampicillin, so I don't think that's all that atypical, but
this topic just has me worried now.
Deb

> If you read the literature that comes with the bottle of meds,
> it usually lists nausea and stomach problems as a side effect
> of the medication. Lots of meds have this problem, so it's pretty >
common.


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Subject: RE: [h-cost] 1870's tie-back skirts
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Kendra-
 
Bulk is what you want, in this case. You can add ties to the petticoat,
too. What you want to do is keep all the fullness at the back, none at
the sides or front.
 
Kim
 
-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Kendra Van Cleave
Sent: Tuesday, July 16, 2002 4:12 PM
To: h-costume@indra.com
Subject: [h-cost] 1870's tie-back skirts
 
Okay, this may be a really dumb question, but --
 
What sort of petticoat do you wear under a late 1870's tie-back skirt?
I've looked at some of the sources on my bookshelf, and they talk about
a petticoat, cut along the same lines as the skirt, with ruffles down
the back & around the hem, and possibly a small bustle pad at the back.
Doesn't this make a lot of bulk to tie the skirt over?  And -- should
the petticoat also have ties?  Wouldn't that make even more bulk to tie
the skirt over?
 
I know somehow I'm over thinking this!
 
- Kendra
 

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<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:black'>Kendra&#8212;<o:p></o:p></span></fo=
nt></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></font></p>=


<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:black'>Bulk is what you want, in this =
case. You
can add ties to the petticoat, too. What you want to do is keep all the
fullness at the back, none at the sides or =
front.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></font></p>=


<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:black'>Kim<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
style=3D'font-size:
12.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></font></p>=


<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'>-----Original =
Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> =
h-costume-admin@indra.com
[mailto:h-costume-admin@indra.com] <b><span =
style=3D'font-weight:bold'>On Behalf
Of </span></b>Kendra Van Cleave<br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Tuesday, July 16, =
2002 4:12
PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> =
h-costume@indra.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> [h-cost] 1870's =
tie-back
skirts</span></font></p>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Okay, this may be a really =
dumb
question, but --</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>What sort of petticoat do =
you wear
under a late 1870's tie-back skirt?&nbsp; I've looked at some of the =
sources on
my bookshelf, and they talk about a petticoat, cut along the same lines =
as the
skirt, with ruffles down the back &amp; around the hem, and possibly a =
small
bustle pad at the back.&nbsp; Doesn't this make a lot of bulk to tie the =
skirt
over?&nbsp; And -- should the petticoat also have ties?&nbsp; Wouldn't =
that
make even more bulk to tie the skirt over?</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>I know somehow I'm over =
thinking
this!</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>- =
Kendra</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal style=3D'margin-left:.5in'><font size=3D3 =
face=3D"Times New Roman"><span
style=3D'font-size:12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1870's tie-back skirts
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Date: Tue, 16 Jul 2002 15:11:14 -0700
Status: RO


>What sort of petticoat do you wear under a late 1870's tie-back 
>skirt?  I've looked at some of the sources on my bookshelf, and they talk 
>about a petticoat, cut along the same lines as the skirt, with ruffles 
>down the back & around the hem, and possibly a small bustle pad at the 
>back.  Doesn't this make a lot of bulk to tie the skirt over?  And -- 
>should the petticoat also have ties?  Wouldn't that make even more bulk to 
>tie the skirt over?

Same general shape, but of much thinner fabric.  The small amount of bulk 
the petticoat provides will keep the skirt looking nicely rounded.  Use 
ties if it needs them to make the right foundation shape.

Kayta

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From: "Mary Temple" <noxcat@hotmail.com>
To: h-costume@indra.com
Subject: RE: [h-cost] OT Allergies vs Reactions
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Date: Tue, 16 Jul 2002 22:11:19 +0000
Status: RO

Actually, prescribing antibiotics before oral surgery isn't as silly as 
prescribing them for a cold. See, Dental problems can and have caused HEART 
infections. The plaque in your mouth is the same stuff that clogs your 
arteries. It's caused by bacteria. Surgery gives the bacteria an opportunity 
to enter your blood stream. I'm happy to hear they're doing that more often.

Besides, you don't have to fill a prescription. Or take it after it's 
filled. I've flushed quite a few down the toilet in my time, and I have no 
problem saying "I won't take this pill". I am NOT a "good patient". :)

Mary/Katerine
(who is having problems controlling her desire to buy more fabric now that 
she has a steady income again - but keep the websites coming!)


>I had never had a reaction to any -cillin drug before 3 years ago and
>it was only prescribed as a precaution against infection after my oral
>surgery (yeah, I guess that kind of means it's a little over-prescribed
>if they give it to you when you're not sick, but just in case).  Within
>a few days I got the fine rash and was told to stop taking it ASAP.  I
>wasn't sick at the time, there was really no reason for me to be on
>penicillin in the first place and I was properly caring for my suture
>sites so there wasn't much of a risk that I'd develop an infection to
>begin with.  Like I said before, I have an iron constitution and I
>don't tend to aquire viruses (viruii?) and other communal bugs the way
>most people do, so the -cillin allergy isn't a big deal for me.
>Personally, I'm just as happy not to have to take one more
>overprescribed antibiotic.  Which is not to say that I don't agree with
>antibiotics, just that I question the fact that they are so readily
>available and so easy to come by.
>
> > But then, it's well known that most doctors prescribe *way* too
> > many antibiotics for the wrong reasons (faster than talking the
> > patient/parent out of it and major pressure from parents/patients.)
>
>Or for "just in case" reasons.  At one point I had 3 full bottles of
>vicodin sitting in my cupboard because two seperate doctors (my oral
>surgeon and my physician) felt that it was better if they gave me
>enough painkillers to render a horse unconscious than risk a
>potentially unhappy patient.  Doesn't matter that vicodin makes me sick
>and I'm just as happy and more conscious on Advil... I flushed all
>three bottles down the toilet, but it just made me shudder that if it
>was *this* easy to come by, no wonder there are people out there who
>are addicted to the stuff!  And don't get me started on the time I
>walked into the hospital and mentioned casually to the NP that I was
>feeling a little "down" and was handed a prescription for Prozac and
>Zoloft!!!
>
> > At least since the early 70's we doctors have been told that giving
> > antibiotics can cause major shifts in the antibiotic resistance in
> > communities. In the early 80s we saw that as a major problem with
> > the hemophilus influenza bacteria (aka "H-flu", which HIB prevents)
> > and in the last 5 years with streptococcus pneumonia (the
> > "pneumococcus", which we also have a vaccine to combat.) We
> > don't even need to talk about multiresistant staphylococcus
> > ("staph" now getting MRSC although that is mostly a problem in
> > hospitals and with patients who have major things going on like
> > needing special catheters, trachs, surgically implanted feeding
> > tubes, etc.)
>
>Exactly my feelings.  For me, it's no biggie to forego the antibiotics
>because I'm not prone to serious illness (a cold here and there, but
>nothing major).  Others are different, and should act accordingly, but
>popping Cipro out of paranoia is just plain stupid.  It's the fastest
>way to creating a new strain of something more resistant to treatment
>than pretty much anything else.  That, and failing to complete
>medication doses...
>
> >
> > OK, I'll get down off my soapbox now.
>
>Oops... Looks like I was taking up my share of the 'ol box, myself.
>Next?  ;)
>
>Sarah
>http://www.elizabethanlady.com
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Date: Tue, 16 Jul 2002 22:37:30 +0000
Status: RO

The price for the Margarethe Hald book isn't listed as being discounted on 
the website, and it's the one I want. :(

Mary/Katerine



>>Just got a note from Kristin Payne who used to be at Boydell and Brewer
>>publishers.  She has now moved on to David Brown Book Company, and sent
>>along some information on textile books they carrying.
>>
>>In addition to Stepping Through Time: a history of shoes from Pre-history 
>>to
>>1800 they carry this one, something that a number of people on this list
>>have been interested in:
>
>I can't help but notice that their price is less than the publisher's 
>price.  So how can we get these books directly from them?
>
>Kayta
>
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From h-costume-admin@indra.com  Tue Jul 16 19:52:32 2002
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Date: Tue, 16 Jul 2002 17:20:45 -0600
Status: RO


Guys, this is WAY off topic now.  Please wrap it up or take it
offline.  Thanks.

					...eliz, list admin


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Date: Tue, 16 Jul 2002 17:31:02 -0600
Status: RO

> I thought the site said that the videos are in VHS format..
> Deb R.

VHS vs Beta isn't the problem (that's cartridge size), it's NTSC vs
PAL vs SECAM (the recording format used).

The US uses NTSC format in its videos.  The UK and many European and
Asian countries use PAL.  France uses SECAM.  You can't play one
format in a VCR of the other unless it's designed for it (tho some PAL
VCRs can [barely] handle NTSC recorded in SP mode).

The good news is that Japan uses NTSC, which means they should be
playable in a US VCR.  I'd confirm that it's NTSC before purchase,
tho, just to be safe.

						...eliz

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From: "Marna Jean" <marnajean@shootingstarhistory.com>
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Subject: Re: [h-cost] 1870's tie-back skirts
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some of the petticoats from that era had casings in the back panel to =
shirr them up against the legs. I like a tier of ruffles down the back =
and a small bustle pad placed at the low hip instead of the waistline =
for most dresses in that era. I would also suggest the front panel of =
the petticoat be smooth with the ruffles confined to the side and back =
panels only - but it depends on when in the late 70's you are talking-75 =
up to 1877 they were a bit fuller with 78-79 being pretty slim, and =
starting to get fuller again in 1880. The ties aren't supposed to "bind" =
your legs together mearly pull the front of the dress flat and you don't =
want it showing through that you are bipedal! *mercy!* (wink)
MJ

Doug and Marna Jean Davis
Shooting Star Enterprises
Living History & Custom Historical Clothing
http://www.shootingstarhistory.com/home.html
 oakley@access-one.com
Alternate email-
oakley@shootingstarhistory.com

Instructor for www.costumeclassroom.com -
 Victorian and Old West Era=20
Online Classes in History and Period Sewing
  -----Original Message-----
  From: Kendra Van Cleave <kendrav@attbi.com>
  To: h-costume@indra.com <h-costume@indra.com>
  Date: Tuesday, July 16, 2002 4:35 PM
  Subject: [h-cost] 1870's tie-back skirts


  Okay, this may be a really dumb question, but --
  =20
  What sort of petticoat do you wear under a late 1870's tie-back skirt? =
 I've looked at some of the sources on my bookshelf, and they talk about =
a petticoat, cut along the same lines as the skirt, with ruffles down =
the back & around the hem, and possibly a small bustle pad at the back.  =
Doesn't this make a lot of bulk to tie the skirt over?  And -- should =
the petticoat also have ties?  Wouldn't that make even more bulk to tie =
the skirt over?
  =20
  I know somehow I'm over thinking this!
  =20
  - Kendra
  =20

------=_NextPart_000_0035_01C22CFB.15BFCCE0
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Dwindows-1252" =
http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 =
Transitional//EN">
<META content=3D"MSHTML 5.00.2919.6307" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Times New Roman">some of the petticoats from that era =
had=20
casings in the back panel to shirr them up against the legs. I like a =
tier of=20
ruffles down the back and a small bustle pad placed at the low hip =
instead of=20
the waistline for most dresses in that era. I would also suggest the =
front panel=20
of the petticoat be smooth with the ruffles confined to the side and =
back panels=20
only - but it depends on when in the late 70's you are talking-75 up to =
1877=20
they were a bit fuller with 78-79 being pretty slim, and starting to get =
fuller=20
again in 1880. The ties aren't supposed to "bind" your legs together =
mearly pull=20
the front of the dress flat and you don't want it showing through that =
you are=20
bipedal! *mercy!* (wink)</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">MJ</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>Doug and Marna Jean Davis<BR>Shooting Star Enterprises<BR>Living =
History=20
&amp; Custom Historical Clothing<BR><A=20
href=3D"http://www.shootingstarhistory.com/home.html">http://www.shooting=
starhistory.com/home.html</A><BR>&nbsp;<A=20
href=3D"mailto:oakley@access-one.com">oakley@access-one.com</A><BR>Altern=
ate=20
email-<BR><A=20
href=3D"mailto:oakley@shootingstarhistory.com">oakley@shootingstarhistory=
.com</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>Instructor for <A=20
href=3D"http://www.costumeclassroom.com">www.costumeclassroom.com</A>=20
-<BR>&nbsp;Victorian and Old West Era <BR>Online Classes in History and =
Period=20
Sewing</DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px">
  <DIV><FONT face=3DArial size=3D2><B>-----Original =
Message-----</B><BR><B>From:=20
  </B>Kendra Van Cleave &lt;<A=20
  href=3D"mailto:kendrav@attbi.com">kendrav@attbi.com</A>&gt;<BR><B>To: =
</B><A=20
  href=3D"mailto:h-costume@indra.com">h-costume@indra.com</A> &lt;<A=20
  =
href=3D"mailto:h-costume@indra.com">h-costume@indra.com</A>&gt;<BR><B>Dat=
e:=20
  </B>Tuesday, July 16, 2002 4:35 PM<BR><B>Subject: </B>[h-cost] 1870's =
tie-back=20
  skirts<BR><BR></DIV></FONT>
  <DIV><FONT face=3DArial size=3D2>Okay, this may be a really dumb =
question, but=20
  --</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>What sort of petticoat do you wear =
under a late=20
  1870's tie-back skirt?&nbsp; I've looked at some of the sources on my=20
  bookshelf, and they talk about a petticoat, cut along the same lines =
as the=20
  skirt, with ruffles down the back &amp; around the hem, and possibly a =
small=20
  bustle pad at the back.&nbsp; Doesn't this make a lot of bulk to tie =
the skirt=20
  over?&nbsp; And -- should the petticoat also have ties?&nbsp; Wouldn't =
that=20
  make even more bulk to tie the skirt over?</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>I know somehow I'm over thinking=20
  this!</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>- Kendra</FONT></DIV>
  <DIV><FONT face=3DArial =
size=3D2></FONT>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0035_01C22CFB.15BFCCE0--

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Date: Tue, 16 Jul 2002 18:59:18 -0600
Status: RO

Must be local-water thing, or something.  The tansy-dyed wools done by
my friends were very lovely shades of an almost olive-green.  The silks
were similar, but lighter.
--sue

Teddy wrote:
> 
> > Sue Clemenger <mooncat@in-tch.com> wrote
> > >Is that *with* an iron afterbath, or *without?*
> > >--sue, completely enamored of tansy-dyed wool.....
> >
> > I think the best glow comes from the plutonium afterbath :-)  (sorry,
> > I'm not the dyer, I have absolutely no idea!)
> 
> Having seen the sickly colours produced on wool from tansy dying
> this weekend, I have to say I don't care what was used.... The
> colours reminded me of bile with a fluorescent tinge.....<shudder>
> 
> As I described that range of colours a few years ago - "the sort of
> green that narrowly misses being a particularly noxious shade of
> yellow and would probably have been better if it hadn't"
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Subject: [h-cost] OT-looking for a book--Help!
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Date: Tue, 16 Jul 2002 18:10:40 -0700 (PDT)
Status: RO

Greetings to the list.

I'm looking for a book(s) published in 1989 by
Marshall Cavendish Ltd called "Die Renaissance." It's
at least a 2 volume set (a friend has volume 2).
There's no ISBN and no editor listed.

It's in German, but I suspect it was published in
London. I happened across another book published by
Marshall Cavendish Ltd and the city listed was London.

Can anyone give me any ideas as to where to look for
this book? I've tried abebooks and a couple of other
book sites, to no avail. It's a great book, just full
of color plates of paintings and portraits. I'd really
like to have a copy--my friend lives 22 hours away, so
looking up stuff is a tad difficult...

Kate

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Subject: [h-cost] McFarland House costume display
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Date: Tue, 16 Jul 2002 22:17:35 -0400
Status: RO

Greetings all:

Members of h-costume from southern Ontario and northern New York State (or 
anyone who doesn't mind a drive) may be interested in a  special exhibit, 
"Lady of the House, A Women's World As Seen In Dress 1810 - 1845." at 
McFarland House 15927 Niagara Parkway, Niagara-on-the-Lake, ON 905-371-0254 
1-877-642-7275. Open 10:00 to 4:00

A few of the gowns can be seen at:

http://www.niagaraparks.com/index.html/DYNS/lady_of_the_house/PS/340/sid/ErAqw00ViRn1IISi

There are about 6 gowns from  personal collection of Diane Gallinger of 
Jordan Heritage Resources, c. 1810 and 1845.

Diane Gallinger purchased  the c. 1810 gown at a farm auction for $20 
Canadian (- I'd  hate her if she wasn't so nice - we met her at the site - 
and saved it from being cut up or trashed.)  No one else had any idea what 
it was. It's muslin with a train - embroidery a la Mathilde down the centre 
front and hem. It was made for a tiny women. Most of the other gowns are 
for people about 5 foot, (I'm f5' 9" - I notice these things) but this is 
much smaller. The embroidery is exquisite! it reminds me of the gowns in 
"Age of Napoleon". ( I should get the book out from the local University 
and compare it again in the flesh, or in the fabric!) Granted, it could 
have made its way to Canada any time in the last 190 years, but it was 
intriguing to see such a dainty, labour-intensive garment with a Canadian 
provenance.

How come when I go to farm auctions, there's nothing but rusty old tools 
and china from K-Mart ? Life is cruel.

Sheridan Alder

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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Re: different velvets
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Date: Tue, 16 Jul 2002 21:53:12 -0500 (CDT)
Status: RO


> wear badly- eventually they started calling it velveteen about the mid
> 1880's but what I have read it was a bit "plusher" than most of the
> velveteen is now- more like the cotton/rayon velveteen.

Quick (and belated, but I'm a bit behind and wanted to make sure nobody
else had addressed the issue first) clarification:  Velveteen is *NOT*
another name for velvet made out of cotton.  Velvet and velveteen are two
different fabrics with different weave structures.

Boy, this is hard to explain...especially slightly sleep-deprived.

brief weaving lesson: Warp threads are the long threads that go the length
of the fabric and are stretched on the loom.  Weft (or woof or filling)
threads are the ones that go back and forth from selvedge to selvedge.

Velvet is a warp-pile fabric.  There are extra warp threads that are
looped up between the rows of weft thread and cut.  Terrycloth is also
made this way, but the loops are left uncut.

Velveteen is a weft-pile fabric.  There are extra weft threads that are
left as floats (skipping over several warp threads) and cut.  Corduroy is
another weft-pile fabric.

Velvet be long pile or short pile, made out of cotton or silk or polyester
or wool and is always called velvet.

Velveteen can be long pile (though that's harder...) or short pile, and
made of any fiber, though cotton is most common.

It is possible to tell, by close inspection, which is which, assuming you
know where the selvedge is.  There is probably a difference in drape,
though it is slight.

For all practical purposes, you can continue calling short-napped cotton
velvet (if you could find such a thing) velveteen, and nobody would care,
except me. ;)

Emma, textile major wannabe.

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Subject: Re: [h-cost]  Sewing, England vs US, was: Re: different velvets
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Date: Tue, 16 Jul 2002 20:29:48 -0700
Status: RO

> Most sewing stores in the US have re-made half their fabric space into
> craft space.  And most of the craft stuff they stock is junky stuff,
> or no-talent kits.  The quality of the fabric has gone down too.  If
> Jo-Ann's and Walmart ever routinely had good fabric, they don't now
> except by accident.  

Or a very astute and well educated (textile wise) manager.
 

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Re: different velvets
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Date: Tue, 16 Jul 2002 22:33:01 -0600
Status: RO

Hey, that's interesting.  Thanks for explaining it so clearly.
--sue

Emma Elizabeth Lehman wrote:
> 

> brief weaving lesson: Warp threads are the long threads that go the length
> of the fabric and are stretched on the loom.  Weft (or woof or filling)
> threads are the ones that go back and forth from selvedge to selvedge.
> 
> Velvet is a warp-pile fabric.  There are extra warp threads that are
> looped up between the rows of weft thread and cut.  Terrycloth is also
> made this way, but the loops are left uncut.
> 
> Velveteen is a weft-pile fabric.  There are extra weft threads that are
> left as floats (skipping over several warp threads) and cut.  Corduroy is
> another weft-pile fabric.
> 
> Velvet be long pile or short pile, made out of cotton or silk or polyester
> or wool and is always called velvet.
> 
> Velveteen can be long pile (though that's harder...) or short pile, and
> made of any fiber, though cotton is most common.
> 
> It is possible to tell, by close inspection, which is which, assuming you
> know where the selvedge is.  There is probably a difference in drape,
> though it is slight.
> 
> For all practical purposes, you can continue calling short-napped cotton
> velvet (if you could find such a thing) velveteen, and nobody would care,
> except me. ;)
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Subject: [h-cost] Help on Stain Removal
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Please help!  I just finished a new dress and have discovered a stain of 
unknown origin on the front of the bodice.  It looks like some sort of oil, 
but I'm not sure.  The bodice fabric is 100% linen.  Recommendations and 
advice would be greatly appreciated!

Thanks,

Nancy
aka Maddalena Salutati


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Please help!&nbsp; I just finished a new dress and have discovered a stain of unknown origin on the front of the bodice.&nbsp; It looks like some sort of oil, but I'm not sure.&nbsp; The bodice fabric is 100% linen.&nbsp; Recommendations and advice would be greatly appreciated!<BR>
<BR>
Thanks,<BR>
<BR>
Nancy<BR>
aka Maddalena Salutati<BR>
<BR>
</FONT></HTML>
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Subject: Re: [h-cost] Help on Stain Removal
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Date: Wed, 17 Jul 2002 09:52:45 +0100 (BST)
Status: RO

 --- MaddNancy@aol.com wrote: > Please help!  I just finished a new dress and
have discovered a stain of 
> unknown origin on the front of the bodice.  It looks like some sort of oil, 
> but I'm not sure.  The bodice fabric is 100% linen.  Recommendations and 
> advice would be greatly appreciated!
> 
> Thanks,
> 
> Nancy
> aka Maddalena Salutati

Nancy, try Oxi Clean. It works wonders, the only fabric one can't use it on is
silk, but linen is n problem, in fact I just managed to get rid of nasty brown
stains (caused by a white (!!!) sun blocker) in my linen underdress by just
using it as a laundry booster in the machine. It can be dabbed onto the stain
and should do the trick. I am sure you can get it in the US too? here it is
sold in Asda's and at Lakeland.

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, 17 Jul 2002 10:25:23 +0100
Status: RO

I've searched the database available to us, but no luck.

Kate Bunting
Library, University of Derby

>>> macailith@yahoo.com 07/17/02 02:10am >>>
Greetings to the list.

I'm looking for a book(s) published in 1989 by
Marshall Cavendish Ltd called "Die Renaissance." It's
at least a 2 volume set (a friend has volume 2).
There's no ISBN and no editor listed.

It's in German, but I suspect it was published in
London. I happened across another book published by
Marshall Cavendish Ltd and the city listed was London.



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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] different velvets
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Date: Wed, 17 Jul 2002 11:55:21 +0000 (GMT)
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> If it's got to be historically accurate or the pattern demands
> something a bit stiff, go for the Acetate-Nylon. 

I'd say," If it's got to be historically accurate or the pattern demands 
something a bit stiff, and/or If it's a Renaissance fair that's usually 
muddy, don't go for either.  Go instead for the washable and more 
breathable curtain-weight cotton velvet, but make sure you pre-
wash it on hot before you cut and make anything from it so that it's 
pre-shrunk.

>  Some stores sell "velvet needleboards" for ironing on, but the
> hook side of Velcro works well too.  Place the Velcro strip
> hook-side-up atop your ironing board, then lay the seam you wanna
> press on top (pile-side-down) and iron gently. 
 
Thanks for the tip Gillian!  As I use cotton velvet mostly (second-
hand curtains are great and cheap too!) I don't really have any 
problems with ironing on the back of it, but that's a great tip to 
remember if I happen to be doing something non-historical or for 
someone who inists on acetate-belend velvet.


Teddy
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Date: Wed, 17 Jul 2002 11:59:09 +0000 (GMT)
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> Ok, am I allergic to every period fabric but silk?!  Grr...  I could
> make such wonderfully authentic garb if I didn't get rashes from wool,
> linen, mohair/angora, and many of the wild animals they used for fur
> trim.  Just call me synthetic.
> 
> --Gillian

Cotton wasn't on your list, so you could make a substitute for 
cotton velvet and not be wearing low-breathability synthetics.... as 
for the fur allergy issue - realistic looking synthetic will probably be 
your only option there

Teddy
(who did a trade last year, with someone whose husband has a 
severe fur allergy - a heap of cotton velvet for a heap of fur she 
couldn't use because he attends all the events she does.)
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Subject: Re: [h-cost] Re: different velvets
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Date: Wed, 17 Jul 2002 12:19:41 +0000 (GMT)
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> Am I correct in my impression that this is not the state in Britain?
> If sewing is considered a specialty skill or hobby, fabric stores
> would be considered specialty stores.

I don't know about the current National Curriculum, but 
"Needlework" used to be one of the subjects.  I was the only boy 
who took it right through to the exams, but two others applied to 
take it for the initial year, though one waas moved out to do 
Cookery when the class was oversubscribed (and I was annoyed 
on his bahalf beciase many of the girls only chose needlework 
because it seemed liek an "easy-option" to fill their timetabels and 
he had chosen it because he wqs interested, and there wasn't ever 
a question of one of the *girls* being told to swap to cookery 
<Grrr....>.  I heard he went on to become a highly-paid chef, so 
perhaps it worked out for  the best, but even so)

Not that I learned anything in those classes (other than making 
continuous placket openings) that I hadn't already figured out for 
myself or have actually had a need to use since - and I only just 
scraped through the final exam with a passing grade despite having 
kept my sisters and cousins in clothes, party dresses and "posh 
frocks" for the three years I was doing the classes.




Teddy
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Subject: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 07:23:21 -0400
Status: RO


> Jean wrote about England:
 I remember making a fluffy rabbit at
> > Brownies, but somehow it doesn't go on in this country.  It's one of
> > those things they make you do at school but nobody ever does it at
> > home.  It's just cultural, I'm not sure why.
> >
> > I agree, dressmaking nowadays is considered a minority hobby, rather
> > than an essential - patchwork and home decorating are on the up, so
> > those shops are more common.
>
> The US is heading in this direction. I think that's why we are losing
> so many of our good fabric stores. They are either going home
> deco, quilting (which I think is what you mean by patchwork) or
> high scale tailoring. That doesn't leave much for the recreational,
> historical or cheap home sewer.
(snipped)
> > I just can't imagine how people survive without sewing - any useful
> > thingy I need, I do it with fabric.

As I teach Home Ec (now FaCs - Family & Consumer Skills) in Central New
York,  I know that all students in 6, 7, or 8th grades (about ages 11-13)
must get in about 30 weeks of  Home Ec, mandated by the state.  Few ever see
another course in it, especially since so many High School Courses are now
mandated for them.
  Most of the courses now focus on how to havea a balanced diet, how to deal
with family & friends, childcare skills, how to read advertisements &
consumer awareness, how to manage finances, etc.
Sewing skills are limited to making something very small.
  I am the only teacher I have yet met in New York State who drags her kids
through sewing a sweatshirt, or any garment at all!  But then, I am one of
very, very few TEACHERS who loves to sew.  And apparently one of the few who
can do basic maintenance on the machines, so that I still have 14 working
old Singers - the simple kind built for schools back in the 70s, that are
all metal, and are fairly hard for the kids to destroy.   I have a good
working relation with a fairly local Bernina shop that repairs them - he
believes that he will get more customers if they learn to sew somewhere, so
he helps me out fairly cheaply.   He tells me a lot about what goes on in
classrooms in a fairly large area, even if I don't get it by being our local
representative for the Mohawk Valley and going to a lot of meetings! Most
classrooms I have seen might have 3 sewing machines, which means that you
have about 10 kids per machine.
  I have them learn to embroider their initials in the tags of t-shirts
before we tie-dye them.   I justify that under the How to do Laundry unit,
specifically titled as the How to Avoid Pink Underwear lesson.
  Then we learn to use a machine, then we sew drawstring bags.  THAT's
always fun - watching the boys, especially, pull on the double strings to
close the bag, then open it, then close it.....     They get amazed at the
mechanics of this thing they made.  Then we do a pincushion in the shape of
a star, which is graded onlooking like a star or like a blob  It is useful
for throwing games, mostly,  but lets me get in how to sew things CLOSED by
hand.   Then we either make a hat (school colors, of course!),  or I drag
them through a sweatshirt.
   Even I skipped the sweatshirts last year when they put in 9 kids who had
come out of their own enclosed classroom with a special ed teacher and an
aid, but the school put them in my class (without telling me they were
coming!) and told me to deal with it, they should learn my stuff.   I agree
with it, but they put them in on top of my regular class size, so I had 9
more kids than I had seats, or books, or anything for.  And those 9 kids
were not used to being in with other students, or being in a regular class
at all.   So I found myself skipping a lot of stuff that I PUSH my kids to
achieve.
    Sewing projects take a lot of time when you are dealing with anywhere
from 12 to 26 kids (we have small classes, it is a very small school), and
it is a real art to get kids to accomplish things, when they all want your
individual attention about every step of the way.  Not to mention that you
have to let them handle lots of very dangerous small objects.   Seam rippers
can disappear even faster than pins, needles, and scissors!  By the way, the
seam ripper is the only object in my classroom to have a name - Mr. Seam
Ripper becomes everyone's best friend (although some have the classic
love-hate relationship with him).
But it does take time, and A LOT OF EFFORT & Patience.   I don't think it
will be making a comeback anytime soon.
So it is up to everyone who DOES sew to put their art out where people see
it, and want to learn to do that.                      Rowena
--==% `%%%,
       | '  )  `%%,
       \_/\ @%%,
       __@@" %%%--"""-.%,
     /`__|                           \%%
      \\  \        /        |        / '%,
        \]         /----'.           <  `%,
               |    |             `>>   >
               |    |            ///`
              /   (           //(


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: Re: [h-cost] Re: different velvets
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Date: Wed, 17 Jul 2002 12:23:22 +0000 (GMT)
Status: RO


> So now I have a print with a really nice irregular grey pattern behind
> the white areas. My question: How do I keep it this way? Should I
> expect that the dye will continue to run on further washings, or will
> it stay put? Should I just dry-clean the finished garment? I don't
> want to run it through the wash with a dye magnet, because I want to
> keep the streaking that's already there.

If you were over here I'd suggest you run it through the washer with 
a packet of the dye-stabiliser that dylon sell... that would fix the dye 
that has run and that hasn't run already and keep it as close tohow 
it is aleady as you're likely to get it.  Do the brands of dye over there 
have similar products?



Teddy
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Date: Wed, 17 Jul 2002 12:30:48 +0100 (BST)
Status: RO

 --- Teddy <teddy1@mdx.ac.uk> wrote: > 
> > Ok, am I allergic to every period fabric but silk?!  Grr...  I could
> > make such wonderfully authentic garb if I didn't get rashes from wool,
> > linen, mohair/angora, and many of the wild animals they used for fur
> > trim.  Just call me synthetic.
> > 
> > --Gillian
> 
> Cotton wasn't on your list, so you could make a substitute for 
> cotton velvet and not be wearing low-breathability synthetics.... as 
> for the fur allergy issue - realistic looking synthetic will probably be 
> your only option there

You could make under garments from cotton and line wool garments with cotton so
that it doesn't touch your skin.

Nicole

=====
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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] different velvets
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Date: Wed, 17 Jul 2002 12:33:00 +0100 (BST)
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 --- Teddy <teddy1@mdx.ac.uk> wrote: > 

> Thanks for the tip Gillian!  As I use cotton velvet mostly (second-
> hand curtains are great and cheap too!) I don't really have any 
> problems with ironing on the back of it, 

I don't either, but what I use when I iron the seams of a thicker cotton velvet
is using a brush, I have some biggies, which are shoe brushes (it's important
they are natural bristles or they melt!) and had never been used, from the 60s.
Works a treat too.

Nicole

=====
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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: Teddy <teddy1@mdx.ac.uk>
Subject: Re:[h-cost] Fabric shops in the UK
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Date: Wed, 17 Jul 2002 12:37:07 +0000 (GMT)
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> It's getting more and more difficult to find decent stuff in general
> shopping areas.
> 
> I'm extremely lucky, as about a mile from where I live there is a
> fabulous fabric shop "The Shuttle". If any of you are ever in the
> Bradford, West Yorkshire,

You also have Whaleys (Bradford) Ltd.... I buy all my calico from 
them, plus canvas and other fabrics (their LRK88 cotton is lovely 
stuff for anything that needs a very thin and floaty cotton).




Teddy
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 12:45:32 +0100 (BST)
Status: RO

 --- Rowena <sleepyunicorn@citlink.net> wrote: > 

> As I teach Home Ec (now FaCs - Family & Consumer Skills) in Central New
> York,  I know that all students in 6, 7, or 8th grades (about ages 11-13)
> must get in about 30 weeks of  Home Ec, mandated by the state. 

If I may say so, I am amazed that something like this is taught in the US, as I
haven't come across anything like that in my German NorthRhine Westphalian 13
years school career (graduated in 88 to go to Uni), because Home Ed was
regarded as being backwards and interfering or something like that. I guess
that was because Northrhine Westphalia was a very liberal left government and
it was/is totally uncool to teach something like that. *laughs*
I find it very fascinating to hear that these things are taught and that indeed
sewing is occasionally taught beyond primary school age. I remember we did a
bit of cord making and easy embroidery and things like that in primary school
(born in 69) for boys and girls, and fotball for boys and girls too. :-) That
was it though, and when I went to grammar school at the age of ten, I was a
'paradise bird' when I got to puberty, because I could sew (taught by my mum)
and myself all these extraordinary clothes that had this slightly different
knack to anything one could buy. Admttedly I started sewing for me instead of
my Barbie because my mum refused to by the designer labels for me that were so
in, and I thought HA! I know just the way to be ahead of the game and
'different' and thus on a par with the kids whose parents did agree to spend
all that money on a blooming label by making something myself (hand printed
tops, painted and/or dyed trousers, appliqued coats and skirts, extraordinary
fabrics, laced tight trousers, hand knit wildly patterend jumpers etc etc) and
it worked. Got for the first time the friendly label of the extravagant nutter,
and floated happily along with the 'rich kids' who envied ME. What a funny
world!!! 
I still wear big baggy shirts mostly to work from the re-enactor's market or
self made to work, mostly because I hate the clothes one can buy in England
(sorry, fellow UK'ers but the fashion in this country is appalling, ugly,
synthetic, stretchy skin tight stuff in horrid colours for skinny 14 year olds
*shudder* ;-) When I actually bought a frilly black shirt in Etam the other
week because it was cotton and marked down to 8 pounds my colleagues squealed
'Oh my god, she is wearing a shirt with BUTTONS!'
*grins*
you should hearthem screeching when I wore a bogstandard t-shirt underneath an
open baggy laced shirt...

Nicole - with a cold at home and not wanting to sew because of feeling rotten.

=====
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] OT-looking for a book--Help!
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Date: Wed, 17 Jul 2002 05:38:18 -0700 (PDT)
Status: RO

Thanks for looking. I do appreciate your time and
trouble. I really think that I'm never going to find
it...

kate

--- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote:
> I've searched the database available to us, but no
> luck.
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> macailith@yahoo.com 07/17/02 02:10am >>>
> Greetings to the list.
> 
> I'm looking for a book(s) published in 1989 by
> Marshall Cavendish Ltd called "Die Renaissance."
> It's
> at least a 2 volume set (a friend has volume 2).
> There's no ISBN and no editor listed.
> 
> It's in German, but I suspect it was published in
> London. I happened across another book published by
> Marshall Cavendish Ltd and the city listed was
> London.
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Wed, 17 Jul 2002 14:31:59 +0100 (BST)
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 Quick note on velvet boards (which I'm pretty sure John Lewis sell).  Obviously, they're used to avoid crushing the pile when pressing velvets/velours/velveteens/anything else with a pile.
My Nana (trained as a tailor in the 40s) taught me to use a big fluffy towel, laid over the ironing board, (white or cream, to avoid problems with colour bleed).  Provided the pile on the towel is deep enough, and the velvet is pressed face down, it does the same job, in preventing the velvet pile from being crushed.
Debbie.




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<P> Quick note on velvet boards (which I'm pretty sure John Lewis sell).&nbsp; Obviously, they're used to avoid crushing the pile when pressing velvets/velours/velveteens/anything else with a pile.
<P>My Nana (trained as a tailor in the 40s)&nbsp;taught me to use a big fluffy towel, laid over the ironing board, (white or cream, to avoid problems with colour bleed).&nbsp; Provided the pile on the towel is deep enough, and the velvet is pressed face down, it does the same job, in preventing the velvet pile from being crushed.
<P>Debbie.</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Date: Wed, 17 Jul 2002 07:38:26 -0600
Status: RO

Sorry to hear that you're home sick...colds are no fun! When I'm feeling
that punk, I like to curl up on the couch with an afghan and a cat or
two, and a pot of hot tea, and look through all my costuming and
needlework books (I have several bookcases of them), and reacquaint
myself with the ones I haven't seen in a while....Gives me ideas for new
outfits, and lets me lean back and take a nap when I need to, too.
I would imagine that learning-sewing experiences depend on when and
where in the U.S. a given individual grew up.  I was born in 1960, and
spent most of my growing-up years on a farm in a largely rural state
(Montana), and my schooling was in a small town nearby. When I went
through Jr. High (grades 7-8), we got a "quarter" (one-third of the
school year) of mandatory Shop or HomeEc.  Girls were required to take
the HomeEc, and boys, the Shop.  I don't recall anyone being allowed to
take the other sex's class.  We also all got a quarter of typing, and a
quarter of something else I don't remember <g>.  ISTR that one could go
on, and take additional classes in shop or HomeEc, but that one class
was pretty much mandatory.  My baby sister (16 years younger than I am)
went through the same school system, and by her time, it'd become co-ed,
and more along the "life skills" line....
I found the HomeEc pretty frustrating--it was mostly cooking-oriented,
and I'd been cooking at home for several years by that point (started
when I was about 6).  For girls who'd never learned at home, though, it
was probably not such a bad deal.
I actually did my first embroidery in the Girl Scouts when I was 9, and
learned to sew on the sewing machine a few years later in 4-H Club.  (I
don't know if there are non-US equivalents to the 4-H Clubs in the
U.S....they're oriented to kids who grow up on farms and ranches, and
involve learning a variety of related skills--different kinds of
cooking, sewing, all sorts of livestock (from chickens to beef,
depending on what you wanted to do), leadership skills, etc.).  My first
"official" garment was a green velvet mini skirt *laughs* The leaders
thought I was nuts, and that it was way too difficult....but I did just
fine and have been sewing ever since, although mostly quilts (patchwork)
and historical costuming.  I occasionally do "mundane" sewing for
myself, but who's got the time when the blackwork is calling? or the
gothic fitted gown? or the Norse apron dress? (and spending the evening
drooling over various sack-backed gowns doesn't help either! <g>)
--Sue, in beastly hot and smoky Montana, looking forward to a cool,
green England in 6 weeks....


N Kipar wrote:
> 
>  --- Rowena <sleepyunicorn@citlink.net> wrote: >
> 
> > As I teach Home Ec (now FaCs - Family & Consumer Skills) in Central New
> > York,  I know that all students in 6, 7, or 8th grades (about ages 11-13)
> > must get in about 30 weeks of  Home Ec, mandated by the state.
> 
> If I may say so, I am amazed that something like this is taught in the US, as I
> haven't come across anything like that in my German NorthRhine Westphalian 13
> years school career (graduated in 88 to go to Uni), because Home Ed was
> regarded as being backwards and interfering or something like that.
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] different velvets
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Date: Wed, 17 Jul 2002 14:55:30 +0000 (GMT)
Status: RO



> >  In the areas I've been, all the Asian stores sell 100% polyester
> > only. 
> 
> And often calling it "palace silk" making you think you're getting
> real silk. ;)

Many of them, here in England at any rat, have no idea what the 
fibre content is, or what constitues accuracy in the labelling or what 
they tell you when you buy.  I've given up shopping in such places 
becaise too many times I've had to go back to complain about 
something sold as 100% natural fibre (I always ask before I buy to 
make sure) that turns out to be a blend when I do a burn test, or 
throw it in the machine to dye it.... So far I've had responses to my 
complaints ranging from an exchange for more fabric (none of 
which they can guarnatee are natural fibre), arguments that it 
doesn't matter what the fibre content is as no-one but the 
manufacturer could possibly be interested and it looks pretty 
anyway  through refunding the money (but nothing to cover the cost 
of the wasted dye or my wasted time in buying the stuff, dying it 
and then taking it back to complain).  It's just too much hassle for 
me to bother taking the time to check those shops for the 
occasional rare worth-buying find.


Teddy
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 15:11:06 +0100 (BST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Sorry to hear that you're home
sick...colds are no fun! When I'm feeling
> that punk, I like to curl up on the couch with an afghan and a cat or
> two, and a pot of hot tea, 

It's too warm for all that! I hate summer colds. *whines* Thanks Sue for the
sympathy. :-)

and look through all my costuming and
> needlework books (I have several bookcases of them), and reacquaint
> myself with the ones I haven't seen in a while....Gives me ideas for new
> outfits, and lets me lean back and take a nap when I need to, too.

Well, I decided that finally I should get up from my seat and do something
useful like ironing my linens. here I am, happily spraying away onto y
undredress, thinking I am using spray starch, wondering about the perfumed
smell and the squeaky way the iron runs over it until the last bits when I
discovered I used Febreeze instead of spray starch. ACK! braindead indeed.

> and historical costuming.  I occasionally do "mundane" sewing for

I find that there were lots of very nice and useful sewing magazines in germany
back in the 80s (Burda publishing house) with superb fashionable patterns. Most
of all 'Burda International'. I think most were just petered out and stopped.
*sigh*

> --Sue, in beastly hot and smoky Montana, looking forward to a cool,
> green England in 6 weeks....

Ha!!! I could be anything in six weeks, in fact it could be anything each day.
snow, sun, heat, fog, ice, rain, gales, mud, just about anything :-))) The
continent has a climate, England has weather. Oh how true this is I learned in
the last years.

Nicole - refusing to do anything 'useful' today and taking up Sue's suggestion.
But which of the dozens and dozens of books to peruse? :-)

=====
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: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Sewing in UK(WAS: different velvets)
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Date: Wed, 17 Jul 2002 15:43:49 +0000 (GMT)
Status: RO

> and they would make something for the same purpose in their own way
> - I make a bag, they make a box. But sewing takes less cleaning up
> after! 

<laughs!>  Jean, it's obvious that you have never seen me sewing

Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Heat in England (WAS: Fabric Prices)
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Date: Wed, 17 Jul 2002 15:47:37 +0000 (GMT)
Status: RO

 
> Teddy wrote:
> > The  diamonds are about 2.5 inches high from point to point and the
> > trellis around them about 3 inches and it just looked so sumptuos
> > that I couldn't resist the chance to get a linen (oh so cool and
> > comfy to wear in hot weather despite Robin's teasing about not
> > needing it in England...<g>) that doesn't look like a linen.
> 
> She obviously wasn't there when I was there. It wasn't the day we
> went to Hampton Court with you, but a couple of the other days were
> in the upper 80s (I don't remember what that was in centigrade as I
> translated it into fahrenheit so that I could figure out why I was
> so miserable.) It was very muggy and hot, but it was a complete
> surprise to the residents as well as us "furiners" since it was
> only late April or early May. 

We do get hot weather in the summer (as well as unseasonally 
early in the year like when you visited) and It takes more getting 
used to for people who *aren't* used to it than for people who live in 
places where very hot weather is something they're more 
acclimatised to.... or so I reckon.

> (It was a very short skirt and my research assistant kept
> complaining about how the guys were ogling me on the Underground.

Next time you'll have to pack more of them!




Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Cope on display in V&A (WAS: different velvets)
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Date: Wed, 17 Jul 2002 15:52:10 +0000 (GMT)
Status: RO

 
 
> > Don't they have a (13th century I think) embroidered red velvet cope
> > on display that was cut up and made into another garment (tunicle or
> > dalamtic?) later, then was pieced back together into a cope?
> 
> Are you thinking of the red cloak on display in the costume area at
> the V&A which used to be a skirt? It is heavily embroidered. But it's
> 16/17th C and in pretty good shape.

Nope this is a cope that has been re-made as a cope after it was 
cut up for something else - displayed, along with several others, 
spread flat in a wall-case in the ecclesiastical/religious artefacts 
section rather than in the textiles display area.
 
> It would not be unusual, however, for the ecclesiastic copes to be
> used to make other ecclesiastic garments (such as dalmatics or the
> like.)

The details are hazy but it was definately something else it had 
been cut up for.
 
> > To me it looked just like the worn red velvet of the seats you used
> > to get in old cinemas... well the bits not covered in embroidery did
> > anyway.
> 
> That does sound more like a cope, but I don't remember a red cope
> at the V&A. (I'll have to look through my pictures as I got shots
> of everyone of the copes on display, the the dismay of my research
> assistant.) 

You must have a picture of it then... Of cousre, you'll then find it 
was actually a dark blue brocade altercloth and that I've just 
misremebered the details....<G>
 

Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
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Date: Wed, 17 Jul 2002 16:00:54 +0000 (GMT)
Status: RO

 
> Must be local-water thing, or something.  The tansy-dyed wools done by
> my friends were very lovely shades of an almost olive-green.  The
> silks were similar, but lighter. --sue

That sounds much nicer.

Teddy
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From h-costume-admin@indra.com  Wed Jul 17 11:36:46 2002
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 15:09:23 +0000
Status: RO

But the very best thing is still if you can learn to sew from your mom :-)


>As I teach Home Ec (now FaCs - Family & Consumer Skills) in Central New
>York,  I know that all students in 6, 7, or 8th grades (about ages 11-13)
>must get in about 30 weeks of  Home Ec, mandated by the state.

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Subject: Re: [h-cost] Kyoto Costume Institute
In-Reply-To: <000c01c22cd4$dac49380$55c98693@creighton.edu> "from Cynthia Abel
 at Jul 16, 2002 09:27:02 am"
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Date: Wed, 17 Jul 2002 08:16:59 -0700 (PDT)
Status: RO

they mailed me and told me the book was in japanese. 
was the stateside one?  I've only seen scans from it, but I thought it
was in translation?

.heather.


> At least the price hasn't gone up, even though the cover might have
> changed(or is the cover on the website actually the box for the video?). I
> bought mine a good five years ago and paid about $45 for it. But my
> bookstore(whose employee went the extra mile in return for a peek at the
> book)found a stateside source. This book is just priceless!!
> 
> BTW, does anyone on the list know a rough conversion from Yen to US$ and if
> the video works in US VCR's In Japanese or English, to view some of what's
> in the book on video--for us that have frame advance or slow mo features on
> our VCRs--to get to view the actual costumes in possibly more than one view.
> Yum, Yum!
> 
> Cindy Abel
> ILL Coordinator
> Health Sciences Library
> Creighton University
> 2500 California Plaza
> Omaha NE 68178-0210
> Phone: 402. 280-5144
> Fax:     402.280-5134
> 
> 
> _______________________________________________
> 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  Wed Jul 17 11:53:51 2002
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Subject: Re: [h-cost] OT-looking for a book--Help!
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Date: Wed, 17 Jul 2002 15:26:30 +0000
Status: RO

Marshall Cavendish is the editor, btw... they make reference books. There 
website is here: www.marshallcavendish.com


I'm thinking that your book could be one of the volumes of one of their 
encyclopedias, such as History of the Modern World
http://www.marshallcavendish.com/mcc/container.asp?series_id=1&imprint=Marshall+Cavendish+Reference+Books&element=display%2Easp&sku=0%2D7614%2D7147%2D2

or even

Great Artists of the Western 
Worldhttp://www.marshallcavendish.com/mcc/container.asp?series_id=1&imprint=Marshall+Cavendish+Reference+Books&element=display%2Easp&sku=0%2D86307%2D743%2D9

So you might want to search for the whole collection of books instead of 
just the one volume you need.

Anyway, good luck!


> > >>> macailith@yahoo.com 07/17/02 02:10am >>>
> > Greetings to the list.
> >
> > I'm looking for a book(s) published in 1989 by
> > Marshall Cavendish Ltd called "Die Renaissance."
> > It's
> > at least a 2 volume set (a friend has volume 2).
> > There's no ISBN and no editor listed.
> >
> > It's in German, but I suspect it was published in
> > London. I happened across another book published by
> > Marshall Cavendish Ltd and the city listed was
> > London.
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume

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Date: Wed, 17 Jul 2002 11:27:27 -0400
Status: RO

I was thinking the same thing. I sew at the kitchen table, and it tends to
look like there has been been a massive explosion at a thread factory!

But I did finish my lavender brocade Italian!! I put it up on eBay
though--it's beautiful. but it's synthetic, and I just don't want to wear it
now. You all have infected me!

Dianne
----- Original Message -----
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 11:43 AM
Subject: Re: [h-cost] Sewing in UK(WAS: different velvets)


> > and they would make something for the same purpose in their own way
> > - I make a bag, they make a box. But sewing takes less cleaning up
> > after!
>
> <laughs!>  Jean, it's obvious that you have never seen me sewing
>
> Teddy
> _______________________________________________
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From h-costume-admin@indra.com  Wed Jul 17 12:19:58 2002
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Subject: [h-cost] Help on Stain Removal
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Date: Wed, 17 Jul 2002 15:53:59 +0000
Status: RO

Oxi-Clean is a modern day miracle!  You can get it in the US at Wal-mart for 
pretty cheap.  It gets everything out!  I swear by the stuff!  It can also 
be used on old fabrics that have yellowed over time with great success.  
It's gentle and really gets the stain out of all colors.  "Gets your whites 
whiter and your brights brighter!"  I use it as an additive to all my loads 
of wash, a tough stain can be treated by making a paste and applying 
directly and can be used to soak items overnight for ease of washing the 
next day.  It seems to work best is warm water, but still works fine in 
cooler temps.

This is one "As seen on TV" items that is really a good thing.

:)  jessica

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Subject: Re: [h-cost] Sewing in UK(WAS: different velvets)
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Date: Wed, 17 Jul 2002 16:54:50 +0100 (BST)
Status: RO

 --- Dianne and Greg Stucki <goofy1@suscom.net> wrote: > 
> But I did finish my lavender brocade Italian!! I put it up on eBay
> though--it's beautiful. but it's synthetic, and I just don't want to wear it
> now. You all have infected me!
> 
> Dianne

Dianne, send us the link, I would love to see it!

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, 17 Jul 2002 09:43:18 -0700
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> > (It was a very short skirt and my research assistant kept
> > complaining about how the guys were ogling me on the Underground.
> 
> Next time you'll have to pack more of them!

Honey, that was 30# ago and how many years ago! I can't fit in the 
little darlings anymore and it would look like mutton dressed up as 
lamb to try!!


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 17 Jul 2002 09:43:19 -0700
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>   And apparently one
> of the few who can do basic maintenance on the machines, so that I
> still have 14 working old Singers - the simple kind built for schools
> back in the 70s, that are all metal, and are fairly hard for the kids
> to destroy.  

Probably 60s. Singer came out with the Touch-N-sew (also known 
as Touchy-sew) in the mid-60s. They quit making all metal 
machines about that time. (Damn them!) Even the schools had the 
Touchy-sews. In 1966 we had all new Touchy-sews and 2 of the old 
metal Singers. They got rid of the last of them within 2 years and 
got more of the Touchy-sews.

Mom actually bought a TouchySew for me when I took that class 
(so I wouldn't touch her beloved White). It was the model one up 
from the base version we had at school. I used it for years and 
would probably still have it except that was what my ex-husband 
was using to bash open a trunk when the SWAT team came to 
take him out of the house he was trashing. (I had been divorced 
from him for 2 1/2 years at that time.)  Fortunately, he thought the 
brand new Pfaff was my roommates or he would have destroyed it 
too. Instead he just pulled over the bookshelf it was on.

>  I justify that under the How to do Laundry
> unit, specifically titled as the How to Avoid Pink Underwear lesson.

I hope your students appreciate you! You teach them what they 
need to know but manage to make it fun at the same time. (No, I 
won't sing the Mary Poppins "Spoonful of sugar" nursery cleaning 
song. No, I won't or it will be with me all day!)

Too bad you couldn't have just the special ed kids as a special 
class. I bet they'd enjoy it (unless they were severe and profound) 
the way you describe teaching it. 


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Cope on display in V&A (WAS: different velvets)
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> > That does sound more like a cope, but I don't remember a red cope at
> > the V&A. (I'll have to look through my pictures as I got shots of
> > everyone of the copes on display, the the dismay of my research
> > assistant.) 
> 
> You must have a picture of it then... Of cousre, you'll then find it
> was actually a dark blue brocade altercloth and that I've just
> misremebered the details....<G>
> Teddy

Oh, Teddy darling, you could do us one even better. *You*, who live 
so close to the actual source, could go to the V&A and look at it 
and tell us. That way we *know* that we aren't mixing up copes. ;)


Kat 

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Date: Wed, 17 Jul 2002 12:38:13 -0400
Status: RO

A pattern company - Truly Victorian - run by Heather and Laura McNaughton, make a bustle petticoat pattern that they have taught at Costume College in Van Nuys, CA.  It has a smooth front with the bustle cage wire at the back with an optional ruffle overlay designed specifically for those 1870-1880 costumes.  They also have a plain petticoat version.  Their web site is www.trulyvictorian.com.  They are both fantastic women, extremely knowledgeable and great teachers!(I made one in their class and it came out just as they said!)

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com

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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 12:47:41 -0400
Status: RO

> If I may say so, I am amazed that something like this is taught in 
the US, as I
> haven't come across anything like that in my German NorthRhine 
Westphalian 13
> years school career (graduated in 88 to go to Uni), because Home Ed 
was
> regarded as being backwards and interfering or something like that. I 
guess
> that was because Northrhine Westphalia was a very liberal left 
government and
> it was/is totally uncool to teach something like that. *laughs*

I'm going to add my voice to this sentiment, but the difference is that 
I'm a Californian!  When I was in school (lessee, that was about 1983-
1996) sewing was definately not taught, neither in the private school I 
attended for kindergarden through 2nd grade, nor the public schools I 
attended after that.  The emphasis was always on math and sciences, and 
during the early 90's, nearly all art programs were cut from California 
schools, making it even more rare to have something like Home Ec or 
Family Sciences or whatever they call it these days.  You had your pic 
of a general art class which taught painting and drawing, or you could 
chose a music course (either orchestra, band or choir) and if your 
school was really well funded, you had the option of theater and dance 
classes.  But no sewing.  I learned by virtue of having a mother who 
learned from her mother, etc.  Basically, once I discovered renaissance 
faires, she made it clear to me that if I wanted a costume, I had to 
sew it myself.  That got me motivated right quick!  

I was also a Girl Scout, and that was about the only enviornment 
outside of my own home where I was exposed to sewing.  Because, like, 
if you're lost in the wilderness, you're always going to have a sewing 
machine with you to make potholders, right?  Sheesh.  I had to learn 
survival skills from my mom as well (and now I can start fires with 
just a pile of dry leaves and two sticks!  My mom rocks!).  

> I find it very fascinating to hear that these things are taught and 
that indeed
> sewing is occasionally taught beyond primary school age. I remember 
we did a
> bit of cord making and easy embroidery and things like that in 
primary school
> (born in 69) for boys and girls, and fotball for boys and girls 
too. :-) 

I came into the world during the age of equal oppertunity between 
genders, which meant everyone had the pleasure of getting pelted in 
dodge ball, beaned with a softball and generally ridiculed by other 
students for not being sports inclined.  Ah, love that gender equality 
thing.  I'm hearing that schools are starting to clue into the hell of 
forced competitive sports in elementary schools and are starting to do 
away with games like dodge ball (the bane of my childhood existence) 
because they do more emotional damage than physical enhancement. And 
speaking as someone who once was a very small, very thin little girl 
who was more of a dreamer than a sports goddess, it's about damn time!

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." -Carl 
Sagan
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From: "Linda Walton" <linda.walton@dsl.pipex.com>
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 17:49:38 +0100
Status: RO

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>

> But the very best thing is still if you can learn to sew from your mom :-)
>

I can't resist this subject any longer:  all your comments have made me
realise how lucky I was in my schooldays !

They were so different that looking back feels like seeing a piece of living
history.  My school was in a village high in the Pennines, an area of lonely
hills in northern England.  (We relied on at least one extra week's holiday
a year when the snow was so deep that the school had to be closed.)  It took
everyone, boys and girls, between the ages of five and fifteen:  although a
new scheme of primary and secondary schools had been introduced by the
government, (with the break at eleven years), they were still building a new
secondary school in the next nearest town in my day.  As our numbers were
small, we gathered into groups for most lessons that were wider than the
single year of age which seems to be the norm for classes now, although the
boys did not do needlework and the girls did not do woodwork.  It was
pleasant to work in groups like that because when I was young the older ones
would help me with difficulties and encourage me, and when I was older I
found that teaching something to someone else was by far the best way to
learn it properly for myself.  Every Thursday afternoon, we would sit by the
windows, chatting quietly - which was an unusual liberty - and make 'useful'
items.

At first we learnt simple things:  I remember embroidering a canvas
dressing-table mat with brightly coloured wools, and making a pin cushion,
(which is still in my sewing box).  Later, there was a gingham apron, and
matching long sleeve protectors for when you were washing dishes.  How bored
I got with the long french seams up the sides of a nightdress, (all
handsewn), which had to be taken out and redone over and over again, until I
got them straight enough, and the stitches even enough.  Still, it has
proved useful training since.

Later, my parents moved house and I was lucky enough to win a scholarship to
a girls-only grammar school.  It was run by nuns, so the needlework was
definitely maintained at a high standard.  I remember a whole year when we
did all kinds of repairs - probably one of the most useful things I have
ever studied.  Once in our teens, we made a blouse, and then a skirt.
Eventually we were considered sensible enough to progress to the use of the
two precious sewing machines in the needlework room.  In my last year we
were allowed to choose what we wanted to make, and I shocked my teacher by
opting for a lined woollen cloak, although it was a fashion item, not a
historic reproduction.  To my amazement, I discovered that there was a whole
new world of tailoring techniques to acquire.

Subsequent learning has been from books, and from this excellent group.  But
we certainly seem to have covered far more needlework than most of you have
done.  It was fortunate that I did, because my mother couldn't sew for
toffee.  She told me that she was so bad at needlework when she was at
school that she was put on to leatherwork instead:  I had to do all the
family sewing as soon as I could manage it.  However, I know she could knit,
because I remember a fairisle jumper; although a neighbour taught me the
basics of knitting, (because my mother's work kept herfar too busy), and I
picked up the rest from a pattern book.  Somehow, I never seem to have
learned to crochet, but I enjoy making bobbin lace now - again self-taught.
Looking back, I am surprised that we continued to do needlework right
through school, although - because I was put in an 'academic' stream, we
never did any other sorts of "domestic science".  When I left school, I
still didn't know how to make a cup of instant coffee, let alone how to shop
for and cook a meal, or run a house, or care for children, (Perhaps
unconsciously they expected that we would all become nuns, or maybe - it has
just occurred to me - that was all they knew !)  Still, they had taught me
how to learn subjects from books, and that has sufficed.

My sister is a teacher of ten-to-eleven-year-olds, and - as far as I can
tell - the pressure is all on learning "the three r's".  This is probably
just as well because, although my sister was a very successful scientist
before she turned to teaching, she inherited my mother's sewing genes.
However, I think that we learned reading and tables and so on too, yet had
more peaceful and happy schooldays.  I regret that her pupils will never
enjoy sitting and sewing, (nor going for nature walks), as we did.  And how
will they make the leap into understanding the construction of early
clothing ?  How did you all manage to do it ?

yours sincerely,
Linda Walton
(in High Wycombe, Buckinghamshire, U.K.).

P.S.  Sorry this has turned out to be so long - nostalgia seems to have had
me in its grip . . .

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Subject: Re: [h-cost] English fabric shops
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Date: Wed, 17 Jul 2002 11:38:14 -0500
Status: RO

It took me a few days to dig the bag out, but I found a really nice
little shop in London which I jokingly call 'Plunkett and McLean' due to
the name's similarity to the movie. Actually the name is MacCulloch and
Wallis Ltd. It's located on a little side street off of Oxford Street
called Dering Street. It's between the Bond Street and the Oxford Circus
Tube stations. It's got nice fabrics and the second floor has a terrific
notions section while the third floor has lots of millinery supplies.
They even sell corset laces! 


Karen

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From: Megan Irvine <mirv01@yahoo.com>
Subject: Burda Mag alive and well, was Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 09:52:01 -0700 (PDT)
Status: RO

--- N Kipar <nicolas_fouquet@yahoo.com> wrote:
[snip]
> I find that there were lots of very nice and useful sewing
> magazines in germany
> back in the 80s (Burda publishing house) with superb fashionable
> patterns. Most
> of all 'Burda International'. I think most were just petered out
> and stopped.
> *sigh*
[snip]

Burda is alive and well and translated into English! AND, there is a
new Burda magazine for beginning sewers with easier patterns and more
detailed instructions in it (although I think it only is published
quarterly or something like that). I have been subscribed to Burda
mag for a couple of years now and I find the patterns fit me much
better than the large American pattern companies. If you are in the
US, you can subscribe via http://www.glpnews.com. If you have never
seen Burda magazine you should try it!!! 

Just a satisfied costumer/customer...

mirv


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

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From: "Marna Jean" <marnajean@shootingstarhistory.com>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Kendra's 1870 petticoat question
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Date: Wed, 17 Jul 2002 11:54:16 -0500
Status: RO

yes, but that pattern is too full at the top for late 1870's(natural form
dresses) the construction of wire bustles in that particular time frame is
totally different from anything I've seen on the web pattern wise. The plain
petticoat might be a better choice... but if you have a skirt pattern it
would be simple to just add the back ruffles for a petticoat made to your
skirt shape.
MJ

.  It has a smooth front with the bustle cage wire at the back with an
optional ruffle overlay designed specifically for those 1870-1880 costumes.
>
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References: <200207171516.g6HFGx226045@jabberwock.wonderland.com>
Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Wed, 17 Jul 2002 10:01:44 -0700
Status: RO

Yes, there's definitely an English-language version -- I have a library copy
in my house right now!

Having the Japanese version wouldn't be TOO bad, as the really cool thing
about the book is all of the amazing color photos.  But there is a really
interesting article by Janet Arnold on 18th c. dress construction that would
be a shame to miss.

- Kendra

----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 8:16 AM
Subject: Re: [h-cost] Kyoto Costume Institute


> they mailed me and told me the book was in japanese.
> was the stateside one?  I've only seen scans from it, but I thought it
> was in translation?
>
> .heather.
>
>
> > At least the price hasn't gone up, even though the cover might have
> > changed(or is the cover on the website actually the box for the video?).
I
> > bought mine a good five years ago and paid about $45 for it. But my
> > bookstore(whose employee went the extra mile in return for a peek at the
> > book)found a stateside source. This book is just priceless!!
> >
> > BTW, does anyone on the list know a rough conversion from Yen to US$ and
if
> > the video works in US VCR's In Japanese or English, to view some of
what's
> > in the book on video--for us that have frame advance or slow mo features
on
> > our VCRs--to get to view the actual costumes in possibly more than one
view.
> > Yum, Yum!
> >
> > Cindy Abel
> > ILL Coordinator
> > Health Sciences Library
> > Creighton University
> > 2500 California Plaza
> > Omaha NE 68178-0210
> > Phone: 402. 280-5144
> > Fax:     402.280-5134
> >
> >
> > _______________________________________________
> > 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  Wed Jul 17 13:34:21 2002
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Subject: Re: [h-cost] 1870's tie-back skirts
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Date: Wed, 17 Jul 2002 10:05:30 -0700
Status: RO

Thanks to everyone for the feedback on 1870's petticoats!

Marna Jean, can you describe this again?  I'm having trouble picturing what
you've described.

> some of the petticoats from that era had casings in the back panel to
shirr them up against the legs.

The dress I'm making is probably from about 1876 (it's the Janet Arnold c.
1874-77 dress -- looking at fashion plates, it looks like '75 or '76 to me).
That's good advice re: moving the bustle pad down -- I was definitely
planning on a flat front with ruffles down the back.

> I like a tier of ruffles down the back and a small bustle pad placed at
the low hip instead of the waistline for most dresses in that era. I would
also > suggest the front panel of the petticoat be smooth with the ruffles
confined to the side and back panels only - but it depends on when in the
late
> 70's you are talking-75 up to 1877 they were a bit fuller with 78-79 being
pretty slim, and starting to get fuller again in 1880. The ties aren't
> supposed to "bind" your legs together mearly pull the front of the dress
flat and you don't want it showing through that you are bipedal! *mercy!*

I have seen the Truly Victorian natural form petticoat pattern -- I'll have
to look at it more closely at Costume College!

- Kendra


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Subject: Re: [h-cost] Kyoto Costume Institute
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Date: Wed, 17 Jul 2002 10:11:29 -0700
Status: RO

>> BTW, does anyone on the list know a rough conversion from Yen to US$ 

Try the Universal Currency Converter here: http://www.xe.com/ucc/

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From h-costume-admin@indra.com  Wed Jul 17 13:39:50 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Burda Mag alive and well, was Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 18:11:35 +0100 (BST)
Status: RO

 --- Megan Irvine 
> Burda is alive and well and translated into English! 

Ohhh, I have to check how to get it in England! If all else fails I could ask
my mum to send it over I guess, but I hate asking them all the time or my
friends, because it is pretty impossible to send money to and fro the
continent. I know it sounds daft but it's true. English cheques areonly
accepted in England. bank transfers are exorbitantly expensive. BRING IN THE
EURO!!!!!!

megan, have you tried their specials? the trousers/blouses/skirts ones? they
come quarterly. do they still do the burda international? Burda's fit is
superb, I agree!

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] Kyoto Costume Institute - Revolution in Fashion carefully
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Date: Wed, 17 Jul 2002 10:29:54 -0700
Status: RO



The one I have is definitely in English - it is printed by Abbeville Press.
The first 24 pages are text - there is a forward by the French ambassador to
Japan (8 lines) a preface by the director of the National museum of modern
art in Kyoto (the parent organization of the costume institute) an
Introduction by the director of the costume institute and an  essay by Jean
Starobinski, a professor at the University of Geneva, and art critic on
Rococo and Neoclassicism - this essay has some black and white prints of
rococo art and architecture.  There is next an essay by Philippe Duboy,
Architecture Historian, Paris which also has some black and white
reproductions.  
Then the "meat" of the book starts with full color plates of garments on
mannequins, some close up and detail shots until page 108 - these have no
text at all on the page expect the page number - the language the book is
printed in would make no difference.

Following the full color section there are more essays, first one by Akiko
Fukai, the co-curator of the Kyoto costume institute called Rococo and
Neoclassical clothing. It makes some interesting observations and has some
black and white illustrations.   Next is an essay called "One More Desire:
Fashion Leaders of a Dramatic Era"  It discusses Pompadour, Marie Antoinette
and Josephine.  It has black and white prints of portraits of them and of
Vigee-Lebrun.   The next essay is by Toshio Horii, Professor of European
History, Osaka entitled "From an Age of Refinement to the world of the
Tempest.  It discusses the changes in society and dress that accompany the
social and political revolution.  There is one black and white print in
there.  

Pages 126-134 present an essay by Janet Arnold on the cut and construction
of Women's clothes in the Eighteenth Century.  This essay includes three of
her pattern drawings line in her big flat books but they are printed without
the grid lines - they are sill useful, they inculde the Sack or robe a la
francsois, the Robe Anglaise and an 1810 Muslin gown.  Martin Kamer, costume
historian and collector, Zug, Switzerland chimes in last with a three page
essay on Brilliant Adornments - the jewelry of the period.  There are no
illustrations in his essay.

Pages 138 - 153 are the plate commentary - there are lots of small black and
white photos of the same garments we see in the color plates here, with
extensive information about many of the items, including dates,  and
who/what museum owns the items.  There are also some additional period
illustrations in this section that help show the garments in their original
context.  Pages 154-155 contain information on the garments that were in the
exhibition but were not included in the color plates. There are eight
garments shown in black and white.

Pages 156-161 have a very interesting chronology and page 162 contains a
glossary continuing on to half of page 163 which then has the index up to
page 165.  Page 166 has the credits of the show.

So - the pictures are worth a thousand words but the words aren't too bad
either.  I would probably buy the book in Japanese if I didn't already have
it in English, then I would check out a copy from the library and read the
English parts, make notes on the interesting stuff and keep the notes with
the Japanese copy.  But, I have already done that with numerous non-english
fashion books that are "photo heavy" - if that is your style, then you must
get this book. 

I hope this helped and hasn't bored you all silly.
Agnes

> From: Heather Meadows <alice@wonderland.com>
> Reply-To: h-costume@indra.com
> Date: Wed, 17 Jul 2002 08:16:59 -0700 (PDT)
> To: h-costume@indra.com
> Subject: Re: [h-cost] Kyoto Costume Institute
> 
> they mailed me and told me the book was in japanese.
> was the stateside one?  I've only seen scans from it, but I thought it
> was in translation?
> 
> .heather.
> 
> 
>> At least the price hasn't gone up, even though the cover might have
>> changed(or is the cover on the website actually the box for the video?). I
>> bought mine a good five years ago and paid about $45 for it. But my
>> bookstore(whose employee went the extra mile in return for a peek at the
>> book)found a stateside source. This book is just priceless!!
>> 
>> BTW, does anyone on the list know a rough conversion from Yen to US$ and if
>> the video works in US VCR's In Japanese or English, to view some of what's
>> in the book on video--for us that have frame advance or slow mo features on
>> our VCRs--to get to view the actual costumes in possibly more than one view.
>> Yum, Yum!
>> 
>> Cindy Abel
>> ILL Coordinator
>> Health Sciences Library
>> Creighton University
>> 2500 California Plaza
>> Omaha NE 68178-0210
>> Phone: 402. 280-5144
>> Fax:     402.280-5134
>> 
>> 
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> 
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 18:30:02 +0100 (BST)
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 --- Linda Walton <linda.walton@dsl.pipex.com> wrote: > 

*snippage*

Thanks Linda for sharing that, it was fascinating! I grew up in school during
the 80s (oh my, wasn't the music great and the hair styles silly, including my
own :-))) gender equality at home and at school wasn't even an issue, I guess
that germany was ahead, or maybe it was the part where I came from? That's more
likely. I wish though instead of just doing nothing they would have taught both
the guys and the gals needlework AND shop. I learned needlework all from my mum
and shop all from my dad. Yessir, I can and did and do build my own furniture
and DIY.

> enjoy sitting and sewing, (nor going for nature walks), as we did.  And how
> will they make the leap into understanding the construction of early
> clothing ?  How did you all manage to do it ?

With my mum's help, but the rest came via the academic approach. Books, books,
studying extant garments, learning how to 'read' and evaluate sources, etc. It
came through school and through Uni in combination with my mum's skills she
taught me. Nowadays I am better in some things than my mum (she cannot make
anything without a properly fitting pattern) and others I'll never reach her.
(her tailoring techniques are IMMACULATE! But that's my mum, always perfect
:-))

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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Roscelin, thanks for that awesome link!  There are many stores on that list 
that were not yet in my Favorite Places.  This will greatly expand my 
sources.  

I wonder if someone could make a page where we could all add our supply sites 
to create a "master list" of costuming supplies?

--Gillian, who doesn't know a darn thing about web design


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
Roscelin, thanks for that awesome link!&nbsp; There are many stores on that list that were not yet in my Favorite Places.&nbsp; This will greatly expand my sources.&nbsp; <BR>
<BR>
I wonder if someone could make a page where we could all add our supply sites to create a "master list" of costuming supplies?<BR>
<BR>
--Gillian, who doesn't know a darn thing about web design<BR>
<BR>
</FONT></HTML>
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<< We
could take "home economics" or sewing classes in school. (Boys were more
likely to take "shop" classes that included woodworking and similar
skills. Today I gather that the names of the classes are less
gender-oriented, and students are welcome to take whichever they want, but
I suspect some noticeable gender division remains in class makeup.)>>

I graduated in '93 in NY.  In middle school/junior high students of both 
sexes took 2 mandatory classes: Home Economics and Tech.  Home-Ec taught 
basic cooking and sewing, while Tech was architecture, electronic circuits, 
basic machines, and technical drawing.  There was only one class level of 
each, so there was no opportunity to continue your education in that area.  
So, for my school at least, the gender make-up was exactly the same as the 
gender make-up of the school itself.  Now I can carve an aerodynamic CO2 car 
from a block of wood, while my brother can sew on his own buttons. LOL

Can everybody add their own experiences?  I'd be curious to see how many of 
us are still exposed to sewing in school, and how that may be affecting the 
declining home sewing industry...

--Gillian the seamstress

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">&lt;&lt; We<BR>
could take "home economics" or sewing classes in school. (Boys were more<BR>
likely to take "shop" classes that included woodworking and similar<BR>
skills. Today I gather that the names of the classes are less<BR>
gender-oriented, and students are welcome to take whichever they want, but<BR>
I suspect some noticeable gender division remains in class makeup.)&gt;&gt;<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
I graduated in '93 in NY.&nbsp; In middle school/junior high students of both sexes took 2 mandatory classes: Home Economics and Tech.&nbsp; Home-Ec taught basic cooking and sewing, while Tech was architecture, electronic circuits, basic machines, and technical drawing.&nbsp; There was only one class level of each, so there was no opportunity to continue your education in that area.&nbsp; So, for my school at least, the gender make-up was exactly the same as the gender make-up of the school itself.&nbsp; Now I can carve an aerodynamic CO2 car from a block of wood, while my brother can sew on his own buttons. LOL<BR>
<BR>
Can everybody add their own experiences?&nbsp; I'd be curious to see how many of us are still exposed to sewing in school, and how that may be affecting the declining home sewing industry...<BR>
<BR>
--Gillian the seamstress</FONT></HTML>

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From: "Marna Jean" <marnajean@shootingstarhistory.com>
To: <h-costume@indra.com>
Subject: Re: [h-cost] 1870's tie-back skirts
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Date: Wed, 17 Jul 2002 12:32:39 -0500
Status: RO

Do you have Victorian Fashions and costumes from Harper's bazar1867-98 ,
Stella Blum, ed.?
if so look on page 146 view a- this petticoat shows a casing right above the
knee line to hold the fullness back- it could then be let out for
pressing/starching.

Basically if you are using Janet Arnold 74-77 pattern you will definitely
need some "fluff" underneath your tie back strings to get the desired shape
(I would say this dress is definitely 1876 or 77 because rounding the
armscye to the shoulder really didn't become popular until then-- or at
least that is the year the fashion magazines start showing and mentioning
it- I'm big on correct seamlines)
You can use the same front and side panels as the skirt, and make the back
panel shorter (basically remove the pleating on the sides) Then starting at
the hipline put tiers of ruffles that will cover the sideback and back
panels. If you want it somewhat "convertible" place a casing on the
petticoat in the same manner underneath the ruffles, or place ties in the
petticoat itself to hold it back. The ideal position for a casing would be
right at the top edge of a ruffle, so that it would serve to gather it in,
in a bit more controlled manner.
Still not sure I'm making sense- but if you can get to that book I think the
picture will make up for my failings in description.

MJ

>
>Marna Jean, can you describe this again?  I'm having trouble picturing what
>you've described.
>
>!
>
>- Kendra
>
>
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Subject: Re: [h-cost] photos
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Date: Wed, 17 Jul 2002 13:37:23 -0400
Status: RO

I just threw up a very quick web page for my photos. (I only have the onde
dress up so far!)

http://diannestucki.tripod.com/
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 11:54 AM
Subject: Re: [h-cost] Sewing in UK(WAS: different velvets)


> --- Dianne and Greg Stucki <goofy1@suscom.net> wrote: >
> > But I did finish my lavender brocade Italian!! I put it up on eBay
> > though--it's beautiful. but it's synthetic, and I just don't want to
wear it
> > now. You all have infected me!
> >
> > Dianne
>
> Dianne, send us the link, I would love to see it!
>
> 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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] English fabric shops
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Date: Wed, 17 Jul 2002 18:42:54 +0100 (BST)
Status: RO

 --- seamstrix@juno.com wrote: > It took me a few days to dig the bag out, but
I found a really nice
> little shop in London which I jokingly call 'Plunkett and McLean' due to
> the name's similarity to the movie. Actually the name is MacCulloch and
> Wallis Ltd. It's located on a little side street off of Oxford Street
> called Dering Street. It's between the Bond Street and the Oxford Circus
> Tube stations. It's got nice fabrics and the second floor has a terrific
> notions section while the third floor has lots of millinery supplies.
> They even sell corset laces! 
> 
> 
> Karen

Uhmm.. may I give a word of warning? the prices are exorbitantly exaggerated
and I found that the staff was most arrogant. BUT that may only have been my
two bad experiences, maybe they just had two bad days.

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] Kyoto Costume Institute
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Date: Wed, 17 Jul 2002 13:35:25 -0400
Status: RO


Seriously, if I were you I would hold out for the English version.
Besides the pictures, there is much info that I'm sure you would
want to read. I have used "Revolution" as a reference for writing
papers in grad school; one was on 18th c. fashion & one on Rococo
silk. IMHO, it's a really good source of info & pictures; a must-have.
I paid $85 for mine new when it first came out.
It's absolutely worth it I'm tellin ya...
Deb

> Having the Japanese version wouldn't be TOO bad, as the really cool thing
> about the book is all of the amazing color photos.

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Date: Wed, 17 Jul 2002 18:56:55 +0100 (BST)
Status: RO

 --- Dianne and Greg Stucki <goofy1@suscom.net> wrote: > I just threw up a very
quick web page for my photos. (I only have the onde
> dress up so far!)
> 
> http://diannestucki.tripod.com/

That's a lovely gown Dianne!

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, 17 Jul 2002 10:41:39 -0700
Status: RO

That's weird. I wonder why they told you that? The copy I got was all in 
English, not a word or character of Japanese anywhere to be seen.

Julie

At 10:19 AM 7/17/2002, you wrote:
>Message: 1
>From: Heather Meadows <alice@wonderland.com>
>Subject: Re: [h-cost] Kyoto Costume Institute
>To: h-costume@indra.com
>Date: Wed, 17 Jul 2002 08:16:59 -0700 (PDT)
>Reply-To: h-costume@mail.indra.com
>
>they mailed me and told me the book was in japanese.
>was the stateside one?  I've only seen scans from it, but I thought it
>was in translation?
>
>.heather.


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From: Wanda Pease <wandap@hevanet.com>
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Subject: Re: [h-cost] OT-looking for a book--Help!
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Date: Wed, 17 Jul 2002 10:44:03 -0700 (PDT)
Status: RO

If the is the pair of books I have it was published as a catalogue for an
exhibition in Heidelberg back in 1989.   This may be why there is no ISBN
number.  There weren't many copies
printed, but it does have some lovely pictures.  

Regina Romsey


On Wed, 17 Jul 2002, Kate M Bunting wrote:

> I've searched the database available to us, but no luck.
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> macailith@yahoo.com 07/17/02 02:10am >>>
> Greetings to the list.
> 
> I'm looking for a book(s) published in 1989 by
> Marshall Cavendish Ltd called "Die Renaissance." It's
> at least a 2 volume set (a friend has volume 2).
> There's no ISBN and no editor listed.
> 
> It's in German, but I suspect it was published in
> London. I happened across another book published by
> Marshall Cavendish Ltd and the city listed was London.
> 
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 

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Date: Wed, 17 Jul 2002 14:08:58 EDT
Status: RO


--part1_35.29d0c241.2a670cba_boundary
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<<The first stage penicillin reaction is the fine rash, I had
it too.
But that's just the sensitivity stage.

    Next time, watch out.  You may very well have an
anaphylactic reaction----hives, swelling--including major
swelling shut of the airway!----and extremely irregular
heart beat.
    In other words, you can be dead in 5 or 10 minutes, and it
won't be fun.>>
    

This happened to me as a young girl.  The first time I had penicillin, I got 
the rash -- but my mother thought it was a fever/heat rash.  The second time 
I had it I apparently got rushed to the ER.  I've had some other rather 
deadly allergic reactions in my lifetime -- especially to perfumes -- so I'm 
kinda chicken to press my luck with something that gives me a rash the first 
time.  Hence my fabric problem -- to get back on topic...  If I know American 
linens give me hives every time I wear them, I'm a bit timid about trying 
some labeled "organic Irish."  I mean, what if it is not the American 
processing?  What if our own over-processing is the only thing keeping me 
from a more deadly reaction?

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">&lt;&lt;The first stage penicillin reaction is the fine rash, I had<BR>
it too.<BR>
But that's just the sensitivity stage.<BR>
<BR>
&nbsp;&nbsp;&nbsp; Next time, watch out.&nbsp; You may very well have an<BR>
anaphylactic reaction----hives, swelling--including major<BR>
swelling shut of the airway!----and extremely irregular<BR>
heart beat.<BR>
&nbsp;&nbsp;&nbsp; In other words, you can be dead in 5 or 10 minutes, and it<BR>
won't be fun.&gt;&gt;<BR>
&nbsp;&nbsp;&nbsp; <BR>
<BR>
This happened to me as a young girl.&nbsp; The first time I had penicillin, I got the rash -- but my mother thought it was a fever/heat rash.&nbsp; The second time I had it I apparently got rushed to the ER.&nbsp; I've had some other rather deadly allergic reactions in my lifetime -- especially to perfumes -- so I'm kinda chicken to press my luck with something that gives me a rash the first time.&nbsp; Hence my fabric problem -- to get back on topic...&nbsp; If I know American linens give me hives every time I wear them, I'm a bit timid about trying some labeled "organic Irish."&nbsp; I mean, what if it is not the American processing?&nbsp; What if our own over-processing is the only thing keeping me from a more deadly reaction?<BR>
<BR>
--Gillian</FONT></HTML>

--part1_35.29d0c241.2a670cba_boundary--
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From: "Rebecca Schmitt" <lotsofteapots@charter.net>
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Subject: Re: [h-cost] Re: shop and home economics
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Date: Wed, 17 Jul 2002 13:16:16 -0500
Status: RO

>
> Can everybody add their own experiences?  I'd be curious to see how many
of
> us are still exposed to sewing in school, and how that may be affecting
the
> declining home sewing industry...
>
> --Gillian the seamstress
>

Well, when I was in jr. high (1984-85) we had 1 semester of Home Ec and 1 of
Shop. Each semester was cut into 2 quarters. When in HomeEc, I got a quarter
of cooking, which was rather fun and somewhat useful. It was after that that
I think Mom started to let me help in the kitchen.

The other quarter was sewing. I distinctly remember having to sew a pillow
in the shape of a letter (I picked K to give to my sister, whose birthday
was coming up, I think). I'm pretty certain we had to learn other stuff, but
I can only really remember the pillow.

However, the summer before starting high school, my mother passed by a local
fabric shop in the mall where my dad's shop was and saw a schoolmate of mine
learning to sew from the manager there. The deal was she could use the
machines in the shop if she bought what she needed there. (The manager was a
family friend of hers, I think). Mom asked if I could get the same deal, so
I spent a few days a week in the fabric store picking out patterns and
fabric and learning how to sew! That was much more useful than the pillow.
After that I really didn't do much sewing until I started college. I can
remember the surprise in my mother's voice when I asked for a sewing machine
for Christmas :-) Now the majority of my sewing is historical - there's no
time to make mundane clothes!

**********************
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
**********************


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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
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Subject: Re: [h-cost] Kyoto Costume Institute - Revolution in Fashion carefully desctibed
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Date: Wed, 17 Jul 2002 18:37:13 +0000
Status: RO

I'll buy the  book, whatever the language. I want the IMAGES. The text I'll 
photocopy from the copy I got in the library, if I must. The really, really 
important thing is the images. Although it is good to know which parts of 
the costumes are originals and which parts are reproductions (a lot of the 
shoes are reproductions, for example, and so are most of the gloves).

>So - the pictures are worth a thousand words but the words aren't too bad
>either.  I would probably buy the book in Japanese if I didn't already have
>it in English, then I would check out a copy from the library and read the
>English parts, make notes on the interesting stuff and keep the notes with
>the Japanese copy.  But, I have already done that with numerous non-english
>fashion books that are "photo heavy" - if that is your style, then you must
>get this book.


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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Sewing in UK(WAS: different velvets)
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Date: Wed, 17 Jul 2002 19:45:18 +0100
Status: RO

Teddy <teddy1@mdx.ac.uk> wrote
>> and they would make something for the same purpose in their own way
>> - I make a bag, they make a box. But sewing takes less cleaning up
>> after!
>
><laughs!>  Jean, it's obvious that you have never seen me sewing
>
>Teddy

Not unless your sewing propels dust into every part of the house like 
power sanding does!

-- 
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Subject: Re: [h-cost] Re: different velvets
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Date: Wed, 17 Jul 2002 19:44:31 +0100
Status: RO

Debbie Lough <debbie_lough@yahoo.co.uk> wrote
>Quick note on velvet boards (which I'm pretty sure John Lewis sell). 
>Obviously, they're used to avoid crushing the pile when pressing
>velvets/velours/velveteens/anything else with a pile.
>
>My Nana (trained as a tailor in the 40s) taught me to use a big fluffy towel,
>laid over the ironing board, (white or cream, to avoid problems with colour
>bleed).  Provided the pile on the towel is deep enough, and the velvet is
>pressed face down, it does the same job, in preventing the velvet pile from
>being crushed.
>
>Debbie.
>

Quick and dirty version - another bit of velvet, especially that 
disgusting yellow shade of curtains you find in charity shops!

Jean
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 19:42:35 +0100
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote
> --- Rowena <sleepyunicorn@citlink.net> wrote: >
>
>> As I teach Home Ec (now FaCs - Family & Consumer Skills) in Central New
>> York,  I know that all students in 6, 7, or 8th grades (about ages 11-13)
>> must get in about 30 weeks of  Home Ec, mandated by the state.
>
>If I may say so, I am amazed that something like this is taught in the US, as I
>haven't come across anything like that in my German NorthRhine Westphalian 13
>years school career (graduated in 88 to go to Uni), because Home Ed was
>regarded as being backwards and interfering or something like that. I guess
>that was because Northrhine Westphalia was a very liberal left government and
>it was/is totally uncool to teach something like that. *laughs*
>I find it very fascinating to hear that these things are taught and that indeed
>sewing is occasionally taught beyond primary school age. I remember we did a
>bit of cord making and easy embroidery and things like that in primary school
>(born in 69) for boys and girls, and fotball for boys and girls too. :-)

We did a schools day at the recent event, and I was really surprised how 
interested the girls, particularly, were in my luceting.  We pushed 
women's work quite a lot as important stuff that needs to be done, and 
the whole management aspect of being left to keep the manor while the 
men go off to war, but I was surprised how they gravitated to learn what 
we were doing.  I don't think they do much real handwork in schools now 
- mostly consumer education and fashion type stuff.

>I still wear big baggy shirts mostly to work from the re-enactor's market or
>self made to work, mostly because I hate the clothes one can buy in England
>(sorry, fellow UK'ers but the fashion in this country is appalling, ugly,
>synthetic, stretchy skin tight stuff in horrid colours for skinny 14 year olds
>*shudder* ;-)

Let's see, is there anyone on this list, in the UK, who actually *likes* 
current fashion??  It's not the impression I've got from people.  I find 
myself wishing I could wear Norman to work, but it might not give the 
best impression, as a civil servant!  And then I wouldn't get promoted 
to a high enough salary to wear all the linen, wool and silk I covet :-)

Jean

>When I actually bought a frilly black shirt in Etam the other
>week because it was cotton and marked down to 8 pounds my colleagues squealed
>'Oh my god, she is wearing a shirt with BUTTONS!'
>*grins*
>you should hearthem screeching when I wore a bogstandard t-shirt underneath an
>open baggy laced shirt...
>
>Nicole - with a cold at home and not wanting to sew because of feeling rotten.
>
>=====
>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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>from News and Sport to Email and Music Charts
>http://uk.my.yahoo.com
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Date: Wed, 17 Jul 2002 11:45:33 -0700
Status: RO


>But the very best thing is still if you can learn to sew from your mom :-)
>
>
>>As I teach Home Ec (now FaCs - Family & Consumer Skills) in Central New
>>York,  I know that all students in 6, 7, or 8th grades (about ages 11-13)
>>must get in about 30 weeks of  Home Ec, mandated by the state.

Neither one of my kids, here in California, had to take any Home Ec 
classes.  One refused to learn to sew, preferring to wheedle me into doing 
it, and the other one bugging me to teach her to crochet, and 'next time I 
see you, lets sew some doll clothes'.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Wed, 17 Jul 2002 11:52:25 -0700
Status: RO


>I came into the world during the age of equal oppertunity between
>genders, which meant everyone had the pleasure of getting pelted in
>dodge ball, beaned with a softball and generally ridiculed by other
>students for not being sports inclined.  Ah, love that gender equality
>thing.  I'm hearing that schools are starting to clue into the hell of
>forced competitive sports in elementary schools and are starting to do
>away with games like dodge ball (the bane of my childhood existence)
>because they do more emotional damage than physical enhancement. And
>speaking as someone who once was a very small, very thin little girl
>who was more of a dreamer than a sports goddess, it's about damn time!

Where I came into the (California) world before that time.  My high school 
councillor told me I could do anything I wanted, as long as it wasn't wood 
shop, metal shop, or auto shop.  We had the mandatory Home Ec classes, in 
junior high, where I wasn't allowed to sew as well as I knew how because it 
was in advance of what the rest of the class was doing.  The boys couldn't 
take cooking or sewing at this time either.  All I remember from the 
cooking unit was that once I had to figure out the cost of two stewed 
prunes to the nearest tenth of a cent.  To this day I'm not much of a 
cook.  But I sewed my first historical, hat, purse, and dress, in 1971.

Kayta

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From: kj green <macailith@yahoo.com>
Subject: Re: [h-cost] OT-looking for a book--Help!
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Date: Wed, 17 Jul 2002 12:04:10 -0700 (PDT)
Status: RO

Thank you for the information! I have some other
questions:
Do you remember if there was a house associated with
the show? 
Or, who managed/directed the show?
Was it School of History at Heidelberg or School of
Art? 
Were there paperbacks?

Any help would be most appreciated!
kate



--- Wanda Pease <wandap@hevanet.com> wrote:
> If the is the pair of books I have it was published
> as a catalogue for an
> exhibition in Heidelberg back in 1989.   This may be
> why there is no ISBN
> number.  There weren't many copies
> printed, but it does have some lovely pictures.  
> 
> Regina Romsey
> 
> 
> On Wed, 17 Jul 2002, Kate M Bunting wrote:
> 
> > I've searched the database available to us, but no
> luck.
> > 
> > Kate Bunting
> > Library, University of Derby
> > 
> > >>> macailith@yahoo.com 07/17/02 02:10am >>>
> > Greetings to the list.
> > 
> > I'm looking for a book(s) published in 1989 by
> > Marshall Cavendish Ltd called "Die Renaissance."
> It's
> > at least a 2 volume set (a friend has volume 2).
> > There's no ISBN and no editor listed.
> > 
> > It's in German, but I suspect it was published in
> > London. I happened across another book published
> by
> > Marshall Cavendish Ltd and the city listed was
> London.
> > 
> > 
> > 
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> 
> _______________________________________________
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Date: Wed, 17 Jul 2002 13:59:42 -0500
Status: RO

I will confess that I don't shop there on a regular basis- that whole
trans-Atlantic thng is so annoying- but the couple of times I have been
there I have had reasonable help (I didn't need much, perhaps if I had,
I'd have a better idea of how friendly they are/not) and the prices
seemed in line. They sell high-end fabric so I expect to pay for it.
Maybe I wasn't doing the mental currency conversion properly or maybe I
just don't realize the price I can get them from at other places? Still,
I found that they had many of the items I was interested in buying for
prices I didn't mind paying so, all in all, I'm pretty happy with them.


Karen





On Wed, 17 Jul 2002 18:42:54 +0100 (BST) =?iso-8859-1?q?N=20Kipar?=
<nicolas_fouquet@yahoo.com> writes:
> 
> Uhmm.. may I give a word of warning? the prices are exorbitantly 
> exaggerated
> and I found that the staff was most arrogant. BUT that may only have 
> been my
> two bad experiences, maybe they just had two bad days.
> 
> 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: "Marna Jean" <marnajean@shootingstarhistory.com>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Re: OT Allergies vs Reactions
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Date: Wed, 17 Jul 2002 14:01:35 -0500
Status: RO

This is a multi-part message in MIME format.

------=_NextPart_000_0031_01C22D9A.7648EF20
Content-Type: text/plain;
	charset="iso-8859-1"
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I don't know about linen- but wool processing commercially is very =
harsh-  first it is "carbonized" in a mild acid bath to remove vegetable =
matter, then it has to be "rehydrated" before  it is fit to use. Linen =
in itself can cause allergic reactions in some in hand processing- the =
processing (retting, hackling, combing) releases tiny particles into the =
air that can actually cause a "black lung" (you know the disease the =
coal miners got?) type of disease in those who process  it frequently. =
'Tho this isn't a problem with just wearing it. I have to wear a mask =
when hackling flax, but can spin it with no problem without causing =
allergic reactions. (In fact my 1840's dowry wheel is dressed with it =
now) I have found many people can touch/wear hand processed wool, that =
thought they were allergic, but if you are allergic to all sorts of =
fur/hair- then I don't think that would help. I'm not sure if it would =
be the fiber itself on the linen, or the processing- If you could get =
your hands on  a hank of flax  it might help you decide- but can =
understand your hesitation.

Most hand processed fibers are quite pricey-so silk may be your cheapest =
route, although some rayons make very good silk substitutes- notice I =
said SOME of them- as the spin/weave structure has to be the same. =
Chemically rayon is a  "regenerated" cellulose fiber - made to make use =
of unspinnable cellulose particles and if spun and woven the same way =
can look great. Acetate is also "manufactured" or "modified" from =
cellulose fibers which also gives it a better look than polyester or =
nylon which are basically thermoplastics. I've seen some nice fabrics in =
cotton/acetate that look quite good and were washable (despite what it =
said on the bolt). So perhaps you aren't confined to "just" cotton- and =
still have a nice look.
MJ

    Hence my fabric problem -- to get back on topic...  If I know =
American linens give me hives every time I wear them, I'm a bit timid =
about trying some labeled "organic Irish."  I mean, what if it is not =
the American processing?  What if our own over-processing is the only =
thing keeping me from a more deadly reaction?

  --Gillian=20

------=_NextPart_000_0031_01C22D9A.7648EF20
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Dwindows-1252" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2919.6307" name=3DGENERATOR></HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Times New Roman">I don't know about linen- but wool =
processing=20
commercially is very harsh-&nbsp; first it is "carbonized" in a mild =
acid bath=20
to remove vegetable matter, then it has to be "rehydrated" before&nbsp; =
it is=20
fit to use. Linen in itself can cause allergic reactions in some in hand =

processing- the processing (retting, hackling, combing) releases tiny =
particles=20
into the air that can actually cause a "black lung" (you know the =
disease the=20
coal miners got?) type of disease in those who process&nbsp; it =
frequently. 'Tho=20
this isn't a problem with just wearing it. I have to wear a mask=20
when&nbsp;hackling&nbsp;flax, but can spin it with no problem without =
causing=20
allergic reactions.&nbsp;(In fact my 1840's dowry wheel is dressed with =
it now)=20
I have found many people can touch/wear hand processed wool, that =
thought they=20
were allergic, but if you are allergic to all sorts of fur/hair- then I =
don't=20
think that would help. I'm not sure if it would be the fiber itself on =
the=20
linen, or the processing- If you could get your hands on&nbsp; a hank of =
flax =20
it might help you decide- but can understand your =
hesitation.</FONT></DIV>
<DIV><FONT face=3D"Times New Roman"></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">Most hand processed fibers are quite =
pricey-so=20
silk may be your cheapest route, although some rayons make very good =
silk=20
substitutes- notice I said SOME of them- as the spin/weave structure has =
to be=20
the same. Chemically rayon is a&nbsp; "regenerated" cellulose =
fiber&nbsp;- made=20
to make use of&nbsp;unspinnable cellulose particles and if spun and =
woven the=20
same way can look great. Acetate is also "manufactured" or "modified" =
from=20
cellulose fibers which also gives it a better look than polyester or =
nylon which=20
are basically thermoplastics.&nbsp;I've seen some nice fabrics in =
cotton/acetate=20
that look quite good and were washable (despite what it said on the =
bolt). So=20
perhaps you aren't confined to "just" cotton- and still have a nice=20
look.</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">MJ</FONT></DIV>
<DIV>&nbsp;</DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: =
5px"><FONT=20
  face=3Darial,helvetica><FONT face=3DArial lang=3D0 size=3D2 =
FAMILY=3D"SANSSERIF">&nbsp;=20
  Hence my fabric problem -- to get back on topic...&nbsp; If I know =
American=20
  linens give me hives every time I wear them, I'm a bit timid about =
trying some=20
  labeled "organic Irish."&nbsp; I mean, what if it is not the American=20
  processing?&nbsp; What if our own over-processing is the only thing =
keeping me=20
  from a more deadly reaction?<BR><BR>--Gillian</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0031_01C22D9A.7648EF20--

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Date: Wed, 17 Jul 2002 15:09:08 EDT
Status: RO


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> and they would make something for the same purpose in their own way
> - I make a bag, they make a box. But sewing takes less cleaning up
> after! 

<laughs!>  Jean, it's obvious that you have never seen me sewing

Teddy>


Nor me!  I get in trouble with my fiance' all the time because my sewing 
begins to overflow out of my sewing room.  Not to mention all the cut threads 
that get tracked across our burgundy carpets when I leave the sewing room for 
breaks, to answer the phone, etc.  I make much less mess when I carve and 
sand wood, because I do it over a trash bag cut open like a tarp that gets 
thrown away afterwards.

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
&gt; and they would make something for the same purpose in their own way<BR>
&gt; - I make a bag, they make a box. But sewing takes less cleaning up<BR>
&gt; after! <BR>
<BR>
&lt;laughs!&gt;&nbsp; Jean, it's obvious that you have never seen me sewing<BR>
<BR>
Teddy&gt;<BR>
<BR>
<BR>
Nor me!&nbsp; I get in trouble with my fiance' all the time because my sewing begins to overflow out of my sewing room.&nbsp; Not to mention all the cut threads that get tracked across our burgundy carpets when I leave the sewing room for breaks, to answer the phone, etc.&nbsp; I make much less mess when I carve and sand wood, because I do it over a trash bag cut open like a tarp that gets thrown away afterwards.<BR>
<BR>
--Gillian</FONT></HTML>

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Subject: Re: [h-cost] Re: shop and home economics
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Date: Wed, 17 Jul 2002 13:22:58 -0600
Status: RO


When I was in Jr High (grades 7-8), you either took shop or Home Ec.
Unsurprisingly, it was mostly divided by gender.  Some girls took
shop, but no boys took Home Ec.

Each of the two years was basically the same, but advancing on
previous skills.  1/3 homemaking and health (laundry, table setting,
balancing a check book, shopping, meal planning, baby care, etc, and
Sex Education), 1/3 cooking, and 1/3 sewing.  

I had already learned to sew from my mom, so I was a bit bored at
first with the sewing.  In the first year, we made something simple -
a backpack.  I might even still have it, since it was denim with a
zipper and held up really well.  Very simple design of a closed
rectangle that folded over with a zipper in the middle crease and
straps on one half of the outside.

In the second year, we made a garment.  I chose a simple darted skirt
pattern of about 4 pieces.  Many of the other girls chose patterns for
"Gunny Sax" brand skirts.  "Gunny Sax" dresses were all the rage in
1976-80, and girls wore them to proms a lot.  They were very frilly
and had ruffles and gathers all over the place.  My best friend's
Gunny Sax skirt was, I'm not kidding, something like 23 pieces.  I was
done my sewing project in about a week, with 2 weeks left to go.  I
spent the next two weeks helping all the other girls with their
skirts, and still many of them never finished them.

In high school I started making stage costumes, and I made Halloween
costumes for friends in college.  A few years after that, I became an
SCA garb merchant.  Now I just sew for my friends and family again,
and for the occasional stage production (the last was Gilbert &
Sullivan's THE GONDOLIERS for MIT last April).

I'm blessed to live in Boston, home of many good fabric stores, and I
buy from SCA merchants (many have very little markup since they have
low overhead).

						...eliz
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Date: Wed, 17 Jul 2002 15:17:37 -0400
Status: RO

You can usually find it at Walmart or Target, at least in Florida.  We love
the stuff.-)
Moira

> Nancy, try Oxi Clean. . I am sure you can get it in the US too? here it is
> sold in Asda's and at Lakeland.
>
> Nicole


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Date: Wed, 17 Jul 2002 14:13:23 -0500
Status: RO

I had a wonderful mother who sewed (and now makes me draft patterns for her
and do the fitting on my hard to fit baby sister) and a Beloved home-ec
teacher Mrs. Prickett- who made me do a tailored jacket when the rest of the
kids were making pillowcases, and  design/draft my own prom dress my junior
year, because I needed a challenge. *grin* It was a small school but she
was/is my hero- she could hunt, fish, operate a skill saw with ease (we
actually went out one week and took over the shop to make these coat racks
that had little padded insets that we machine appliqued) She had us make a
formal dinner for the school board, had us put on a banquet for the local
senior citizens every Christmas, and put me in charge of costuming the All
school play when I was a sophomore. She was a really terrific lady to work
for- You should have seen our Jr./Sr. prom(she was my class's sponsor as
well)- we actually built a moat in the rec-room complete with sea-monsters
that had smoke rolling from their nostrils.  *sigh*
got to look her up next time I get home....
MJ ...who is now homesick for her home-ec teacher


We had the mandatory Home Ec classes, in
>junior high, where I wasn't allowed to sew as well as I knew how because it
>was in advance of what the rest of the class was doing.  The boys couldn't
>take cooking or sewing at this time either.  All I remember from the
>cooking unit was that once I had to figure out the cost of two stewed
>prunes to the nearest tenth of a cent.  To this day I'm not much of a
>cook.  But I sewed my first historical, hat, purse, and dress, in 1971.
>
>Kayta
>
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
>/----\   /---\))
>
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Date: Wed, 17 Jul 2002 12:32:19 -0700
Status: RO

There's lots of currency converters on line, but the yen usually trades for 
somewhere between 100 and 120 yen to the dollar. Just figure one hundred to 
the dollar and youv'e got a rough conversion. That's what they charged me 
for the Revolution in Fashion book - it was listed at 2,200 (twenty-two 
humdred) yen and they charged me twenty-two dollars.

Julie

At 11:14 AM 7/17/2002, you wrote:

>Message: 4
>Date: Wed, 17 Jul 2002 10:11:29 -0700
>To: h-costume@indra.com, h-costume@indra.com
>From: Margo Anderson <margo@margospatterns.com>
>Subject: Re: [h-cost] Kyoto Costume Institute
>Reply-To: h-costume@mail.indra.com
>
> >> BTW, does anyone on the list know a rough conversion from Yen to US$
>


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Date: Wed, 17 Jul 2002 12:54:38 -0700
Status: RO


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Azelana@aol.com wrote:

> Roscelin, thanks for that awesome link!  There are many stores on that 
> list that were not yet in my Favorite Places.  This will greatly 
> expand my sources.  

Thanks.  I was wondering if anyone had tried the link out yet.  I've 
only started to look at it.  I fell in love with the silk prices at 
 Thai Silk, but I'm going to wait to buy until I look at some swatches. 
It was suggested by my great teacher, Kat.  Hi Kat!

> I wonder if someone could make a page where we could all add our 
> supply sites to create a "master list" of costuming supplies?

I've thought about that also.  I would love to do it since, I have the 
time and web space.  So, folks, start to give me great links and I will 
start to do a webpage for us and any other costumer.


Roscelin



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<html>
<head>
</head>
<body>
<br>
<a class="moz-txt-link-abbreviated" href="mailto:Azelana@aol.com">Azelana@aol.com</a> wrote:<br>
<blockquote type="cite" cite="mid:16.22440cb4.2a6703e4@aol.com"><font face="arial,helvetica"><font size="2" family="SANSSERIF" face="Arial" lang="0">
Roscelin, thanks for that awesome link!&nbsp; There are many stores on that list
that were not yet in my Favorite Places.&nbsp; This will greatly expand my sources.&nbsp;
  </font></font></blockquote>
Thanks. &nbsp;I was wondering if anyone had tried the link out yet. &nbsp;I've only
started to look at it. &nbsp;I fell in love with the silk prices at &nbsp;Thai Silk,
but I'm going to wait to buy until I look at some swatches. It was suggested
by my great teacher, Kat. &nbsp;Hi Kat!<br>
  <blockquote type="cite" cite="mid:16.22440cb4.2a6703e4@aol.com"><font face="arial,helvetica"><font size="2" family="SANSSERIF" face="Arial" lang="0">
I wonder if someone could make a page where we could all add our supply sites
to create a "master list" of costuming supplies?</font></font></blockquote>
I've thought about that also. &nbsp;I would love to do it since, I have the time 
and web space. &nbsp;So, folks, start to give me great links and I will start
to do a webpage for us and any other costumer.<br>
    <br>
    <br>
Roscelin<br>
    <br>
    <br>
    </body>
    </html>

--------------090803020200040803030201--

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Date: Wed, 17 Jul 2002 20:23:37 +0000
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>Thanks.  I was wondering if anyone had tried the link out yet.  I've only 
>started to look at it.  I fell in love with the silk prices at Thai Silks

me too, but I keep asking myself just WHAT kind of silk I should buy for 
which period...

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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Wed, 17 Jul 2002 16:16:18 -0400
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> Where I came into the (California) world before that time.  My high 
school 
> councillor told me I could do anything I wanted, as long as it wasn't 
wood 
> shop, metal shop, or auto shop.  We had the mandatory Home Ec 
classes, in 
> junior high, where I wasn't allowed to sew as well as I knew how 
because it 
> was in advance of what the rest of the class was doing.  The boys 
couldn't 
> take cooking or sewing at this time either.  All I remember from the 
> cooking unit was that once I had to figure out the cost of two stewed 
> prunes to the nearest tenth of a cent.  To this day I'm not much of a 
> cook.  But I sewed my first historical, hat, purse, and dress, in 
1971.

Reminds me of a dear friend of mine, who sounds to be about your age, 
Kayta.  She told me that her high school counselor told her "Don't 
worry about college, dear.  Just find yourself a nice man and get 
married." This was circa 1970 or so, right about the time that that 
whole "Wymmn's Movement" thing was going on, too.  

My experience was decidedly different 20 years later.  I was pushed so 
hard in school to excel at math and science that when it became obvious 
I was more artistically inclined, the reaction was to try and beat the 
living arts right out of me.  Figuratively speaking, of course. ;)  
Now, my experience in university has been such that in my last 
chemistry class I took, out of 100 students enrolled, we had a total of 
5 males.  It was like being in an all-girls school.

Sarah
http://www.elizabethanlady.com
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Date: Wed, 17 Jul 2002 16:24:23 -0400
Status: RO

> >
> > Can everybody add their own experiences?  I'd be curious to see how many
> of
> > us are still exposed to sewing in school, and how that may be affecting
> the
> > declining home sewing industry...
> >
> > --Gillian the seamstress
> >
>
>


When they finally got around to sewing in school (Jr. like most people, and
it was for everyone), it was old hat.  We did a cover for the stool that we
all made in  shop class.

However, I drove the teacher nuts, as I had been sewing for about 8 years at
that point.  Mom taught me about age 5- when she got sick of having to make
new doll clothes for me (I had started wrapping fabric around my Barbies
about age 4 or so).  She decided to save her sanity and teach me to do for
myself.

Let me tell you how she laughs now- since I have been sewing for a living
for the past 11 years.  Between working for a designer as a machine operator
("here's a Vogue pattern, I've lost the directions, make it" was a common
instruction), and sewing historical pieces, if you can wear it, I've pretty
much made it.  Sometimes I scare myself. . .

Lyn Greaves
Lady Rosamund d'Alwareton
Thorny Rose

"I could rule this place with the right set of mammary glands. . . "

          --- Lara Flynn Boyle, MIIB




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From: Megan Irvine <mirv01@yahoo.com>
Subject: Re: Burda Mag alive and well, was Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 13:27:45 -0700 (PDT)
Status: RO

Yes, I get all the extra issues, except for the kids fashion (I don't
have any kids).  Plus and Petites come once a year and then
Pantst/Skirts/etc and the Beginners issue come twice a year. The
monthly magazine is called "Burda World of Fashion" and has about 60
patterns in it. Maybe you could get it through
http://www.glpnews.com/ in the UK? The ordering page does list prices
for airmail to other countries. Good luck.

--- N Kipar <nicolas_fouquet@yahoo.com> wrote:
>  --- Megan Irvine 
> > Burda is alive and well and translated into English! 
> 
> Ohhh, I have to check how to get it in England! If all else fails I
> could ask
> my mum to send it over I guess, but I hate asking them all the time
> or my
> friends, because it is pretty impossible to send money to and fro
> the
> continent. I know it sounds daft but it's true. English cheques
> areonly
> accepted in England. bank transfers are exorbitantly expensive.
> BRING IN THE
> EURO!!!!!!
> 
> megan, have you tried their specials? the trousers/blouses/skirts
> ones? they
> come quarterly. do they still do the burda international? Burda's
> fit is
> superb, I agree!
> 
> 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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=====
Megan Irvine <mirv01@yahoo.com>
http://www.darkthreads.com
Personal log: http://darkthreads.blogspot.com
"All violence is injustice."--Thich Nhat Hanh

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Date: Wed, 17 Jul 2002 13:43:01 -0700
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> You can usually find it at Walmart or Target, at least in Florida.  We
> love the stuff.-) Moira
> 
> > Nancy, try Oxi Clean. . I am sure you can get it in the US too? here
> > it is sold in Asda's and at Lakeland.
> > Nicole

In the Pacific NW you can find it at many grocery stores (such as 
Fred Meyer) as well as places you'd never expect it like bedding 
stores (Bed, Bath and Beyond, for example.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 17 Jul 2002 13:43:01 -0700
Status: RO


> When I was in Jr High (grades 7-8), you either took shop or Home Ec.
> Unsurprisingly, it was mostly divided by gender.  Some girls took
> shop, but no boys took Home Ec.

When I was in Jr High (grades 7,8,9) you were required to take 
shop (metal or wood) if you were a male and cooking and sewing 
(1/2 year each for 7th grade only) if you were a female. They didn't 
allow any gender cross over until about a year after I finished that 
(c. 1970 was the changeover). Health was a required class but it 
was not gender segregated. Business principles (which was 
basically how to get a social security number, start a savings 
account, learn how to manage a checking account and some other 
basic economics) was a required 1/2 year class for 9th graders. 
Baby care? It was not considered a "necessary" thing in those 
days. (Even though one of my 8th grade classmates was forced to 
quit school because she had gotten pregnant by her 24 year old 
boyfriend right before he was shipped off to Vietnam. Pregnant girls 
were thought to "contaminate" the other girls in the school. So 
were married girls when I was in high school, even if they weren't 
pregnant. I have no idea what eventually happened to her after she 
left school because both her family and his refused to have 
anything to do with "that piece of trash".)

The sewing class started with sewing on paper (straight lines, then 
a spiral) to get the hang of using a sewing machine. Then they 
started us on making an apron (no gathering or casings, very 
simple), then a gym bag (casings and fabric drawstrings), then on 
to how to use a pattern. We then made an A line skirt followed by 
a jumper. It was all done in just 1/2 of a school year. (But no 
enforced special ed kids in the class, either.) This class bored me 
stiff, but then I'd been sewing for years at this point, including 
having made my own Christmas dress out of dark brown velveteen 
with green taffeta and a red bow. After that, a little around the waist 
apron is a real comedown. The next year I took "independant 
study" sewing. I was pretty much on my own but did make a 
pattern for a Star Trek uniform (this was fall 1967 or spring 1968) 
and then made the dress out of velour. (I wish I still had it.)

The cooking class handled basic meal planning but also taught 
things in a stepwise fashion. I don't remember all the steps but I 
remember learning how to "cook" canned green beans, as well as 
learning how to make white sauces (which were used to make a 
sauce to put on the green beans, then macaroni and cheese from 
scratch), learning how flour works and then making quick dough 
biscuits, followed by bread from scratch and a layer cake from 
scratch. I can't tell you how glad I was that I got this class.

> In high school I started making stage costumes, and I made Halloween
> costumes for friends in college. 

I started making costume for the high school plays (and doing 
stage makeup, but never played a part on stage myself) but had 
been making Halloween costumes since I was in grade school. 
(Mom always made one for herself and usually won the costume 
contest at the church Halloween skating party. I wanted her to 
make one for me so that I could win something too. No such luck. 
Not only would she not make one for me which could win, but 
made me make my own. They didn't have a "kid made it 
themselves division" either.)

I learned a lot on my own, but in 1983 discovered the SCA. I'm still 
proud of my first outfit, but I really started learning on an 
exponential curve when I moved to Seattle and started hanging out 
with the costuming people from Seattle and Portland. Fortunately, I 
also had a Portland costumer who introduced me to the wonders of 
quality research (so I went from Iris Brooks and Lucy Barton to 
Janet Arnold, the Pasold institute, Agnes Geijer, etc.) In about 
1989 or '90 she told me that books were no longer going to cut it. I 
was going to have to write to museums and go to museums to get 
the information I thirsted for. I still eagerly look forward to any new 
quality information available.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] OT Moulin Rouge
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Date: Wed, 17 Jul 2002 16:35:01 -0400
Status: RO

I know this is OT, so please reply privately, apollonia@bellsouth.net .  I
have seen Moulin Rouge twice now, and I cannot figure out what she is dying
from!  Anyone know?  Also, what is Absinthe?  Sorry, I just know absolutely
nothing about that time period...

Many thanks,

Apollonia

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Subject: Re: [h-cost] OT Moulin Rouge
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 at Jul 17, 2002 04:35:01 pm"
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Date: Wed, 17 Jul 2002 13:56:33 -0700 (PDT)
Status: RO

Consumption, otherwise known as tuberculosis.


.heather.

> I know this is OT, so please reply privately, apollonia@bellsouth.net .  I
> have seen Moulin Rouge twice now, and I cannot figure out what she is dying
> from!  Anyone know?  Also, what is Absinthe?  Sorry, I just know absolutely
> nothing about that time period...
> 
> Many thanks,
> 
> Apollonia
> 
> _______________________________________________
> 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] OT Moulin Rouge
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Date: Wed, 17 Jul 2002 14:18:08 -0700
Status: RO

 I
>have seen Moulin Rouge twice now, and I cannot figure out what she is dying
>from!  Anyone know? 

It's a prettied-up version of tuberculosis, as far as I can tell.  If it
were realistically presented, she'd be hemmoraeging and spewing gallons of
blood in that last scene.

 Also, what is Absinthe? 

Absinthe, at the time, was an alchoholic drink flavored with wormwood.  It
was dangerously strong and hallucinogenic, so much so that it ruined lives.
 Sort of the crack cocaine of its day. 

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Wed, 17 Jul 2002 22:23:52 +0100
Status: RO

I assume TB

Mel

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Date: Wed, 17 Jul 2002 17:19:09 -0400
Status: RO

I should point out that although I am now a FaCS  (Home Ec) teacher (and
ALSO certified to teach History (social studies), Business, and elementary),
I HATED HATED HATED taking Home Ec in the 1970s.   I NEVER would have wanted
to be a teacher, and NOT that subject!
    Because it was mandatory to take it, and I didn't get to take shop.
Because I was a very independent only child, I could already cook, and bake,
and sew,  and was constantly in trouble because I was going faster that the
teacher wanted,   and did not work well with others.    )That's a problem I
still have - I often could get the whole thing done while other people are
still talking about it, and have to squelch myself from just starting!)
Because every pattern I wanted to make, was too complicated for what we were
allowed to do - even if I had already made it.
   I try very hard to NOT teach that way, to let the brighter or faster or
just more skilled ones not have to stay in step with the rest of the class.
Even though I sometimes miss, and the ones skilled at hiding and doing
nothing manage to do nothing, until I catch up with them - and then those
skilled at stalling manage to fail, and with their parents, that is usually
all my fault for not staying on top of the little darlings.   But I risk it
time and again, because I only hated doing things because of the instructor
and the methods - I love actually doing all of it, and try to pass that on
to all of the students.
  right now, jr high kids in New York State are mandated to take a quarter
(10 weeks) of art and of health, and 30 weeks of FaCS (Home Ec) and 30 weeks
of Technology  (Do NOT call it shop, or risk the wrath of those very handy
instructors!)  > I had a wonderful mother who sewed (and now makes me draft
patterns for her
Rowena
> and do the fitting on my hard to fit baby sister) and a Beloved home-ec
> teacher Mrs. Prickett- who made me do a tailored jacket when the rest of
the
> kids were making pillowcases, and  design/draft my own prom dress my
junior
> year, because I needed a challenge. *grin* It was a small school but she
(snipped)
> We had the mandatory Home Ec classes, in
> >junior high, where I wasn't allowed to sew as well as I knew how because
it
> >was in advance of what the rest of the class was doing.  The boys
couldn't
> >take cooking or sewing at this time either.  All I remember from the
> >cooking unit was that once I had to figure out the cost of two stewed
> >prunes to the nearest tenth of a cent.  To this day I'm not much of a
> >cook.  But I sewed my first historical, hat, purse, and dress, in 1971.
> >
> >Kayta


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Subject: Re: [h-cost] OT Moulin Rouge
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Date: Wed, 17 Jul 2002 17:21:02 -0400
Status: RO

Thank you!

Apollonia
----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 4:56 PM
Subject: Re: [h-cost] OT Moulin Rouge


> Consumption, otherwise known as tuberculosis.
>
>
> .heather.
>
> > I know this is OT, so please reply privately, apollonia@bellsouth.net .
I
> > have seen Moulin Rouge twice now, and I cannot figure out what she is
dying
> > from!  Anyone know?  Also, what is Absinthe?  Sorry, I just know
absolutely
> > nothing about that time period...
> >
> > Many thanks,
> >
> > Apollonia
> >
> > _______________________________________________
> > 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] Re: 73 Online Fabric Stores
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Date: Wed, 17 Jul 2002 14:38:08 -0700
Status: RO

>> I wonder if someone could make a page where we could all add our supply
sites to create a "master list" of costuming supplies?

I think this was one of the ideas for the h-costume website, a project which
seems (?) to have died somewhere...

- Kendra



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Date: Wed, 17 Jul 2002 14:39:49 -0700
Status: RO

----- Original Message -----
From: "Marna Jean" <marnajean@shootingstarhistory.com>
Subject: Re: [h-cost] 1870's tie-back skirts


> Do you have Victorian Fashions and costumes from Harper's bazar1867-98 ,
> Stella Blum, ed.?
> if so look on page 146 view a- this petticoat shows a casing right above
the
> knee line to hold the fullness back- it could then be let out for
> pressing/starching.

AHA!  That's what I needed -- a visual aid!

> Basically if you are using Janet Arnold 74-77 pattern you will definitely
> need some "fluff" underneath your tie back strings to get the desired
shape
> (I would say this dress is definitely 1876 or 77 because rounding the
> armscye to the shoulder really didn't become popular until then-- or at
> least that is the year the fashion magazines start showing and mentioning
> it- I'm big on correct seamlines)

I think so too, plus the use of the cuirass bodice rather than a bodice with
peplum.

> You can use the same front and side panels as the skirt, and make the back
> panel shorter (basically remove the pleating on the sides) Then starting
at
> the hipline put tiers of ruffles that will cover the sideback and back
> panels.

This is exactly what I'm thinking of doing!  Thanks SO much for your help!

- Kendra



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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] Re: shop and home economics
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Date: Wed, 17 Jul 2002 11:42:29 -1000 (HST)
Status: RO

> When I was in Jr High (grades 7-8), you either took shop or Home Ec.
> Unsurprisingly, it was mostly divided by gender.  Some girls took
> shop, but no boys took Home Ec.

	When I was in 8th grade everyone, both boys and girls, had a
trimester each of Home Ec, Shop, and Agriculture.  Shop was absolutely
useless as we did a few decorative things like sanding and polishing a
piece of wood, aluminum tooling, and gluing some layers of plastic
together--nothing transferable to getting along in real life.  All I
remember about Ag was planting bush beans.  In Home Ec we did both cooking
and sewing but by that time I had been doing both for years so the teacher
pretty much let me do things on my own.  I have an office at an
intermediate school now and I don't think any of those courses is even
offered, although there are a few elective courses at the high school.

--annora

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In a message dated 7/17/2002 4:53:59 PM Eastern Daylight Time, 
apollonia@bellsouth.net writes:


> .  I
> have seen Moulin Rouge twice now, and I cannot figure out what she is dying
> from!  Anyone know?  

I'd say.....embarrassment.

Don't worry about it. The film has [and is suppose to have] nothing to do 
with reality.....of any period.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 7/17/2002 4:53:59 PM Eastern Daylight Time, apollonia@bellsouth.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">. &nbsp;I
<BR>have seen Moulin Rouge twice now, and I cannot figure out what she is dying
<BR>from! &nbsp;Anyone know? &nbsp;</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>I'd say.....embarrassment.
<BR>
<BR>Don't worry about it. The film has [and is suppose to have] nothing to do with reality.....of any period.</FONT></HTML>

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Date: Wed, 17 Jul 2002 15:19:07 -0700
Status: RO

I graduated in 1973. Home Ec. for the girls and Shop for the boys was strictly
enforced. Home Ec. was divided into sewing and cooking - had a great time
sewing - hated cooking.  I had already been sewing for my Barbie and Troll
dolls and just needed a little encouragement to take on more complicated
projects.  

I remember a green and blue plaid plaid made up in a mock-turtleneck shift, a
blue and white flowered drindal skirt with a bib, and a tapestry pant suit - I
think it was a Betsy Johnson pattern.

I too three years of the class and formed a great friendship with the teacher.
She asked me to help fit the new girls coming in and various other tasks. I
was encouraged to attend a commerical dressmaking course at a vocational
school half the day during my senior year. I attended full time after
graduation. The Home Ec. teacher tried to find funds to hire me on as an
assistant after finishing the course, but it didn't happen. Instead, I went on
to become part of the newest craze - pillow furniture!  My first professional
job was at a cooperative of musicians and craftspeople called the Court "C"
Artist's Mall. In one shop I made pillow furniture from beautiful fabrics and
did all the finishing work at another clothing/costume shop - remember those
crocheted bathing tops of the early '70s? Made a million of 'em for the shop!
I saw them again at the Oregon Country Fair this weekend. It's that 30 year
fashion cycle thing - I'm feeling a little old now - must take a nap so I can
get back to work on quilting some stays ;-}

Shea in Portland, Oregon
   
Azelana@aol.com wrote:
> Can everybody add their own experiences?  I'd be curious to see how >many of
us are still exposed to sewing in school, and how that may be >affecting the
declining home sewing industry...
> 
> --Gillian the seamstress
 



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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Wed, 17 Jul 2002 20:34:28 +0100
Status: RO

N Kipar <nicolas_fouquet@yahoo.com> wrote
> --- Linda Walton <linda.walton@dsl.pipex.com> wrote: >
>
>*snippage*
>
>Thanks Linda for sharing that, it was fascinating! I grew up in school during
>the 80s (oh my, wasn't the music great and the hair styles silly, including my
>own :-))) gender equality at home and at school wasn't even an issue, I guess
>that germany was ahead, or maybe it was the part where I came from? That's more
>likely. I wish though instead of just doing nothing they would have taught both
>the guys and the gals needlework AND shop. I learned needlework all from my mum
>and shop all from my dad. Yessir, I can and did and do build my own furniture
>and DIY.
>
>> enjoy sitting and sewing, (nor going for nature walks), as we did.  And how
>> will they make the leap into understanding the construction of early
>> clothing ?  How did you all manage to do it ?
>
>With my mum's help, but the rest came via the academic approach. Books, books,
>studying extant garments, learning how to 'read' and evaluate sources, etc. It
>came through school and through Uni in combination with my mum's skills she
>taught me. Nowadays I am better in some things than my mum (she cannot make
>anything without a properly fitting pattern) and others I'll never reach her.
>(her tailoring techniques are IMMACULATE! But that's my mum, always perfect
>:-))
>
>Nicole
>
That's fascinating - my mother is exactly the same.  Despite all her 
knowledge of tailoring techniques, and she can adapt a pattern to 
anything ("Can I have that bodice, and that skirt, with those 
sleeves?"), seeing me just measuring and cutting into fabric freaks her 
out completely.  And she's amazed about all the guys I know who sew, 
more complicated things than I do (15th century doublets and hose and 
stuff).  I still apologise in my mind when I think that, for my wedding 
dress, I just sent her to the V&A to buy Janet Arnold's 18th century 
book and make me a sack dress - at 400 miles away.  The cut of the 
shoulders was so alien, I don't think she ever believed it would work 
until she saw me in it.

Jean
-- 
Jean Waddie
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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Wed, 17 Jul 2002 18:34:58 -0400
Status: RO

I took six years of Home Ec.  from jr. to high school in the early 1970s.  I
also took art and mechanical drawing in high school for four years.  I
majored in all three in college... I was majoring in seeing how many majors
I could have.  Ended up with an Associates degree in Fashion.  At University
of New Mexico in the early 1980s, I majored in Home Ec. Ed.  until I got
pregnant with son #3.  At UNM was where I took my first class with vintage
clothing... we did a fashion show as a final project.  I also took a
tailoring class... the professor kept leaving the classroom so I helped the
other students.  I love tailoring!  In the mid 90s after children #4, 5, & 6
came along, I finished my degree in Fashion in '97 (YIPPEE!!!!)... but only
took one sewing class in the theater costume department.  The big thing I
learned in that class was how to take pattern from existing garments.

One thing I have learned from talking with many college educators and our
students... the Home Ec. dept in college has been absorbed by other dept. or
schools.  Home Ec was involved so many different subjects.  When at UNM I
was taking education classes, child development, consumer behavior,
nutrition, AND sewing classes.  Some H.E. schools moved to textiles dept
under fashion dept. Consumer Behavior is actually now part of the Marketing
business school... I had to repeat this class in my Jr. year at Virginia
Commonwalth Univ. because I took it at a sophomore level at UNM and they
wanted it in my jr. year.  The sewing courses are taught in fashion dept AND
the costume design dept of theater.

In our state, Virginia, the Home Ec. dept has been completely dissolved.
Every high school is required to offer a fashion program.  At my sons' high
school this means they make a trip to NYC once a year during fashion week,
AND they produce an annual fashion show.  The students do not sew.  As my
professors told me about the high school fashion courses... a good many of
the HS students want to be models or fashion buyers.  They change their tone
when they get to college and find out how much math is involved to be a
buyer.

The theater dept. at our HS has a couple of girls who make costumes... one
student's mother is a professional seamstress so she came into theater
knowing a lot about sewing.  My #4 son actually helps build a lot of the
costumes for their productions.  He also comes home with costumes when the
show is over.  He likes to wear the king's robe around the house.  A note
here... the seamstress' daughter is my son's girlfriend.

At our Costume Classroom, a large amount of the classes are devoted to
sewing construction.  We do have several home-school students who are taking
these classes as well as adults.  Jennie's classes always have some
teenagers in them.

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





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From: "Parsla Liepa" <pliepa@hotmail.com>
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Subject: Re: [h-cost] OT Moulin Rouge
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Date: Wed, 17 Jul 2002 18:48:34 -0400
Status: RO

>
>  Also, what is Absinthe?
>
>Absinthe, at the time, was an alchoholic drink flavored with wormwood.  It
>was dangerously strong and hallucinogenic, so much so that it ruined lives.
>  Sort of the crack cocaine of its day.
>

I've heard tell of some US States legalizing a 'safer' type of absinthe 
(without wormwood).  Absinthe (both kinds) are flavored with anise, parsley, 
fennel, and dill, so I suspect the 'legal' kind is just a concoction of 
those.  'Real' absinthe is still available over the internet, ordered from 
Spain or Italy.

The liquor was believed to enhance the activity of the brain, develop new 
ideas, expand imagination, and act as an aphrodisiac.  Absinthe causes a 
double intoxication of sorts, from the alcohol and also from the chemical 
thujone (from the wormwood.  It also shows up in tansy and sage, but to much 
lesser degrees).

Thujone, with prolonged exposure (think -months- of daily contact), can 
cause hallucinations, tremors, convulsions, and paralysis.  Chemically, it 
is very similar to THC (the chemical in marijuana), and is only mentally 
addictive.  The chemical dependency comes from the alcohol.

The really neat thing about absinthe is that it's a clear green color, until 
diluted with water, when it turns a milky white.


Parsla
Vocatus atque non vocatus, Deus aderit.


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From: Crissy <sewinggoddess@att.net>
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Date: Wed, 17 Jul 2002 18:57:12 -0400
Status: RO

   Another nickname for Absinthe at the time was  " Green Fairy"...... which
explains the little fairy in the green dress! (trying to bring it on topic....)

Crissy


>
>
>
>  Also, what is Absinthe?
>
> Absinthe, at the time, was an alchoholic drink flavored with wormwood.  It
> was dangerously strong and hallucinogenic, so much so that it ruined lives.
>  Sort of the crack cocaine of its day.
>

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Date: Wed, 17 Jul 2002 16:08:17 -0700
Status: RO

Me too, me too.  We need help from the experts.  I will give a  brief 
sewing history in a bit.  But believe me, I am still very much a beginner.  

Roscelin

Audrey Bergeron-Morin wrote:

>> Thanks.  I was wondering if anyone had tried the link out yet.  I've 
>> only started to look at it.  I fell in love with the silk prices at 
>> Thai Silks
>
>
> me too, but I keep asking myself just WHAT kind of silk I should buy 
> for which period...
>


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Subject: Re: [h-cost] Re: 73 Online Fabric Stores
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Date: Wed, 17 Jul 2002 16:14:01 -0700
Status: RO

I just switched my email, and the list of my online sourcing for all sorts
of goodies is really extensive. This is a great idea. Perhaps I could put up
a links page at my site for purchasing costuming goodies.

Or we could forward it all to Karen Dick to include in the next Whole
Costumer's Catalogue.

angela
----- Original Message -----
From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 2:38 PM
Subject: Re: [h-cost] Re: 73 Online Fabric Stores


> >> I wonder if someone could make a page where we could all add our supply
> sites to create a "master list" of costuming supplies?
>
> I think this was one of the ideas for the h-costume website, a project
which
> seems (?) to have died somewhere...
>
> - Kendra
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: shop and home economics
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Date: Wed, 17 Jul 2002 16:07:41 -0700
Status: RO

I went to Catholic School. We were offered art, sewing and cooking. I took
the first two all four years. I was abysmal at sewing, always wanting a
"finished" product. Now the product is simply a nice by-product of spending
hours at a machine planning out how things will look, and feeling and
working with all these wonderful fabrics with my hands every day.

angela

----- Original Message -----
From: "Rebecca Schmitt" <lotsofteapots@charter.net>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 11:16 AM
Subject: Re: [h-cost] Re: shop and home economics


> >
> > Can everybody add their own experiences?  I'd be curious to see how many
> of
> > us are still exposed to sewing in school, and how that may be affecting
> the
> > declining home sewing industry...
> >
> > --Gillian the seamstress
> >
>
> Well, when I was in jr. high (1984-85) we had 1 semester of Home Ec and 1
of
> Shop. Each semester was cut into 2 quarters. When in HomeEc, I got a
quarter
> of cooking, which was rather fun and somewhat useful. It was after that
that
> I think Mom started to let me help in the kitchen.
>
> The other quarter was sewing. I distinctly remember having to sew a pillow
> in the shape of a letter (I picked K to give to my sister, whose birthday
> was coming up, I think). I'm pretty certain we had to learn other stuff,
but
> I can only really remember the pillow.
>
> However, the summer before starting high school, my mother passed by a
local
> fabric shop in the mall where my dad's shop was and saw a schoolmate of
mine
> learning to sew from the manager there. The deal was she could use the
> machines in the shop if she bought what she needed there. (The manager was
a
> family friend of hers, I think). Mom asked if I could get the same deal,
so
> I spent a few days a week in the fabric store picking out patterns and
> fabric and learning how to sew! That was much more useful than the pillow.
> After that I really didn't do much sewing until I started college. I can
> remember the surprise in my mother's voice when I asked for a sewing
machine
> for Christmas :-) Now the majority of my sewing is historical - there's no
> time to make mundane clothes!
>
> **********************
> 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
> **********************
>
>
> _______________________________________________
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Date: Wed, 17 Jul 2002 16:29:52 -0700
Status: RO

Rebecca Schmitt wrote:

Can everybody add their own experiences?  I'd be curious to see how many of us are still exposed to sewing in school, and how that may be affecting the declining home sewing industry...

--Gillian the seamstress


Greetings everyone,
    I guess it is time for me to share my sewing history.  My mother was 
a very good seamstress, she sew simple table cloths to men tailored 
suits.  My youngest memories of sewing is using thread and needle and 
handing sewing "Barbie clothes and learning simple embroidery from my 
grandmother.
    Later in the '70's, I took the required Home Ec/Sewing class.  And 
received low grades.  My mother would get so impatient with me she would 
take my project away and do it for me.  I was supposedly worthless when 
it came to sewing.  I didn't touch a sewing machine again until the late 
'80's - bad experience with being told I was still worthless when it 
came to sewing on a machine.  I "had" problems even doing a simple t-tunic.
    Now, here is 2002, I'm 43 years old.  And I wouldn't live without my 
sewing machine and future serger.  Back in 1998, I decided that yes, I 
can sew.  And I did.  My guy and friends choose to call my line of 
costumes, "Rose's- I don't know how to sew" .
    I have a long way to go, and lots to learn..  That is why I am so 
happy that Kat and a few others have taken this slightly old beginner 
under their wings. So, please, forgive me if I ask silly questions. 
 Because sometimes I do ask a lot of questions.
     When it comes to embroidery. I adore it, and never get enough of 
it.  I LOVE to embellish anything.  I do some blackwork, petit point, 
basic embroidery, beaded embroidery (just complete my guy's device - if 
anyone wants to see it I can scan it and show it), basic Chinese silk 
embroidery, and I am going to learn flat silk split stitch, and would 
like to learn Stumpwork.
    Well, there is my sewing history.

Roscelin


>>

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From h-costume-admin@indra.com  Wed Jul 17 20:18:47 2002
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Subject: [h-cost] Fabric printing research
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Date: Wed, 17 Jul 2002 16:46:18 -0700
Status: RO

As I was watching an antique program on TV today, they were showing an 
actual wooden stamp that was used to print fabric.  I thought this would 
be a great research project. thinking about doing.
I know of a few books on textiles that everyone has mentioned time to 
time.  Are there any good ones on the subject of history of fabric 
printing?   When was it started?  How was it done?  Can the average 
person do it at home in the modern world?

By the way, I am in the SCA.  My persona is a 14th century French lady 
(although, my other great desire is Paris 1700's -I believe that was 
time line-)  I might have mentioned it before, but I couldn't recall. 
 So, anything about printed fabric in the 14th century will be greatly 
appreciated.  It might be kind of fun to try to do my own printed fabric 
for a gown.

Roscelin

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From h-costume-admin@indra.com  Wed Jul 17 21:54:37 2002
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Date: Wed, 17 Jul 2002 18:48:35 -0700 (PDT)
Status: RO

Time for me to put on my herbalists' hat for a moment.

"Parsla Liepa" <pliepa@hotmail.com> wrote:
> >Absinthe, at the time, was an alchoholic drink flavored with wormwood.  It
> >was dangerously strong and hallucinogenic, so much so that it ruined lives.
> >  Sort of the crack cocaine of its day.
> >
> 
> I've heard tell of some US States legalizing a 'safer' type of absinthe 
> (without wormwood).  Absinthe (both kinds) are flavored with anise, parsley, 
> fennel, and dill, so I suspect the 'legal' kind is just a concoction of 
> those.  'Real' absinthe is still available over the internet, ordered from 
> Spain or Italy.

It's sold as "Absente."  It's mostly flavored with anise, which in that
dosage has a synergistic effect with the alcohol.  So it isn't _just_ the
wormwood in absinthe that's psychoactive.

[...] 
> Thujone, with prolonged exposure (think -months- of daily contact), can 
> cause hallucinations, tremors, convulsions, and paralysis.  Chemically, it 
> is very similar to THC (the chemical in marijuana), and is only mentally 
> addictive.  The chemical dependency comes from the alcohol.

What most sources don't mention is that absinthe was 180 proof (90% alcohol).
Most of the brain damage was Korsikov's Syndrome (wet brain).  When you had
people going through a whole bottle a day of the stuff, the thujone content
became irrelevent.  That much alcohol would cause brain damage all by itself.

> The really neat thing about absinthe is that it's a clear green color, until 
> diluted with water, when it turns a milky white.

The milky color is also from the absinthe.  You can see the same effect
in ouzo (greek) and sambuca (italian).  

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: Wed, 17 Jul 2002 21:41:57 EDT
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In a message dated 7/17/2002 6:59:54 PM Eastern Daylight Time, 
pliepa@hotmail.com writes:


> The really neat thing about absinthe is that it's a clear green color, until 
> diluted with water, when it turns a milky white.
> 
> 

That and you can wear a sorta plain bustle gown a la Degas while having a 
glass.




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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 7/17/2002 6:59:54 PM Eastern Daylight Time, pliepa@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">The really neat thing about absinthe is that it's a clear green color, until 
<BR>diluted with water, when it turns a milky white.
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>That and you can wear a sorta plain bustle gown a la Degas while having a glass.
<BR>
<BR>
<BR></FONT></HTML>

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Subject: Re: [h-cost] OT Moulin Rouge
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Date: Thu, 18 Jul 2002 13:51:13 +1200
Status: RO

> I know this is OT, so please reply privately, apollonia@bellsouth.net .  I
> have seen Moulin Rouge twice now, and I cannot figure out what she is
dying
> from!  Anyone know?  Also, what is Absinthe?  Sorry, I just know
absolutely
> nothing about that time period...

Consumption which is not necessarily TB. As seen by a great number of women
who die from it but never passed it on to others. Yes the Bacteria had been
discovered by the time of the movie. But then it had also been discovered by
the time Sarah Bernhardt used to *fake* having consumption. She didn't like
being told what to do and used little capsules to fake the blood. She got
caught out only much later on. So if people weren't worried about catching
the disease (as can be seen fromthe fact that they kept working with her)
then the general public must still have been in the dark.

This has been asked a number of times on MR sites so I'll pass this nice
little link:


Actually there is a book about consumption and the sociology of it. How it
was seen as a romantic disease. I was reading it in regards to some study on
"Trilby" and was shocked to discover I had been in contact with someone with
TB.

There is a little 6 prong test and you are (supposed) to be checked up to
see your reaction. well I came out in a rash that perplexed nearly every
doctor I saw. Reading the book made me realise that it *was* a reaction to
the test.

Not really surpriising, the school I was at also recommended all the Hep
vaccines.

So while the topic is a tad OT it is part of the social clime humming away
producing all those wonderful fears and is comparable to the hysteria over
the corset.

michaela


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Date: Thu, 18 Jul 2002 13:53:32 +1200
Status: RO

oops, got carried away, the web page:
http://www.salon.com/health/col/bob/1999/10/11/dr_bob/

Most relevant passage:
"Initially the syndrome was non-specific and included a variety of
similar-appearing pulmonary disorders such as "miner's lung" (silicosis) and
stonecutter's phthisis. In 1868 the organism mycobacterium tuberculosis was
isolated and shown to be the underlying cause of most cases of consumption.
Despite studies clearly demonstrating the ability to transfer the disease
via blood and sputum from infected patients to rabbits, acceptance of the
infectious nature of tuberculosis took more than another 14 years.
Meanwhile, many physicians continued to preach that consumption was caused
by breathing unhealthy air (miasmas), by bad living habits, even by moral
turpitude. (Sound suspiciously like the early days of AIDS?)"



michaela



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From h-costume-admin@indra.com  Wed Jul 17 22:33:50 2002
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Subject: Re: [h-cost] Fabric printing research
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Date: Wed, 17 Jul 2002 18:56:56 -0700
Status: RO

I do fabric printing all the time. It's fun, and can be really useful in my
line of work. I just bought some stamps of Egyptian motifs, some gilded
pigments in three shades from Dharma Trading and some clear acrylic to hold
the pigments together. I mixed up this fabulous gold stuff and stamped away.
I used it on white jersey (I'm making the Elvis/Pharoah from Joseph and the
Amazing Technicolor Dreamcoat)... the color was strong and the stuff is
drycleanable after being ironed.

I don't know about it's correctness of use for the periods you discussed,
but it can be used all over, for borders, whatever.  It's particular useful
when you want some design to accentuate the shape of a garment, like a
border, because you can cut out your pattern piece and then make your border
to fit perfectly, rather than buying a border fabric and being forced to cut
everything in the one direction that works.  Anyway, I love it.

angela

----- Original Message -----
From: "Rose Amberwulf" <roscelin@attbi.com>
To: "Costuming" <h-costume@net.indra.com>
Sent: Wednesday, July 17, 2002 4:46 PM
Subject: [h-cost] Fabric printing research


> As I was watching an antique program on TV today, they were showing an
> actual wooden stamp that was used to print fabric.  I thought this would
> be a great research project. thinking about doing.
> I know of a few books on textiles that everyone has mentioned time to
> time.  Are there any good ones on the subject of history of fabric
> printing?   When was it started?  How was it done?  Can the average
> person do it at home in the modern world?
>
> By the way, I am in the SCA.  My persona is a 14th century French lady
> (although, my other great desire is Paris 1700's -I believe that was
> time line-)  I might have mentioned it before, but I couldn't recall.
>  So, anything about printed fabric in the 14th century will be greatly
> appreciated.  It might be kind of fun to try to do my own printed fabric
> for a gown.
>
> Roscelin
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: 73 Online Fabric Stores
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Date: Thu, 18 Jul 2002 02:20:02 +0000
Status: RO

I believe there's already something like it on the CommunityZero site 
Danieel (?) set up.

Mary/Katerine
>
>Roscelin, thanks for that awesome link!  There are many stores on that list
>that were not yet in my Favorite Places.  This will greatly expand my
>sources.
>
>I wonder if someone could make a page where we could all add our supply 
>sites
>to create a "master list" of costuming supplies?
>
>--Gillian, who doesn't know a darn thing about web design
>




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Date: Wed, 17 Jul 2002 22:23:37 -0500
Status: RO

There are lots of books on the subject. Start at your local library.
Hand block printing is a very expensive way to produce fabrics, but is
still done in a limited amount today. It was mostly superseded by roller
printing, and now also by silk screen.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Rose Amberwulf
Sent: Wednesday, July 17, 2002 6:46 PM
To: Costuming
Subject: [h-cost] Fabric printing research

As I was watching an antique program on TV today, they were showing an 
actual wooden stamp that was used to print fabric.  I thought this would

be a great research project. thinking about doing.
I know of a few books on textiles that everyone has mentioned time to 
time.  Are there any good ones on the subject of history of fabric 
printing?   When was it started?  How was it done?  Can the average 
person do it at home in the modern world?

By the way, I am in the SCA.  My persona is a 14th century French lady 
(although, my other great desire is Paris 1700's -I believe that was 
time line-)  I might have mentioned it before, but I couldn't recall. 
 So, anything about printed fabric in the 14th century will be greatly 
appreciated.  It might be kind of fun to try to do my own printed fabric

for a gown.

Roscelin

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Fabric printing research
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Date: Wed, 17 Jul 2002 20:49:57 -0700
Status: RO


>Are there any good ones on the subject of history of fabric printing?

Yes.  Make friends with your local reference librarian.

>When was it started?

The Coptic Egyptians were printing dye-resist on fabric by the 5th or 6th 
century AD, if I remember correctly.  Europeans were block printing on 
fabric before they were block printing on paper, and printing with movable 
type came after that.

>How was it done?

I think wood blocks are traditional, but much the same effect can be 
achieved using a linoleum block, which is much easier to carve (it is 
softer and has no grain to get in the way).

>Can the average person do it at home in the modern world?

Yes.  Look up a book about linoleum printing, and it will tell you more 
than I could.  Small pieces of linoleum printing can be done on a kitchen 
table.  Big art supply stores (not Aaron Brothers) have all the parts you 
will need, and maybe even the book to show you how to do it.

>By the way, I am in the SCA.  My persona is a 14th century French lady 
>(although, my other great desire is Paris 1700's -I believe that was time 
>line-)  I might have mentioned it before, but I couldn't recall. So, 
>anything about printed fabric in the 14th century will be greatly 
>appreciated.  It might be kind of fun to try to do my own printed fabric 
>for a gown.

Davenport's book of costume has two pictures of block-printed fabric on 
page 228, Ill's #634 and #635.  #634 is German (Metropolitan Museum), 
12th-14thC, with a green background printed on natural linen, leaving the 
pattern un-printed.  The notes under this example say printed fabric starts 
to appear in the Rheinland at the end of the 12th century "in imitation of 
Italian brocades, often using silver and gold".  #635 has three German 
examples (V and A), 14th-15thC, and the notes say the upper right one is 
"Rhenish: eagles, fruit and leaves in dark purple".  The background is 
printed, leaving the pattern un-printed.  There appears to be a main body 
print, and a smaller border print to this one.

No sizes are given for any of these pieces.  One can't tell how much 
pattern is on each block, or if several blocks were used in 
combination.  And there's no way to tell what the fabric was ultimately 
used for, nor where any original stitching or selvedges might be.  But one 
of my Britanicas (the 1911, I think) shows an SCA-period church vestment of 
block-printed fabric.

Eventually, if not sooner, I will block-print myself a dress for SCA use, 
and will enlighten all the 'authentic-er-than-thou' folks about fabric 
printing.  (Printed playing cards appear in the 15th century, as do printed 
embroidery-pattern books.)


Kayta

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Subject: Re: [h-cost] Re: shop and home economics
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Date: Thu, 18 Jul 2002 00:07:26 -0400
Status: RO

I forgot to add this:

Home Ec: Jr. & High School: 1969-1975 Girls took Home Ec.; Boys took shop;
they were elective courses, you didn't HAVE to take them. (although in high
school girls and boys could take mechanical drawing in the same classroom)
Location: Mississippi

Fashion: Jr. College: 1975-1978 All girls in the classes. Location:
Mississippi

Home Ec. Education: University of New Mexico: 1980-1981. All girls in the
classes.

Fashion & Theater- Costume Design: Virginia Commonwealth University,
1995-1997.
Fashion: Out of about 150 students about 8 guys in the dept.  2 guys
graduated the same semester that I did.
Costume Design:  There were no guys in the costume design track.  The only
time I had a CD class with guys was two masters level director students...
Costume Design & Research class.  Neither one of them finished the course.
They couldn't keep up with the coursework.

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





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To: h-costume@indra.com
From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] Re: 73 Online Fabric Stores
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Date: Wed, 17 Jul 2002 23:14:28 -0500
Status: RO

There is a webpage list I started on the "HCostume Swap or Sell" 
Communities site.  For those of you who have lost the URL it is: 
http://www.communityzero.com/ and I will be sending out another invitation 
to join very shortly.

Cheers,
Danielle

At 02:20 AM 7/18/2002 +0000, you wrote:
>I believe there's already something like it on the CommunityZero site 
>Danieel (?) set up.
>
>Mary/Katerine
>>
>>Roscelin, thanks for that awesome link!  There are many stores on that list
>>that were not yet in my Favorite Places.  This will greatly expand my
>>sources.
>>
>>I wonder if someone could make a page where we could all add our supply sites
>>to create a "master list" of costuming supplies?
>>
>>--Gillian, who doesn't know a darn thing about web design

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Date: Thu, 18 Jul 2002 04:14:02 +0000
Status: RO

I graduated High School in 1989, and had Home Ec in Middle School (6,7, & 
8). This would have been middle 80's. I also had Art Class, Orchestra, 
Choir, and Shop during those three years. (Choir for all three, actually.) I 
didn't really learn anything from Home Ec, as that was around the time my 
father died, and I pretty much "checked out" of the world.

As for where I learned to sew - mainly through Osmosis. My mother has sewing 
and needlework awards from before I was born, and I grew up watching her. 
She gave me myfirst sewing machine - her old one, and she also gave me my 
first new machine - an Elna 2002. I still use it - made my wedding dress on 
it.

Mary/Katerine
> >
> > Can everybody add their own experiences?  I'd be curious to see how many
>of
> > us are still exposed to sewing in school, and how that may be affecting
>the
> > declining home sewing industry...
> >
> > --Gillian the seamstress
> >
>


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Date: Thu, 18 Jul 2002 00:16:10 -0400
Status: RO

Sarah,

I too was told by my high school counselor that people who took Home Ec.
that many years shouldn't go to college.  I don't remember why I swayed
toward going to college, but I will always remember that.

I also had a college professor tell me that I couldn't teach school.  Fooled
her many times over!

Had an international marketing professor tell me in 1996 that the global
marketplace would never work.

I love when people tell me I can't... it makes me more determined that I
can.

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





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To: <h-costume@indra.com>
Subject: RE: [h-cost] OT-looking for a book--Help!
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Date: Wed, 17 Jul 2002 21:36:09 -0700
Status: RO

Kate,

	I dug the books out of the basement library (I bought the house
specifically because there was a room that I could put wall to wall
bookcases on 3 sides.  Now I find that they still aren't enough!)  Now I
wonder if they are the ones you are looking for because they are for an
exhibition that took place in Heidelberg Castle in 1986.  Still, think and
tell me if these are the ones you are looking at.  Die Renaissance: Im
Deutschen Sudwestern Zwischen Reformation und Dreissigjahrigem Krieg (sorry,
I don't do umlauts)  Meaning The Renaissance in Southwestern Germany between
the Reformation and the 30 Years War.  It is in two large, 11.5 x 14 x 2
inch books with white covers.  Volume one has a cherub with an arrow on the
front, and volume two has a woodcarving of Adam and Eve with the apple tree.

Says on the cover:  Eine Ausstellung des Landes Baden-Wurttemberg
veranstaltet vom Badischen Landesmuseum Karlsruhe  which Babelfish
translates as:  An exhibition of the country bathe Wurttemberg organizes
Karlsruhe from the federal state museum of Baden
   OR An exhibition of the Country of Baden-Wurttemburg organized by the
Federal State Museum of Karlsruhe.

	Publication info for these is:  Copyright Badisches Landesmuseum Karlsruhe
1986, Printed in Germany, Reproducktions:  Reigger Reprotechnik GmbH,
Karlsruhe, Satz und Druck:  Engelhardt & Bauer, Druck- und
Verlagsgesellschaft mgH, Karlsruhe, Bindung: Joseph Spinner,
Grossbuchbinderei GmbH, Otterweier, and the ISBN is:  3-923132-08-5.

	If these aren't the books, they are still full of wonderful pictures of
German stuff from the time of the Rennaisance to the 30 Years War!

To my knowledge there weren't paperbacks for the exhibit.  These cost around
$50 for the pair at the time.

	Hope this helps

Regina/Wanda

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of kj green
Sent: Wednesday, July 17, 2002 12:04 PM
To: h-costume@indra.com
Subject: Re: [h-cost] OT-looking for a book--Help!


Thank you for the information! I have some other
questions:
Do you remember if there was a house associated with
the show?
Or, who managed/directed the show?
Was it School of History at Heidelberg or School of
Art?
Were there paperbacks?

Any help would be most appreciated!
kate



--- Wanda Pease <wandap@hevanet.com> wrote:
> If the is the pair of books I have it was published
> as a catalogue for an
> exhibition in Heidelberg back in 1989.   This may be
> why there is no ISBN
> number.  There weren't many copies
> printed, but it does have some lovely pictures.
>
> Regina Romsey
>
>
> On Wed, 17 Jul 2002, Kate M Bunting wrote:
>
> > I've searched the database available to us, but no
> luck.
> >
> > Kate Bunting
> > Library, University of Derby
> >
> > >>> macailith@yahoo.com 07/17/02 02:10am >>>
> > Greetings to the list.
> >
> > I'm looking for a book(s) published in 1989 by
> > Marshall Cavendish Ltd called "Die Renaissance."
> It's
> > at least a 2 volume set (a friend has volume 2).
> > There's no ISBN and no editor listed.
> >
> > It's in German, but I suspect it was published in
> > London. I happened across another book published
> by
> > Marshall Cavendish Ltd and the city listed was
> London.
> >
> >
> >
> > _______________________________________________
> > 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 h-costume-admin@indra.com  Thu Jul 18 00:56:38 2002
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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Thu, 18 Jul 2002 00:29:38 -0400
Status: RO

Rowena,

I couldn't help but giggle on how you got to teach Home Ec.  I got stuck
teaching Math to middle school kids.  I felt that God was punishing me for
taking all those years of taking Home Ec. and not upper maths and sciences.
I failed college math three times.  I was hired to teach computers, but had
one open classtime, so they stuck me with math.

I too taught to whatever a student's level was.  If I had advanced students
in the class, they got to be my teaching assistants.  We just went to the
guidance counselor and had them change their class name to teaching asst.  I
learned when teaching in public schools that everyone learns at a different
paces.  I also taught special ed. for two years... also learned a lot of
different ways to teach someone.

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

----- Original Message -----
From: "Rowena" <sleepyunicorn@citlink.net>
To: <h-costume@indra.com>
Sent: Wednesday, July 17, 2002 5:19 PM
Subject: Re: [h-cost] Sewing, England vs US 2


> I should point out that although I am now a FaCS  (Home Ec) teacher (and
> ALSO certified to teach History (social studies), Business, and
elementary),
> I HATED HATED HATED taking Home Ec in the 1970s.   I NEVER would have
wanted
> to be a teacher, and NOT that subject!
>     Because it was mandatory to take it, and I didn't get to take shop.
> Because I was a very independent only child, I could already cook, and
bake,
> and sew,  and was constantly in trouble because I was going faster that
the
> teacher wanted,   and did not work well with others.    )That's a problem
I
> still have - I often could get the whole thing done while other people are
> still talking about it, and have to squelch myself from just starting!)
> Because every pattern I wanted to make, was too complicated for what we
were
> allowed to do - even if I had already made it.
>    I try very hard to NOT teach that way, to let the brighter or faster or
> just more skilled ones not have to stay in step with the rest of the
class.
> Even though I sometimes miss, and the ones skilled at hiding and doing
> nothing manage to do nothing, until I catch up with them - and then those
> skilled at stalling manage to fail, and with their parents, that is
usually
> all my fault for not staying on top of the little darlings.   But I risk
it
> time and again, because I only hated doing things because of the
instructor
> and the methods - I love actually doing all of it, and try to pass that on
> to all of the students.
>   right now, jr high kids in New York State are mandated to take a quarter
> (10 weeks) of art and of health, and 30 weeks of FaCS (Home Ec) and 30
weeks
> of Technology  (Do NOT call it shop, or risk the wrath of those very handy
> instructors!)  > I had a wonderful mother who sewed (and now makes me
draft
> patterns for her
> Rowena
> > and do the fitting on my hard to fit baby sister) and a Beloved home-ec
> > teacher Mrs. Prickett- who made me do a tailored jacket when the rest of
> the
> > kids were making pillowcases, and  design/draft my own prom dress my
> junior
> > year, because I needed a challenge. *grin* It was a small school but she
> (snipped)
> > We had the mandatory Home Ec classes, in
> > >junior high, where I wasn't allowed to sew as well as I knew how
because
> it
> > >was in advance of what the rest of the class was doing.  The boys
> couldn't
> > >take cooking or sewing at this time either.  All I remember from the
> > >cooking unit was that once I had to figure out the cost of two stewed
> > >prunes to the nearest tenth of a cent.  To this day I'm not much of a
> > >cook.  But I sewed my first historical, hat, purse, and dress, in 1971.
> > >
> > >Kayta
>
>
> _______________________________________________
> 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>
Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Wed, 17 Jul 2002 22:03:04 -0700
Status: RO


>I love when people tell me I can't... it makes me more determined that I
>can.

I think that's why they tell people they only have like six months to live 
- makes them fight the illness harder.  And I was told that most physics 
discoveries are made by graduate students who haven't been told that said 
discoveries are impossible.  (I believe that Fermat's last theorem was 
proved by someone who was too late to class to have heard the Prof tell 
everyone it was un-provable.)

Obligatory costume content:  I have discovered that paper dolls from, say, 
the 1940s or 50s are a wonderful source of period costume ideas, especially 
if they are in colour.  E-bay has lots of these, but don't bother searching 
for 'antique', because all you get are the Tom Tierney/Dover 
ones.  Instead, search for 'vintage', to find the actual made-back-then 
ones.  (Somehow 'vintage' is older than 'antique' - I don't know how that 
happened.)


Kayta

    //// \\\
   ////-@@\\\
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   (((  <> ))))
      )   ((((((
/----\   /---\))

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From: "Wanda Pease" <wandap@hevanet.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Re: shop and home economics
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Date: Wed, 17 Jul 2002 22:26:25 -0700
Status: RO

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The Home Ec and Shop classes I took were in 1960 while in Junior High.
Everyone took one semester of Home Ec (boys too!) and everyone took wood
shop (girls too!).  Since we got to play with sewing machines, and take them
apart and oil them, the boys weren't terribly miserable making their aprons,
and the chocolate chip cookie dough seemed to disappear awfully quickly
after being made and before being cooked.  In wood shop the girls were
almost uniformly wusses, cowering from the might of a jig saw :-)

Regina Romsey
  -----Original Message-----
  From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Azelana@aol.com
  Sent: Wednesday, July 17, 2002 10:22 AM
  To: h-costume@net.indra.com
  Subject: [h-cost] Re: shop and home economics


  << We
  could take "home economics" or sewing classes in school. (Boys were more
  likely to take "shop" classes that included woodworking and similar
  skills. Today I gather that the names of the classes are less
  gender-oriented, and students are welcome to take whichever they want, but
  I suspect some noticeable gender division remains in class makeup.)>>

  I graduated in '93 in NY.  In middle school/junior high students of both
sexes took 2 mandatory classes: Home Economics and Tech.  Home-Ec taught
basic cooking and sewing, while Tech was architecture, electronic circuits,
basic machines, and technical drawing.  There was only one class level of
each, so there was no opportunity to continue your education in that area.
So, for my school at least, the gender make-up was exactly the same as the
gender make-up of the school itself.  Now I can carve an aerodynamic CO2 car
from a block of wood, while my brother can sew on his own buttons. LOL

  Can everybody add their own experiences?  I'd be curious to see how many
of us are still exposed to sewing in school, and how that may be affecting
the declining home sewing industry...

  --Gillian the seamstress

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<DIV><SPAN class=3D419002205-18072002><FONT face=3DArial color=3D#0000ff =
size=3D2>The=20
Home Ec and Shop classes I took were in 1960 while in Junior High.&nbsp; =

Everyone took one semester of Home Ec (boys too!) and everyone took wood =
shop=20
(girls too!).&nbsp; Since we got to play with sewing machines, and take =
them=20
apart and oil them, the boys weren't terribly miserable making their =
aprons, and=20
the chocolate chip cookie dough seemed to disappear awfully quickly =
after being=20
made and before being cooked.&nbsp; In wood shop the girls were almost =
uniformly=20
wusses, cowering from the might of a jig saw :-)</FONT></SPAN></DIV>
<DIV><SPAN class=3D419002205-18072002><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D419002205-18072002><FONT face=3DArial color=3D#0000ff =
size=3D2>Regina=20
Romsey</FONT></SPAN></DIV>
<BLOCKQUOTE>
  <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT =
face=3DTahoma=20
  size=3D2>-----Original Message-----<BR><B>From:</B> =
h-costume-admin@indra.com=20
  [mailto:h-costume-admin@indra.com]<B>On Behalf Of=20
  </B>Azelana@aol.com<BR><B>Sent:</B> Wednesday, July 17, 2002 10:22=20
  AM<BR><B>To:</B> h-costume@net.indra.com<BR><B>Subject:</B> [h-cost] =
Re: shop=20
  and home economics<BR><BR></FONT></DIV><FONT =
face=3Darial,helvetica><FONT lang=3D0=20
  face=3DArial size=3D2 FAMILY=3D"SANSSERIF">&lt;&lt; We<BR>could take =
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take=20
  "shop" classes that included woodworking and similar<BR>skills. Today =
I gather=20
  that the names of the classes are less<BR>gender-oriented, and =
students are=20
  welcome to take whichever they want, but<BR>I suspect some noticeable =
gender=20
  division remains in class makeup.)&gt;&gt;<BR></FONT><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D2=20
  FAMILY=3D"SANSSERIF"><BR>I graduated in '93 in NY.&nbsp; In middle =
school/junior=20
  high students of both sexes took 2 mandatory classes: Home Economics =
and=20
  Tech.&nbsp; Home-Ec taught basic cooking and sewing, while Tech was=20
  architecture, electronic circuits, basic machines, and technical=20
  drawing.&nbsp; There was only one class level of each, so there was no =

  opportunity to continue your education in that area.&nbsp; So, for my =
school=20
  at least, the gender make-up was exactly the same as the gender =
make-up of the=20
  school itself.&nbsp; Now I can carve an aerodynamic CO2 car from a =
block of=20
  wood, while my brother can sew on his own buttons. LOL<BR><BR>Can =
everybody=20
  add their own experiences?&nbsp; I'd be curious to see how many of us =
are=20
  still exposed to sewing in school, and how that may be affecting the =
declining=20
  home sewing industry...<BR><BR>--Gillian the seamstress</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

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Date: Wed, 17 Jul 2002 23:39:42 -0600
Status: RO

Kewl! I'm sooooo glad to see someone else (besides me) get the True
Fabric Jones from the others on this list!
--Sue, slowly going through her own closets and weeding things out....

Dianne and Greg Stucki wrote:
> 
> I was thinking the same thing. I sew at the kitchen table, and it tends to
> look like there has been been a massive explosion at a thread factory!
> 
> But I did finish my lavender brocade Italian!! I put it up on eBay
> though--it's beautiful. but it's synthetic, and I just don't want to wear it
> now. You all have infected me!
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Date: Wed, 17 Jul 2002 23:49:10 -0600
Status: RO

I miss my mom very much, but she couldn't sew worth sh--! I learned the
bare basics from my 4-H instructors, and after that, I was pretty much
self taught until I picked up a job or two working in the costume dept.
for the University I attended....and then there were the 7 (!) years I
spent doing professional tent/tipi sewing....
I am so, so glad I can sew "for fun" now, and not because I *have to*!
--sue

Audrey Bergeron-Morin wrote:
> 
> But the very best thing is still if you can learn to sew from your mom :-)
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Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
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Date: Wed, 17 Jul 2002 23:55:30 -0600
Status: RO

Yeah....sigh....
I'm actually thinking of ordering some silk twill from Dharma Trading,
and doing a whole gown in either tansy or knapweed (they're both growing
rampant around here.....)
--Sue, too many centuries, too many colors, not enough time <g>

Teddy wrote:
> 
> 
> > Must be local-water thing, or something.  The tansy-dyed wools done by
> > my friends were very lovely shades of an almost olive-green.  The
> > silks were similar, but lighter. --sue
> 
> That sounds much nicer.
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Date: Thu, 18 Jul 2002 07:32:04 +0100
Status: RO

Don't you have regular TB vacines there ? With the test ? Most people of my
generation 40 ish and earlier are immune. Wheras most youngsters today
arn't, because they no longer have any exposure to it. There were several
social implications to having TB and it wasn't completly accepted as trendy
and arty in British Society, amoungst the general society.

Interestingly most European whose areas were subjected to the Black death
have a high immune system in general, logical those who didn't died & never
got to breed on.

Absinthe was largly replaced by the aniseed drinks in France, Pernod,
Richard etc which also are greenish & turn a milky white once water is
added, as far as I know they no longer have wormwood in, so I think the
colour change is not due to wormwood. The high alcohol content is
interesting.

Onto costume apart from the film being rather odd. What did people think of
the costumes ?

Mel
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Date: Thu, 18 Jul 2002 02:32:08 -0400
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Regina... this sure was forward for 1960.  Where did you live?

I just recalled why my 7th grade home ec teacher said WHY boys weren't
allowed to take home ec. Someone asked in our class.  She pointed to the
sewing machine pedal on the floor.  "See that, boys think that pedal is to a
race car.  So we don't allow them in the home ec lab!"

I think of her saying that everytime I teach my sons how to drive.

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>Regina... this sure was forward for 1960.&nbsp; Where did you =
live?</DIV>
<DIV>&nbsp;</DIV>
<DIV>I just recalled why my 7th grade home ec teacher said WHY boys =
weren't=20
allowed to take home ec.&nbsp;Someone asked in our class. &nbsp;She =
pointed to=20
the sewing machine pedal on the floor.&nbsp; "See that, boys think that =
pedal is=20
to a race car.&nbsp; So we don't allow them in the home ec lab!"</DIV>
<DIV>&nbsp;</DIV>
<DIV>I think of her saying that everytime I teach my sons how to =
drive.&nbsp;=20
</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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Subject: [h-cost] YIPPEEE!!!!!
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Date: Thu, 18 Jul 2002 03:06:08 -0400
Status: RO

FINALLY... after 2-3 years searching for photos, intense battles at eBay,
exchanging my kids to gypsies for costly photos, and one year of layout,
design, and scanning images... yes, a lot went into this site... the
website, "A Brush with History: Vintage Hairstyles" is up on The Gallery.
http://www.costumegallery.com/Hairstyles/Longhair/Women/menu.htm

The time frame for the photos is from the late 1860s-1915.  I have one photo
of a 1920s girl.  The site consists of 51 photos of ladies' and girls'
hairstyles with long hair.  Here is a breakdown of the styles and number of
photos:

Girls: 19
Ladies' with Braids: 6
Ladies with Ringlets: 11
Ladies with Long Flowing Hair: 15

Each photo has a circa fashion date, hairstyle description, costume
description, all information recorded about the photo for genealogical
purposes, and in some cases the sitter's name.

Some big thank you-s go to some loaner photos from Marna Jean Davis and
Linda Thompson, both from h-costume.  Jennie Chancey and Marna Jean assisted
me with dating the fashions and the costume descriptions.  It was a joy to
work with all of them on this project!

I hope you all enjoy the fruits of our labor.

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





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Subject: [h-cost] Hooray for mothers, was  Re: shop and home economics
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Date: Thu, 18 Jul 2002 08:36:36 +0100 (BST)
Status: RO

 --- Mary Temple <noxcat@hotmail.com> wrote: > 
> As for where I learned to sew - mainly through Osmosis. My mother has sewing 
> and needlework awards from before I was born, and I grew up watching her. 
> She gave me myfirst sewing machine - her old one, and she also gave me my 
> first new machine - an Elna 2002. I still use it - made my wedding dress on 
> it.

I guess I must feel very mellow and soppy due to this blasted flu, but so many
have said that their moms taught them how to sew and do needlework. I remember
sitting on my mum's lap because I couldn't reach the pedal of the sewing
machine and making the first simple clothes for my beloved Barbie doll (should
tell you something that I used the Ken dolls as cleaners, gardeners, cooks and
chauffeurs for my career-Baries ;-) She taught me all I know about sewing and
knitting and crocheting (admittedly she didn't embroider, I started one day and
was able to do it, I don't have a clue why!) and she still makes much better
and nicer 21st century clothes than I can. I thought I'd just say a quick
HOORAY for mums!

Nicole - still picking up the phone to germany and wanting to talk to my mum
when feeling rotten or when something extra nice happens. ;-)))

=====
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, 18 Jul 2002 01:38:04 -0700 (PDT)
Status: RO

"Melanie Wilson" <MelanieWilson@bigfoot.com> wrote:
> 
> Don't you have regular TB vacines there ? With the test ? Most people of my
> generation 40 ish and earlier are immune. Wheras most youngsters today
> arn't, because they no longer have any exposure to it. There were several
> social implications to having TB and it wasn't completly accepted as trendy
> and arty in British Society, amoungst the general society.

The AIDS epidemic and heavy immigration from the far east have turned
up Izonosid-resistant strains of TB.  Health workers are required to be
tested for TB, then they can decide about the vaccine (it's not without
its own risks).  When I worked at a detox unit, we all got tested for
both TB and hepatitis because of the potential exposure.  

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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Thread-Topic: [h-cost] Sewing, England vs US,
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 01:16:17 -0700
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Linda, which village was it??

Freyalyn



_______________________________________________________________
Sign up for FREE iVillage newsletters <http://s.ivillage.com/rd/16705> .
>From health and pregnancy to shopping and relationships, iVillage
has the scoop on what matters most to you. <-----Original Message----->

> They were so different that looking back feels like seeing a piece of
living
> history. My school was in a village high in the Pennines, an area of
lonely
> hills in northern England. 

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Linda, which village was it??<br>
<br>
Freyalyn<br>
<br>

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</font><-----Original Message-----><br>
 <br>
> They were so different that looking back feels like seeing a piece of living<br>
> history.  My school was in a village high in the Pennines, an area of lonely<br>
> hills in northern England. 
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Burda Mag alive and well, was Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 09:38:06 +0100 (BST)
Status: RO

 --- Megan Irvine <mirv01@yahoo.com> wrote: > Yes, I get all the extra issues,
except for the kids fashion (I don't
> have any kids).  Plus and Petites come once a year and then
> Pantst/Skirts/etc and the Beginners issue come twice a year. The
> monthly magazine is called "Burda World of Fashion" and has about 60
> patterns in it. Maybe you could get it through
> http://www.glpnews.com/ in the UK? The ordering page does list prices
> for airmail to other countries. Good luck.

Thanks again megan, may I also say to everyone that these patterns are indeed
superb for modern wear and highly recommendable (but they don't go to very big
sizes, I think German size 44 used to be the biggest one in the normal Burdas).
I went to their web site http://www.hubert-burda.de and am contacting their
service department. I'm NOT ordering something from Germany via America *winks
and laughs* That would be silly regarding the postage and I do want the
magazines in german, would be nice not to forget my language completely. :-)
Thanks for reminding me that Burda is still out there

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: Thu, 18 Jul 2002 09:43:50 +0100
Status: RO

Shea wrote:
>>> In one shop I made pillow furniture from beautiful fabrics 

What is pillow furniture?

I went to an all-girls school in the 1960s, so what you call "shop" wasn't an option. We did needlework for years, but for some reason the only ones who got to do cookery were the half of the class who were weakest at Latin after we had all learnt it for a year at about age 12. (I was good at languages, so never did any cookery at school; learnt the basics from my Mum and then taught myself.)
In junior school we had an eccentric but efficient sewing teacher - I still have the gingham apron I made then, and can still tie it round my waist! (It was supposed to fasten with a button to teach us to make a buttonhole, but I was so slow I never got that far.) The teacher we had in later years tended to concentrate on those girls who were best at sewing and left me to muddle through as best I could. I remember starting on a blouse which never did get finished. I learnt more from my Mum who is no needlewoman either.



Kate Bunting
Library, University of Derby

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Subject: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 09:49:16 +0100 (BST)
Status: RO

I don't know how many from the UK are here on this list, but I have been
thinking about this for a long time, not having a clue how to make it happen. I
am sitting alone here in the South East of England, being the only one in the
house who sews, and more often than I like going mad with sewing away all on my
own. I was just wondering, has anybody ever thought about a kind of sewing
circle? To met perhaps every two months or less, or whenever is feasible,
perhaps somewhere in the Midlands to sew for a weekend? 
It's just one of these ideas that has been stuck with me for a while now.
Any ideas, or would anyone be interested at all?

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: e: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 10:51:45 +0000 (GMT)
Status: RO


>  (No, I won't sing the Mary Poppins "Spoonful of sugar" nursery
> cleaning song. No, I won't or it will be with me all day!) 

Awww... but it's one of my favourites - I even know the whistling 
part that the robin does.



Teddy
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Subject: Re: [h-cost] OT and On T  Moulin Rouge
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Date: Thu, 18 Jul 2002 22:12:04 +1200
Status: RO

> Don't you have regular TB vacines there ? With the test ?

Do you have any idea how that comes across?

Anyway.
http://www.adm.monash.edu.au/ohse/documents/policies/Procedures_for_TB.html

While we aren't in Oz that's pretty well the procedure so you only get the
vaccine if you need it. I just don't know why we were not checked up on. I
suspect the  community health workers expected the chool health nurses to
follow up and vice versa. Why no one listened when I mentioned the test.. I
dunno. Maybe they couldn't belive that a middle class white kid could be in
a situation where she would be in high risk.

Most people of my
> generation 40 ish and earlier are immune. Wheras most youngsters today
> aren't, because they no longer have any exposure to it. There were several
> social implications to having TB and it wasn't completly accepted as
trendy
> and arty in British Society, amoungst the general society.

We're talking 19th C. And I never said it was trendy. However when you have
many many women in Opera's and plays and novels dying of it you have to ask
why.

> Onto costume apart from the film being rather odd. What did people think
of
> the costumes ?

Well they weren't supposed to be authentic at all. Rather a matronly era for
fashion (mature look and mono bosom and all) that really wouldn't have
appealed to the audience the movie was aimed at. Not kidies but not the blue
rinnce brigade either.

I loved them. Not all but when you see the costumes on exhibit... the can
can dresses are just beautiful works of art. Nini's (waspish black and
yellow.. the scheme is repeated through out her time on screen, saving one
ill looking green suit) and the Spanish can can dress (which I never
actually saw on screen, I supsect you'll see it on the dvd with the special
features) are stunning.

http://frazzledfrau.tripod.com/moulinrouge is my little collection of links
to costume exhibits and galleries as well as recreations of the costumes.

They difinately have a big fan following.

Weird is good. Not all were as successful as they might have been, but for
what Baz was after.. it works.

michaela


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Subject: Re: [h-cost] Cope on display in V&A
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Date: Thu, 18 Jul 2002 10:54:35 +0000 (GMT)
Status: RO


> > You must have a picture of it then... Of cousre, you'll then find it
> > was actually a dark blue brocade altercloth and that I've just
> > misremebered the details....<G> Teddy
> 
> Oh, Teddy darling, you could do us one even better. *You*, who
> live so close to the actual source, could go to the V&A and look at
> it and tell us. That way we *know* that we aren't mixing up copes.
> ;) 

OK, Kat, you talked me into it.

When I take Drea fabric shopping on Saturday, I'll try and find time 
for to call in and take a look at  the cope.  




Teddy
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Subject: Re: [h-cost] OT School sports(WAS: Sewing) England vs US,
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Date: Thu, 18 Jul 2002 11:23:36 +0000 (GMT)
Status: RO

> generally ridiculed by other students for not being sports
> inclined.  Ah, love that gender equality thing.  I'm hearing that
> schools are starting to clue into the hell of forced competitive
> sports in elementary schools and are starting to do away with games
> like dodge ball (the bane of my childhood existence) because they
> do more emotional damage than physical enhancement. And speaking as
> someone who once was a very small, very thin little girl who was
> more of a dreamer than a sports goddess, it's about damn time! 

Don't even get me *started* on that one, Sarah... and as for the 
monsters who end ups as school PE/sports teachers..  My opinion 
is that nayone who shows an interest in becoming one should be 
forced to undergo stringent psychological testing and never be 
allow *near* a child.  They seem to be specially selceted for their 
sadistic tendencies and the pleasure they take in holding those with 
no interest in, or talent for, sports and physical exercise up to 
riducule.

But I digress...


Teddy
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Date: Thu, 18 Jul 2002 06:43:44 -0400
Status: RO

 Home Ec was involved so many different subjects.  When at UNM I
> was taking education classes, child development, consumer behavior,
> nutrition, AND sewing classes.  Some H.E. schools moved to textiles dept
> under fashion dept. Consumer Behavior is actually now part of the
Marketing
> business school... I had to repeat this class in my Jr. year at Virginia
> Commonwalth Univ. because I took it at a sophomore level at UNM and they
> wanted it in my jr. year.  The sewing courses are taught in fashion dept
AND
> the costume design dept of theater.

     This is how I ended up with enough courses in SO many different areas
that I pushed a bit and now have certification to teach in 4 different
areas.   I didn't actually take a Home Ec course, ever - I found a way to
duplicate everything to satisfy NYS without dealig with the one obnoxious
NYS college that still offers it as a degree.   The plus side is that I have
a subject degree  ( AS in Business, and a BS in a double major of Business
and Child & Family Development)  and got all my education type courses in my
Masters program (MST - Master of the Science of Teaching).  It is MUCH
tougher to do that way, but I got a lot more than most teachers I know.   (I
really shouldn't have had to explain to a history teacher that A Connecticut
Yankee in King Arthur's Court is not an accurate description of medieval
life, or of anything in history at all.)
>
> In our state, Virginia, the Home Ec. dept has been completely dissolved.
> Every high school is required to offer a fashion program.  (snipped)  The
students do not sew.  As my  > professors told me about the high school
fashion courses... a good many of  the HS students want to be models or
fashion buyers.

   All of a sudden I am tempted to move to Virginia!   Since  I work at a
tiny school (we graduate about 20 to 25 every year) there is always a danger
of my job being cut down to just the 2 mandated classes - in other words,
just 2 periods a day.  I have enough fashion contacts down in NYC or Long
Island that I get to show the kids BOTH aspects (when they let me teach
it,which right now is once about every 5 years).
   But what you are describing is the case here, too, for most places.   A
friend of mine is the designer for a lot of the JC Penny lines.  Her boss
and she had a few rough years when he kept adding the contracts, and then
thought that instead of giving her a raise, he would just hire other people.
Not one graduate could sew or make a mock-up pattern - and not one person
they could find could.  Anyone who can is getting paid some fairly high
bucks down in NYC!
   She was appalled to learn that colleges are teaching about the same
attitude - design is all, they can always hire some "sewing monkey" to make
the patterns work and make a mock-up.  \
Another friend has the same experience - she is running her own historical
clothing business (FashionsinTime.com) and was told she didn't have enough
experience to enroll in a Fashion program because she didn't have the art,
specifically drawing, background.  They didn't teach any sewing, and didn't
count any designing/making experience, because the only programs involved
Fashion.
     All of us don't see how you separate them, but then, we aren't prepared
to go spend money on more college to find out if they are teaching anything
actually useful!      Rowena

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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 06:58:47 -0400
Status: RO

> > But the very best thing is still if you can learn to sew from your mom
:-)

   I should have added that my Mom can't sew - can't even cut out a pattern
so that it ends up the same size as the piece of paper that the pattern is.
   And no one in our family could ever figure out where I got my love of
embroidery - if they wouldn't let me take books when I got dragged to family
parties, then I brought embroidery.

  On the other hand, my grandma tried to teach me to knit when I was 13.
For some reason, they thought it would take my mind off having my tonsils
out.  So grandma went along to teach me both before and after.     I detest
knitting, never could do it, just remember my mom whomping me for being so
nasty (duh!),  and to this day, STILL just want to be left alone when I am
feeling sick or miserable or hurt.
  I know I was a strange child to them, always doing these strange crafts or
trying to read even while eating,  but why they tried to teach me anything
right after I had my tonsils out is still beyond me!
    I still want my Mom's old Singer that I learned to sew on - it certainly
didn't get much use from her!
Rowena   (who currently has 2 FULL rooms of fabric, and should be sewing
instead of all this other stuff!)

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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 06:59:06 -0400
Status: RO

I prefer "It's a Jolly Holdiay With Mary" myself....

Dianne
----- Original Message ----- 
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Thursday, July 18, 2002 6:51 AM
Subject: e: [h-cost] Sewing, England vs US,


> 
> >  (No, I won't sing the Mary Poppins "Spoonful of sugar" nursery
> > cleaning song. No, I won't or it will be with me all day!) 
> 
> Awww... but it's one of my favourites - I even know the whistling 
> part that the robin does.
> 
> 
> 
> Teddy
> _______________________________________________
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> 

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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Thu, 18 Jul 2002 12:15:49 +0000 (GMT)
Status: RO

> Because every pattern I wanted to make, was too complicated for
> what we were allowed to do - even if I had already made it. 

I got that one - except I got my way.  For my exam pice I chose to 
make a party dress for my young cousin and was tild by the 
teacher that she wouldn't suggest that complicated a pattern for an 
A-level (that's A for advanced for those not used to the old English 
exam system - 2 years further on from the level I was at ) student 
let alone a lowly O (for ordinary) level student like me.  It had 
<gasp> a curved yoke and <horror!> a full gathered skirt with a 
ruffled hem and <shock> a contrasting front skirt panel to sinulate 
an apron.... Looking back it wasn't at all what I'd choose now (pink 
floral print cotton, contrasted with white cotton printed with a pink 
floral design in the same pattern for the skirt and apron, with a lace 
trimmed white cotton blouse-section.

I made it and got top marks for the practical part of the exam - but 
barely scraped through with a pass-mark due to the abysmal 
written-work grade I got....<g>  But at least I passed and my cousin 
loved the dress and passed it on to her younger sister when she 
outgrew it and it was *used* and appreciated instead of something 
made just for the exam and thrown or given away afterwards 
because no-one had a use for it.




Teddy
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 12:16:40 +0100 (BST)
Status: RO

Nicole

This is a great idea.  Count me in.  I'm in Hertfordshire, but can travel.  My other half isn't
into living history at all and gets quite fed up with the endless round of sewing and embroidery
that I tend to subject him to.  Not to mention the risk of pins in the carpet.  it would make a
wonderful change to sew with like-minded people.  I enjoy it when our group gets together at
events to sew, but that doesn't happen very often.

Count me in.



 --- N Kipar <nicolas_fouquet@yahoo.com> wrote: > I don't know how many from the UK are here on
this list, but I have been
> thinking about this for a long time, not having a clue how to make it happen. I
> am sitting alone here in the South East of England, being the only one in the
> house who sews, and more often than I like going mad with sewing away all on my
> own. I was just wondering, has anybody ever thought about a kind of sewing
> circle? To met perhaps every two months or less, or whenever is feasible,
> perhaps somewhere in the Midlands to sew for a weekend? 
> It's just one of these ideas that has been stuck with me for a while now.
> Any ideas, or would anyone be interested at all?
> 
> 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


=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Subject: Re: [h-cost] Sewing in UK(WAS: different velvets)
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Date: Thu, 18 Jul 2002 11:40:00 +0000 (GMT)
Status: RO


> ><laughs!>  Jean, it's obvious that you have never seen me sewing
> >
> >Teddy
> 
> Not unless your sewing propels dust into every part of the house like
> power sanding does!

NO but the threads and snips of fabric get into every nook and 
cranny throughout the house... It's not possible for me to be tidy 
when sewing - I track stuff through the hose no-matter what.  The 
'phone will ring in the livingroom, I'll need to go up to the storerom to 
hunt for another peice of fabric, I'll realize it's raining and the 
windows in all the rooms upstairs need to be closed *now* etc....

Then Tom gets home and brings me a cup of decaf and long-
sufferingly points out that he had just finished cleaning and tidying 
the house before he went out.



Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Re: different velvets
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Date: Thu, 18 Jul 2002 11:42:09 +0000 (GMT)
Status: RO


> Quick and dirty version - another bit of velvet, especially that
> disgusting yellow shade of curtains you find in charity shops!

Nice tip, but *what* shade of yellow would that be?

Teddy
(who likes yellow and has made use of lots of differnet shades of 
secondhand velvet curtains)
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I am going on vacation beginning 7/26, and I will be gone for 3 weeks.
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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 06:48:00 -0400
Status: RO

My mom could sew ANYthing. I used to take her scraps and try to make things
for my Barbie from them. Wrap skirts, shawls...you know, the really
difficult stuff.

But now that I think about it, my first exposure to any kind of historic
costume was through my mom. The small town we lived in was celebrating its
Centennial, and Mom made us all "Little House on the Prairie" dresses with
matching sunbonnets.

Dianne
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Thursday, July 18, 2002 1:49 AM
Subject: Re: [h-cost] Sewing, England vs US,


> I miss my mom very much, but she couldn't sew worth sh--! I learned the
> bare basics from my 4-H instructors, and after that, I was pretty much
> self taught until I picked up a job or two working in the costume dept.
> for the University I attended....and then there were the 7 (!) years I
> spent doing professional tent/tipi sewing....
> I am so, so glad I can sew "for fun" now, and not because I *have to*!
> --sue


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Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
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Date: Thu, 18 Jul 2002 06:49:24 -0400
Status: RO

That is gorgeous stuff, isn't it? I've had my eye on it for a while. The
only thing holding me back from dying silk is that they say you need to
steam set the dye--does anyone here do it differently, and how do you do it?

Dianne
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Thursday, July 18, 2002 1:55 AM
Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )


> Yeah....sigh....
> I'm actually thinking of ordering some silk twill from Dharma Trading,
> and doing a whole gown in either tansy or knapweed (they're both growing
> rampant around here.....)
> --Sue, too many centuries, too many colors, not enough time <g>
>
> Teddy wrote:
> >
> >
> > > Must be local-water thing, or something.  The tansy-dyed wools done by
> > > my friends were very lovely shades of an almost olive-green.  The
> > > silks were similar, but lighter. --sue
> >
> > That sounds much nicer.
> _______________________________________________
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Subject: [h-cost] Sewing an Anglo-Saxon Seam (was Fabric Prices)
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Date: Thu, 11 Jul 2002 21:01:15 +0100
Status: RO

----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
Subject: Re: [h-cost] Fabric Prices

> In general, I've become pickier (especially in the last couple of
> years--this list has had a strong influence on me and my levels of
> commitment to having more authentic clothing!), and less willing to go
> with the "it's good enough for a tourney event" stuff....This may partly
> explain why my costuming interests, at least for the immediate future,
> have shifted from the really late renaissance stuff, to earlier cultures
> (early Anglo-Saxon, which is completely Ben's fault, Nicole <g>), or
> Robin's Gothic Fitted Gowns.  Someday I'll no doubt dabble in the
> Elizabethans again, but right now I'm having loads of fun working with
> earlier garments.  I can feed my obsessive Authenticity Jones by
> concentrating on period seam finishes, sewing techniques, etc.

At last  !  Someone to ask !

I'm about to start making an undertunic as worn by an early Anglo-Saxon
lady, but I've been wondering how the fabric would have been sewn together
and hemmed.  Can anyone tell me, please ?  My fabric is white 100% linen:
should I use linen thread ?  If so, (and as I make Bucks lace), I have
several types of linen thread available:  how should I choose ?  And would
the garment have been plain, or were there any decorative finishes ?

Linda Walton,
(in High Wycombe, Buckinghamshire, U.K.).


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Subject: [h-cost] New Book!
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Date: Sat, 13 Jul 2002 11:36:09 EDT
Status: RO

I am delighted to announce the forthcoming publication of my new book, "Here 
Be Wyverns:  Hundreds of Patterns Graphed from Medieval Sources."   With over 
400 patterns and over 130 quotes from primary sources, it is sure to be an 
inspiration to anyone who can work from a graph.  For information about the 
book, please visit my web site.

www.weavershand.com/ArelateStudio.html

Nancy Spies
Arelate Studio
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Date: Tue, 16 Jul 2002 17:40:28 +0100
Status: RO

I've just finished a paper on Medieval wools and dyeing, if anyone is
interested in a copy it is on ebay 1550155867 . I'm charging a bit for
copies as it cost me quite alot in materials, testing etc.

Mel

This e-mail, and any attachment, is confidential. If you have received
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 11:50:19 +0000 (GMT)
Status: RO


> Let's see, is there anyone on this list, in the UK, who actually
> *likes* current fashion??

I find there's a *wider* range of "fashion" around now than there 
was in the 80's and 90's.... lots of "retro" styels are back in and 
there seems to be less pressure to conform to a particular one 
style/fashion scene than there was when I was a teenager (and 
had no idea what wa "in" and what was "out", besides being too shy 
to attempt wearing anything even vaguely fashionable).

Personally, I love flares ("Not the distress-signal, the trousers, 
though possibly they are worn as a cry for help"... to quote Victoria 
Wood...<g>) and baggy trousers and would happily buy and wear 
them if they were; (a) cheaper and  (b) not made in such awful 
synthetic fabrics.  One of the library assistants here is a trendy 
young thing and just yesterday he was wearing some very nice 
"Shaggy from Scooby-doo" style trousers that I was admiring until I 
got close enough to see what they were made of.



Teddy
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Subject: [h-cost] Redcoat from 1794-6
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Date: Fri, 12 Jul 2002 23:38:08 +0100
Status: RO

I thought some of you might be interested to see the following item, which
came to me in a newsletter from this London (U.K.) museum:-


Rare Uniform Acquired by National Army Museum

A rare army 'redcoat' dating from the Napoleonic Wars has been acquired at
auction by the National Army Museum, Chelsea, and has experts in the
Museum's Department of Uniform intrigued by the details of its origin.

The tunic belonged to Lt. Col. William Troughton, Commandant of the 129th
Regiment of Foot. The buttons are inscribed "Coventry 129" and the
epaulettes are adorned with the insignia of an elephant surmounted by a
castle, inscribed "Coventry Regiment".  Unusually, a third epaulette
accompanies the coat.

 "We bid for the uniform because of its rarity - the 129th Foot existed for
only two years between 1794-96 and there can be very few of its kind left in
existence" explained Mrs Lesley Smurthwaite, Curator of Uniforms, Badges and
Medals at the Museum.  "Now we are looking forward to researching its past.
We know that the elephant-and-castle motif is the crest of the City of
Coventry, but we don't know why the soldiers of this regiment were known as
'The Gentlemen of Coventry' and what the regiment's links were with the
area.  What intrigues me most of all is the reason for the third epaulette!"

The Museum is delighted that the redcoat was acquired alongside a portrait
of Lt. Col. Troughton, painted by one of the foremost American portraitists
of the time, Gilbert Stuart.  Both items are in excellent condition but are
likely to undergo some conservation or cleaning before being considered for
display in the National Army Museum galleries.

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 12:39:44 +0000 (GMT)
Status: RO


> I don't know how many from the UK are here on this list, but I
> have been thinking about this for a long time, not having a clue
> how to make it happen. I am sitting alone here in the South East of
> England, being the only one in the house who sews, and more often
> than I like going mad with sewing away all on my own. I was just
> wondering, has anybody ever thought about a kind of sewing circle?
> To met perhaps every two months or less, or whenever is feasible,
> perhaps somewhere in the Midlands to sew for a weekend? It's just
> one of these ideas that has been stuck with me for a while now. Any
> ideas, or would anyone be interested at all? 

Love the sound of it, Nicole.  A couple of groups that I'm in have 
similar things (The Far Isles Garb School and Needleworkers 
Guilds have occasional get togethers to work on costume, and the 
Costume guild UK has costume get togethers -sometimes at a hall 
so there's plenty of space to lay out stuff for cutting without getting 
in each other's way)

The problem is usually figuring out a time/date and location that 
enough people can get to to make it worthwhile doing it.

If you can get it together, I'd be interested.


Teddy
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Date: Thu, 18 Jul 2002 10:48:27 +1000
Status: RO

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Hi All
 Just recieved my CD's on the Gotlandic beads from Professor Carlsson.
Well and truelly worth the $10US great pics that can be magnified to see=

lots of detail, so impressed I have put up a link on the frojel Harbour =
Market
page at  http://www.frojel.com/_index.html  it makes a great primary res=
ource
and I can hardly wait for the next in the series.

Sandy

Fr=94jel Gotlandica Viking Re-enactment Society.
http://www.frojel.com/
frojel@frojel.com


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<HTML>


<FONT FACE=3D"Times New Roman" DEFAULT=3D"FACE"><FONT SIZE=3D"3" POINTSI=
ZE=3D"12" DEFAULT=3D"SIZE">Hi All<BR>
 Just recieved my CD's on the Gotlandic beads from Professor Carlsson.<B=
R>
Well and truelly worth the $10US great pics that can be magnified to see=
<BR>
lots of detail, so impressed I have put up a link on the frojel Harbour =
Market<BR>
page at  <FONT COLOR=3D0000ff><U>http://www.frojel.com/_index.html<FONT =
COLOR=3D000000 DEFAULT=3D"COLOR"></U>  it makes a great primary resource=
<BR>
and I can hardly wait for the next in the series.<BR>
<BR>
Sandy<FONT COLOR=3D000000 DEFAULT=3D"COLOR"><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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Subject: Re: [h-cost] Cope on display in V&A
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Date: Thu, 18 Jul 2002 07:53:31 -0500
Status: RO

Hey Teddy,


Wave 'Hi' to Drea for me! 


Karen





On Thu, 18 Jul 2002 10:54:35 +0000 (GMT) Teddy <teddy1@mdx.ac.uk> writes:
> 
> OK, Kat, you talked me into it.
> 
> When I take Drea fabric shopping on Saturday, I'll try and find time 
> 
> for to call in and take a look at  the cope.  
> 
> 
> 
> 
> Teddy
> _______________________________________________
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Subject: Re: [h-cost] New Book!
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Date: Thu, 18 Jul 2002 08:54:19 -0400
Status: RO


> I am delighted to announce the forthcoming publication of my new book,
"Here
> Be Wyverns:  Hundreds of Patterns Graphed from Medieval Sources."   With
over
> 400 patterns and over 130 quotes from primary sources, it is sure to be an
> inspiration to anyone who can work from a graph.  For information about
the
> book, please visit my web site.
>
> www.weavershand.com/ArelateStudio.html

Saw it on Early Design, and sent you a check yesterday.   I love your other
book on bands, even though I never seem to have time to learn or do even
simple weaving - I keep sewing or embroidering with what free time I have.

So I am really looking forward to your book.  Hope you will have it for sale
at Pennsic, where I KNOW people will drool over it.   We sell clothes at
Pennsic, and the discussions you can get into with people who wander in, on
ALL subjects, are actually the best part.


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Subject: Re: [h-cost] Tansy wool and natural dyeing
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Date: Thu, 18 Jul 2002 07:11:29 -0600
Status: RO

Without really knowing too much about it, I'd say it probably depends on
the kind of dye you're using.  Certainly, I've never heard of my
textile-oriented friends having to "set-steam" theire newly-dyed silk
yarns, but perhaps fabric is different? I'll try to remember to ask.
I *did* notice that what very little I could find on their website about
natural dyeing wasn't exactly -uhm- supportive of the idea, which I
suppose makes sense to them, considering that most of their business
seems to be concerned with non-natural dyes.  Just that, in my case at
least, I'm not interested in the silk screening, modern-dyeing,
fabric-painting, or other very nice "artsy" things--I want to play with
fibers and colors and fabrics of a more historical nature, and
eventually, make a couple of historical costumes that are naturally
dyed.  And it's fun! Somehow, it's much more entertaining to "mine" your
neighbors' yards for dandelion blossoms (makes a great yellow), or watch
the color changes of something dyed with indigo (although it *really*
smells nasty! <g>), or thwacking away at the "weeds" in the vacant lot
next door, that happen to be tansy and knapweed...more of a
process-oriented thing, I guess, than a goal-oriented thing....
--Sue, chatting away when she *should* be getting ready to go to work!

Dianne and Greg Stucki wrote:
> 
> That is gorgeous stuff, isn't it? I've had my eye on it for a while. The
> only thing holding me back from dying silk is that they say you need to
> steam set the dye--does anyone here do it differently, and how do you do it?
> 
> Dianne
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: <h-costume@indra.com>
> Sent: Thursday, July 18, 2002 1:55 AM
> Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
> 
> > Yeah....sigh....
> > I'm actually thinking of ordering some silk twill from Dharma Trading,
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Date: Thu, 18 Jul 2002 07:32:01 -0600
Status: RO

*Laughing*
The funny thing about that analogy, is that that's exactly what I
thought of a gas pedal, when I learned to drive....Oh, hey, it's just
like the sewing machine.....
--Sue
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From: "Saragrace knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 06:27:46 -0700
Status: RO

Just curious-(I am in the US).  How far do you have to travel to collect
as a group?  The reason I ask is, we do the same thing in Arizona, not
just for sewing costumes, but for soft sculpture, and spinning.  Some of
us travel as much as 90 miles each way in a single day!  A good way to
attract a few folks is to offer simple classes taught by one of you.
For instance, have someone teach how to make split drawers, or each of
you pick a simple period hat to teach.  We also get together to go
shopping at favorite fabric or bead stores.  Sometimes you will have
lots, sometimes only a few.  The camaraderie is great.  It may sound
'old fashioned' but I think women have lost a lot of their opportunities
to "klatch" when they industrialized soap, sugar, quilting manufacture.
They will come!!  Wish I could come that far-I would!!

Sg

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of N Kipar
**Sent: Thursday, July 18, 2002 1:49 AM
**To: H-Costume
**Subject: [h-cost] UK Costume Sewing Circle?
**
**
**I don't know how many from the UK are here on this list, but 
**I have been thinking about this for a long time, not having a 
**clue how to make it happen. I am sitting alone here in the 
**South East of England, being the only one in the house who 
**sews, and more often than I like going mad with sewing away 
**all on my own. I was just wondering, has anybody ever thought 
**about a kind of sewing circle? To met perhaps every two 
**months or less, or whenever is feasible, perhaps somewhere in 
**the Midlands to sew for a weekend? 
**It's just one of these ideas that has been stuck with me for 
**a while now. Any ideas, or would anyone be interested at all?
**
**Nicole

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Subject: Re: [h-cost] Re: shop and home economics
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Date: Thu, 18 Jul 2002 09:45:45 -0400
Status: RO


> *Laughing*
> The funny thing about that analogy, is that that's exactly what I
> thought of a gas pedal, when I learned to drive....Oh, hey, it's just
> like the sewing machine.....
> --Sue

And that is EXACTLY how I tease some of them into NOT "flooring" it - if
they can't drive a sewing machine, how are they going to drive?  It usually
slows them down, if I can keep making them laugh about it.
Not to mention sewing a straight line - Drunken Driving is an offense in the
classroom!
And then there was the cute, tiny student who had the Darth Vader Death Grip
on anything - I had a very hard time trying to convince her to let the
MACHINE feed it through!

It was because I was teaching so many beginners and children how to sew in
the SCA, especially at the original Pennsic Pages School, that I went back
to college to become a teacher.

How do the rest of you handle teaching people to sew, when they want to make
all the wonderful clothing from so many eras?
Rowena

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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
To: Blackwork List <blackwork@yahoogroups.com>,
        Historic Costuming <historic-costuming@yahoogroups.com>,
        europe16thc <europe16thc@yahoogroups.com>,
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Subject: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Thu, 18 Jul 2002 14:42:12 +0100 (BST)
Status: RO

Having agreed to make an exact reproduction of the above shirt for a friend I am in need of
pictures of the above shirt.  I need to find pictures of the embroidery in detail and on the shirt
as a whole.  Does anyone know of any resources that show this kind of detail or have any pictures
that they would not mind emailing me?

I have been onto the museum of costume in bath and they were worse than useless. The only picture
they have is on their website at:

http://www.museumofcostume.co.uk/index.cfm?fuseAction=SM.nav&UUID=013DFA14-32A6-4A33-B3CDA4E8E00C9D49

It's the one on the left.

At a pinch I can travel to BAth to have a look myself but it is rather a long drive for a single
shirt!

Thanks

Rachel

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 14:41:38 +0100
Status: RO

Teddy wrote:

Kate Bunting
Library, University of Derby

>>> I find there's a *wider* range of "fashion" around now than there 
was in the 80's and 90's.... lots of "retro" styels are back in and 
there seems to be less pressure to conform to a particular one ...

That's very true. In the original mini-skirt era almost all  women who made any attempt to be fashionable felt they had to wear their skirts above the knee whether it suited them or not, then when flared trousers came in you felt uncomfortably conspicuous in straight ones. Nowadays you can choose whether to follow these "retro" styles or not.

As to the complaint about modern fashions suiting 14 year olds - I'm middle aged but stuck with a 12 year old's figure, so I have difficulty in finding suitable styles in small enough sizes!


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Date: Thu, 18 Jul 2002 06:34:00 -0700
Status: RO

If you have a microwave, it is a great way to heat wet fabric.  Just
make sure it stays wet.  You can burn fabric in a microwave-ask me how I
know.  I think I got this idea from the Dharma catalog.  


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Subject: Re: [h-cost] OT School sports(WAS: Sewing) England vs US,
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Date: Thu, 18 Jul 2002 08:49:07 -0500
Status: RO

I'm with you. Mine put me with the most aggressive girl in the class, so
that I can now thank him for not breathing as well due to that hockey
stick in the face.

I'm sorry but if a child is bleeding from the nose and has broken
glasses acting as if it wasn't a big deal should get them fired in my
view.

I'll never try sports again because of that.

Onaree

Teddy wrote:
> 
> 
> Don't even get me *started* on that one, Sarah... and as for the
> monsters who end ups as school PE/sports teachers..  My opinion
> is that nayone who shows an interest in becoming one should be
> forced to undergo stringent psychological testing and never be
> allow *near* a child.  They seem to be specially selceted for their
> sadistic tendencies and the pleasure they take in holding those with
> no interest in, or talent for, sports and physical exercise up to
> riducule.
> 
> But I digress...
> 
> Teddy
> _______________________________________________
> 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. --
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Date: Thu, 18 Jul 2002 23:26:44 +0930
Status: RO

<html><div style='background-color:'><DIV>Hello</DIV>
<DIV>Here in Australia it's not unusual for girls in private schools to design and make their formal dress (prom dress), as a part of yr 11 or 12 sewing.</DIV>
<DIV>Rebecca</DIV></div><br clear=all><hr>Send and receive Hotmail on your mobile device: <a href='http://g.msn.com/1HM1ENAU/c152??PI=44314'>Click Here</a><br></html>
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Subject: [h-cost] Davenport book opinions?
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Date: Thu, 18 Jul 2002 06:54:04 -0700
Status: RO


I have heard several of you mention Davenport's costume book, but have
been unable to find a copy locally to look at.  I understand it is a two
volume set.  Can any of you tell me a little more about it-time periods,
layout etc. And are there some cautions you are familiar with in using
it as a source?

Thanks, Sg

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Subject: [h-cost] costume sale Philadelphia
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Date: Thu, 18 Jul 2002 08:15:54 -0600
Status: RO

Forwarded from another list ...

> Pierre's Costumes will be having it's annual "Christmas in July"
> sidewalk sale. The sale will be held July 25th 10:00am to 5:30pm
>
> Pierre's will be selling costumes, mascots, make-up, fabric, masks,
> trim, buttons, costume building supplies, props, prosthetics, books,
> flags, boas, wigs, canes, gloves, and a whole lot more.
>
> In addition to the items that are on the sidewalk sale (most of them
> being sold under wholesale cost...many items for just a dollar),
> Pierre's is offering a 10% discount on any purchase over $125.
>
> 211 N. 3rd st.
> Philadelphia, PA 19106
> 215-925-7121
>
> check http://www.costumers.com for directions
>
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Subject: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath-length question
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Date: Thu, 18 Jul 2002 07:22:02 -0700
Status: RO

Rachel, sorry I don't have any pictures but I do have a question which I
would like anyone's idea about.  Give the styles of the time for men,
wouldn't this be a rather long shirt?  Would they have only worn it when
in robes?  It seems like an awful lot to stuff into ones breeches!

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Date: Thu, 18 Jul 2002 07:23:40 -0700
Status: RO

Oh, one more thing-if you can't go there to look more closely at it,
would the embroidery motifs in QEWU in crimson work?  There are bugs,
monsters, snails, birds etc.  Not an exact replica I know....


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Subject: Re: Burda Mag alive and well, was Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 10:44:24 -0400
Status: RO

Unless something has changed since the 80s, Burda should have a section that
tells you how to adjust it for larger sizes. (came in handy when I used them
back then) Also, at least back then, they didn't put seam allowance in.(made
it easier to adjust before cutting it out, they said);-)
Moira


Thanks again megan, may I also say to everyone that these patterns are
indeed
> superb for modern wear and highly recommendable (but they don't go to very
big
> sizes, I think German size 44 used to be the biggest one in the normal
Burdas).


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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: RE: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Thu, 18 Jul 2002 16:03:00 +0100 (BST)
Status: RO

Unfortunately my client is most exacting and only this one with do.  I have several patterns for
blackwork shirts myself, but no, nothing else will do!  

Rachel

 --- Saragrace knauf <saragrace@earthlink.net> wrote: > Oh, one more thing-if you can't go there
to look more closely at it,
> would the embroidery motifs in QEWU in crimson work?  There are bugs,
> monsters, snails, birds etc.  Not an exact replica I know....
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Subject: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 16:04:53 +0000 (GMT)
Status: RO


Hi Saragrace,
> Just curious-(I am in the US).  How far do you have to travel to
> collect as a group?  The reason I ask is, we do the same thing in
> Arizona, not just for sewing costumes, but for soft sculpture, and
> spinning.  Some of us travel as much as 90 miles each way in a
> single day!  A good way to attract a few folks is to offer simple
> classes taught by one of you. For instance, have someone teach how
> to make split drawers, or each of you pick a simple period hat to
> teach.  We also get together to go shopping at favorite fabric or
> bead stores. Sometimes you will have lots, sometimes only a few. 
> The camaraderie is great.  It may sound 'old fashioned' but I think
> women have lost a lot of their opportunities to "klatch" when they
> industrialized soap, sugar, quilting manufacture. They will come!! 
> Wish I could come that far-I would!! 

Over here, there are few that would even *consider* travelling that 
far for a one day event.... some not even for a weekend event.... let 
alone for a "sewing circle".

Costume Guild UK has trouble getting significant numbers people 
together in one place (even though it's open to non costume guild 
members) to work on costumes/sewing etc for a day event even 
when there are displays or workshops offered to "sweeten the pot," 
and a nice big hall so big things can be layed out and there would 
be other people around to help/advise/share experience etc.

When I first visited the US it amazed me how great a distance was 
referred to as "local".

And, yes, this is a generalisation - some people over here *would* 
travel long distances and not be put off by them, and not everybody 
I encountered in the US thought little of travelling the distances I 
considered vast to get to events or simply to commute to and from 
work each day.


Teddy
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Subject: Re: Burda Mag alive and well, was Re: [h-cost] Sewing, England vs US,
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Please forgive me I have not read the complete thread on the Burda Magazines 
so I might be repeating something already posted.

I left Germany 4 years ago. Up until the time I left they did publish a 
special issue or maybe even a monthly one (I am not sure) for larger sizes. 

I remember when I was younger there were two leading fashion/pattern 
magazines in Germany one was Burda ands the other one was called Neue Mode 
(New Fashions).  I have not seen the second one around anymore.  The original 
Burda as I knew it changed tremendously.  They broke it up into several 
magazines.  One that comes to mind  is Carina, which initially was a copy of 
the regular Burda fashions but strictly for teenagers.  It did change over 
the years as well.

I guess what I am trying to say is that they now publish a whole lot of more 
specialized monthly magazines with pattern inserts.  One should contact them 
direct to get a list.

I also know that they will send subscriptions or individual mags all over the 
world.

Elisabeth

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Please forgive me I have not read the complete thread on the Burda Magazines so I might be repeating something already posted.
<BR>
<BR>I left Germany 4 years ago. Up until the time I left they did publish a special issue or maybe even a monthly one (I am not sure) for larger sizes. 
<BR>
<BR>I remember when I was younger there were two leading fashion/pattern magazines in Germany one was Burda ands the other one was called Neue Mode (New Fashions). &nbsp;I have not seen the second one around anymore. &nbsp;The original Burda as I knew it changed tremendously. &nbsp;They broke it up into several magazines. &nbsp;One that comes to mind &nbsp;is Carina, which initially was a copy of the regular Burda fashions but strictly for teenagers. &nbsp;It did change over the years as well.
<BR>
<BR>I guess what I am trying to say is that they now publish a whole lot of more specialized monthly magazines with pattern inserts. &nbsp;One should contact them direct to get a list.
<BR>
<BR>I also know that they will send subscriptions or individual mags all over the world.
<BR>
<BR>Elisabeth</FONT></HTML>

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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath-length question
To: h-costume@indra.com
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Date: Thu, 18 Jul 2002 16:01:16 +0100 (BST)
Status: RO

It is a little difficult to ascertain the exact dimensions from that photograph.  It does make on
wonder whether this is a mans shirt or a womans.  It is a better length for a womans shirt and
there is not a great deal of difference in the patterns used.

I guess if you were wearing a very large pair of venetians you might be able to get away with it
though!

Rachel

 --- Saragrace knauf <saragrace@earthlink.net> wrote: > Rachel, sorry I don't have any pictures
but I do have a question which I
> would like anyone's idea about.  Give the styles of the time for men,
> wouldn't this be a rather long shirt?  Would they have only worn it when
> in robes?  It seems like an awful lot to stuff into ones breeches!
> 


=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Costume Guild UK Re: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 16:57:17 +0100 (BST)
Status: RO

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

> Over here, there are few that would even *consider* travelling that 
> far for a one day event.... some not even for a weekend event.... let 
> alone for a "sewing circle".

I'm one of those who don't mind, I travel to work (thank goodness not London)
but I find it normal travelling over an hour to see my seamstress, or 45 mins
one way to work, etc.

> Costume Guild UK has trouble getting significant numbers people 
> together in one place (even though it's open to non costume guild 
> members) to work on costumes/sewing etc for a day event even 
> when there are displays or workshops offered to "sweeten the pot," 
> and a nice big hall so big things can be layed out and there would 
> be other people around to help/advise/share experience etc.

REALLY??? they are doing that?? teddy, the problem is that I never knew! It
just isn't known, the info just does not get out. Look at GBCG, super web site,
lots of info, but there's nothing interesting on the costume guild UK, I looked
lately and couldn't find it. It just isn't known! I would come.

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: Thu, 18 Jul 2002 12:02:35 -0400
Status: RO


::giggle::  And then, there are those of us travelling about 120 miles on
Saturday just for a day of classes (St. Jerome's Faire for those Trimarians
among us) to then turn around and drive that far to get home that night.;-D
Moira

> Over here, there are few that would even *consider* travelling that
> far for a one day event.... some not even for a weekend event.... let
> alone for a "sewing circle".

> When I first visited the US it amazed me how great a distance was
> referred to as "local".


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] OT School sports(WAS: Sewing) England vs US,
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Date: Thu, 18 Jul 2002 17:06:53 +0100 (BST)
Status: RO

I know this is totally OT, and I apologise to Eliz for that, but I do have to
agree! (finally a forum to shout out my sports trauma :-)

First PE teacher thought it would great to let me do Dolphin style swimming
across the short lengths and though I told him I can't see he waved it away. I
smashed a piece off my front tooth and it's dead now so that I need a
replacement and have a scar between lip and chin because I smashed my chin onto
the bit that sticks out on the edge of the pool. I HATE swimming and will never
swim anywhere other than in the bathtub.

PE teacher no 2 thought nothing of it when I was in the goal in handball and
the biggest nastiest girl did a hefty attack and my hand was torn backwards
when I tried to catch it. 'oh, just stick it under water and don't be such a
wuss' I still have a lump at the back of my head where I crashed into the
sports hall benches when I came back inside and fainted coz all the blasted
ligaments and tendons were torn in my fingers of the left hand and the joint
capsules had hair-tears. I still can't move the fingers of the left as I can do
the right.
I HATE sports.

Give me my beloved and wonderful Arts teacher back anytime!!!

Nicole

 --- Ms Berard <msberard@earthlink.net> wrote: > I'm with you. Mine put me with
the most aggressive girl in the class, so
> that I can now thank him for not breathing as well due to that hockey
> stick in the face.
> 
> I'm sorry but if a child is bleeding from the nose and has broken
> glasses acting as if it wasn't a big deal should get them fired in my
> view.
> 
> I'll never try sports again because of that.
> 
> Onaree


=====
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, 18 Jul 2002 17:09:39 +0100 (BST)
Status: RO

Rachel, I uploaded two photos into the files section of the europe16th list, of
a male shirt from Bath, one is an embroidery closeup. Let me know if that's the
one you mean. (my Netscape crashed trying to get to the Bath web site)

Nicole

 --- Rachel <rachel_holliday@yahoo.co.uk> wrote: > Having agreed to make an
exact reproduction of the above shirt for a friend I
> am in need of
> pictures of the above shirt.  I need to find pictures of the embroidery in
> detail and on the shirt
> as a whole.  Does anyone know of any resources that show this kind of detail
> or have any pictures
> that they would not mind emailing me?
> 
> I have been onto the museum of costume in bath and they were worse than
> useless. The only picture
> they have is on their website at:
> 
>
http://www.museumofcostume.co.uk/index.cfm?fuseAction=SM.nav&UUID=013DFA14-32A6-4A33-B3CDA4E8E00C9D49
> 
> It's the one on the left.
> 
> At a pinch I can travel to BAth to have a look myself but it is rather a long
> drive for a single
> shirt!
> 
> Thanks
> 
> Rachel
> 
> =====
> Rachel
> 
> Tudor Bibliography
> http://website.lineone.net/~reholliday/Tudor/
> 
> __________________________________________________
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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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Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Thu, 18 Jul 2002 12:23:50 -0400
Status: RO


On Thu, 18 Jul 2002 14:42:12 +0100 (BST) =?iso-8859-1?q?Rachel?=
<rachel_holliday@yahoo.co.uk> writes:
> Having agreed to make an exact reproduction of the above shirt for a 
> friend I am in need of
> pictures of the above shirt.  I need to find pictures of the 

I've seen something similar to it in one of my blackwork embroidery books
- I'll see if I can track it down.  I would say, however, that it is much
more likely to either be a woman's partlet/shift or a man's nightshirt. 
I've seen a man's shirt circa 1605 in an exhibit in Boston, and this
blackwork shirt looks to be much longer (thanks to the folks at Bath for
sticking it next to a woman's shift for length reference!).  Considering
how fitted the doublets and breeches were, I don't think there'd be
enough room to tuck all that in!

Ysabiau

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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 16:28:17 +0000
Status: RO

> > > But the very best thing is still if you can learn to sew from your mom
>:-)
>
>    I should have added that my Mom can't sew

To me, this is almost a weird thought. I grew up in a family where my mom 
did sewing, decorating, gardening, cooking etc. and my dad renovated the 
whole house himself. Both my parents are very good at crafts, building or 
all those other things. Weird thing is, they both are computer scientists. 
Go figure :-)

Anyway, that means I was the kid with tons of papers, cardboard, glue an 
scissors, origami books, embroidery thread to make bracelets, crafts books, 
scraps of fabric... It just has become a natural thing to be able to pick up 
skills easily, ex. embroidery. I never did much of it, but someone showed me 
stem stitch a few years ago. So when I needed embroidery on a gown this 
summer, I picked up needle and thread and went at it. It's not perfect, but 
it's something that's very easy for me. Those friendship bracelets that kids 
make, I could never find a book advanced enough to satisfy me.

What's harder, is convincing me to play pool, or volleyball, or... :-) Phys 
Ed. was a nightmare in high school :-)

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Date: Thu, 18 Jul 2002 12:43:30 -0400
Status: RO

Hi Teddy,

Give a big Hi! to Drea for me too.  I just took her 16th century woman's class through Penny's Costume Classroom and it was fantastic. Wish I could be there with you. :)

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com
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Date: Thu, 18 Jul 2002 12:42:15 -0400
Status: RO

Hi Teddy,

Give a big Hi! to Drea for me too.  I just took her 16th century woman's class through Penny's Costume Classroom and it was fantastic. Wish I could be there with you. :)

Donna Scarfe
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www.fynehatsbyfelicity.com
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Subject: RE: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 09:51:42 -0700
Status: RO

At 06:27 AM 07/18/2002 -0700, Saragrace knauf wrote:
>Just curious-(I am in the US).  How far do you have to travel to collect
>as a group? 

I'm in a rural part of California, and I have to drive 50 miles to go the
the Scaramento Costumer's guilds meetings. 

There are oher local people who do Renn faires (two of whom turn out to
live across the street from me!) we have a local not very active SCA shire,
and there are a number of local groups who do really lame 19th century
reenactment, as well as a few people who do it a bit better,  but as far as
I can tell, I'm the only serious costumer in town.  

(If anyone reading this is in the Placerville area and feels otherwise,
please let me know!)

Margo

"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Thu, 18 Jul 2002 12:41:43 -0400
Status: RO

I, on the other hand, was told NOT to take Home Ec, art, typing, etc. because I
was going to college.  The typing was for those going to secretarial
school...cost me bucks in college to have to hire someone to type those papers I
had put off too long to hunt & peck myself -- stupidest idea my small school
ever had!

Kate

> Sarah,
>
> I too was told by my high school counselor that people who took Home Ec.
> that many years shouldn't go to college.  I don't remember why I swayed
> toward going to college, but I will always remember that.
>

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To: h-costume@indra.com, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume,
  Bath-length question
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Date: Thu, 18 Jul 2002 10:01:24 -0700
Status: RO

At 04:01 PM 07/18/2002 +0100, Rachel wrote:
>It is a little difficult to ascertain the exact dimensions from that
photograph.  It does make on
>wonder whether this is a mans shirt or a womans.  It is a better length
for a womans shirt and
>there is not a great deal of difference in the patterns used.
>
>I guess if you were wearing a very large pair of venetians you might be
able to get away with it
>though!
>

No, at least some men's shirts really were that long.  Knee length or a bit
shorter.  They were slit almost to the waist on the sides.  When worn, the
front part was pulled through the legs to the back, then the back to the
front, creating an effect like a baby's "onesie" garment.  This served the
same purpose as underpants, to keep the slops or venetains from being
soiled and to protect from chafing.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume,
  Bath-length question
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Date: Thu, 18 Jul 2002 10:09:57 -0700
Status: RO

Re the difference between men's shirts and women's smocks:  In her article
on the subject, Janet Arnold points out that it can be difficult to tell,
because they are both about the same length and very similar in shape.  The
way she differentiated them was that mens's shirts are slit at the sides,
to enable the between the legs arrangement I described earlier, and women's
smocks have side gores to make room for the hips.  

This difference can be seen in the picture of the two smocks, if you look
carefully.  In the article, Arnold diagrams both these garments.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Thu, 18 Jul 2002 10:15:30 -0700
Status: RO


> > > You must have a picture of it then... Of cousre, you'll then find
> > > it was actually a dark blue brocade altercloth and that I've just
> > > misremebered the details....<G> Teddy
> > 
> > Oh, Teddy darling, you could do us one even better. *You*, who
> > live so close to the actual source, could go to the V&A and look at
> > it and tell us. That way we *know* that we aren't mixing up copes.
> > ;) 
> 
> OK, Kat, you talked me into it.
> 
> When I take Drea fabric shopping on Saturday, I'll try and find time
> for to call in and take a look at  the cope.  
> Teddy

Yeah! Say hi! to her for me (and the rest of us, I'm sure.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Thu, 18 Jul 2002 10:15:31 -0700
Status: RO

> >  (No, I won't sing the Mary Poppins "Spoonful of sugar" nursery
> > cleaning song. No, I won't or it will be with me all day!) 
> 
> Awww... but it's one of my favourites - I even know the whistling part
> that the robin does.
> Teddy

But Teddy, you aren't here to hear it. (And people around me get 
really tired of it.)

Between Mary Poppins and Oliver!, I have a tendency to burst into 
song when I hear certain phrases. I don't do it unless I'm in a pretty 
good frame of mind. In spite of unemployment I've been singing to 
myself a lot. (Woe to those around me.)


Kat
kat@grendal.rain.com
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Date: Thu, 18 Jul 2002 10:07:04 -0700 (PDT)
Status: RO


Actually I find the wearing of the waistband far below
the waist to be the most difficult part of current
fashions.  Both of my girls (24 and 19) won't wear
anything at their natural waistline.  It reminds me of
the crepe paper costume book I have from the 1920s
where the costumes were all made with the lowered
waist look of that period rather than the historical
period of the costumes.  Interesting.  Weird looking
now, but I bet it looked fine to their eyes.

Message: 2
Date: Thu, 18 Jul 2002 11:50:19 +0000 (GMT)
From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Sewing, England vs US,
To: h-costume@indra.com
Organization: Middlesex University
Reply-To: h-costume@mail.indra.com


> Let's see, is there anyone on this list, in the UK, 
who actually
> *likes* current fashion??

I find there's a *wider* range of "fashion" around now

than there 
was in the 80's and 90's.... lots of "retro" styels 
are back in and 
there seems to be less pressure to conform to a 
particular one 
style/fashion scene than there was when I was a 
teenager (and 
had no idea what wa "in" and what was "out", besides 
being too shy 
to attempt wearing anything even vaguely fashionable).

Personally, I love flares ("Not the distress-signal, 
the trousers, 
though possibly they are worn as a cry for help"... to

quote Victoria 
Wood...<g>) and baggy trousers and would happily buy 
and wear 
them if they were; (a) cheaper and  (b) not made in 
such awful 
synthetic fabrics.  One of the library assistants here

is a trendy 
young thing and just yesterday he was wearing some 
very nice 
"Shaggy from Scooby-doo" style trousers that I was 
admiring until I 
got close enough to see what they were made of.



Teddy

--__--__--



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Date: Thu, 18 Jul 2002 10:06:13 -0700
Status: RO

I wondered about that myself.  Could you share your source?


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Subject: Re: [h-cost] YIPPEEE!!!!!
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Date: Thu, 18 Jul 2002 10:19:01 -0700
Status: RO

They are really gorgeous.  Thanks for putting all that effort into something
so fascinating!

angela

----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Thursday, July 18, 2002 12:06 AM
Subject: [h-cost] YIPPEEE!!!!!


> FINALLY... after 2-3 years searching for photos, intense battles at eBay,
> exchanging my kids to gypsies for costly photos, and one year of layout,
> design, and scanning images... yes, a lot went into this site... the
> website, "A Brush with History: Vintage Hairstyles" is up on The Gallery.
> http://www.costumegallery.com/Hairstyles/Longhair/Women/menu.htm
>
> The time frame for the photos is from the late 1860s-1915.  I have one
photo
> of a 1920s girl.  The site consists of 51 photos of ladies' and girls'
> hairstyles with long hair.  Here is a breakdown of the styles and number
of
> photos:
>
> Girls: 19
> Ladies' with Braids: 6
> Ladies with Ringlets: 11
> Ladies with Long Flowing Hair: 15
>
> Each photo has a circa fashion date, hairstyle description, costume
> description, all information recorded about the photo for genealogical
> purposes, and in some cases the sitter's name.
>
> Some big thank you-s go to some loaner photos from Marna Jean Davis and
> Linda Thompson, both from h-costume.  Jennie Chancey and Marna Jean
assisted
> me with dating the fashions and the costume descriptions.  It was a joy to
> work with all of them on this project!
>
> I hope you all enjoy the fruits of our labor.
>
> 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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Date: Thu, 18 Jul 2002 10:32:00 -0700
Status: RO


> I, on the other hand, was told NOT to take Home Ec, art, typing, etc.
> because I was going to college.  The typing was for those going to
> secretarial school...cost me bucks in college to have to hire someone
> to type those papers I had put off too long to hunt & peck myself --
> stupidest idea my small school ever had!
> Kate

Your guidance counsellor should have been shot!

I took typing because I *knew* I'd need it in college. It was my only 
B in high school! (I could have been... naw, I won't go there.) 
Although I hated every minute of the class and always left with a 
major headache, I thank God that I took it even if it was just one 
semester. Although I could never match my mom (who was an 
amazing typist, which was part of her job, and could type faster 
and more accurately on a manual and selectric typewriters than 
even the best now on word processors), I can go very fast (just not 
accurately. I end up correcting a lot as I type.

My last art class was in junior high because I didn't have time for it 
after that (although I did have study hall a couple of times, but no 
art or clothing classes were offered that I could get into.) I would 
have loved to have taken a tailoring class but you had to have pre-
requisites that you couldn't challenge out of, and I didn't have time 
to take *that* many non-math/science/foreign language/creative 
writing/college prep classes.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Thu, 18 Jul 2002 10:27:29 -0700 (PDT)
Status: RO

Try the following two links, as I think they may be
able to answer some of your questions.
http://home.earthlink.net/~magdlena/shirt/blackworkshirt.html
http://home.earthlink.net/~magdlena/shirt/shirt.html
JAnet Arnold aslo has an artcile which I believe
discusses this shirt and the first link states that
QEWU has pistures of some of the motifs, so that may
be another place to look (I may be mistaken, though). 
I hope this helps some.
Margaret (going back into lurking now...)

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Date: Thu, 18 Jul 2002 11:52:29 -0600
Status: RO

 <the problem is that I never knew! It just isn't known, the info just
does not get out. . .  It just isn't known! I would come. . .Nicole>

And I'll bet that those among us who are making travel plans to visit
the UK would attend when we're there!

MD/Marged
Colorado USA
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Date: Thu, 18 Jul 2002 10:56:43 -0700
Status: RO

At 2:32 AM -0400 7/18/02, Penny Ladnier wrote:
>Regina... this sure was forward for 1960.  Where did you live?
>
>I just recalled why my 7th grade home ec teacher said WHY boys 
>weren't allowed to take home ec. Someone asked in our class.  She 
>pointed to the sewing machine pedal on the floor.  "See that, boys 
>think that pedal is to a race car.  So we don't allow them in the 
>home ec lab!"
>
>I think of her saying that everytime I teach my sons how to drive.
>

Which is just about the opposite reasoning from what my Mom used when 
we were kids.  She explained that learning to manage a sewing machine 
pedal properly was _excellent_ practice for the day when we'd get our 
learner's permits, and the more we sewed, the easier it would be to 
learn the footwork of driving.  (Especially relevant since my family 
only owned manual transmission cars.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Thu, 18 Jul 2002 10:52:44 -0700
Status: RO

At 9:01 PM +0100 7/11/02, Linda Walton wrote:

>I'm about to start making an undertunic as worn by an early Anglo-Saxon
>lady, but I've been wondering how the fabric would have been sewn together
>and hemmed.  Can anyone tell me, please ?  My fabric is white 100% linen:
>should I use linen thread ?  If so, (and as I make Bucks lace), I have
>several types of linen thread available:  how should I choose ?  And would
>the garment have been plain, or were there any decorative finishes ?

While the number of early linen garments available to use as models 
is quite small, when I was researching sewing techniques on surviving 
garments, one of the clear patterns I noticed was that seams for 
linen focus strongly around the avoidance of leaving raw edges 
showing (for fairly obvious reasons).  There were a number of ways of 
doing this, including finishing the edge (e.g. with a rolled or 
double-folded hem) and then seaming the finished edges together, or 
covering the seam with the moral equivalent of seam tape (a strip of 
fabric with the edges folded over, placed over the flattened seam 
than the sewn down at both edges).

More details and references can be found in my article 
"Archaeological Sewing" on Cynthia Virtue's web site.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Arnold articles:Was: Blackwork. . . . .
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Date: Thu, 18 Jul 2002 11:17:34 -0700
Status: RO

I've heard some of you refer to these articles which Arnold wrote off
and on-where did you obtain your copies?  I have all of her books, I
think, did she later publish/incorporate the articles in those? 

I see on one website one of you referred me to that one of them was in:
Arnold, Janet (1977). "Elizabethan and Jacobean smocks and shirts".
Waffen-und Kostumkunde; Zeitschrift der Gessellschadt fur Historiche
Waffen -und Kostumkunde (Vol 19, Issue 2).  I assume the article is in
German here-that shouldn't be a problem for me as I can speak it fairly
well, but what about others?



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Date: Thu, 18 Jul 2002 14:37:13 -0400
Status: RO

Hi!  I was wondering if anyone could give me tips on Pioneer Days outfits
for a 12 yr old girl and a 9 yr old boy. A friend of mine found out she
needs these outfits for an activity this Saturday.;-)
Thanks in advance,
Moira

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Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
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Date: Thu, 18 Jul 2002 12:04:24 -0700 (PDT)
Status: RO


"Dianne and Greg Stucki" <goofy1@suscom.net> wrote: 
> 
> That is gorgeous stuff, isn't it? I've had my eye on it for a while. The
> only thing holding me back from dying silk is that they say you need to
> steam set the dye--does anyone here do it differently, and how do you do it?

You only need to steamset silks if you're _painting_ them with the dyes.
If you vat dye silk with an acid dye, the heat of the dyebath will do the
setting for you.  It's just that when you paint silks, you don't exactly
want to get them _wet_ again, so you roll them in non-printed newsprint
and bundle it into the steamer to activate the dye.

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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Subject: Re: e: [h-cost] Sewing, England vs US,
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Date: Thu, 18 Jul 2002 15:17:21 -0400
Status: RO

Since I love both of those movies, I wouldn't mind at all if you burst into
song! I especially love "I'd Do Anything" from Oliver. When we saw the
Monkees last summer, Davy was doing (at some shows) a medley from Oliver! He
didn't do it that night. Phooey.

To make this costume related, I'm going to a garb/hurryandgetreadyforPennsic
workshop tonight!

Dianne
----- Original Message -----
From: <kat@grendal.rain.com>
To: <h-costume@indra.com>
Sent: Thursday, July 18, 2002 1:15 PM
Subject: Re: e: [h-cost] Sewing, England vs US,


> > >  (No, I won't sing the Mary Poppins "Spoonful of sugar" nursery
> > > cleaning song. No, I won't or it will be with me all day!)
> >
> > Awww... but it's one of my favourites - I even know the whistling part
> > that the robin does.
> > Teddy
>
> But Teddy, you aren't here to hear it. (And people around me get
> really tired of it.)
>
> Between Mary Poppins and Oliver!, I have a tendency to burst into
> song when I hear certain phrases. I don't do it unless I'm in a pretty
> good frame of mind. In spite of unemployment I've been singing to
> myself a lot. (Woe to those around me.)
>
>
> Kat
> kat@grendal.rain.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Thu, 18 Jul 2002 14:24:08 -0500
Status: RO

The boy can wear knickers or long pants, NOT jeans, a white shirt and
suspenders. He should have a hat or cap.
A 12-year old girl would not have an ankle length dress, but mid-calf.
Striped stockings are good (tights are a good substitute). She should
wear a hat or bonnet. Hair should not be completely loose, but braided
or at least the front hair pulled back into a barrette or bun.

Neither one should have any visible zippers, no sandals, no tennis
shoes.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of HEATHER A CUTLER
Sent: Thursday, July 18, 2002 1:37 PM
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Subject: [h-cost] [h-cost]

Hi!  I was wondering if anyone could give me tips on Pioneer Days
outfits
for a 12 yr old girl and a 9 yr old boy. A friend of mine found out she
needs these outfits for an activity this Saturday.;-)
Thanks in advance,
Moira

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Date: Thu, 18 Jul 2002 14:27:32 -0500
Status: RO

Yes, I love that 1920's version of fancy dress. I have a McCall's
pattern for bra and panties from the 1920's, and even thought the
midriff is exposed, the women illustrated are STILL straight from boobs
to butt. No indentation at the waistline.Very odd!

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Kay Shelton
Sent: Thursday, July 18, 2002 12:07 PM
To: h-costume@net.indra.com
Subject: [h-cost] current fashions: Sewing, England vs US


Actually I find the wearing of the waistband far below
the waist to be the most difficult part of current
fashions.  Both of my girls (24 and 19) won't wear
anything at their natural waistline.  It reminds me of
the crepe paper costume book I have from the 1920s
where the costumes were all made with the lowered
waist look of that period rather than the historical
period of the costumes.  Interesting.  Weird looking
now, but I bet it looked fine to their eyes.




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Date: Thu, 18 Jul 2002 20:44:29 +0100
Status: RO

Can the moderator either set me to nomail or tell me at once how to I've
tried but it won't take it

Mel

This e-mail, and any attachment, is confidential. If you have received
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Date: Thu, 18 Jul 2002 15:41:00 -0400
Status: RO

Kim,

    Thanks!  This'll give me a good start.  Would "Little House" outfits
work, or not?
Moira

> The boy can wear knickers or long pants, NOT jeans, a white shirt and
> suspenders. He should have a hat or cap.
> A 12-year old girl would not have an ankle length dress, but mid-calf.
> Striped stockings are good (tights are a good substitute). She should
> wear a hat or bonnet. Hair should not be completely loose, but braided
> or at least the front hair pulled back into a barrette or bun.
>
> Neither one should have any visible zippers, no sandals, no tennis
> shoes.
>
> Kim


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Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
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Date: Thu, 18 Jul 2002 15:41:02 -0400
Status: RO

Thank you! Somehow I knew it couldn't be THAT difficult!!

Woohoo, now where did I put that Dharma catalog..


Dianne

dreaming of a red silk twill gown...
----- Original Message -----
From: "Lee Thompson-Herbert" <lee@retro.com>
To: <h-costume@indra.com>
Sent: Thursday, July 18, 2002 3:04 PM
Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )


>
> "Dianne and Greg Stucki" <goofy1@suscom.net> wrote:
> >
> > That is gorgeous stuff, isn't it? I've had my eye on it for a while. The
> > only thing holding me back from dying silk is that they say you need to
> > steam set the dye--does anyone here do it differently, and how do you do
it?
>
> You only need to steamset silks if you're _painting_ them with the dyes.
> If you vat dye silk with an acid dye, the heat of the dyebath will do the
> setting for you.  It's just that when you paint silks, you don't exactly
> want to get them _wet_ again, so you roll them in non-printed newsprint
> and bundle it into the steamer to activate the dye.
>
> 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"
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Date: Thu, 18 Jul 2002 14:58:22 -0500
Status: RO

"Little House" would only offend the purists, and they will likely be
offended by plenty other costumes than yours, so go ahead, use them.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of HEATHER A CUTLER
Sent: Thursday, July 18, 2002 2:41 PM
To: h-costume@indra.com
Subject: Re: [h-cost] [h-cost]

Kim,

    Thanks!  This'll give me a good start.  Would "Little House" outfits
work, or not?
Moira

> The boy can wear knickers or long pants, NOT jeans, a white shirt and
> suspenders. He should have a hat or cap.
> A 12-year old girl would not have an ankle length dress, but mid-calf.
> Striped stockings are good (tights are a good substitute). She should
> wear a hat or bonnet. Hair should not be completely loose, but braided
> or at least the front hair pulled back into a barrette or bun.
>
> Neither one should have any visible zippers, no sandals, no tennis
> shoes.
>
> Kim


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Date: Thu, 18 Jul 2002 15:58:39 -0400 (EDT)
Status: RO

On Wed, 17 Jul 2002, Lee Thompson-Herbert wrote:
> It's sold as "Absente."  It's mostly flavored with anise, which in that
> dosage has a synergistic effect with the alcohol.  So it isn't _just_ the
> wormwood in absinthe that's psychoactive.

Apparently, Pernod is also a wormwood-free version that's available in the
U.S.

Cheers,
Mara

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Date: Thu, 18 Jul 2002 12:50:10 -0700
Status: RO

She is on vacation.  Can you redirect your mail from the list
automatically to the delete file?

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Melanie Wilson
**Sent: Thursday, July 18, 2002 12:44 PM
**To: LIST H costume
**Subject: [h-cost] URGENT
**
**
**Can the moderator either set me to nomail or tell me at once 
**how to I've tried but it won't take it
**
**Mel
**
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Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Thu, 18 Jul 2002 13:04:34 -0700
Status: RO

the pattern for it is up on the web.  unfortunetly, I don't know if they had
the embroidery designs up as well.

the site is:

http://home.earthlink.net/~magdlena/shirt/shirt.html

you might find it useful.  if you browse the site a bit, it has the
blackwork designs, but not in proportion, I think.

Anyways, good luck.  and if you do go and get detailed shots, I would be
REALLY interested in looking at them, as this shirt has been on my list to
recreate as well!

Brandy


> Unfortunately my client is most exacting and only this one with do.  I
have several patterns for
> blackwork shirts myself, but no, nothing else will do!
>
> Rachel



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Subject: Re: [h-cost] OT Moulin Rouge
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Date: Thu, 18 Jul 2002 16:05:54 -0400 (EDT)
Status: RO

On Thu, 18 Jul 2002, michaela wrote:
> Actually there is a book about consumption and the sociology of it. How it
> was seen as a romantic disease. I was reading it in regards to some study on
> "Trilby" and was shocked to discover I had been in contact with someone with
> TB.

I wouldn't be surprised at all...  after hearing stories about the
increasing rates of TB among HIV-positive homeless people in big cities, I
tend to worry if I'm on a subway car with someone coughing.  But then, I
am a worry wart, and it doesn't stop me from riding the subway.

My husband's older sister had TB as a teenager (1960s, I guess) and spent
some time in a sanitarium undergoing treatment.

As I understand it, TB gave its victims a sort of pale complexion with
rosy cheeks, so they sort of wasted away while looking 'pale and
interesting'...

I've also heard TB blamed for one particular vampire hysteria in 18th
century (or early 19th?) New England.  The family all died one by one, and
modern archaeologists disinterred a body or two and found that the thigh
bones had been crossed over the deceased's chest, perhaps as an attempt to
keep them 'in the grave', so to speak.  Can't remember when I read this,
but it was in the Washington Post a while back.

-- Mara

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Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
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 Greg Stucki at Jul 18, 2002 06:49:24 am"
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Date: Thu, 18 Jul 2002 13:09:55 -0700 (PDT)
Status: RO

I was just thinking about this too, as I want some silk twill for a
bustle dress.  I've never ordered fabric from Dharma though, I didn't know
the quality.

.heather.

> That is gorgeous stuff, isn't it? I've had my eye on it for a while. The
> only thing holding me back from dying silk is that they say you need to
> steam set the dye--does anyone here do it differently, and how do you do it?
> 
> Dianne
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: <h-costume@indra.com>
> Sent: Thursday, July 18, 2002 1:55 AM
> Subject: Re: [h-cost] Tansy wool (WAS: Photos of 1700... )
> 
> 
> > Yeah....sigh....
> > I'm actually thinking of ordering some silk twill from Dharma Trading,
> > and doing a whole gown in either tansy or knapweed (they're both growing
> > rampant around here.....)
> > --Sue, too many centuries, too many colors, not enough time <g>
> >
> > Teddy wrote:
> > >
> > >
> > > > Must be local-water thing, or something.  The tansy-dyed wools done by
> > > > my friends were very lovely shades of an almost olive-green.  The
> > > > silks were similar, but lighter. --sue
> > >
> > > That sounds much nicer.
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: Drea Leed <drea@nospam>
To: europe16thc <europe16thc@yahoogroups.com>
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        Historic Costuming <historic-costuming@yahoogroups.com>,
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Date: Thu, 18 Jul 2002 13:03:59 -0400 (EDT)
Status: RO

As chance would have it, I'm currently in Bath looking at the costumes.
:)  But they don't allow photos, and don't have any better pictures
available than the one you listed.  I can try and describe details, if you
want. 

Thanks,

Drea



On Thu, 18 Jul 2002, [iso-8859-1] Rachel wrote:

> Having agreed to make an exact reproduction of the above shirt for a friend I am in need of
> pictures of the above shirt.  I need to find pictures of the embroidery in detail and on the shirt
> as a whole.  Does anyone know of any resources that show this kind of detail or have any pictures
> that they would not mind emailing me?
> 
> I have been onto the museum of costume in bath and they were worse than useless. The only picture
> they have is on their website at:
> 
> http://www.museumofcostume.co.uk/index.cfm?fuseAction=SM.nav&UUID=013DFA14-32A6-4A33-B3CDA4E8E00C9D49
> 
> It's the one on the left.
> 
> At a pinch I can travel to BAth to have a look myself but it is rather a long drive for a single
> shirt!
> 
> Thanks
> 
> Rachel
> 
> =====
> Rachel
> 
> Tudor Bibliography
> http://website.lineone.net/~reholliday/Tudor/
> 
> __________________________________________________
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Date: Thu, 18 Jul 2002 14:32:29 -0600
Status: RO


Actually, I'm not on vacation until *next* Friday, 7/26. :) But thanks
for reading the note!

					...eliz
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Davenport book opinions?
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Date: Thu, 18 Jul 2002 16:09:08 -0500 (CDT)
Status: RO


On Thu, 18 Jul 2002, Saragrace knauf wrote:

> I have heard several of you mention Davenport's costume book, but have
> been unable to find a copy locally to look at.  I understand it is a
> two volume set.  Can any of you tell me a little more about it-time
> periods, layout etc. And are there some cautions you are familiar with
> in using it as a source?

The books span essentially all of history, mostly divided by century and
then by locale. All the images are of primary artifacts, paintings,
artworks, etc. -- no redrawings. This, and the sheer quantity of images,
are its best features. The drawbacks are that the images are all b/w and
rather small. Captions are minimal, but sources are clearly delineated.

I find Davenport very useful for giving me a general overview of the sorts
of sources available for a particular time and place, and the general
silhouette and styles to look for. Then I go to more specialized art
sources to get better looks at the same images or similar ones.

It's also good if you want a ballpark sense of what's going on in a
certain period/place, or if you're trying to locate a look that you know
is "historical" but you're not sure from where or when.

And because the book is so widespread, it's a good frame of reference -- I
can email to another costumer that I'm referring to Davenport figure
whatever, and they'll be able to see what I'm talking about.

I got my set used for about $40 in the 1980s at a little used book store
in Iowa. It's pretty scarce now, but it should be readily available in
many libraries. I believe there's also a one-volume reprint available.

--Robi

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Date: Thu, 18 Jul 2002 17:12:00 -0400
Status: RO

Date: Thu, 18 Jul 2002 16:57:58 -0400
From: "Eric A. Rhude" <ateno@panix.com>


		General announcement
Greenberg & Hammer, one of New York's oldest notions and dressmaker shops,
serving the theatre community for more than 60 years, both nationally and
internationally, is showcasing the Coronation and Last Court gowns from the
first reign of Isabella & Andreas, as well as one male outfit from the
courtiers, in their window at 24 West 57th Street, in New York City, the
heart of haute couture.  These garments were created by Her Highness
Isabella of York (Coronation), her apprentices, Lord Angus the Tailor (Last
Court), Lady Jacqueline Helene de Loisel (Male Courtier), as well as the
help of other folks who assisted in some of the details to bring them to
fruition.  The window is a spectacular presentation of the passion of Her
Highness for  the Society for Creative Anachronism as well as other ventures
in that same vein.
In continued support of the textile arts & sciences and by permission of
Greenberg & Hammer, Her Highness has garnered a 20% discount for all orders
over $50, 15% discount for all orders under $50 and free shipping on all
orders over $100, with proof of SCA membership (or simply mentioning this
announcement).  This offer is good until September 30, 2002.  Greenberg &
Hammer is for the serious costumer as well as the newcomers to the medium of
expression, having an enormous inventory of all types of  boning, muslin,
buttons, embroidery flosses in silk, cotton & wool, professional irons,
steamers, millinery, linings, interfacings, scissors, notions, etc.  Call
for their catalog at  (212) 246-2836 or by e-mail at
greenberghammer1@cs.com.  Visit their website at www.greenberg-hammer.com.
When in New York City, take time to visit them and, if before the end of
September, enjoy the window.  It is a testament to the Society.  Please pass
this announcement to all lists SCA-wide.  Greenberg will be displaying
pictures of  the costumes on their website as well.
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Subject: Re: [h-cost] OT and On T  Moulin Rouge
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Date: Thu, 18 Jul 2002 20:32:30 +0100
Status: RO

michaela <thebruce@ihug.co.nz> wrote
>> Don't you have regular TB vacines there ? With the test ?
>
>Do you have any idea how that comes across?
>
>Anyway.
>http://www.adm.monash.edu.au/ohse/documents/policies/Procedures_for_TB.html
>
>While we aren't in Oz that's pretty well the procedure so you only get the
>vaccine if you need it. I just don't know why we were not checked up on. I
>suspect the  community health workers expected the chool health nurses to
>follow up and vice versa. Why no one listened when I mentioned the test.. I
>dunno. Maybe they couldn't belive that a middle class white kid could be in
>a situation where she would be in high risk.
>
>Most people of my
>> generation 40 ish and earlier are immune. Wheras most youngsters today
>> aren't, because they no longer have any exposure to it. There were several
>> social implications to having TB and it wasn't completly accepted as
>trendy
>> and arty in British Society, amoungst the general society.
>
>We're talking 19th C. And I never said it was trendy. However when you have
>many many women in Opera's and plays and novels dying of it you have to ask
>why.
>

It's the same as the "heroin chic" of the late 80s - it made you thin 
and pale, and was linked to that exciting, dangerous, romantic 
edge-of-the-underworld.    Frightfully fashionable and romantic to watch 
on stage, as long as you didn't get too close to the reality.  And I 
think most of the women in operas dying of it were prostitutes, or at 
least "morally suspect" anyhow.

Jean
-- 
Jean Waddie
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From: "Saragrace knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Awesome Fabric offer
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Date: Thu, 18 Jul 2002 14:39:31 -0700
Status: RO

Accck!  A day too late-I just called in my order to them yesterday!
Thanks for sharing though!


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From: "Kala Jathos" <matrixsinger@hotmail.com>
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Date: Thu, 18 Jul 2002 15:12:33 -0700
Status: RO

(Somehow I get the feeling it's this thread that's been so busy these last 
two days, so I'll keep it short.)
I'm now a sophomore at the UC Santa Cruz (or will be, when I go back in 
September), studying Theater Arts (specifically, Design, though I'm not sure 
what part yet).  I spent about ten years in and graduated from the 
Pleasanton Unified School District in the East Bay area of California, and 
when I was in middle school (ie 6-8th grades) we *did* have a Home Ec unit 
that covered sewing.  In fact, it's one of the few parts I can remember from 
that class.  We made a little rainbow-colored windsock out of strips of 
fabric and memory wire, and purchased "To Sew" pillow kits to work on over 
winter break.  It wasn't much, but I blame my current 
hobby/addiction/lifestyle on that. :)  But the important point is that we 
*had* sewing, and the boys *did* have to take it - along with units on 
childcare, nutrition, laundry, and cooking.  I just figured it was the 
school district's revenge for all of us who hated Industrial Technology...

-Laura


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Date: Thu, 18 Jul 2002 18:14:07 EDT
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Dear listmembers:
A few days ago someone asked about the curing/taning of rabbit pelts. I 
misplaced that email.  I did however remember immediately that in my home SCA 
group we have a guy who did a lot of research and experimented with the 
period tanning process. I posted your message to our group list serve.  The 
gentleman just called me and asked me to post his email address to this list. 
 He will gladly share his recipie/formular as well as his research with 
anyone interested.

I saw a lambs fur he had tanned and it came out great.  He really spend a lot 
of time perfecting the process.  He told me he even has a formula to make 
your own alum, which I guess is one of the ingredients.  Sorry, I am not that 
much into science.  

But anyone interested please contact Lord Cynwyl (sorry I don't even know his 
real name) directly at:

       badgerdude2@aol.com

Elisabeth

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Dear listmembers:
<BR>A few days ago someone asked about the curing/taning of rabbit pelts. I misplaced that email. &nbsp;I did however remember immediately that in my home SCA group we have a guy who did a lot of research and experimented with the period tanning process. I posted your message to our group list serve. &nbsp;The gentleman just called me and asked me to post his email address to this list. &nbsp;He will gladly share his recipie/formular as well as his research with anyone interested.
<BR>
<BR>I saw a lambs fur he had tanned and it came out great. &nbsp;He really spend a lot of time perfecting the process. &nbsp;He told me he even has a formula to make your own alum, which I guess is one of the ingredients. &nbsp;Sorry, I am not that much into science. &nbsp;
<BR>
<BR>But anyone interested please contact Lord Cynwyl (sorry I don't even know his real name) directly at:
<BR>
<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;badgerdude2@aol.com
<BR>
<BR>Elisabeth</FONT></HTML>

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Date: Thu, 18 Jul 2002 13:59:26 -0700
Status: RO


>
>Ladies with Long Flowing Hair: 15

Lady 11 and lady 12 look a lot alike.  Might they be the same woman?


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Thu, 18 Jul 2002 14:05:42 -0700
Status: RO


>    She was appalled to learn that colleges are teaching about the same
>attitude - design is all, they can always hire some "sewing monkey" to make
>the patterns work and make a mock-up.  \
>Another friend has the same experience - she is running her own historical
>clothing business (FashionsinTime.com) and was told she didn't have enough
>experience to enroll in a Fashion program because she didn't have the art,
>specifically drawing, background.  They didn't teach any sewing, and didn't
>count any designing/making experience, because the only programs involved
>Fashion.
>      All of us don't see how you separate them, but then, we aren't prepared
>to go spend money on more college to find out if they are teaching anything
>actually useful!

Maybe that's why fashions are so funny-looking these days - because it was 
designed by someone who couldn't sew!


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Davenport book opinions?
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Date: Thu, 18 Jul 2002 15:15:48 -0700
Status: RO


>I have heard several of you mention Davenport's costume book, but have
>been unable to find a copy locally to look at.  I understand it is a two
>volume set.  Can any of you tell me a little more about it-time periods,
>layout etc. And are there some cautions you are familiar with in using
>it as a source?

OT one H, I'd say it is the best two-volume costume library anywhere.  It 
has over 2000 illustrations, from Sumeria and ancient Egypt to about 1867, 
usually sorted by country.  It tells which museum or collection owns each 
piece the author shows, and it does so right in the caption, along with 
date, painter, and country of sitter.  It shows actual garments wherever 
possible, from Coptic tunics and Bronze Age footed hose to Victorian 
braces, hankies, and hoop-skirt dresses.  (Apparently, the Boston Fine Arts 
museum owns some garments actually worn by Elizabeth I, in the Elisabeth 
Day McCormick collection.)  And it has background articles on the various 
periods as they relate to costume, and little side articles on things like 
pocket watches (actual examples shown), engraving, dyestuffs, Elisabeth I, 
and textile design (actual examples shown) in the Renaissance.  There's 
even a bit on what shape of costume was worn in what part of Germany in the 
early 1500s.

I am often able to pull examples out of Davenport to cite on this list, 
because there are so many of them.  The latest was on fabric printing in 
the 12th-15th centuries, of which there are four actual examples shown in 
Davenport.  I rely heavily on this book as a place to start my research, 
but it's certainly not my only source.

OT other H, printing technology wasn't nearly as good when the book was 
originally published (1948), and the picture quality, how shall I say this 
politely, sucks.  This is somewhat offset by the fact that I have never 
seen some of these examples anywhere else.  But the pictures are not as 
sharp and clear as we have come to expect from modern technology.

Then there's the fact that the book inexplicably cuts off at about 1867, no 
reason given.

Yes, I am biased.  If it were in print again (it comes back periodically) I 
would recommend it to everyone whose period it covers.  This book is why I 
became a historical costumer, and what really got me into sewing, after bad 
experiences in Home-Ec class.  My mother gave me the one-volume edition for 
my ( ) birthday, and had to have it re-bound 20 years later, again as a 
birthday present, because I'd read it to tatters.  I grew up with this 
book, and it would be the first thing I'd rescue in case of fire (my kids 
live elsewhere).


Kayta

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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Sewing, England vs US 2
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Date: Thu, 18 Jul 2002 19:06:45 -0400
Status: RO

My home ec classes were in the 70s in Pennsylvania.  We fought to be allowed
to take woodshop, and as an experiment they let 3 girls into the class.  We
got the top 3 scores on the lathe test so we got to use the lathe machines
to make lamps, whereas the guys had to make sailboat plaques.  Then in 8th
grade for some reason they would not let us take metal shop (guess they
didn't want us showing up the boys again), so they made me take sewing.  I
think the class project was an apron or something- I asked the teacher if I
could make something else and she said yes.  I made green pants with a plaid
overshirt complete with pockets and matched plaid.  In 9th grade I had to
take the cooking class, and since I knew how to cook and bake quite well by
then I was bored silly.  I still hated the fact that they made us eat
lemon-merengue pie at 9 am.  I still don't like the stuff. I am not sure
they even teach home-ec anymore.  My oldest brother was able to take a class
called "singles survival" which taught him how to sew on a button and fry a
hamburger, I think.
-Megan

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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 19:16:02 -0400
Status: RO

Margo, you are near my sister (who is in Sacramento).  Unfortunately she
does not have the sewing bug.  She can do it, but has not made any clothes
since she was a teenager to my knowledge.  At least she owns a sewing
machine.  Perhaps next time I come out to visit her I can drive up and meet
you.  HOwever,she is coming to see me next month so I won't be out any time
soon.  But wait..... if the pattern is ready she could bring it with
her........ <g>
(I'm trying)
-Megan

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Margo Anderson
Sent: Thursday, July 18, 2002 12:52 PM
To: h-costume@indra.com; h-costume@indra.com
Subject: RE: [h-cost] UK Costume Sewing Circle?


At 06:27 AM 07/18/2002 -0700, Saragrace knauf wrote:
>Just curious-(I am in the US).  How far do you have to travel to collect
>as a group?

I'm in a rural part of California, and I have to drive 50 miles to go the
the Scaramento Costumer's guilds meetings.

There are oher local people who do Renn faires (two of whom turn out to
live across the street from me!) we have a local not very active SCA shire,
and there are a number of local groups who do really lame 19th century
reenactment, as well as a few people who do it a bit better,  but as far as
I can tell, I'm the only serious costumer in town.

(If anyone reading this is in the Placerville area and feels otherwise,
please let me know!)

Margo

"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Thu, 18 Jul 2002 19:35:44 -0400
Status: RO

Actually, this is for a Church Primary activity.  I'm probably taking it
more seriously than any of the prents involved.  What surprised me is how
many dead ends I ran into. This is sooo not my period. (interested as a
child, just never tried seriously to recreate it.)  I had figured it would
be easier, as it's part of our nation's rather recent history and all, but
didn't seem to look in any of the right places.;-p  Thanks for getting me
started.;-)
Moira

> "Little House" would only offend the purists, and they will likely be
> offended by plenty other costumes than yours, so go ahead, use them.
>
> Kim


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Date: Fri, 19 Jul 2002 09:45:47 +1000
Status: RO

Rachel,

There is a web page including a pattern for this very shirt (lifted
from an article by Jane Arnold) at:
http://home.earthlink.net/~magdlena/shirt/shirt.html

Enjoy

Annette Wilson
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Date: Fri, 19 Jul 2002 09:45:47 +1000
Status: RO

Rachel,

There is a web page including a pattern for this very shirt (lifted
from an article by Jane Arnold) at:
http://home.earthlink.net/~magdlena/shirt/shirt.html

Enjoy

Annette Wilson
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From: "Mary Temple" <noxcat@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Hooray for mothers, was Re: shop and home economics
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Date: Fri, 19 Jul 2002 00:01:11 +0000
Status: RO

I'll second that HOORAY!! My mother and I didn't always get along, but now 
that we do - it's great! I've got a Friend I'm not ever likely to loose 
touch with!!

(and even better - she understands and fully supports my fabric/textile 
compulsion!!) She's the one who took me to my first Ren Faire - my first 
brush with Historic Costuming.

Mary/Katerine

>I guess I must feel very mellow and soppy due to this blasted flu, but so 
>many
>have said that their moms taught them how to sew and do needlework. I 
>remember
>sitting on my mum's lap because I couldn't reach the pedal of the sewing
>machine and making the first simple clothes for my beloved Barbie doll 
>(should
>tell you something that I used the Ken dolls as cleaners, gardeners, cooks 
>and
>chauffeurs for my career-Baries ;-) She taught me all I know about sewing 
>and
>knitting and crocheting (admittedly she didn't embroider, I started one day 
>and
>was able to do it, I don't have a clue why!) and she still makes much 
>better
>and nicer 21st century clothes than I can. I thought I'd just say a quick
>HOORAY for mums!
>
>Nicole - still picking up the phone to germany and wanting to talk to my 
>mum
>when feeling rotten or when something extra nice happens. ;-)))
>
>=====
>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
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
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Date: Thu, 18 Jul 2002 22:14:58 -0400
Status: RO



> I'll second that HOORAY!! My mother and I didn't always get along, but
now 
> that we do - it's great! I've got a Friend I'm not ever likely to loose 
> touch with!!
> 
> (and even better - she understands and fully supports my fabric/textile 
> compulsion!!) She's the one who took me to my first Ren Faire - my first 
> brush with Historic Costuming.


Same with me.  I was 12 and was suspicious that anything my mom thought
was going to be cool could actually *be* cool (this was about 6 months
before I realized that my mom is one of the coolest people on the
planet) but she kept insisting that I was going to love this renaissance
faire thing and that we were going to go, no matter how much I whined
and pouted about it.  

In fact, I have a diary entry handy from that day: 

"October 6, 1990-
Dear Diary,
We are going to a rennisonse (sic) fair 2 hours away. I can hardly wait
to be couped up in a car for 2 hours, then get into some stuffy old
outfit, then walk around in the burning hot sun in a long sleeved velvet
dress, meant for winter. Oh Goody. Oh yeah, I don't have an ingrown
toenail any more."

Heheheheheh.  Famous last words.  :-)

Sarah
http://www.elizabethanlady.com
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: Re: [h-cost] current fashions: Sewing, England vs US
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Date: Thu, 18 Jul 2002 22:03:31 -0400
Status: RO

Funny you should mention this... I love the lower waistline of today,
personally.  It makes sitting in jeans much more comfortable when
they're not bisecting you at the waistline, especially if you have just
a bit more belly than a Victoria's Secret underwear model.  Ten years
ago, I was consistantly unbuttoning the top button of my jeans to make
it more comfortable to sit.  I own mostly "lowrise" style jeans, but
have two pairs that are basically hip-huggers and I have to get creative
with my undies when wearing them (either make the underwear interesting
enough so that when you sit down or bend over people get an amusing
eyefull) or deal with that very worst of female torture devices, the
thong (in my world, it's worse than high heels).

But the weird thing that suddenly struck me a little while ago was when
it dawned on me that because I had become so accustomed to lowrise
jeans, and a longer waistline all together, I had been measuring my
waist at the wrong point!  Almost 2 full inches lower than where it
should be!  This explained why my bodices were fitting a little weird...
It was one of those moments where "Duh" says it all. ;-)

Sarah
http://www.elizabethanlady.com

> 
> Actually I find the wearing of the waistband far below
> the waist to be the most difficult part of current
> fashions.  Both of my girls (24 and 19) won't wear
> anything at their natural waistline.  It reminds me of
> the crepe paper costume book I have from the 1920s
> where the costumes were all made with the lowered
> waist look of that period rather than the historical
> period of the costumes.  Interesting.  Weird looking
> now, but I bet it looked fine to their eyes.
> 
> Message: 2
> Date: Thu, 18 Jul 2002 11:50:19 +0000 (GMT)
> From: Teddy <teddy1@mdx.ac.uk>
> Subject: Re: [h-cost] Sewing, England vs US,
> To: h-costume@indra.com
> Organization: Middlesex University
> Reply-To: h-costume@mail.indra.com
> 
> 
> > Let's see, is there anyone on this list, in the UK, 
> who actually
> > *likes* current fashion??
> 
> I find there's a *wider* range of "fashion" around now
> 
> than there 
> was in the 80's and 90's.... lots of "retro" styels 
> are back in and 
> there seems to be less pressure to conform to a 
> particular one 
> style/fashion scene than there was when I was a 
> teenager (and 
> had no idea what wa "in" and what was "out", besides 
> being too shy 
> to attempt wearing anything even vaguely fashionable).
> 
> Personally, I love flares ("Not the distress-signal, 
> the trousers, 
> though possibly they are worn as a cry for help"... to
> 
> quote Victoria 
> Wood...<g>) and baggy trousers and would happily buy 
> and wear 
> them if they were; (a) cheaper and  (b) not made in 
> such awful 
> synthetic fabrics.  One of the library assistants here
> 
> is a trendy 
> young thing and just yesterday he was wearing some 
> very nice 
> "Shaggy from Scooby-doo" style trousers that I was 
> admiring until I 
> got close enough to see what they were made of.
> 
> 
> 
> Teddy
> 
> --__--__--
> 
> 
> 
> __________________________________________________
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> 

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." 
-Carl 
Sagab
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To: h-costume@indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] current fashions: Sewing, England vs US
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Date: Thu, 18 Jul 2002 20:09:09 -0700
Status: RO

At 10:03 PM -0400 7/18/02, Sarah Lorraine wrote:
>Funny you should mention this... I love the lower waistline of today,
>personally.  It makes sitting in jeans much more comfortable when
>they're not bisecting you at the waistline, especially if you have just
>a bit more belly than a Victoria's Secret underwear model.  Ten years
>ago, I was consistantly unbuttoning the top button of my jeans to make
>it more comfortable to sit.  I own mostly "lowrise" style jeans, but
>have two pairs that are basically hip-huggers and I have to get creative
>with my undies when wearing them (either make the underwear interesting
>enough so that when you sit down or bend over people get an amusing
>eyefull) or deal with that very worst of female torture devices, the
>thong (in my world, it's worse than high heels).

I have to laugh, because when I read the preceding post about the 
"wearing of the waistband far below the waist", I didn't visualize 
hip-huggers -- I visualized the favored style in my area which is "if 
I didn't have boxers on, you'd be seeing my entire butt-crack". 
(I've had it carefully explained to me exactly what the cultural 
context and significance of this style is, but it's still all I can 
do not to burst out in hysterical laughter every time I see one of 
these "cool" young men hitching his pants up because having the 
crotch fall below knee-level makes it hard to walk.)  I'm sure there 
were styles equally as ridiculous when I was a teenager, but _I_ 
wasn't wearing them!

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Fri Jul 19 04:25:38 2002
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Re: [europe16thc] Blackwork shirt c1585-1600 Museum of Costume, Bath
To: h-costume@indra.com
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Date: Fri, 19 Jul 2002 08:48:09 +0100 (BST)
Status: RO

Thanks for the offer Drea,

I think I shall just have to drive over and see it myself.  After I have attempted to contact the
curator in writing and see about an appointment to view it.

Rachel

 --- Drea Leed <drea@nospam> As chance would have it, I'm currently in Bath
looking at the costumes.
> :)  But they don't allow photos, and don't have any better pictures
> available than the one you listed.  I can try and describe details, if you
> want. 
> 
> Thanks,
> 
> Drea
> 
> 
> 
> On Thu, 18 Jul 2002, [iso-8859-1] Rachel wrote:
> 
> > Having agreed to make an exact reproduction of the above shirt for a friend I am in need of
> > pictures of the above shirt.  I need to find pictures of the embroidery in detail and on the
> shirt
> > as a whole.  Does anyone know of any resources that show this kind of detail or have any
> pictures
> > that they would not mind emailing me?
> > 
> > I have been onto the museum of costume in bath and they were worse than useless. The only
> picture
> > they have is on their website at:
> > 
> >
>
http://www.museumofcostume.co.uk/index.cfm?fuseAction=SM.nav&UUID=013DFA14-32A6-4A33-B3CDA4E8E00C9D49
> > 
> > It's the one on the left.
> > 
> > At a pinch I can travel to BAth to have a look myself but it is rather a long drive for a
> single
> > shirt!
> > 
> > Thanks
> > 
> > Rachel
> > 
> > =====
> > Rachel
> > 
> > Tudor Bibliography
> > http://website.lineone.net/~reholliday/Tudor/
> > 
> > __________________________________________________
> > 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
> > 
> > ------------------------ Yahoo! Groups Sponsor ---------------------~-->
> > Will You Find True Love?
> > Will You Meet the One?
> > Free Love Reading by phone!
> > http://us.click.yahoo.com/ps3dMC/R_ZEAA/Ey.GAA/sK9olB/TM
> > ---------------------------------------------------------------------~->
> > 
> > 
> > 
> >  
> > 
> > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ 
> > 
> > 
> > 
> 
> _______________________________________________
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=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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From: "Katherine" <kcg@sprynet.com>
To: h-costume@indra.com
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Subject: Re: [h-cost] Silk Twill was Tansy wool (WAS: Photos of 1700... )
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Date: Thu, 18 Jul 2002 20:23:55 -0700
Status: RO

Hi,

I've been wondering what periods you could use silk twill for.  I fell in love with the 
feel of my sample from Dharma, but wasn't quite sure where it would be 
appropriate. The time frame that I sew is Regency/Victorian though I plan on 
branching out into the 18th century soon.  Any ideas would be apprecciated!!!

Thanks,
Katherine



On 17 Jul 2002 at 23:55, Sue Clemenger wrote:

> Yeah....sigh....
> I'm actually thinking of ordering some silk twill from Dharma Trading, and
> doing a whole gown in either tansy or knapweed (they're both growing
> rampant around here.....) --Sue, too many centuries, too many colors, not
> enough time <g>
> 


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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From: sustre@pixelations.com
Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Thu, 18 Jul 2002 23:34:15 -0400
Status: RO

Rowena:
>    But what you are describing is the case here, too, for most places.   A
>friend of mine is the designer for a lot of the JC Penny lines.  Her boss
>and she had a few rough years when he kept adding the contracts, and then
>thought that instead of giving her a raise, he would just hire other people.
>Not one graduate could sew or make a mock-up pattern - and not one person
>they could find could.  Anyone who can is getting paid some fairly high
>bucks down in NYC!
>    She was appalled to learn that colleges are teaching about the same
>attitude - design is all, they can always hire some "sewing monkey" to make
>the patterns work and make a mock-up.  \
>Another friend has the same experience - she is running her own historical
>clothing business (FashionsinTime.com) and was told she didn't have enough
>experience to enroll in a Fashion program because she didn't have the art,
>specifically drawing, background.  They didn't teach any sewing, and didn't
>count any designing/making experience, because the only programs involved
>Fashion.

That's really interesting to me, since I've tried and failed to get 
my young-adult daughter interested in sewing- especially now that 
she's thinking she'll be a fashion designer. It's rather discouraging 
that if she ever finishes high school or gets a GED (she dropped out- 
long story), the schools won't give her a reality check... She does 
do nice, though very naive, sketches but has NO idea of what they'd 
be made of or how they's go together- she feels that's appropriately 
left to the peons. I'm sure you hear my eyes rolling!

-Amanda
who needs to make an Art Nouveau gown sometime soonish
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From: sustre@pixelations.com
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Thu, 18 Jul 2002 23:36:16 -0400
Status: RO

I'm in the US myself, but I have a historically-minded friend in the 
UK who would be interested in such a circle- we've just been 
commiserating on our lack of sewing friends via email! So if 
something happens with it, I'll let her know.

-Amanda
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: RE: [h-cost] Re: shop and home economics
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Date: Thu, 18 Jul 2002 22:10:48 -0700
Status: RO



>The Home Ec and Shop classes I took were in 1960 while in Junior High.
>Everyone took one semester of Home Ec (boys too!) and everyone took wood
>shop (girls too<snip>

>Regina Romsey


>   Can everybody add their own experiences?  I'd be curious to see how many
>of us are still exposed to sewing in school, and how that may be affecting
>the declining home sewing industry...
>
>   --Gillian the seamstress

I had the half year of all inclusive "home-ec" and half year of shop.  My 
dad was a carpenter so I took wood shop as my choice and made shelves, etc.  
In home-ec we had cooking, then sewing, then home management.  I took off 
from the time we did sewing and the first gown I made was a floor length 
satin formal with a dotted swiss yoke and ruffles.  I just bought patterns 
and read the directions carefully from there.

I learn a lot more here about how it used to be done and it has been 
wonderful learning more and more.  At least I know there will be years worth 
of continuing growth.


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

I wont hurt you, I just want to dress you up!!


_________________________________________________________________
MSN Photos is the easiest way to share and print your photos: 
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Date: Fri, 19 Jul 2002 01:14:43 -0400
Status: RO

At 06:48 PM 7/17/02 -0400, you wrote:
>>
>>  Also, what is Absinthe?
>>
>>Absinthe, at the time, was an alchoholic drink flavored with wormwood.  It
>>was dangerously strong and hallucinogenic, so much so that it ruined lives.
>>  Sort of the crack cocaine of its day.

   Absinthe makes the heart grow fonder....


Cheers,
Ron Carnegie
r.carnegie@verizon.net
	*************************************************
	"The poetry of history lies in the quasi-miraculous fact that
	 once on this earth, on this familiar spot of ground walked
	 other men and women as actual as we are today, thinking
	 their own thoughts, swayed by their own passions but now
	 all gone, vanishing after another, gone as utterly as we 
	 ourselves shall be gone like ghosts at cockcrow."
				G.M. Trevelyan
	*************************************************

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] current fashions: Sewing, England vs US
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Date: Fri, 19 Jul 2002 00:00:26 -0700
Status: RO


>I own mostly "lowrise" style jeans, but
>have two pairs that are basically hip-huggers and I have to get creative
>with my undies when wearing them (either make the underwear interesting
>enough so that when you sit down or bend over people get an amusing
>eyefull) or deal with that very worst of female torture devices, the
>thong (in my world, it's worse than high heels).

All my underpants are low-rise, and normal around the legs.  But my jeans 
are a few inches higher than they are.  I tuck my shirts into my 
underpants, and they stay tucked in without the underpants showing.


Kayta

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Date: Fri, 19 Jul 2002 09:17:38 +0100
Status: RO


>>> delasue@yahoo.com 07/18/02 06:07pm >>> wrote: 
[snip]  It reminds me of
>the crepe paper costume book I have from the 1920s
>where the costumes were all made with the lowered
>waist look of that period rather than the historical
>period of the costumes.  Interesting.  Weird looking
>now, but I bet it looked fine to their eyes.

Similarly, you can always tell 18th century portraits in "Vandyke" costume from real 17th century people because 18th century artists gave the figures long waists, which must have looked more "natural" to their eyes.



Kate Bunting
Library, University of Derby

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Date: Fri, 19 Jul 2002 04:32:39 -0400
Status: RO

I am glad you all are enjoying the hairstyles website.  It was a lot of fun
working on it.

Ladies 11 & 12 were purchased from different locations.  One came from eBay,
the other was purchased locally.  So I doubt they are kin to one another.
You have a good eye for details Kayta!

Did you all see the Halloween photo, lady #14, long hair section?  I did a
little write up about the background... the ladies are playing a game.  When
I first received this stereoview, I was wondering why was the Halloween and
husband's phrase printed on it.  Sometimes you just never know what you are
getting!

Also, did you all see the lady that I named the site after... #9 same
section.  She is holding a brush.  I love her dress!

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




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 For Janet Arnold's articles, have you tried the annual journals of The Costume Society (the UK one)?
Arnold published articles in it quite regularly, and almost all of the back issues are still available through The Costume Society's website.
Debbie.




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<P>&nbsp;For Janet Arnold's articles, have you tried the annual journals of The Costume Society (the UK one)?
<P>Arnold published articles in it quite regularly, and almost all of the back issues are still available through The Costume Society's website.
<P>Debbie.</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Subject: [h-cost] documentation for diapers before 1600?
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Date: Fri, 19 Jul 2002 02:36:54 -0700
Status: RO

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Somebody a while ago was wondering about diapers in the SCA period.  In =
the bottom right? hand corner, there is a basket.  In the basket, there =
are a bunch of folded linen? cloths.  They look to be too small to be =
cloths to wrap him in, could this be documentation for diapers?  I don't =
know.  I just thought someone might be interested.


http://www.rijksmuseum.nl/asp/showimage.asp?src=3D/ariadata/image/SK/Z/SK=
-C-1458.Z.jpg

Brandy

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<DIV><FONT face=3DArial size=3D2>Somebody a while ago was wondering =
about diapers in=20
the SCA period.&nbsp; In the bottom right? hand corner, there is a =
basket.&nbsp;=20
In the basket, there are a bunch of folded linen? cloths.&nbsp; They =
look to be=20
too small to be cloths to wrap him in, could this be documentation for=20
diapers?&nbsp; I don't know.&nbsp; I just thought someone might be=20
interested.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.rijksmuseum.nl/asp/showimage.asp?src=3D/ariadata/image=
/SK/Z/SK-C-1458.Z.jpg">http://www.rijksmuseum.nl/asp/showimage.asp?src=3D=
/ariadata/image/SK/Z/SK-C-1458.Z.jpg</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Brandy</FONT></DIV></BODY></HTML>

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume,
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Date: Fri, 19 Jul 2002 10:58:57 +0000 (GMT)
Status: RO


> It is a little difficult to ascertain the exact dimensions from
> that photograph.  It does make on wonder whether this is a mans
> shirt or a womans.  It is a better length for a womans shirt and
> there is not a great deal of difference in the patterns used. 
> 
> I guess if you were wearing a very large pair of venetians you might
> be able to get away with it though!

Actually, it looks fine to me (and did when I saw it in person in 
January) 

Longer shirts are far more comfortable (I find) as they don't work 
their way out of your waistband at the back and ride up under your 
doublet.  The only time i make my period shirts shorter is for my 
15th century costumes where the hose are fitted al the way up to 
the waist, for tudor and elizabethan, the bottom par to fthe shirt 
teasily fits inside trunk-hose or britches - the shirt fabrics aren't all 
that thick and bulky, after all.  My new 16th shirt is about that long.

Doubles up as a nightshirt for  in period weekend or overnight 
events.



Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Fri, 19 Jul 2002 11:15:14 +0000 (GMT)
Status: RO


> > Over here, there are few that would even *consider* travelling that
> > far for a one day event.... some not even for a weekend event....
> > let alone for a "sewing circle".
> 
> I'm one of those who don't mind, I travel to work (thank goodness not
> London) but I find it normal travelling over an hour to see my
> seamstress, or 45 mins one way to work, etc.

I have a 90 minute journey (across London) to get to work each 
day, but it's a regular public transport commute.  Anything else, I'd 
need Tom, or someone else with a car, to drive me... makes long 
trips for one-day events kinda difficult/expensive/time-consuming 
(half a day travelling for less than a couple of hours at the event etc)
 
> > Costume Guild UK has trouble getting significant numbers people
> > together in one place (even though it's open to non costume guild
> > members) to work on costumes/sewing etc for a day event even when
> > there are displays or workshops offered to "sweeten the pot," and a
> > nice big hall so big things can be layed out and there would be
> > other people around to help/advise/share experience etc.
> 
> REALLY??? they are doing that?? teddy, the problem is that I never
> knew! It just isn't known, the info just does not get out. Look at
> GBCG, super web site, lots of info, but there's nothing interesting on
> the costume guild UK, I looked lately and couldn't find it. It just
> isn't known! I would come.

News Nicole, a lot of small groups aren't on the web... <g>  Several 
of our existing memebers don't have email or webaccess, or do but 
don't actually spend more than a few hours a month on it, if that.

That sort of group tends to advertise by word of mouth, paper fliers 
and in publications.  The CGUK has had a website for a number of 
years but minimal information about the group not regularly updated 
stuff about upcoming events due to time constraints on the people 
who put up the websites (the current person is more web-minded 
so is/has been redoing it (when she has time).

Next time we organise a get-together, I can let you know.

Like "Costume Closet" a one day event which is coming up in 
November (I'll get details) which Tom is organising as a prelude to 
a weekend costume convention, called Wardrobe next year.

I'll get details to pass on to anyone interested.... I think there may be 
some on the CGUK website at....

http://groups.yahoo.com/group/CGUKNews/files/Index.html


I just noticed that they also list the CGUK costume open-days 
(about one every 3 months) on there

Details of Costume closet are at

http://groups.yahoo.com/group/WardrobeUK/files/Index.html

and of Wardrobe at

http://groups.yahoo.com/group/WardrobeUK/files/Index.html

in case any UK costumers are interested... Please note these are 
*NOT* events for CGUK members only - they are open to anyone 
interested in costume.





Teddy
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] documentation for diapers before 1600?
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Date: Fri, 19 Jul 2002 03:21:54 -0700
Status: RO

I only got the upper left-hand corner of the picture.   Wrap him in?  What 
is this a picture of?

>Somebody a while ago was wondering about diapers in the SCA period.  In 
>the bottom right? hand corner, there is a basket.  In the basket, there 
>are a bunch of folded linen? cloths.  They look to be too small to be 
>cloths to wrap him in, could this be documentation for diapers?  I don't 
>know.  I just thought someone might be interested.
>
>
><http://www.rijksmuseum.nl/asp/showimage.asp?src=/ariadata/image/SK/Z/SK-C-1458.Z.jpg>http://www.rijksmuseum.nl/asp/showimage.asp?src=/ariadata/image/SK/Z/SK-C-1458.Z.jpg
>
>Brandy


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] current fashions: Sewing, England vs US
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Date: Fri, 19 Jul 2002 03:27:41 -0700
Status: RO


> >the crepe paper costume book I have from the 1920s
> >where the costumes were all made with the lowered
> >waist look of that period rather than the historical
> >period of the costumes.  Interesting.  Weird looking
> >now, but I bet it looked fine to their eyes.

I have a Dennison crepe paper costumes book from the early 
Twenties.  Pretty amazing what you could do - if you didn't sweat and make 
the dye run.

>Similarly, you can always tell 18th century portraits in "Vandyke" costume 
>from real 17th century people because 18th century artists gave the 
>figures long waists, which must have looked more "natural" to their eyes.

I also have a 'de-commissioned' San Francisco Opera costume, which is 1922 
doing Georgian.  The waist is dropped, the bodice is fitted all around, and 
the engageant ruffles are sewn-on pleated chiffon.  Very early Twenties.

I got it because that is my favourite fashion hybrid - Nineteen-Teens and 
early Twenties doing Georgian, like some of the Blanche Fisher Wright 
illustrations in 'The Real Mother Goose'.  I have some cotton printed with 
sprigs of cherries, and another with pale flowers and pink ribbons on a 
pale grey background, and some day I will do one of these hybrids out of 
one of them.

Kayta

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: e: [h-cost] Mary Poppins (WAS: Sewing, England vs US,)
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Date: Fri, 19 Jul 2002 11:29:49 +0000 (GMT)
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> > Awww... but it's one of my favourites - I even know the whistling
> > part that the robin does. Teddy
> 
> But Teddy, you aren't here to hear it. (And people around me get
> really tired of it.) 

They could join in....

> Between Mary Poppins and Oliver!, I have a tendency to burst into
> song when I hear certain phrases. I don't do it unless I'm in a
> pretty good frame of mind. In spite of unemployment I've been
> singing to myself a lot. (Woe to those around me.) 

At the moment my colleagueas are having to put up with me 
bursting into songs from Follies (Who's That Woman; Could I 
Leave You; Ah, But Underneath and Rain on the Roof... possibly 
Buddies Blues if I'm feeling frantic)

 



Teddy
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Thread-Topic: [h-cost] UK Costume Sewing Circle?
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Subject: Re: [h-cost] UK Costume Sewing Circle?
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I'm also a member of the Costume Guild, but everything they do seems to
be down south. 

Another point of Americans being prepared to drive further and longer
than us here in the UK is that their petrol/gas is much cheaper. Our
public transport is expensive and a nightmare too!

Teddy, do you know of any people up here, in Yorkshire sort of area? I
have been fascinated by costuming for ages, but have never made anything
except my wedding dress as I would never get to wear it - good old
Yorkshire thriftiness prevents me making anything with _no_ end use in
mind.

(Apart from my wedding dress, and knowing what I know now, I desperately
want to take it apart and remake the bodice, with a corset etc to go
with, but see above as to why I haven't).

Frustrated Freyalyn


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I'm also a member of the Costume Guild, but everything they do seems to be down south.  <br>
<br>
Another point of Americans being prepared to drive further and longer than us here in the UK is that their petrol/gas is much cheaper.  Our public transport is expensive and a nightmare too!<br>
<br>
Teddy, do you know of any people up here, in Yorkshire sort of area?  I have been fascinated by costuming for ages, but have never made anything except my wedding dress as I would never get to wear it - good old Yorkshire thriftiness prevents me making anything with _no_ end use in mind.<br>
<br>
(Apart from my wedding dress, and knowing what I know now, I desperately want to take it apart and remake the bodice, with a corset etc to go with, but see above as to why I haven't).<br>
<br>
Frustrated Freyalyn<br>

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Re: shop and home economics
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Date: Fri, 19 Jul 2002 11:35:38 +0000 (GMT)
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> Which is just about the opposite reasoning from what my Mom used
> when we were kids.  She explained that learning to manage a sewing
> machine pedal properly was _excellent_ practice for the day when
> we'd get our learner's permits, and the more we sewed, the easier
> it would be to learn the footwork of driving.  (Especially relevant
> since my family only owned manual transmission cars.) 

My ever learning to drive is well and truly stuffed then!  I operate the 
foot-pedal with my *heel* most of the time.

Teddy
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Subject: Re: [h-cost] Hooray for mothers, was Re: shop and home economics
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Date: Fri, 19 Jul 2002 04:42:06 -0600
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I'm the only child of 5 (three girls and two boys) who followed my
mother into sewing.  (Mom also brought me to my first SCA event.)
After I was laid off from work last winter, she actually encouraged me
to think about a costuming career.  The problem is, as I discovered as
an SCA merchant, that for me personally *having* to sew isn't as much
fun for me as sewing when I *want* to, and I prefer to just do it on
the side so I don't lose the love of it again.

My mother-in-law sews, and is thrilled to have a daughter-in-law to
share it with.  Both of her daughters sew, too.  She loves seeing the
stuff I make for her son (who claims he is "minimally competent at
sewing", but is phobic because all of the sewers he knows other than
himself "are goddesses" :).

						...eliz
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> Can the moderator either set me to nomail or tell me at once how to
> I've tried but it won't take it
> 
> Mel

She's on holiday Mel

Sorry, i didn't keep the message that vcame through the other day 
from her saying how to do this sort of stuff while she was away....




Teddy
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Date: Fri, 19 Jul 2002 03:52:15 -0700
Status: RO

Could someone please give me the full title of the Davenport book.  I've 
never  have heard of it and am eager to take a look at it.  Thank you.

Roscelin

Carolyn Kayta Barrows wrote:

> I have heard several of you mention Davenport's costume book, but have
> been unable to find a copy locally to look at.  I understand it is a two
> volume set.  Can any of you tell me a little more about it-time periods,
> layout etc. And are there some cautions you are familiar with in using
> it as a source?



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Subject: Re: [h-cost] current fashions: Sewing, England vs US
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Date: Fri, 19 Jul 2002 07:04:13 -0400
Status: RO

Whereas I almost always wore my waistline above my waistline, because it was
more comfortable for me. (Of course, in my teen mind I may have been trying
to hide a way overabundant chest size.)
Moira

Funny you should mention this... I love the lower waistline of today,
> personally.  It makes sitting in jeans much more comfortable

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Date: Fri, 19 Jul 2002 07:05:30 -0400
Status: RO


> In fact, I have a diary entry handy from that day:
>
> "October 6, 1990-
> Dear Diary,
> We are going to a rennisonse (sic) fair 2 hours away. I can hardly wait
> to be couped up in a car for 2 hours, then get into some stuffy old
> outfit, then walk around in the burning hot sun in a long sleeved velvet
> dress, meant for winter. Oh Goody. Oh yeah, I don't have an ingrown
> toenail any more."
>
> Heheheheheh.  Famous last words.  :-)
>
> Sarah

Sarah, that is the most typical 12 y.o. diary entry I've ever seen. I can
picture the look on your face, and the sarcasm dripping from you when I read
that! lolol!!

btw, how's that toenail?

Dianne

cleaning the coffee off the monitor

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Date: Fri, 19 Jul 2002 07:10:28 -0400
Status: RO

I saved it.

Dianne


I am going on vacation beginning 7/26, and I will be gone for 3 weeks.
During that time, there will be only minimal list maintenance going
on.  Please read and save this info, as it will also help you in the
future.

  -=-=-=-=-=-=-=-=-=-=-=-

This mailing list has not been run with Majordomo for more than a year
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Go to the very last box on the bottom, where it says "To change your
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----- Original Message ----- 
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Friday, July 19, 2002 7:38 AM
Subject: [h-cost] h-cost] URGENT


> 
> > Can the moderator either set me to nomail or tell me at once how to
> > I've tried but it won't take it
> > 
> > Mel
> 
> She's on holiday Mel
> 
> Sorry, i didn't keep the message that vcame through the other day 
> from her saying how to do this sort of stuff while she was away....
> 
> 
> 
> 
> Teddy
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] h-cost] URGENT
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Date: Fri, 19 Jul 2002 12:16:03 +0100 (BST)
Status: RO

Mel,

Go to:
http://mail.indra.com/mailman/listinfo/h-costume 

Go right to the bottom of the page where it says "h-costume subscribers"
If you put your email address in the bottom box and click edit options it takes you thorugh to
another page where you can do all sorts of nifty things.

To turn off receiving the list mail without unsubscribing look under the section called "Your
h-costume subscription options".  The first option is the one you want.  Click the "On" option to
disable mail delivery then scroll to the bottom of the section enter your password in the box and
click "Submit changes"

Rachel

 --- Teddy <teddy1@mdx.ac.uk> wrote: > 
> > Can the moderator either set me to nomail or tell me at once how to
> > I've tried but it won't take it
> > 
> > Mel
> 
> She's on holiday Mel
> 
> Sorry, i didn't keep the message that vcame through the other day 
> from her saying how to do this sort of stuff while she was away....
> 
> 
> 
> 
> Teddy
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Date: Fri, 19 Jul 2002 04:34:28 -0700
Status: RO


--------------020604090008070600080302
Content-Type: text/plain; charset=us-ascii; format=flowed
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Teddy wrote:

>>>Awww... but it's one of my favourites - I even know the whistling
>>>part that the robin does. Teddy
>>>
>>But Teddy, you aren't here to hear it. (And people around me get
>>really tired of it.) 
>>
>
>They could join in....
>
She doesn't want this student of her's to sing along with her.  I'd 
scare the cats and anyone else around us.  

Roscelin

>
>

--------------020604090008070600080302
Content-Type: text/html; charset=us-ascii
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<html>
<head>
</head>
<body>
Teddy wrote:<br>
<blockquote type="cite" cite="mid:2526FC51B33@mdx-cf-s1.nw.mdx.ac.uk">
  <blockquote type="cite">
    <blockquote type="cite">
      <pre wrap="">Awww... but it's one of my favourites - I even know the whistling<br>part that the robin does. Teddy<br></pre>
      </blockquote>
      <pre wrap="">But Teddy, you aren't here to hear it. (And people around me get<br>really tired of it.) <br></pre>
      </blockquote>
      <pre wrap=""><!----><br>They could join in....</pre>
      </blockquote>
She doesn't want this student of her's to sing along with her. &nbsp;I'd scare
the cats and anyone else around us. &nbsp;<br>
      <br>
Roscelin<br>
      <blockquote type="cite" cite="mid:2526FC51B33@mdx-cf-s1.nw.mdx.ac.uk">
        <pre wrap=""><br><br></pre>
        </blockquote>
        </body>
        </html>

--------------020604090008070600080302--

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Fri, 19 Jul 2002 13:13:44 +0000 (GMT)
Status: RO

 
> I'm also a member of the Costume Guild, but everything they do seems
> to be down south. 

Costume Closet and Wardrobe will be in Warwick.  Several of their 
predecessors (Masque: The British Costume Convention) have 
been in the Birmingham area and one in Nottingham

> Teddy, do you know of any people up here, in Yorkshire sort of
> area? 

Hmmm... not specifically Yorkshire, I don't think... and my 
Geography is dire, but Derby's a lot closer to you than London, and 
Maggie and Mike Percival (former zine editor and Chairman of 
CGUK) are both based just outside Derby.

There are other northerners on h-costume too but with y 
geographical inaccuracy i'd hesitate to say how close any of them 
might be to you....

> I have been fascinated by costuming for ages, but have never made
> anything except my wedding dress as I would never get to wear it -
> good old Yorkshire thriftiness prevents me making anything with
> _no_ end use in mind. 

Then you need to find some events you can get to.
 
> (Apart from my wedding dress, and knowing what I know now, I
> desperately want to take it apart and remake the bodice, with a corset
> etc to go with, but see above as to why I haven't).

Do you ever get down south?


Teddy
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Subject: Re: [h-cost] documentation for diapers before 1600?
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Date: Fri, 19 Jul 2002 05:30:35 -0700
Status: RO

try this link instead.  It gives you the option of standard or GIANT size.
The picture it'self is called, Adoration of the Magi, by Pieter Aertsen.
The basket in question is in the lower right hand corner if you are looking
at the painting. And the painting is about three magi presenting thier gifts
to the infant Jesus.  Right beside Mary, there is a basket.  In the basket
are a BUNCH of folded cloths.  They look to be too small to be cloths to
wrap his whole body in (for warmth), so my thought was that they might be
period diapers.

http://www.artcyclopedia.com/r/aertsen_pieter.html

Sorry!  Didn't mean to be ambiguous!
Brandy

----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>


> I only got the upper left-hand corner of the picture.   Wrap him in?  What
> is this a picture of?
>
> >Somebody a while ago was wondering about diapers in the SCA period.  In
> >the bottom right? hand corner, there is a basket.  In the basket, there
> >are a bunch of folded linen? cloths.  They look to be too small to be
> >cloths to wrap him in, could this be documentation for diapers?  I don't
> >know.  I just thought someone might be interested.



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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Davenport book opinions?
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Date: Fri, 19 Jul 2002 08:55:33 -0500 (CDT)
Status: RO


On Fri, 19 Jul 2002, Rose Amberwulf wrote:

> Could someone please give me the full title of the Davenport book.  I've 
> never  have heard of it and am eager to take a look at it.  Thank you.

The Book of Costume, by Millia Davenport.

--Robin

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Date: Fri, 19 Jul 2002 08:46:01 -0500
Status: RO

Maybe that's why fashions are so funny-looking these days - because it was 
designed by someone who couldn't sew!


Kayta
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
ROFTL!  I've had a similar discussion with an artist friend several times.  He has a small collection of helmets he will study for his illustrations & sculpture but no costumes.  Some of what he draws is just not possible :).

Catherine

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Date: Fri, 19 Jul 2002 08:00:22 -0600
Status: RO

Hi! (Sue waves...she's had some coffee, so she's waking up this morning
<g>)
My (rather broad) period for historical clothing and costume is pretty
much medieval/renaissance, so I'm afraid I'm of no help at all with the
19th c. stuff, but I know there are folks on the list who can!
In the initial flush of a successful fabric hunt, my first idea was to
do something medieval--perhaps some sort of fitted gown? or something
earlier? Something that the drape of the fabric would work with.  ISTR,
though, (haven't yet had *that* much coffee, durn it) that while some
silk textiles survive from the time period I'm thinking of, it's the
wools that were done in various twills, so I dunno what era or style
will prove to be my best bet.
--Sue, who does *not* need another excuse to buy fabric, but.....;-)

Katherine wrote:
> 
> Hi,
> 
> I've been wondering what periods you could use silk twill for.  I fell in love with the
> feel of my sample from Dharma, but wasn't quite sure where it would be
> appropriate. The time frame that I sew is Regency/Victorian though I plan on
> branching out into the 18th century soon.  Any ideas would be apprecciated!!!
> 
> Thanks,
> Katherine
> 
> On 17 Jul 2002 at 23:55, Sue Clemenger wrote:
> 
> > Yeah....sigh....
> > I'm actually thinking of ordering some silk twill from Dharma Trading, and
> > doing a whole gown in either tansy or knapweed (they're both growing
> > rampant around here.....)
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Date: Fri, 19 Jul 2002 09:20:19 -0500
Status: RO

Thanks for the offer Drea,

I think I shall just have to drive over and see it myself.  After I have attempted to contact the
curator in writing and see about an appointment to view it.

Rachel
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Please share!  I finally bit the bullet and emailed the Bath museum about availability of slides for any of their collection.  All I got was a very short one line reply that they did not have any other images availalbe (other than what was on the website).  Would love to see these two pieces in more detail.

On the subject of slides and/or pictures from museums; has anyone else had any luck with this?  I don't know when or if I will ever be able to get back to England or Europe to drool in the museums and there are several pieces I would love to be able to study in more detail.

Catherine

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Subject: Re: [h-cost] Re: shop and home economics
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Date: Fri, 19 Jul 2002 07:15:42 +0000
Status: RO

I took Home Ec in 7th grade here in Oregon. Learned how to sew a
potholder and an apron. Most insufferably boring class I ever took!

We girls didn't have the option of shop when I went to school--I went
through about 3 years of hating the boys for it. It sounded much more
interesting!

My mother was an excellent seamstress, did beautiful tailoring and
details (she had to keep up with this daughter of hers who was growing
taller by the day and buying clothes was just too expensive), and it's
stuff like that I would have liked to learn, stuff that required some
theory and finesse. My Home Ec class seems to have been one of those
"Went to the convention, and all I got was this stupid potholder" kind of
things.


				Arlys
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
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Subject: Re: [h-cost] Hooray for mothers, was Re: shop and home economics
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Date: Fri, 19 Jul 2002 11:58:30 -0400
Status: RO



> 
> > In fact, I have a diary entry handy from that day:
> >
> > "October 6, 1990-
> > Dear Diary,
> > We are going to a rennisonse (sic) fair 2 hours away. I can hardly 
wait
> > to be couped up in a car for 2 hours, then get into some stuffy old
> > outfit, then walk around in the burning hot sun in a long sleeved 
velvet
> > dress, meant for winter. Oh Goody. Oh yeah, I don't have an ingrown
> > toenail any more."
> >
> > Heheheheheh.  Famous last words.  :-)
> >
> > Sarah
> 
> Sarah, that is the most typical 12 y.o. diary entry I've ever seen. I 
can
> picture the look on your face, and the sarcasm dripping from you when 
I read
> that! lolol!!
> 
> btw, how's that toenail?


Oh, the toenail problems are long gone, thankfully enough.  Had surgery 
on both big toes to prevent them ever becomming ingrown again (I know, 
too much info) right about the time of that diary entry.  As for the 
other things in that diary... Every single page ends with "How come I 
don't have a boyfriend and everyone else does?" LOL! 

I think my mom encouraged the historical costuming thing intitially 
because it got me to focus on something *other* than boys.  Of course, 
the result is that now I have a house littered with fabric and 
unfinished costumes, where as I might have had a house littered with 
sexy men... Right?  ;-)

Sarah
http://www.elizabethanlady.com
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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 12:34:18 -0400 (EDT)
Status: RO

Sounds like the same pretentious B.S. that's infected the rest of the
design world and graced us with $80 lemon juicers that don't work but make
wonderful sculptures.  Why do designers think we want things that don't
work?  I guess because if you can't sit on that uncomfortable but stylish
couch it's a sign of snobbish good taste and conspicuous consumption.

Ugh...

And the rest of the word sanely ignores those high-fashion but useless
designers and wears something practical instead.

-- Mara

On Thu, 18 Jul 2002 sustre@pixelations.com wrote:
> That's really interesting to me, since I've tried and failed to get
> my young-adult daughter interested in sewing- especially now that
> she's thinking she'll be a fashion designer. It's rather discouraging
> that if she ever finishes high school or gets a GED (she dropped out-
> long story), the schools won't give her a reality check... She does
> do nice, though very naive, sketches but has NO idea of what they'd
> be made of or how they's go together- she feels that's appropriately
> left to the peons. I'm sure you hear my eyes rolling!
>
> -Amanda
> who needs to make an Art Nouveau gown sometime soonish
> _______________________________________________
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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 12:25:13 -0400 (EDT)
Status: RO

On Thu, 18 Jul 2002, Carolyn Kayta Barrows wrote:
> >      All of us don't see how you separate them, but then, we aren't prepared
> >to go spend money on more college to find out if they are teaching anything
> >actually useful!
>
> Maybe that's why fashions are so funny-looking these days - because it was
> designed by someone who couldn't sew!

No kidding... How could they possibly expect the fashions to work (drape,
flow, etc.), if they don't know anything about sewing and fabric?  Or are
they leaving that up to the seamstresses?  Sheesh...

-- Mara

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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 13:12:54 -0400
Status: RO

At 12:25 PM -0400 7/19/02, Kevin & Mara Riley wrote:
How could they possibly expect the fashions to work (drape,
>flow, etc.), if they don't know anything about sewing and fabric?  Or are
>they leaving that up to the seamstresses?  Sheesh...

Yeah, sort of. I've worked with plenty of highly paid designers in a 
number theatres in this region. Some take an interest in what is sewn 
and know at least basic techniques, while others don't. Designers get 
their jobs by presenting to the artistic staff a concept. Usually in 
the form of rather abstract illustrations. They are encouraged to 
draw artistically by their teachers and that style is what sells. 
Once a design is accepted it is up to the drapers, and pattern makers 
to interpret the design. Then cutters cut the fabric. Sometimes this 
is the same person as the draper. Then the stitchers do their part.

It is not much different in the fashion world.

Linda K-S
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 08:35:50 -0700
Status: RO

>Rowena:
>>    But what you are describing is the case here, too, for most places.   A
>>friend of mine is the designer for a lot of the JC Penny lines.  Her boss
>>and she had a few rough years when he kept adding the contracts, and then
>>thought that instead of giving her a raise, he would just hire other people.
>>Not one graduate could sew or make a mock-up pattern - and not one person
>>they could find could.  Anyone who can is getting paid some fairly high
>>bucks down in NYC!
>>    She was appalled to learn that colleges are teaching about the same
>>attitude - design is all, they can always hire some "sewing monkey" to make
>>the patterns work and make a mock-up.  \
>>Another friend has the same experience - she is running her own historical
>>clothing business (FashionsinTime.com) and was told she didn't have enough
>>experience to enroll in a Fashion program because she didn't have the art,
>>specifically drawing, background.  They didn't teach any sewing, and didn't
>>count any designing/making experience, because the only programs involved
>>Fashion.

That reminds me of a musical parallel I encountered in college -- 
except they were actively trying to counteract the problem.  One day 
in concert band rehearsal, we were introduced to a bunch of student 
from a composition (or maybe orchestration) class who had some scores 
for us to try out.  Our job was to point out to them things like, "Um 
... you _are_ aware that a flute can only play one note at a time?"

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 13:56:15 EDT
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In a message dated 7/19/2002 12:53:54 PM Eastern Daylight Time, 
lindo@Radix.Net writes:


> No kidding... How could they possibly expect the fashions to work (drape,
> flow, etc.), if they don't know anything about sewing and fabric? 

See....I have a problem with this kind of thinking. Designers.....good 
ones....do know something about drape and fabric. Just because they cannot 
make a garment does not make for bad design. Design is visual. Do you think 
all architects can build and plumb and wire up a sky scraper? You come up 
with a look....you hire an expert cutter/draper to make it work.

And is it the designer's fault that people will buy things like pet rocks, 
kitchen witches, or skirts so tight they cannot be worn while going up 
stairs? And are skirts that tight MEANT for anything but the visuals?

Seems to me there are always great looking and practical clothes. If it takes 
a great designer to do both, might not that make these fabulous but wearable 
outfits a bit rare?

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 7/19/2002 12:53:54 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">No kidding... How could they possibly expect the fashions to work (drape,
<BR>flow, etc.), if they don't know anything about sewing and fabric? </FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>See....I have a problem with this kind of thinking. Designers.....good ones....do know something about drape and fabric. Just because they cannot make a garment does not make for bad design. Design is visual. Do you think all architects can build and plumb and wire up a sky scraper? You come up with a look....you hire an expert cutter/draper to make it work.
<BR>
<BR>And is it the designer's fault that people will buy things like pet rocks, kitchen witches, or skirts so tight they cannot be worn while going up stairs? And are skirts that tight MEANT for anything but the visuals?
<BR>
<BR>Seems to me there are always great looking and practical clothes. If it takes a great designer to do both, might not that make these fabulous but wearable outfits a bit rare?</FONT></HTML>

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From h-costume-admin@indra.com  Fri Jul 19 14:44:56 2002
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Subject: Re: [h-cost] Re: shop and home economics
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Date: Fri, 19 Jul 2002 10:56:40 -0700
Status: RO

I did a year and a half of "home ec", which translated to a year's 
worth of sewing and half a year of cooking.  I found the basic sewing 
projects insufferably dull, but there was scope for doing your own 
projects, so I survived.  And both on the sewing and cooking sides, I 
benefited a bit by being forced to do a few projects "by the rules", 
rather than my usual make-it-up-as-I -go-along style (which is still 
my preferred approach).

The only time I really grumped about the gender division of class 
opportunities was in kindergarten, when the boys got to make a wooden 
model plane and the girls didn't.  By the time I got to jr. high  and 
the potential for shop classes, I'd been using my dad's workshop at 
home and doing basic car maintenance as part of my family chores for 
years, and there didn't seem much point making a fuss.  About the 
time I was in high school, they introduced the gender-neutral 
"bachelor survival" class, which I believe covered "life skills" such 
as budgeting in addition to basic cooking and sewing and whatnot.

This was all going on in the early '70s in southern California.  Even 
then, I always got the impression from my classmates that my mother's 
habit of home-sewing a lot of our clothes was "odd".

Tossing in a more historic angle, one of the things my 
great-grandmother (from whom I get my middle name) recorded in her 
diary was every single sewing project she entered into.  The 
numerically most common item were shirtwaists.  (This was ca. 1900.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Fri, 19 Jul 2002 13:15:46 -0500
Status: RO

Of course, 
the result is that now I have a house littered with fabric and 
unfinished costumes, where as I might have had a house littered with 
sexy men... Right?  ;-)

Sarah
>>>>>>>>>>>>>>>>>>>>>>>
So all my piles of fabric should be sexy (insert gender of choice)????  Whooo boy, would my basement be a popular place!  On the other hand, this explains why sometimes when I look at DH I see a pile of emerald green brocade :) :) :) :).

Catherine

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Subject: Re: [h-cost] Sewing - Fashion design v. art
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Date: Fri, 19 Jul 2002 11:25:11 -0700
Status: RO

That strikes me as bizarre.  My youngest daughter wants to "follow in my
footsteps" and design, and she can already draw, but, at 17, she does not
yet sew (I know, I'm a baaaad mother).    I've been assuming Fashion School
would teach pattern drafting and draping NOT art.  I guess I was completely
incorrect about that.

Most of her designs (I make them for her) are visually very appealing, but
she often lacks an understanding of garment construction and it shows.  We
work together, so not an issue there, but I cannot imagine designing (and
getting paid!) with a complete lack of the basics of fabrics & the way they
fall.  Bias is a big example of that.  I made a dress for a show and cut the
skirt on the bias in wool, to give that wonderful flow that only bias can
give. I was working fast, so I didn't let it "grow" on the hanger for a day
like you are supposed to, but knowing it would do its thing, I left it on
the hanger for a few days, and allowed quite a bit of time for the hemming
of it, as it became 3-4 inches longer all around. How could anyone without a
knowledge of something so basic make good clothes, and that's just one
example of what I'm sure are thousands.

grrrrr

angela

----- Original Message -----
From: "Linda Krecker-Schkred" <rhianwen@optonline.net>
To: <h-costume@indra.com>
Cc: "Kevin & Mara Riley" <lindo@radix.net>
Sent: Friday, July 19, 2002 10:12 AM
Subject: Re: [h-cost] Sewing, England vs US 2


> At 12:25 PM -0400 7/19/02, Kevin & Mara Riley wrote:
> How could they possibly expect the fashions to work (drape,
> >flow, etc.), if they don't know anything about sewing and fabric?  Or are
> >they leaving that up to the seamstresses?  Sheesh...
>
> Yeah, sort of. I've worked with plenty of highly paid designers in a
> number theatres in this region. Some take an interest in what is sewn
> and know at least basic techniques, while others don't. Designers get
> their jobs by presenting to the artistic staff a concept. Usually in
> the form of rather abstract illustrations. They are encouraged to
> draw artistically by their teachers and that style is what sells.
> Once a design is accepted it is up to the drapers, and pattern makers
> to interpret the design. Then cutters cut the fabric. Sometimes this
> is the same person as the draper. Then the stitchers do their part.
>
> It is not much different in the fashion world.
>
> Linda K-S
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 16:12:25 -0400 (EDT)
Status: RO

On Fri, 19 Jul 2002 AlbertCat@aol.com wrote:
> See....I have a problem with this kind of thinking. Designers.....good
> ones....do know something about drape and fabric. Just because they cannot
> make a garment does not make for bad design. Design is visual. Do you think
> all architects can build and plumb and wire up a sky scraper? You come up
> with a look....you hire an expert cutter/draper to make it work.

No, but I'd expect the architect to know that a building at least needed
plumbing (what, you want RESTROOMS?  I can't be bothered with such
trivia), and to know what stresses the building materials he'd chosen
could handle.

> And is it the designer's fault that people will buy things like pet rocks,
> kitchen witches, or skirts so tight they cannot be worn while going up
> stairs? And are skirts that tight MEANT for anything but the visuals?

:O  They do????

> Seems to me there are always great looking and practical clothes. If it takes
> a great designer to do both, might not that make these fabulous but wearable
> outfits a bit rare?

Of course.  But if a bit more knowledge about how fabric really works were
encouraged, maybe we'd get a few more good designers ;)

-- Mara

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Date: Fri, 19 Jul 2002 16:32:44 -0400
Status: RO

I had two half-years of "home ec," each having one quarter of sewing 
and one of cooking. They were horrid. I already knew how to sew and 
cook, and being required to shred one's pattern with one of those 
perfing wheels to mark darts, and call another person in one's team 
over from across the room rather than open the drawer one was 
standing in front of because it wasn't one's "role" to get the spoon 
that day, were both dreadful and typical examples. And the projects 
were inedible in cooking, and idiotic in sewing. And I didn't get 
along with the teachers.

We girls weren't allowed to take shop (we weren't even allowed to 
enter those hallowed rooms!), but my sister, 3 years later, was. And 
did, and had a better time of it.

-Amanda
dating herself at 44 <g>
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Subject: [h-cost] Wedding dress of the Progressive/Aesthetic period
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Date: Fri, 19 Jul 2002 14:49:40 -0700
Status: RO

I said I had lots of questions. <g> Well, here's the first one, something 
that I've been trying to track down for over 20 years.

I'm looking for a photo of a wedding dress I saw in a costume book many 
years ago. The dress (not the book) was from around 1880 or 1890, and was 
an example of an alternate style of design - one of the revisionist schools 
of design that kept appearing during the 19th century. I =think= it was 
called Progressive, but I'm not sure. It's been suggested that it might  be 
Revisionist or Aesthetic style.

The dress was very simple, loose and flowing from a rather boat-shaped 
gathered neckline, with bell-like sleeves. There was a definite Grecian 
suggestion in the overall design. There was a band of several rows of 
beadwork that circled the neckline, then at the back of the neck the 
beadwork turned and went down either side of the back closure, and at the 
waist turned towards the front and wrapped around somewhat like a medieval 
girdle (only much wider), to pull the dress in at the waist and provide 
some accent and contrast. There were matching rows of beadwork at the ends 
of the sleeves as well. Also maybe at the hem, but I'm not sure

I remember seeing it in a book in the bookstore of the DeYoung Museum in 
San Francisco over 15-20 years ago. I did not buy the book and I've 
regretted it ever since. And no, I have absolutely no recollection of what 
that book was. If anyone recognizes this description and could help me 
track down a photo of this dress, or the book its in, or another source for 
the dress altogether, I'd be very grateful.

Julie 


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From: Shea Young <younganne@usa.net>
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Subject: Re: [Re: [[h-cost] Re: shop and home economics]]
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Date: Fri, 19 Jul 2002 16:12:09 -0700
Status: RO

"Kate M Bunting" <K.M.Bunting@derby.ac.uk> wrote:
> What is pillow furniture?

Sofa, love seat, and chair cushions made with tapestry fabric and usually
stuffed with those tiny foam balls that didn't hold up very well.  
When the fad first started, the frame work was usually wooden 2" x 4"s that
were crudely decorated and stained a dark color. Waterbeds came into fashion
at the same time and often had the same kind of frame work - kind of rustic
medieval.  

Another popular fad was Bean Bag chairs. Again, tapestry fabric cut in a
slightly shaped pattern that looked like a huge, messy bean bag. It was filled
with the foam balls and would form to your body when you sat down. You had to
pick them up and give them a shake or two (like fluffing a pillow) before you
sat down.  I've seen a few still being sold, but in bright, loud colors and
made from vinyl. Yech....

Shea


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To: h-costume@indra.com
Subject: Re: [h-cost] Hooray for mothers, was Re: shop and home economics
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Date: Fri, 19 Jul 2002 16:17:58 -0500 (CDT)
Status: RO


On Fri, 19 Jul 2002, Sarah Lorraine wrote:

> I think my mom encouraged the historical costuming thing intitially
> because it got me to focus on something *other* than boys.  Of course,
> the result is that now I have a house littered with fabric and
> unfinished costumes, where as I might have had a house littered with
> sexy men... Right?  ;-)

Trust me, fabric is better. Sexy men are high-maintenance.

--no, not me, I'd never admit to writing that

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Subject: Re: [h-cost] Sewing, England vs US 2
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Date: Fri, 19 Jul 2002 16:46:38 -0400
Status: RO

At 12:34 PM -0400 7/19/02, Kevin & Mara Riley wrote:
>Sounds like the same pretentious B.S. that's infected the rest of the
>design world and graced us with $80 lemon juicers that don't work but make
>wonderful sculptures.  Why do designers think we want things that don't
>work?  I guess because if you can't sit on that uncomfortable but stylish
>couch it's a sign of snobbish good taste and conspicuous consumption.
>
>Ugh...

I quite agree! I recently took a jewelry class from someone who had 
great technique, but who was quite proud that her jewelry was 
difficult, painful, or impossible to wear. Seemed pretty odd to me; 
it looked nice, but if you can't wear it..! And several pieces 
*could* have been made comfy with a little thought.

Maybe that's why I'm increasingly attracted to the Art Nouveau stuff- 
it's designed to be worn, not just looked at in a case, and is 
visually lush besides. I hate jewelry that makes me think about the 
fact that I'm wearing it! I like it comfortable and secure, so I know 
it won't break or fall off.

-Amanda
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Date: Fri, 19 Jul 2002 22:07:45 +0100 (BST)
Status: RO

Oh folks if you do this would you please let me in?

I'm going nuts in Birmingham.Haven't had the chance to
hook up with similar minded folks since moving here
nearly two years ago from the USA.
Mostly my work schedule is to blame because its 24/7.

Am like a dying man in the desert here!

Marcus/Mangal

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Subject: Re: [h-cost] Re: different velvets
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Date: Fri, 19 Jul 2002 22:47:34 +0100
Status: RO

I think it's supposed to be gold?   Dark, slightly mustardy yellow that 
can easily get a nasty green tinge.  I got two sets, one that was cotton 
and was OK, a bit more brown-y, and one that was obviously synthetic and 
really euch!

Jean

Teddy <teddy1@mdx.ac.uk> wrote
>
>> Quick and dirty version - another bit of velvet, especially that
>> disgusting yellow shade of curtains you find in charity shops!
>
>Nice tip, but *what* shade of yellow would that be?
>
>Teddy
>(who likes yellow and has made use of lots of differnet shades of
>secondhand velvet curtains)
>_______________________________________________
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Davenport book opinions?
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Date: Fri, 19 Jul 2002 11:19:46 -0700
Status: RO


>Could someone please give me the full title of the Davenport book.  I've 
>never  have heard of it and am eager to take a look at it.  Thank you.

'The Book of Costume', by Millia Davenport, originally Crown Publishers, 
1948.  Mine has no ISBN because they hadn't been invented yet, but has no 
Library of Congress number either.

There are two-volume editions, one-volume editions like mine, and recent 
reprint editions like from 10 years ago.  Mine has no colour plates.  I saw 
one that had them (4 plates with bad colour printing) and now I don't miss 
them in mine.  Large libraries may have a copy in their reference section.


Kayta

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Subject: Re: [h-cost] Sewing - Fashion design v. art
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Date: Fri, 19 Jul 2002 22:56:44 +0100
Status: RO

Sounds very familiar to my husband's experiences with theatre set 
designers.  He builds for a few amateur companies, and they tend to 
employ young, supposedly professional designers.  Many of them turn up 
weeks late, with drawings that aren't properly scaled, and absolutely no 
concept of how much time or money it will take to construct them.  I was 
interested to see a documentary the other night about the production of 
a new musical in London, and the designers really knew their deadlines 
and appreciated the practical side of things.

Maybe it's like I often find at work - there is a certain level people 
rise to by talking a good line and making the appearances, but they 
never reach the really senior levels.  Senior managers are much more 
down to earth and have a depth of knowledge in what they're dealing 
with.

Jean

Angela F. Lazear-  Cabbage Rose <cabbagerose@sbcglobal.net> wrote
>That strikes me as bizarre.  My youngest daughter wants to "follow in my
>footsteps" and design, and she can already draw, but, at 17, she does not
>yet sew (I know, I'm a baaaad mother).    I've been assuming Fashion School
>would teach pattern drafting and draping NOT art.  I guess I was completely
>incorrect about that.
>
>Most of her designs (I make them for her) are visually very appealing, but
>she often lacks an understanding of garment construction and it shows.  We
>work together, so not an issue there, but I cannot imagine designing (and
>getting paid!) with a complete lack of the basics of fabrics & the way they
>fall.  Bias is a big example of that.  I made a dress for a show and cut the
>skirt on the bias in wool, to give that wonderful flow that only bias can
>give. I was working fast, so I didn't let it "grow" on the hanger for a day
>like you are supposed to, but knowing it would do its thing, I left it on
>the hanger for a few days, and allowed quite a bit of time for the hemming
>of it, as it became 3-4 inches longer all around. How could anyone without a
>knowledge of something so basic make good clothes, and that's just one
>example of what I'm sure are thousands.
>
>grrrrr
>
>angela
>
>----- Original Message -----
>From: "Linda Krecker-Schkred" <rhianwen@optonline.net>
>To: <h-costume@indra.com>
>Cc: "Kevin & Mara Riley" <lindo@radix.net>
>Sent: Friday, July 19, 2002 10:12 AM
>Subject: Re: [h-cost] Sewing, England vs US 2
>
>
>> At 12:25 PM -0400 7/19/02, Kevin & Mara Riley wrote:
>> How could they possibly expect the fashions to work (drape,
>> >flow, etc.), if they don't know anything about sewing and fabric?  Or are
>> >they leaving that up to the seamstresses?  Sheesh...
>>
>> Yeah, sort of. I've worked with plenty of highly paid designers in a
>> number theatres in this region. Some take an interest in what is sewn
>> and know at least basic techniques, while others don't. Designers get
>> their jobs by presenting to the artistic staff a concept. Usually in
>> the form of rather abstract illustrations. They are encouraged to
>> draw artistically by their teachers and that style is what sells.
>> Once a design is accepted it is up to the drapers, and pattern makers
>> to interpret the design. Then cutters cut the fabric. Sometimes this
>> is the same person as the draper. Then the stitchers do their part.
>>
>> It is not much different in the fashion world.
>>
>> Linda K-S
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
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>>
>
>_______________________________________________
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Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Fri, 19 Jul 2002 20:38:18 +0100
Status: RO

Teddy <teddy1@mdx.ac.uk> wrote
>
>Hi Saragrace,
>> Just curious-(I am in the US).  How far do you have to travel to
>> collect as a group?  The reason I ask is, we do the same thing in
>> Arizona, not just for sewing costumes, but for soft sculpture, and
>> spinning.  Some of us travel as much as 90 miles each way in a
>> single day!  A good way to attract a few folks is to offer simple
>> classes taught by one of you. For instance, have someone teach how
>> to make split drawers, or each of you pick a simple period hat to
>> teach.  We also get together to go shopping at favorite fabric or
>> bead stores. Sometimes you will have lots, sometimes only a few.
>> The camaraderie is great.  It may sound 'old fashioned' but I think
>> women have lost a lot of their opportunities to "klatch" when they
>> industrialized soap, sugar, quilting manufacture. They will come!!
>> Wish I could come that far-I would!!
>
>Over here, there are few that would even *consider* travelling that
>far for a one day event.... some not even for a weekend event.... let
>alone for a "sewing circle".
>
>Costume Guild UK has trouble getting significant numbers people
>together in one place (even though it's open to non costume guild
>members) to work on costumes/sewing etc for a day event even
>when there are displays or workshops offered to "sweeten the pot,"
>and a nice big hall so big things can be layed out and there would
>be other people around to help/advise/share experience etc.
>
>When I first visited the US it amazed me how great a distance was
>referred to as "local".
>
>And, yes, this is a generalisation - some people over here *would*
>travel long distances and not be put off by them, and not everybody
>I encountered in the US thought little of travelling the distances I
>considered vast to get to events or simply to commute to and from
>work each day.
>
>
>Teddy

I would be delighted to go 90 miles for a weekend event.  Probably not 
for a day.  But unfortunately we're talking minimum 300 for me to the 
Midlands, and by the time I've done that 6 or 7 times for events over 
the summer, I really can't face it any more.  Spend the summer 
travelling and putting out for the tourists, then hibernate and nest 
through the winter!

By the way, when we first thought of forming an SCA group in Scotland, 
the admin in the US suggested we just join our"local" group in 
south-east England.

Jean

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Date: Fri, 19 Jul 2002 11:36:36 -0700
Status: RO

At 1:56 PM -0400 7/19/02, AlbertCat@aol.com wrote:
>In a message dated 7/19/2002 12:53:54 PM Eastern Daylight Time, 
>lindo@Radix.Net writes:
>
>>No kidding... How could they possibly expect the fashions to work (drape,
>>flow, etc.), if they don't know anything about sewing and fabric?
>>
>
>
>See....I have a problem with this kind of thinking. 
>Designers.....good ones....do know something about drape and fabric. 
>Just because they cannot make a garment does not make for bad 
>design. Design is visual. Do you think all architects can build and 
>plumb and wire up a sky scraper? You come up with a look....you hire 
>an expert cutter/draper to make it work.

But architects _are_ expected to have some notion of what the 
available materials are capable of, and how they will behave under 
the required conditions.  Architecture is not about creating a visual 
"look" off the top of your head and then assuming the steelworkers 
and masons and carpenters will "make it work".

Heather
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Davenport book opinions?
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Date: Fri, 19 Jul 2002 11:42:03 -0700
Status: RO


> > Could someone please give me the full title of the Davenport book.  I've
> > never  have heard of it and am eager to take a look at it.  Thank you.
>
>The Book of Costume, by Millia Davenport.

I just went to abebooks.com, and found 42 copies listed (including one for 
half of the two-volume set) at prices ranging from $24 to $320.  The two 
volumes split the 1500s, with Germany, England, and Spain in Vol. I, and 
France and Italy in Vol. II.

Kayta

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From: "Angela F. Lazear-  Cabbage Rose" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Sewing, England vs US 2
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Albert, I don't think that artistic vision is unimportant. I think it is =
paramount, and I imagine that some who cannot sew can certainly design.  =
Maybe many.  What got me excited with this thread is that to teach =
design without basic sewing seems to me to be like teaching painting =
without a knowledge of brushes & paint.  Why would you even go there?  =
The more you know, the better you are as a designer. =20

I get your point though.  My favorite director does not know anything =
about fabrics or sewing, but his vision is amazing and he can describe =
things to me and I build them.  So I lend him the portions he's =
unfamiliar with.  But if he learned what I know about fabrics & =
construction, he'd be better than I am. That s my point, for what it's =
worth.

angela

----- Original Message -----=20
  From: AlbertCat@aol.com=20
  To: h-costume@indra.com=20
  Sent: Friday, July 19, 2002 10:56 AM
  Subject: Re: [h-cost] Sewing, England vs US 2


  In a message dated 7/19/2002 12:53:54 PM Eastern Daylight Time, =
lindo@Radix.Net writes:=20



    No kidding... How could they possibly expect the fashions to work =
(drape,=20
    flow, etc.), if they don't know anything about sewing and fabric?=20


  See....I have a problem with this kind of thinking. Designers.....good =
ones....do know something about drape and fabric. Just because they =
cannot make a garment does not make for bad design. Design is visual. Do =
you think all architects can build and plumb and wire up a sky scraper? =
You come up with a look....you hire an expert cutter/draper to make it =
work.=20

  And is it the designer's fault that people will buy things like pet =
rocks, kitchen witches, or skirts so tight they cannot be worn while =
going up stairs? And are skirts that tight MEANT for anything but the =
visuals?=20

  Seems to me there are always great looking and practical clothes. If =
it takes a great designer to do both, might not that make these fabulous =
but wearable outfits a bit rare?=20

------=_NextPart_000_0139_01C22F17.8EF63A90
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2716.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Albert, I don't think that artistic =
vision is=20
unimportant. I think it is paramount, and I imagine that some who cannot =
sew can=20
certainly design.&nbsp; Maybe many.&nbsp; What got me excited with this=20
thread&nbsp;is that to teach design without basic sewing seems to me to =
be like=20
teaching painting without a knowledge of brushes &amp; paint.&nbsp; Why =
would=20
you even go there?&nbsp; The more you know, the better you are as a=20
designer.&nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I get your point though.&nbsp; My =
favorite director=20
does not know anything about fabrics or sewing, but his vision is =
amazing and he=20
can describe things to me and I build them.&nbsp;&nbsp;So <FONT=20
face=3D"Times New Roman" size=3D3>I lend him the portions he's =
unfamiliar=20
with.&nbsp; But if he learned what I know about fabrics &amp; =
construction, he'd=20
be better than I am. That s my point, for what it's =
worth.</FONT></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>angela</DIV>
<DIV>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3DAlbertCat@aol.com=20
  href=3D"mailto:AlbertCat@aol.com">AlbertCat@aol.com</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dh-costume@indra.com=20
  href=3D"mailto:h-costume@indra.com">h-costume@indra.com</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, July 19, 2002 =
10:56=20
AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] Sewing, =
England vs=20
  US 2</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT size=3D3>In a =
message dated=20
  7/19/2002 12:53:54 PM Eastern Daylight Time, <A=20
  href=3D"mailto:lindo@Radix.Net">lindo@Radix.Net</A> writes: =
<BR><BR></FONT><FONT=20
  lang=3D0 face=3DArial color=3D#000000 size=3D2 =
FAMILY=3D"SANSSERIF"><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  TYPE=3D"CITE">No kidding... How could they possibly expect the =
fashions to=20
    work (drape, <BR>flow, etc.), if they don't know anything about =
sewing and=20
    fabric? </FONT><FONT lang=3D0 face=3DArial color=3D#000000 size=3D3=20
    FAMILY=3D"SANSSERIF"></BLOCKQUOTE><BR><BR>See....I have a problem =
with this kind=20
  of thinking. Designers.....good ones....do know something about drape =
and=20
  fabric. Just because they cannot make a garment does not make for bad =
design.=20
  Design is visual. Do you think all architects can build and plumb and =
wire up=20
  a sky scraper? You come up with a look....you hire an expert =
cutter/draper to=20
  make it work. <BR><BR>And is it the designer's fault that people will =
buy=20
  things like pet rocks, kitchen witches, or skirts so tight they cannot =
be worn=20
  while going up stairs? And are skirts that tight MEANT for anything =
but the=20
  visuals? <BR><BR>Seems to me there are always great looking and =
practical=20
  clothes. If it takes a great designer to do both, might not that make =
these=20
  fabulous but wearable outfits a bit rare?</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] Davenport book opinions?
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Date: Sat, 20 Jul 2002 11:55:04 +1200
Status: RO

>
> OT one H, I'd say it is the best two-volume costume library anywhere.  It
> has over 2000 illustrations, from Sumeria and ancient Egypt to about 1867,
> usually sorted by country.  <polite snipping> There's
> even a bit on what shape of costume was worn in what part of Germany in
the
> early 1500s.

Not to mention an extant(? pretty sure it wasn't a reproduction) Spanish
Court gown for the early 17thC with cutting diagram. Unfortunately I have
been unable tolacte the Museum, it may have changed names or the items moved
to other museums.

> OT other H, printing technology wasn't nearly as good when the book was
> originally published (1948), and the picture quality, how shall I say this
> politely, sucks.  This is somewhat offset by the fact that I have never
> seen some of these examples anywhere else.  But the pictures are not as
> sharp and clear as we have come to expect from modern technology.

True... it really is a pain especially when you can't find any other copies
of those images.

I would certainly recommend it too. The amount of informative text surely
does make up for the poor picture quality. I would hope that if it was ever
reprnted they could find a better way to print the images.. however Blanch
Payne's book didn't fair better when reprinted.

michaela


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Date: Fri, 19 Jul 2002 20:00:13 -0400
Status: RO

Ok, folks,
This evening I ventured into the local JoAnn Fabrics, because I actually
needed some cotton calico <g>, and noticed that they had the White model
1409 sewing machine as a special purchase, available for $99 through
tomorrow (7/20).  So I bought one.  It's supposed to be heavy-duty and to
be able to handle six to eight layers of denim at one time, which I figure
means I could, conceivably, sew canvas for sails and tents on it.

Was this a good buy?  I still have my receipt and could return it if these
things are duds.

Thanks,
Mara
Kevin + Mara Riley

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Subject: Re: [h-cost] Sewing - Fashion design v. art
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In a message dated 7/19/2002 4:12:50 PM Eastern Daylight Time, 
cabbagerose@sbcglobal.net writes:


> so I didn't let it "grow" on the hanger for a day
> like you are supposed to, but knowing it would do its thing, I left it on
> the hanger for a few days, and allowed quite a bit of time for the hemming
> of it, as it became 3-4 inches longer all around. How could anyone without a
> knowledge of something so basic make good clothes

The people who make it should indeed know this, but why does the designer 
need to know anything but where he wants the final hem?

I know a few costume designers who's knowledge of construction actually 
hinders their designs They come up with very makable but very boring designs.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 7/19/2002 4:12:50 PM Eastern Daylight Time, cabbagerose@sbcglobal.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">so I didn't let it "grow" on the hanger for a day
<BR>like you are supposed to, but knowing it would do its thing, I left it on
<BR>the hanger for a few days, and allowed quite a bit of time for the hemming
<BR>of it, as it became 3-4 inches longer all around. How could anyone without a
<BR>knowledge of something so basic make good clothes</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>The people who make it should indeed know this, but why does the designer need to know anything but where he wants the final hem?
<BR>
<BR>I know a few costume designers who's knowledge of construction actually hinders their designs They come up with very makable but very boring designs.</FONT></HTML>

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Subject: [h-cost] purse with 'sequence' on e-bay
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Date: Fri, 19 Jul 2002 16:59:52 -0700
Status: RO

Actually the purse said 'beaded and sequence'.  Turned out to be 'sequins' 
they meant it had.  So I stomped around, fuming about the state of modern 
education, had dinner, and now I feel better.

Kayta

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In a message dated 7/19/2002 4:23:56 PM Eastern Daylight Time, 
lindo@Radix.Net writes:


> Of course.  But if a bit more knowledge about how fabric really works were
> encouraged, maybe we'd get a few more good designers ;)
> 

Oh I agree. But there will always be more bad designers than good ones....and 
I think the good ones know a lot about their whole industry.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 7/19/2002 4:23:56 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">Of course. &nbsp;But if a bit more knowledge about how fabric really works were
<BR>encouraged, maybe we'd get a few more good designers ;)
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Oh I agree. But there will always be more bad designers than good ones....and I think the good ones know a lot about their whole industry.</FONT></HTML>

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Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Sat, 20 Jul 2002 09:15:07 -0500
Status: RO

Saragrace knauf wrote:

>Oh, one more thing-if you can't go there to look more closely at it,
>would the embroidery motifs in QEWU in crimson work?  There are bugs,
>monsters, snails, birds etc.  Not an exact replica I know....
>
Actually, most of those motifs are from a redworked smock in the V&A. 
 Some of them come out of Schorleyker's _A Schole-house for the Needle_. 
 For a diagram of the smock, and a closeup view of seam construction and 
such try Hart & North _Fashion in Detail_.  There are a number of other 
sources which feature shots from it too.

One of my many, many under construction pages:
http://home.earthlink.net/~magdlena/shirt/redworksmockimages.html

-Magdalena


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From h-costume-admin@indra.com  Sun Jul 21 08:41:47 2002
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Subject: [h-cost] Designers know it all
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Date: Sat, 20 Jul 2002 03:23:17 -0400
Status: RO

One thing most people don't think of is that most successful designers are
really good business men or women.  Successful designers may draw the
designs but have patternmakers, cutters, stitchers, and drapers to take care
of other aspects of the business.  There are a lot of good designers who did
not make it big as a business because they didn't know how to run a
business.  Most design schools do not teach their design students how to run
a business.

When I was taking a tech writing class, I was told that when you write to a
business executive to not include all the technical details as to how
something was made, except if it was asked.  Most executives are not
interested in that information, have the time, or do not have a lot of
knowledge of the technical aspects of their products.

Gosh, if someone wrote me asking me technical aspects of a class being
taught, I would direct them to the instructor.  I know the basics of what is
being taught but I don't know about every single thing that is being taught
in a class.  My brain can only hold so much information.  An executive is
good at knowing an overview of what everyone is doing.  Their concern is
with running the business.  I deal more with managing people, marketing,
accounting, talking with students, and hiring reputable people.  Do I know
how to make an Elizabethan ruff, a sackback gown, or the costume history
found in medieval grave sites... no way!  But I do know people who do know
how to do these things very well.

Another example... I am making a 1920s gown.  I purchased a graded pattern
and made my mock-up.  I ran into some major problems with the fit.  The
pattern needed to be re-drafted.  I drove to DC and had someone re-draft the
pattern.  When she was re-drafting it, she tried to explain to me how to do
the math re-draft.  I said, "It is time for me to take a break and let you
do your job."  I just don't have time to learn something new at this moment.
If I had a full day, then maybe I could learn it... but geometry isn't my
cup of tea.  So I found someone who it was their cup of tea.

When I was doing my internship in a museum, I would hold up a garment and
ask the curator what did a garment's date.  The curator didn't know and said
we would look it up.  She informed me that she didn't know every time
period's costumes off the cuff.  Most curators don't... as I learned later.
But she knew where to research it.

We each have our own little area of special interest in costume that we are
really good with.  But I doubt we could find one person that knows
everything.  I bet Dior didn't spend a lot of time behind a sewing machine.
He was out marketing his business.

One big contraversary with film costume designers is where is credit due....
some past designers only designed the leading actresses costumes and took
the Oscar for designing all the film's costumes.  I believe Edith Head was
one of the big designers who did this.  There were other designers working
on the show, that designed the men and/or women's costumes but didn't
receive an Oscar.  Something to think about.

If you read history of the major fashion designers you will see that the
next generation of designers worked under them.  What is important is who
did they do their internship or apprenticeship with.  Calvin Klien is a
great example of this.  He was an asst. designer for Dan Millstein in 1962.
For many years he worked for coat manufacturers.  The 1970s was when his
name started appearing on his designs.   Donna Karan started out working for
Anne Klein.

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




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Subject: Re: [h-cost] Re: shop and home economics
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Date: Sat, 20 Jul 2002 02:04:27 -0400
Status: RO

Did anyone make something in home ec that they could wear?  In my first
class we made a jumper.

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





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<<I'm blessed to live in Boston, home of many good fabric stores, and I
buy from SCA merchants (many have very little markup since they have
low overhead).

                        ...eliz>>

Hey!  So do I!  We've probably met at an SCA event, then...  If you have one, 
send me a pic or link me to one so I can put a face to the name.  And since 
this is my first year here in MA, I'm sure you must know all the best fabric 
stops...  

So funny I never realized a Carolingian admin'd this list!

--Gillian Tedcastle

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="arial" LANG="0">&lt;&lt;I'm blessed to live in Boston, home of many good fabric stores, and I<BR>
buy from SCA merchants (many have very little markup since they have<BR>
low overhead).<BR>
<BR>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ...eliz&gt;&gt;<BR>
<BR>
Hey!&nbsp; So do I!&nbsp;</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> We've probably met at an SCA event, then...&nbsp; If you have one, send me a pic or link me to one so I can put a face to the name.&nbsp; And since this is my first year here in MA, I'm sure you must know all the best fabric stops...&nbsp; <BR>
<BR>
So funny I never realized a Carolingian admin'd this list!<BR>
<BR>
--Gillian Tedcastle</FONT></HTML>

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Well, I'd love to check it out.  I do wear synthetic, but mostly I just wanna 
see your work, Diane.  What's the link?

--Gillian

<<[snippage] But I did finish my lavender brocade Italian!! I put it up on 
eBay
though--it's beautiful. but it's synthetic, and I just don't want to wear it
now. You all have infected me!>>


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Well, I'd love to check it out.&nbsp; I do wear synthetic, but mostly I just wanna see your work, Diane.&nbsp; What's the link?<BR>
<BR>
--Gillian<BR>
<BR>
&lt;&lt;[snippage] But I did finish my lavender brocade Italian!! I put it up on eBay<BR>
though--it's beautiful. but it's synthetic, and I just don't want to wear it<BR>
now. You all have infected me!&gt;&gt;<BR>
<BR>
<BR>
]</FONT></HTML>

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I am a bookseller specialising in fashion magazines l800-l970 (mostly
French). Anyone interested in receiving occasional catalogues please let me
know  or check out current stock on
Abebooks.Com>STORES>Batterham>Browse>catalog>fashion

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Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath-length question
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Date: Sat, 20 Jul 2002 09:09:05 -0500
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~242 cm long and ~100 cm around, according to my ruler and Arnold's 
scale.  After I made him a shirt to that length, my sweetie refused to 
wear any of his other shirts.  It seems like a lot, but they stay in 
your pants that way.

Rachel wrote:

>It is a little difficult to ascertain the exact dimensions from that photograph.  It does make on
>wonder whether this is a mans shirt or a womans.  It is a better length for a womans shirt and
>there is not a great deal of difference in the patterns used.
>



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Linda wrote:

<<My sister is a teacher of ten-to-eleven-year-olds, and - as far as I can
tell - the pressure is all on learning "the three R's".  >>

Yeah, and let me just say that as a Writing Major I hated that lil 
memorization trick.  I used to point out that it was "only 1 R, 1 W and an A" 
and that we are confusing kids who are just learning to spell.  (I suppose 
this is especially a pet peeve because I am dyslexic.  Yeah, a dyslexic 
Writing Major -- on the Honor Roll no less.  I wanted a challenge...)

   <<I regret that her pupils will never
   enjoy sitting and sewing, (nor going for nature walks), as we did.  And 
how
will they make the leap into understanding the construction of early
clothing ? >>

Funny you should ask that, because I have recently been surprised at some 
local "experts" in my SCA barony that can tell you every stitch technique 
used on a 16th Century doublet or dress, but either don't sew at all or do 
but would not be classified beyond beginner skill level.  (Mind you, there 
ARE exceptions to this in Carolingia.  We do have some excellent clothiers 
but this post is about the costume historians who don't sew.)  I can't 
understand how these experts can name and diagram a stitch and yet not be 
able to sew it.  And how can one fully appreciate the drape and usefulness of 
a stitching technique without experience?  

They do it, though.  I consulted some of these costume historians on my 
latest dress, and although they told me they could never make what I wanted, 
their advice was right on the money.  Perhaps, then, it's a matter of manual 
dexterity versus IQ?  They are certainly smart enough and have put the time 
into doing the research, but maybe there is as much physical skill as 
brainpower in the handling of a fabric and thread... 

<< How did you all manage to do it ?>>

For some patterns, I've relied on research done by others -- people in my 
barony, Janet Arnold, so many folks on this list.  Simplicity's 8881 taught 
me cartridge pleating in an easily understood format, and I still use that 
farthingale pattern changed to a drawstring waist.  The rest I construct from 
studies of portraiture compared to my knowledge as a seamstress.  I mentally 
deconstruct the gowns in the pictures, then sketch out my rough ideas on 
paper as if I were checking a math equation.  Often, this is good enough for 
sleeves or skirts, and no toile/muslin is necessary.  (I suppose a clothing 
historian would stop there, then?)  For fitted items like bodices, I then 
test my theory in cheap fabric.  

TIP: Water soluble thread is available at Wal-Mart, Clotilde.com, and many 
quilter supply shops.  Use this to baste your toile -- either by machine or 
by hand.  Then, all you have to do is throw it into a warm sink or washer and 
all the pieces come apart with no annoying seam ripping!  It's important, 
though, to have preshrunk your toile fabric so that the warm water does not 
shrink your pattern after the fitting.  (I wish I'd gone to the store for 
more soluble thread before basting the nightshirt I'm working on.  I forgot 
just how long seam ripping takes.  Not going out was just laziness, and now 
I'm stuck doing more work as a result.)

Anyway, the rest is trial and error.

--Gillian



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Linda wrote:<BR>
<BR>
&lt;&lt;My sister is a teacher of ten-to-eleven-year-olds, and - as far as I can<BR>
tell - the pressure is all on learning "the three R's".&nbsp; &gt;&gt;<BR>
<BR>
Yeah, and let me just say that as a Writing Major I hated that lil memorization trick.&nbsp; I used to point out that it was "only 1 R, 1 W and an A" and that we are confusing kids who are just learning to spell.&nbsp; (I suppose this is especially a pet peeve because I am dyslexic.&nbsp; Yeah, a dyslexic Writing Major -- on the Honor Roll no less.&nbsp; I wanted a challenge...)<BR>
<BR>
&nbsp;&nbsp; &lt;&lt;I regret that her pupils will never<BR>
&nbsp;&nbsp; enjoy sitting and sewing, (nor going for nature walks), as we did.&nbsp; And how<BR>
will they make the leap into understanding the construction of early<BR>
clothing ? &gt;&gt;<BR>
<BR>
Funny you should ask that, because I have recently been surprised at some local "experts" in my SCA barony that can tell you every stitch technique used on a 16th Century doublet or dress, but either don't sew at all or do but would not be classified beyond beginner skill level.&nbsp; (Mind you, there ARE exceptions to this in Carolingia.&nbsp; We do have some excellent clothiers but this post is about the costume historians who don't sew.)&nbsp; I can't understand how these experts can name and diagram a stitch and yet not be able to sew it.&nbsp; And how can one fully appreciate the drape and usefulness of a stitching technique without experience?&nbsp; <BR>
<BR>
They do it, though.&nbsp; I consulted some of these costume historians on my latest dress, and although they told me they could never make what I wanted, their advice was right on the money.&nbsp; Perhaps, then, it's a matter of manual dexterity versus IQ?&nbsp; They are certainly smart enough and have put the time into doing the research, but maybe there is as much physical skill as brainpower in the handling of a fabric and thread... <BR>
<BR>
&lt;&lt;</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> How did you all manage to do it ?&gt;&gt;<BR>
<BR>
For some patterns, I've relied on research done by others -- people in my barony, Janet Arnold, so many folks on this list.&nbsp; Simplicity's 8881 taught me cartridge pleating in an easily understood format, and I still use that farthingale pattern changed to a drawstring waist.&nbsp; The rest I construct from studies of portraiture compared to my knowledge as a seamstress.&nbsp; I mentally deconstruct the gowns in the pictures, then sketch out my rough ideas on paper as if I were checking a math equation.&nbsp; Often, this is good enough for sleeves or skirts, and no toile/muslin is necessary.&nbsp; (I suppose a clothing historian would stop there, then?)&nbsp; For fitted items like bodices, I then test my theory in cheap fabric.&nbsp; <BR>
<BR>
TIP: Water soluble thread is available at Wal-Mart, Clotilde.com, and many quilter supply shops.&nbsp; Use this to baste your toile -- either by machine or by hand.&nbsp; Then, all you have to do is throw it into a warm sink or washer and all the pieces come apart with no annoying seam ripping!&nbsp; It's important, though, to have preshrunk your toile fabric so that the warm water does not shrink your pattern after the fitting.&nbsp; (I wish I'd gone to the store for more soluble thread before basting the nightshirt I'm working on.&nbsp; I forgot just how long seam ripping takes.&nbsp; Not going out was just laziness, and now I'm stuck doing more work as a result.)<BR>
<BR>
Anyway, the rest is trial and error.<BR>
<BR>
--Gillian</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
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Date: Sat, 20 Jul 2002 09:57:32 EDT
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<<...TouchySew ... [snip] . I used it for years and 
would probably still have it except that was what my ex-husband 
was using to bash open a trunk when the SWAT team came to 
take him out of the house he was trashing. (I had been divorced 
from him for 2 1/2 years at that time.)  Fortunately, he thought the 
brand new Pfaff was my roommates or he would have destroyed it 
too. Instead he just pulled over the bookshelf it was on.>>


SWAT team?!!   Oh my...  Even all my screwed up ex's never brought the SWAT.  
Campus Security ... yes.  Paddy wagons, yes.  Police, yeah.  Kat, he musta 
been a handful!  Really glad you're not still with him, for your safety.

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
&lt;&lt;...TouchySew ... [snip] . I used it for years and <BR>
would probably still have it except that was what my ex-husband <BR>
was using to bash open a trunk when the SWAT team came to <BR>
take him out of the house he was trashing. (I had been divorced <BR>
from him for 2 1/2 years at that time.)&nbsp; Fortunately, he thought the <BR>
brand new Pfaff was my roommates or he would have destroyed it <BR>
too. Instead he just pulled over the bookshelf it was on.&gt;&gt;<BR>
<BR>
<BR>
SWAT team?!!&nbsp;&nbsp; Oh my...&nbsp; Even all my screwed up ex's never brought the SWAT.&nbsp; Campus Security ... yes.&nbsp; Paddy wagons, yes.&nbsp; Police, yeah.&nbsp; Kat, he musta been a handful!&nbsp; Really glad you're not still with him, for your safety.<BR>
<BR>
--Gillian</FONT></HTML>

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<<If you have never
seen Burda magazine you should try it!!! >>

Well, "no petite sizes" knocks me off the customer list. 

--Gillian

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">&lt;&lt;If you have never<BR>
seen Burda magazine you should try it!!! &gt;&gt;<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Well, "no petite sizes" knocks me off the customer list. <BR>
<BR>
--Gillian</FONT></HTML>

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Subject: Re: [h-cost] Arnold articles:Was: Blackwork. . . . .
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Date: Sat, 20 Jul 2002 08:58:41 -0500
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Saragrace knauf wrote:

>I've heard some of you refer to these articles which Arnold wrote off
>and on-where did you obtain your copies?  I have all of her books, I
>think, did she later publish/incorporate the articles in those? 
>
>I see on one website one of you referred me to that one of them was in:
>Arnold, Janet (1977). "Elizabethan and Jacobean smocks and shirts".
>Waffen-und Kostumkunde; Zeitschrift der Gessellschadt fur Historiche
>Waffen -und Kostumkunde (Vol 19, Issue 2).  I assume the article is in
>German here-that shouldn't be a problem for me as I can speak it fairly
>well, but what about others?
>
Saragrace,

Arnold did incorporate some or all of the information from many of her 
articles in Patterns of Fashion.  I haven't looked at it in a bit, but 
my recollection is that her article on the Sture outfits has more detail 
(though not a lot) than the same section of PoF.  Rumor has it that she 
had a book in the works covering shirts and smocks, and that it will be 
posthumously published, but I haven't seen any details on it yet.

The shirt article mentioned above is, though published in a German 
journal, written in English.  (If the title is in English, the article 
is frequently also in English even if the journal isn't.)

-Magdalena whose obsession is 16th century shirts...


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 Whereabouts in Yorkshire?  (I'm not a memeber of the Guild, but I am in West Yorks.)

Debbie.



Message: 6
Date: Fri, 19 Jul 2002 13:13:44 +0000 (GMT)
From: Teddy 
Subject: Re: [h-cost] UK Costume Sewing Circle?
To: h-costume@indra.com
Organization: Middlesex University
Reply-To: h-costume@mail.indra.com


> I'm also a member of the Costume Guild, but everything they do seems
> to be down south. 

Costume Closet and Wardrobe will be in Warwick. Several of their 
predecessors (Masque: The British Costume Convention) have 
been in the Birmingham area and one in Nottingham

> Teddy, do you know of any people up here, in Yorkshire sort of
> area? 

Hmmm... not specifically Yorkshire, I don't think... and my 
Geography is dire, but Derby's a lot closer to you than London, and 
Maggie and Mike Percival (former zine editor and Chairman of 
CGUK) are both based just outside Derby.

There are other northerners on h-costume too but with y 
geographical inaccuracy i'd hesitate to say how close any of them 
might be to you....

> I have been fascinated by costuming for ages, but have never made
> anything except my wedding dress as I would never get to wear it -
> good old Yorkshire thriftiness prevents me making anything with
> _no_ end use in mind. 

Then you need to find some events you can get to.

> (Apart from my wedding dress, and knowing what I know now, I
> desperately want to take it apart and remake the bodice, with a corset
> etc to go with, but see above as to why I haven't).

Do you ever get down south?


Teddy






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<P>&nbsp;Whereabouts in Yorkshire?&nbsp; (I'm not a memeber of the Guild, but I am in West Yorks.)</P>
<P>Debbie.<BR><BR><BR><BR>Message: 6<BR>Date: Fri, 19 Jul 2002 13:13:44 +0000 (GMT)<BR>From: Teddy <TEDDY1@MDX.AC.UK><BR>Subject: Re: [h-cost] UK Costume Sewing Circle?<BR>To: h-costume@indra.com<BR>Organization: Middlesex University<BR>Reply-To: h-costume@mail.indra.com<BR><BR><BR>&gt; I'm also a member of the Costume Guild, but everything they do seems<BR>&gt; to be down south. <BR><BR>Costume Closet and Wardrobe will be in Warwick. Several of their <BR>predecessors (Masque: The British Costume Convention) have <BR>been in the Birmingham area and one in Nottingham<BR><BR>&gt; Teddy, do you know of any people up here, in Yorkshire sort of<BR>&gt; area? <BR><BR>Hmmm... not specifically Yorkshire, I don't think... and my <BR>Geography is dire, but Derby's a lot closer to you than London, and <BR>Maggie and Mike Percival (former zine editor and Chairman of <BR>CGUK) are both based just outside Derby.<BR><BR>There are other northerners on h-costume too but with y <BR>geographic!
al inaccuracy i'd hesitate to say how close any of them <BR>might be to you....<BR><BR>&gt; I have been fascinated by costuming for ages, but have never made<BR>&gt; anything except my wedding dress as I would never get to wear it -<BR>&gt; good old Yorkshire thriftiness prevents me making anything with<BR>&gt; _no_ end use in mind. <BR><BR>Then you need to find some events you can get to.<BR><BR>&gt; (Apart from my wedding dress, and knowing what I know now, I<BR>&gt; desperately want to take it apart and remake the bodice, with a corset<BR>&gt; etc to go with, but see above as to why I haven't).<BR><BR>Do you ever get down south?<BR><BR><BR>Teddy<BR><BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><fo!
nt face="Arial" size="2">http://uk.docs.yahoo.com/mail_storag!
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MJ wrote:
<<Most hand processed fibers are quite pricey-so silk may be your cheapest =
route, although some rayons make very good silk substitutes- notice I =
said SOME of them- as the spin/weave structure has to be the same. 
[snip]
 I've seen some nice fabrics in =
cotton/acetate that look quite good and were washable (despite what it =
said on the bolt). So perhaps you aren't confined to "just" cotton- and =
still have a nice look.>>

Yes, I wear a lot of acetate.  As long as you preshrink it, it washes well 
enough afterwards -- just gotta remember to iron on the lowest setting with 
no steam.  In fact, I sometimes buy the cheap Baroque Satin from Jo-Ann's 
then deliberately wash and dry it in the dryer.  That totally changes the 
drape.  All the stiffness goes, and you're left with a more chameuse-like 
hand that can pass as a lesser silk.  (Buy enough to allow for shrinkage!) 
And every now and then I can find a rayon version of duchess satin or 
charmeuse, which is way cheaper than silk of the same weight.  (I always dry 
clean those at home with Dryel to avoid "the Shrinkage That Never Stops." 
hehe)  I've also found that some acrylics designed to look like wool will 
pass the 3-foot test.  My garb won't ever fool a textile expert, but there 
are many faux fabrics today that can pass as historically correct upon casual 
inspection.  I just do the best I can to imitate the look.  Plus, enough 
embellishment will distract the eye...

<<So perhaps you aren't confined to "just" cotton- and =
still have a nice look.>>

I like linen-weave cottons (lotsa people don't know my "linen" isn't linen), 
but it really irks me to see historical garb done in that cheap cotton 
broadcloth.  People often think that it'll look more historical because it's 
a natural fiber, but the finished garment just looks so awful!  OK, not being 
a textile historian, I can't say whether or not cotton broadcloth is 
definitely out of period for pre-1600 Europe peasantry, but I can certainly 
tell if it isn't draping like the fabrics depicted in paintings of the time.  
Sometimes I wanna scream, "Fake would have looked better!"

Does anyone here know about cotton broadcloth?  Could you tell us when it 
became popular in Europe and what the historic texture was like?  I've seen 
references to broadcloth, but I got the impression the fiber was not cotton, 
nor was it as smooth a weave as used today.

So the question of the day;

Do you fake your fabrics?  
If so...  Which historic textiles are you imitating, and with which modern 
textiles have you replaced them?

--Gillian


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">MJ wrote:<BR>
&lt;&lt;Most hand processed fibers are quite pricey-so silk may be your cheapest =<BR>
route, although some rayons make very good silk substitutes- notice I =<BR>
said SOME of them- as the spin/weave structure has to be the same. <BR>
[snip]<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> I've seen some nice fabrics in =<BR>
cotton/acetate that look quite good and were washable (despite what it =<BR>
said on the bolt). So perhaps you aren't confined to "just" cotton- and =<BR>
still have a nice look.&gt;&gt;<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Yes, I wear a lot of acetate.&nbsp; As long as you preshrink it, it washes well enough afterwards -- just gotta remember to iron on the lowest setting with no steam.&nbsp; In fact, I sometimes buy the cheap Baroque Satin from Jo-Ann's then deliberately wash and dry it in the dryer.&nbsp; That totally changes the drape.&nbsp; All the stiffness goes, and you're left with a more chameuse-like hand that can pass as a lesser silk.&nbsp; (Buy enough to allow for shrinkage!) And every now and then I can find a rayon version of duchess satin or charmeuse, which is way cheaper than silk of the same weight.&nbsp; (I always dry clean those at home with Dryel to avoid "the Shrinkage That Never Stops." hehe)&nbsp; I've also found that some acrylics designed to look like wool will pass the 3-foot test.&nbsp; My garb won't ever fool a textile expert, but there are many faux fabrics today that can pass as historically correct upon casual inspection.&nbsp; I just do the best I can to imitate!
 the look.&nbsp; Plus, enough embellishment will distract the eye...<BR>
<BR>
&lt;&lt;So perhaps you aren't confined to "just" cotton- and =<BR>
still have a nice look.&gt;&gt;<BR>
<BR>
I like linen-weave cottons (lotsa people don't know my "linen" isn't linen), but it really irks me to see historical garb done in that cheap cotton broadcloth.&nbsp; People often think that it'll look more historical because it's a natural fiber, but the finished garment just looks so awful!&nbsp; OK, not being a textile historian, I can't say whether or not cotton broadcloth is definitely out of period for pre-1600 Europe peasantry, but I can certainly tell if it isn't draping like the fabrics depicted in paintings of the time.&nbsp; Sometimes I wanna scream, "Fake would have looked better!"<BR>
<BR>
Does anyone here know about cotton broadcloth?&nbsp; Could you tell us when it became popular in Europe and what the historic texture was like?&nbsp; I've seen references to broadcloth, but I got the impression the fiber was not cotton, nor was it as smooth a weave as used today.<BR>
<BR>
So the question of the day;<BR>
<BR>
Do you fake your fabrics?&nbsp; <BR>
If so...&nbsp; Which historic textiles are you imitating, and with which modern textiles have you replaced them?<BR>
<BR>
--Gillian<BR>
<BR>
</FONT></HTML>
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Date: Sat, 20 Jul 2002 18:03:42 +0100
Status: RO

People were discussing a few weeks ago "historical" costumes and fancy 
dress from earlier periods.  When we went down to see my parents 
recently, my mother brought out the most amazing costume she had found 
among the stuff cleared from my great-grandmother's house.

It is a jester's costume made in green and yellow satin, all beautifully 
constructed and lined.  Unfortunately the satin has all perished in a 
number of places.  It has a jacket with hanging tags with bells around 
the collar and waist and lace at the cuffs and down the front.  The 
pantaloons were gathered on a drawstring at the waist, with lace at the 
cuffs.  It also has a wonderful hood, with more bells and a 
cardboard-stiffened crest, and a little jester's doll with a porcelain 
head.

I have put up some pictures at www.montgomerie.demon.co.uk/costume. You 
can just see the dress guards inside the armholes, and a brooch at the 
neck.

We think the costume may have been made for my great-grandmother for 
Queen Victoria's golden jubilee in 1897, when she would have been 20. 
There was also a sort of gypsy/gondolier outfit of a gathered and 
embroidered shirt, black trousers and red cummerbund, but this had 
obviously never been worn.  We wonder what happened to the young beau?

I am considering contacting the local library/local history department 
in Wolverhampton, where Great-Gran grew up, to see if they have any 
records of a pageant, even perhaps any photographs.  My mother is 
planning to offer the costume to a museum (maybe the V&A? not sure) 
where they have a collection of items in less good condition which they 
allow people to handle to see the details of construction.
-- 
Jean Waddie
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To: h-costume@indra.com
Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath-length
 question
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Date: Sun, 21 Jul 2002 15:01:13 +0200 (CEST)
Status: RO


~242 cm long?! That's almost 2.5 metres, and 7.9 feet long. Is that 
length for both the front and back pieces put together?

Ingrid

On Sat, 20 Jul 2002, Magdalena wrote:
> ~242 cm long and ~100 cm around, according to my ruler and Arnold's 
> scale.  After I made him a shirt to that length, my sweetie refused to 
> wear any of his other shirts.  It seems like a lot, but they stay in 
> your pants that way.
> 
> Rachel wrote:
> 
> >It is a little difficult to ascertain the exact dimensions from that photograph.  It does make on
> >wonder whether this is a mans shirt or a womans.  It is a better length for a womans shirt and
> >there is not a great deal of difference in the patterns used.
> >
> 
> 
> 
> _______________________________________________
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Date: Sun, 21 Jul 2002 23:09:19 +1000
Status: RO

in reference to the viking beads,  my fiance & I have just received the cd's from Professor Dan Carlsson 
        I can say it is the worth the value ordering the cd
                          Sharon  ( Frojel Gotlandica Vikings ) 



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> I have put up some pictures at www.montgomerie.demon.co.uk/costume. You 
> can just see the dress guards inside the armholes, and a brooch at the 
> neck.

That URL doesn't work (yes, I made sure to omit the period).

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: Sun, 21 Jul 2002 09:03:27 -0500
Status: RO

Ingrid G. Storrř wrote:

>~242 cm long?! That's almost 2.5 metres, and 7.9 feet long. Is that 
>length for both the front and back pieces put together?
>
>Ingrid
>
Sorry!  Yes, that's the full length of the piece, front hem to back.

-Magdalena



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Date: Sun, 21 Jul 2002 09:05:17 -0500
Status: RO

Teddy,

I heard this before about the problems of getting people together in the UK
for costume events.  I had a conversation at the CostumeCon in Hartford, CT
a couple years ago.  A mother and daughter who flew over from England for
the event.  When we told them we had driven two days with an overnite stop
from Missouri to attend they said some of the people in the UK would not
consider coming even half that distance no matter how the event.  Some of it
is the gas prices I think.  We have much lower rates then Europe.  We also
carpooled for the trip, sharing one or two vehicles.  For one of the next
trips we're even thinking of chartering a bus so we can have someone else do
the driving.  Split the price among a number of people and its quite
reasonable.

Genie

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From: "Susan Carroll-Clark" <nicolaa@columbus.rr.com>
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
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Date: Sun, 21 Jul 2002 09:54:15 -0400
Status: RO


Greetings--

<<I like linen-weave cottons (lotsa people don't know my "linen" isn't
linen), but it really irks me to see historical garb done in that cheap
cotton broadcloth.  People often think that it'll look more historical
because it's a natural fiber, but the finished garment just looks so
awful!>>

I suspect that the reason cotton broadcloth is popular is twofold: 1) It's
cheap, 2) Being a natural fiber, it breathes, which means it's good for
summer. As far as historical accuracy goes, most folks who use it either a)
aren't making historical accuracy a priority (and this includes people who
"just want some camping clothing"), or b) don't know any better (it looks
better than synthetics to them, so what the hey.)

Susan

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References: <RcFKsLDufZO9IwXv@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Victorian fancy dress
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Date: Sun, 21 Jul 2002 09:11:30 -0500
Status: RO

> I have put up some pictures at www.montgomerie.demon.co.uk/costume. You
> can just see the dress guards inside the armholes, and a brooch at the
> neck.
>


this web address gives a 404 error. Adding .html did not fix it. Removing
the "costume" part takes me to the Shire of Harpelestane web page.

Could you check the address again and re-post. I'd love to see this outfit.

Denise

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Victorian fancy dress
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Date: Sun, 21 Jul 2002 07:29:29 -0700
Status: RO


> > I have put up some pictures at www.montgomerie.demon.co.uk/costume. You
> > can just see the dress guards inside the armholes, and a brooch at the
> > neck.
>
>That URL doesn't work (yes, I made sure to omit the period).

It says Demon not found when I try, and my browser automatically omitted 
the offending period.


Kayta

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From h-costume-admin@indra.com  Sun Jul 21 11:02:10 2002
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To: h-costume@indra.com
Subject: Re: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath-length
 question
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Date: Sun, 21 Jul 2002 16:37:20 +0200 (CEST)
Status: RO

On Sun, 21 Jul 2002, Magdalena wrote:
> Ingrid G. Storrř wrote:
> 
> >~242 cm long?! That's almost 2.5 metres, and 7.9 feet long. Is that 
> >length for both the front and back pieces put together?
> >
> >Ingrid
> >
> Sorry!  Yes, that's the full length of the piece, front hem to back.

Thanks. I was thinking "yes, no wonder that shirt stays tucked in!" ;)

Ingrid

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From h-costume-admin@indra.com  Sun Jul 21 11:55:58 2002
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Date: Sat, 20 Jul 2002 14:39:17 -0400
Status: RO

YES. I am just in love with fashion & style in general.
I love couture though I can't afford to buy it.
Prada is my favorite. Actually, I just won a Prada
dress off eBay in this amazing Art Nouveau-ish chiffon..
My favorite designers are Miuccia Prada, Dolce & Gabbana,
Vivienne Westwood & John Galliano.
Also admire the work of Tom Ford, Anna Sui, Marc Jacobs
& Betsy Johnson, just to name a few. Yes, I pour over Vogue
with as much enthusiasm as I do books on historic costume.
Deb R.

> > Let's see, is there anyone on this list, in the UK, who actually
> > *likes* current fashion??

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Date: Sat, 20 Jul 2002 14:42:28 -0400
Status: RO

Oh sorry, I didn't know the question was UK-specific.
But for what it's worth, most of my favorite fashion designers
are from the UK.
Deb R

> > Let's see, is there anyone on this list, in the UK, who actually
> > *likes* current fashion??


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Date: Sat, 20 Jul 2002 13:25:03 -0700
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I 'm just making sure I haven't unsubbed inadvertently - please ignore this.

angela
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
"Be not afraid of greatness; some are born great,
some achieve greatness, and some have greatness thrust
upon them."
Twelfth-Night, II, v - W. Shakespeare


----- Original Message -----
From: "Shea Young" <younganne@usa.net>
To: <h-costume@indra.com>
Sent: Friday, July 19, 2002 4:12 PM
Subject: Re: [Re: [[h-cost] Re: shop and home economics]]


> "Kate M Bunting" <K.M.Bunting@derby.ac.uk> wrote:
> > What is pillow furniture?
>
> Sofa, love seat, and chair cushions made with tapestry fabric and usually
> stuffed with those tiny foam balls that didn't hold up very well.
> When the fad first started, the frame work was usually wooden 2" x 4"s
that
> were crudely decorated and stained a dark color. Waterbeds came into
fashion
> at the same time and often had the same kind of frame work - kind of
rustic
> medieval.
>
> Another popular fad was Bean Bag chairs. Again, tapestry fabric cut in a
> slightly shaped pattern that looked like a huge, messy bean bag. It was
filled
> with the foam balls and would form to your body when you sat down. You had
to
> pick them up and give them a shake or two (like fluffing a pillow) before
you
> sat down.  I've seen a few still being sold, but in bright, loud colors
and
> made from vinyl. Yech....
>
> Shea
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] clothing designers
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Date: Sat, 20 Jul 2002 12:36:52 -0700
Status: RO

While I have never practiced, I do have an architecture degree.  As a
student I was required to take classes in structures (how buildings stand
up), HVAC  (which included plumbing & electrical systems in addition to
heating and air conditioning), and how people react to and move around the
inside and outside of buildings.   I had to be able to use complex formulas
to calculate things like the effect of windows on heating and cooling and
weather (wind, snow, rain and so forth) on both small wood frame buildings
and tall skyscrapers (using just a calculator, now I imagine they have
computer programs that do this).   So my point is that while it wasn't
practical to have us go out an build a skyscraper, we did end up with a very
real idea of how to build one. As for smaller buildings, like houses, I
could have worked on a project were we actually built something ( I opted
for the furniture making studio instead). To equate this with designing
clothing/costumes - I would have learned the seams: types, how to make them,
how they react to stress, and how they look; Types of cloth: how they bend,
what makes them fail, how they react in weather. And so forth.  For a
certain number of designs, I would be required to make scale models.

So while design is a matter of how something looks - you have to know the
materials you are working with no matter if they be steel or silk. Not only
as individual parts, but also as how all the parts react together as a
whole.   Considering how much easier it is to make a dress, then it is a
house, having a clothing designer NOT sew seems like poor training.  Having
them not design, sew and wear something, seems even worse.  I can design
spectcular buildings, as long as I don't have to worry about what they are
made with and how they are put together. And how real people would live or
work in them.

Notes:
As for bathrooms, yes we learned to how design them and where they go.
There is a practical reason why in most skyscrapers the bathrooms are near
the elevators.

I dislike the current dress styles (the long straight skirts) they are both
impractical and only look nice if you are standing.  You can't really do
anything in them.  I haven't bought a new dress in several years.

Susan Courney

> > See....I have a problem with this kind of thinking. Designers.....good
> > ones....do know something about drape and fabric. Just because they
cannot
> > make a garment does not make for bad design. Design is visual. Do you
think
> > all architects can build and plumb and wire up a sky scraper? You come
up
> > with a look....you hire an expert cutter/draper to make it work.
>
> No, but I'd expect the architect to know that a building at least needed
> plumbing (what, you want RESTROOMS?  I can't be bothered with such
> trivia), and to know what stresses the building materials he'd chosen
> could handle.
>
> > And is it the designer's fault that people will buy things like pet
rocks,
> > kitchen witches, or skirts so tight they cannot be worn while going up
> > stairs? And are skirts that tight MEANT for anything but the visuals?
>
> :O  They do????





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Date: Sat, 20 Jul 2002 18:55:45 -0500
Status: RO

Hey Sue,

my mom put me in a 4-H group when I was about 8.  She had realized by then
that trying to teach me herself was a bad idea.  She's an excellent
seamtress, but our personalities would not allow it.  The handwork I was
already doing in grade school (nuns of course) on rainy days when we
couldn't get out side for recess or lunch we could sit at our desks and do
embroidery.  I did lots of preprinted blocks for baby quilts.  The costuming
came much later.  Making clothes for myself was an acceptable form of
self-expression.

Genie

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Date: Sun, 21 Jul 2002 12:08:44 -0400
Status: RO

<<<Did anyone make something in home ec that they could wear?  In my
first
class we made a jumper.>>>

        Could wear?  Yes.  Would wear?  Not on a bet.  I hated and
despised that dress.  It was a dusty rose with perfectly inset sleeves
and a row of tucks on the skirt.  It was well made and I wouldn't even
use the pattern afterwards.  I also hated and despised the teacher who
knew less about sewing than I did and made us go into the most
unnecessary details.  Having been through a professionally taught sewing
class as a birthday present when I was thirteen and having sewed since I
was able to hold a needle and thread, her kindergarten tactics just made
my head ache.  I did like the cooking teacher and that class was fun
though.

Lalah
Never give up, Never surrender
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Date: Sat, 20 Jul 2002 19:00:04 -0500
Status: RO

Hey Teddy,

do they have a website.  I like floaty cottons.

Genie
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Date: Sun, 21 Jul 2002 12:18:50 -0400
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At 2:04 AM -0400 7/20/02, Penny Ladnier wrote:
>Did anyone make something in home ec that they could wear?  In my first
>class we made a jumper.

by the time I had Home Ec in 7th grade, I had been sewing for about 7 
years. I chose to make a short pinafore dress with matching panties 
(It was that short) with a one way design fabric. The pattern had 16 
pieces. I only cut one piece upside down. And I wore that dress for 
the rest of the year.

Linda K-S
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Date: Sun, 21 Jul 2002 09:28:41 -0700
Status: RO

I think this is a great thread.

I use linen/cotton blends sometimes because I can get them in more
interesting weaves for chemises etc.  (There probably was cotton for the
period I am using it for, but not for the class of
character-working/middle).

I have also done some very cool lace imitations for the stage.  Stencil
the lace, and then we used glue to raise the pattern-that was many years
ago.  I suspect now that 3-d fabric paint would work really well.  And
it comes in colors!

I am thinking about using some Turel for an outfit.  It feels like a
very lightweight wool and fabric-store.com has some fabulous colors.  I
have a silk/wool blend that is woven very similarly.  (Not that I know
much about period weaves-I guess I am just not THAT serious!).

Sg




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There is a fabulous place in Springfield MA, called Osgood's.  When I
used to work at UMass in the costume shop (another lifetime ago), we
used to shop there.  But it was there a few years ago when I was
visiting too-much more organized than I remembered it!
 
Have fun-I am jealous-we don't have good tailor end stores in Phoenix.
 
Saragrace




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<DIV><FONT face=3DBatang color=3D#800000 size=3D2><SPAN =
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is a fabulous place in Springfield MA, called Osgood's.&nbsp; When I =
used to=20
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Subject: Re: [h-cost] purse with 'sequence' on e-bay
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Date: Sun, 21 Jul 2002 10:00:09 -0700
Status: RO

Perhaps they simply meant that the sequins had been sewn on in sequence....
JK.
angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design

"And thus I clothe my naked villany
 With odd old ends stoln' forth of holy writ,
 And seem a saint when most I play the devil"
Richard III, I, iii - W. Shakespeare


----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Friday, July 19, 2002 4:59 PM
Subject: [h-cost] purse with 'sequence' on e-bay


> Actually the purse said 'beaded and sequence'.  Turned out to be 'sequins'
> they meant it had.  So I stomped around, fuming about the state of modern
> education, had dinner, and now I feel better.
>
> Kayta
>
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Subject: Re: [h-cost] Re: shop and home economics
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Date: Sun, 21 Jul 2002 10:00:50 -0700
Status: RO

Peasant blouse & skirt.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes 
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"If we shadows have offended, think but this,
 and all is mended,
That you have but slumbered here,
 while these visions did appear."
A Midsummer Night's Dream; V, ii - W. Shakespeare


----- Original Message ----- 
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Friday, July 19, 2002 11:04 PM
Subject: Re: [h-cost] Re: shop and home economics


> Did anyone make something in home ec that they could wear?  In my first
> class we made a jumper.
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> 
> 
> 
> 
> 
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Subject: Re: [h-cost] Great place to shop for fabric in MA:Was: You live in
 Boston?  (WAS:Re: shop and home economics)
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Date: Sun, 21 Jul 2002 12:48:49 -0400
Status: RO

At 9:17 AM -0700 7/21/02, Saragrace knauf wrote:
There is a fabulous place in Springfield MA, called Osgood's.  When I 
used to work at UMass in the costume shop (another lifetime ago), we 
used to shop there.  But it was there a few years ago when I was 
visiting too-much more organized than I remembered it!

Have fun-I am jealous-we don't have good tailor end stores in Phoenix.


What about SAS. It may not the the garment district but you can get 
some wonderful things there if you go consistently. There are also 
other outlets in Tempe, Glendale (I think) and Tucson.

Linda K-S
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Subject: Re: [h-cost] Sewing - Fashion design v. art
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Date: Sun, 21 Jul 2002 09:56:57 -0700
Status: RO

Fortunately the theater set designers I work with do know their stuff.   But
there are a lot out there who only "talk a good game" to use an expression
that is common over here.

angela
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
"Be not afraid of greatness; some are born great,
some achieve greatness, and some have greatness thrust
upon them."
Twelfth-Night, II, v - W. Shakespeare



----- Original Message -----
From: "Jean Waddie" <anne@montgomerie.demon.co.uk>
To: <h-costume@indra.com>
Sent: Friday, July 19, 2002 2:56 PM
Subject: Re: [h-cost] Sewing - Fashion design v. art


> Sounds very familiar to my husband's experiences with theatre set
> designers.  He builds for a few amateur companies, and they tend to
> employ young, supposedly professional designers.  Many of them turn up
> weeks late, with drawings that aren't properly scaled, and absolutely no
> concept of how much time or money it will take to construct them.  I was
> interested to see a documentary the other night about the production of
> a new musical in London, and the designers really knew their deadlines
> and appreciated the practical side of things.
>
> Maybe it's like I often find at work - there is a certain level people
> rise to by talking a good line and making the appearances, but they
> never reach the really senior levels.  Senior managers are much more
> down to earth and have a depth of knowledge in what they're dealing
> with.
>
> Jean
>
> Angela F. Lazear-  Cabbage Rose <cabbagerose@sbcglobal.net> wrote
> >That strikes me as bizarre.  My youngest daughter wants to "follow in my
> >footsteps" and design, and she can already draw, but, at 17, she does not
> >yet sew (I know, I'm a baaaad mother).    I've been assuming Fashion
School
> >would teach pattern drafting and draping NOT art.  I guess I was
completely
> >incorrect about that.
> >
> >Most of her designs (I make them for her) are visually very appealing,
but
> >she often lacks an understanding of garment construction and it shows.
We
> >work together, so not an issue there, but I cannot imagine designing (and
> >getting paid!) with a complete lack of the basics of fabrics & the way
they
> >fall.  Bias is a big example of that.  I made a dress for a show and cut
the
> >skirt on the bias in wool, to give that wonderful flow that only bias can
> >give. I was working fast, so I didn't let it "grow" on the hanger for a
day
> >like you are supposed to, but knowing it would do its thing, I left it on
> >the hanger for a few days, and allowed quite a bit of time for the
hemming
> >of it, as it became 3-4 inches longer all around. How could anyone
without a
> >knowledge of something so basic make good clothes, and that's just one
> >example of what I'm sure are thousands.
> >
> >grrrrr
> >
> >angela
> >
> >----- Original Message -----
> >From: "Linda Krecker-Schkred" <rhianwen@optonline.net>
> >To: <h-costume@indra.com>
> >Cc: "Kevin & Mara Riley" <lindo@radix.net>
> >Sent: Friday, July 19, 2002 10:12 AM
> >Subject: Re: [h-cost] Sewing, England vs US 2
> >
> >
> >> At 12:25 PM -0400 7/19/02, Kevin & Mara Riley wrote:
> >> How could they possibly expect the fashions to work (drape,
> >> >flow, etc.), if they don't know anything about sewing and fabric?  Or
are
> >> >they leaving that up to the seamstresses?  Sheesh...
> >>
> >> Yeah, sort of. I've worked with plenty of highly paid designers in a
> >> number theatres in this region. Some take an interest in what is sewn
> >> and know at least basic techniques, while others don't. Designers get
> >> their jobs by presenting to the artistic staff a concept. Usually in
> >> the form of rather abstract illustrations. They are encouraged to
> >> draw artistically by their teachers and that style is what sells.
> >> Once a design is accepted it is up to the drapers, and pattern makers
> >> to interpret the design. Then cutters cut the fabric. Sometimes this
> >> is the same person as the draper. Then the stitchers do their part.
> >>
> >> It is not much different in the fashion world.
> >>
> >> Linda K-S
> >> _______________________________________________
> >> 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
>
> --
> Jean Waddie
> _______________________________________________
> 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] Designers know it all
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Date: Sun, 21 Jul 2002 10:11:08 -0700
Status: RO

Penny,

The criteria for taking a design credit on film is unclear to me.  I know
for stage, it is usual to have a single head designer, (or sometimes a pair
of designers for costumes). I do have assistants to carry out my designs,
and when they desire, I will give them something that they can add their own
particular "style" to.  It is possible that Edith Head did oversee the work
of those beneath her to some degree.  I don't know the studio system, so I
can't be sure.  So she would have been part costume designer/ part costume
coordinator (anything that isn't made specifically for the film would be
pulled and matched to the design, which is also a legitimate art form).

Anyway, it would be fascinating to see what the studios consider a "head
designers" job to be.   Like that gal who won for Titanic didn't actually
make most of the clothes, using many many real period garments, right. But
she still won for the film, as she was responsible for the overall look,
which I believe most of us agree was pretty good.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"So far as my coin would stretch; and where it would not
I have used my credit."
King Henry the Fourth; I, ii - W. Shakespeare

----- Original Message -----

> One big contraversary with film costume designers is where is credit
due....
> some past designers only designed the leading actresses costumes and took
> the Oscar for designing all the film's costumes.  I believe Edith Head was
> one of the big designers who did this.  There were other designers working
> on the show, that designed the men and/or women's costumes but didn't
> receive an Oscar.  Something to think about.
> 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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Subject: [h-cost] Re: window pane muslin
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Date: Sat, 20 Jul 2002 20:14:02 -0400
Status: RO


Kayta said:
> 
> I routinely strike out at WalMart, in the fabric section.  But I look every
> time I go to one for something else (last time it was for a new car
> battery).  I did score big once only, and that was finding a couple of
> bundled remnants of windowpane muslin (batiste-thin cloth with a thicker
> thread every half inch both ways, making a grid).  I'd read about it, and
> seen pictures of it, but I never saw it for sale anywhere, before or
> since.  I'm not sure if I want to do a Regency day dress with it, or part
> of an Edwardian lingerie dress.
> 

American shoppers looking for batiste-thin cloth should check out the Martha
Stewart sheers at K-mart. I bought a pair for my daughter's room this
summer. There are several styles, and I think one was windowpane. Another is
embroidered all over in white chain-stitch. Another is all white with
colored tucks at the top. The cloth is the sheerest that I've ever seen,
certainly I've never seen anything in a fabric store that sheer. It's lovely
and the curtains come in 84-inch lengths for very reasonable prices (about
$15 for a set of two) -- and are frequently on sale for 20% off!

Gail Finke


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Subject: Re: [h-cost] Arnold articles:Was: Blackwork. . . . .
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Date: Sat, 20 Jul 2002 23:31:54 -0400
Status: RO

Hi. The article by Janet Arnold on shirts and smocks is in english. It is
about 20 pages long. I have a rather poor copy that I would be willing to
share. Send me a private note, Mike T.


>
> Arnold, Janet (1977). "Elizabethan and Jacobean smocks and shirts".

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Date: Sun, 21 Jul 2002 00:31:08 -0400
Status: RO


----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>


> But the very best thing is still if you can learn to sew from your mom :-)

Unless, as a child, you think it's stupid and boring.  But she makes you
learn anyway.
Then, 20 years later, you fall to your knees and thank her because you never
knew how valuable her lessons were...and she's shocked.  Thank heavens she's
still here so I could thank her in person.

Jeanne
who always wanted "store" clothes and got homemade.  Now has store clothes
and is thrilled when she has time to make "homemade".

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Subject: [h-cost] New Class
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Date: Sun, 21 Jul 2002 00:55:44 -0400
Status: RO

I have added a new class to the schedule at the Costume Classroom,
www.costumeclassroom.com . It is called "How To Get Your Business On The
Evening News" and class will begin Sept. 9.  The class will be geared toward
fashion and costume businesses. In this class you will learn some marketing
techniques and how to write press releases that will catch a journalist's
eyes.   The class will be taught by Mary Beth Klatt, a free-lance journalist
who has had several articles published in the Chicago Tribute.  Please take
time to read Mary Beth's bio and the list of some of the articles that she
has had published.

This class is limited to 25 students.

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





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Subject: Re: [h-cost] Re: shop and home economics
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Date: Sun, 21 Jul 2002 00:46:12 -0400
Status: RO

----- Original Message -----
From: <Azelana@aol.com>
> Can everybody add their own experiences?  I'd be curious to see how many
of
> us are still exposed to sewing in school, and how that may be affecting
the
> declining home sewing industry...
>
> --Gillian the seamstress

My mom was a couture seamstress, and is now a rather wellknown
quilter/judge/lecturer, so I was practically born with a needle in my hand.
I hated it. I never appreciated what she was making me learn.  She also
doesn't cook.  It's not really safe to LET her cook, as she'll get all
involved in what she's doing with fabric and forget. She used to burn the
bottoms out of a pot a week...so I started cooking for my family, standing
on a chair, when I was 6 or 7.
In 8th grade we had to take Home Ec. 1 quarter of sewing, one of cooking.  I
was pretty qualified already in both, but I was female, so I couldn't take
shop.
I got D's in both.  In sewing, because we had to make an a-line skirt, and
I'd just finished my 4-H project at home, a tailored blazer with handmade
buttonholes, and I was bored, didn't ask enough questions, didn't pin
closely enough, etc etc.
In cooking, because I changed all the seasonings in the recipes (I still
can't follow a recipe) and because I licked my fingers.

Jeanne
who really would have been better off in shop.  Still can't do a lot of that
stuff...

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Date: Sun, 21 Jul 2002 10:31:09 -0700 (PDT)
Status: RO

I took Home Ec in 7th grade. We made jumpers and had
to wear them to get at least a passing grade. Mine
turned out fine; it had a square neckline and was deep
red with tiny orange, yellow and blue flowers
scattered on it; I wore it with a white blouse and red
knee sox. I did wear it for most of the school year.
By the next year, I'd gotten too tall for it though.

By the time I was in the 9th grade I was sewing almost
all of my clothes. I made my "first day of school"
dress that year--a long sleeved babydoll dress with a
lime-green background with impressionistic white
daisys with apricot yellow centers scattered all over
it. It was very similar to one I'd seen in a
fashion/teen magazine. I got teased about it til they
started showing up in local stores a few months later.

kate



 ----- Original Message ----- 
> From: "Penny Ladnier" <penny@costumegallery.com>
> To: <h-costume@indra.com>
> Sent: Friday, July 19, 2002 11:04 PM
> Subject: Re: [h-cost] Re: shop and home economics
> 
> 
> > Did anyone make something in home ec that they
> could wear?  In my first
> > class we made a jumper.
> > 
> > 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
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sat, 20 Jul 2002 20:07:03 -0700
Status: RO

Catching up on my e-mail....

At 1:39 PM +0200 7/15/02, Ingrid G. Storrř wrote:
>"...Vid ĺtermonteringen
>syddes alla sömmar med smygsöm...
>
>Translation of the word "smygsöm" is basically the only thing left that
>I'm wondering about;

It seems like it ought to mean "ornamental stitching" or "decorative 
stitching," cf. Danish "smykke". However that doesn't get us much 
farther, does it? A pass through my small collection of 
Danish/Norwegian embroidery books doesn't turn up anything either. 
Sorry!

-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Sun, 21 Jul 2002 14:22:40 -0400
Status: RO

At 2:04 AM -0400 7/20/02, Penny Ladnier wrote:
>Did anyone make something in home ec that they could wear?  In my first
>class we made a jumper.

The class project was an apron, but I got permission to make a shirt and
pants set as I could already sew (my mom let my sister and I take a course
at Sears when I was 12 since we wanted to sew more than she did).  But I
also remember my mother making our "formal" 6th grade dinner dance dresses
and I still remember how mad she was when I ripped the knee out of a pair of
pants she had made me for 3rd grade.  Still have fond memories of that old
Singer.  Maybe that's why I now collect them and restore them.
-Megan

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Victorian fancy dress
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Date: Sun, 21 Jul 2002 19:25:25 +0100
Status: RO

Sorry people, the address needs a capital C -

www.montgomerie.demon.co.uk/Costume

Apologies to those who couldn't find the page.

Jean



Jean Waddie <anne@montgomerie.demon.co.uk> wrote
>People were discussing a few weeks ago "historical" costumes and fancy 
>dress from earlier periods.  When we went down to see my parents 
>recently, my mother brought out the most amazing costume she had found 
>among the stuff cleared from my great-grandmother's house.
>
>It is a jester's costume made in green and yellow satin, all 
>beautifully constructed and lined.  Unfortunately the satin has all 
>perished in a number of places.  It has a jacket with hanging tags with 
>bells around the collar and waist and lace at the cuffs and down the 
>front.  The pantaloons were gathered on a drawstring at the waist, with 
>lace at the cuffs.  It also has a wonderful hood, with more bells and a 
>cardboard-stiffened crest, and a little jester's doll with a porcelain head.
>
>I have put up some pictures at www.montgomerie.demon.co.uk/costume. You 
>can just see the dress guards inside the armholes, and a brooch at the 
>neck.
>
>We think the costume may have been made for my great-grandmother for 
>Queen Victoria's golden jubilee in 1897, when she would have been 20. 
>There was also a sort of gypsy/gondolier outfit of a gathered and 
>embroidered shirt, black trousers and red cummerbund, but this had 
>obviously never been worn.  We wonder what happened to the young beau?
>
>I am considering contacting the local library/local history department 
>in Wolverhampton, where Great-Gran grew up, to see if they have any 
>records of a pageant, even perhaps any photographs.  My mother is 
>planning to offer the costume to a museum (maybe the V&A? not sure) 
>where they have a collection of items in less good condition which they 
>allow people to handle to see the details of construction.

-- 
Jean Waddie
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Date: Sun, 21 Jul 2002 19:36:34 +0100 (BST)
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starting to catch up on my email here now that all that is left is a sinusitis.
;-)

 --- marcus findlay-arthur <mangal_sews@yahoo.co.uk> wrote: > Oh folks if you
do this would you please let me in?

of course!

> I'm going nuts in Birmingham.

in birmingham... hmm.. the only person near there is my sister and she does not
sew for the life of her.

Haven't had the chance to
> hook up with similar minded folks since moving here
> nearly two years ago from the USA.

oh dear! no re-enactment, no costume stuff, no nothing?

> Mostly my work schedule is to blame because its 24/7.

oh dear again. never a day off or two?

> Am like a dying man in the desert here!

*hands a flask*

Nicole - down in the south east in lovely kent

=====
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] Re: shop and home economics
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Date: Sun, 21 Jul 2002 18:33:48 +0000
Status: RO

We made boxers. We had to buy our fabric ourselves, so I made sure to take 
something I liked. I still wear them to sleep.


>From: "Penny Ladnier" <penny@costumegallery.com>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: Re: [h-cost] Re: shop and home economics
>Date: Sat, 20 Jul 2002 02:04:27 -0400
>
>Did anyone make something in home ec that they could wear?  In my first
>class we made a jumper.
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com
>
>
>
>
>
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Subject: Re: [h-cost] Re: Swedish terminology, Bocksten man?
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On Sat, 20 Jul 2002, Chris Laning wrote:

> >Translation of the word "smygsöm" is basically the only thing left that
> >I'm wondering about;
> 
> It seems like it ought to mean "ornamental stitching" or "decorative 
> stitching," cf. Danish "smykke". However that doesn't get us much 
> farther, does it? A pass through my small collection of 
> Danish/Norwegian embroidery books doesn't turn up anything either. 

A friend of mine who is a costume historian and is also fluent in Danish
tells me that one problem she's run into with costume description in the
Danish language is that there simply aren't as many specific words/terms
in Danish as there are in English. The vocabulary of the language is
apparently much smaller overall -- my friend says 1/3 fewer words than
English. And so where we might be used to specialized terms to describe
different techniques, properties of fabrics, details of cut, etc., there
aren't equivalent words in Danish to express the same thoughts, at
least not so precisely.

She told me this caused a real problem when she tried to get information
from Danish specialists/curators.  I would guess that this would be a
problem also when you're trying to glean specifics out of written
material. The specifics may simply not be there, and one word may have (to
us) multiple uses.

I don't know if this is true of Swedish or other Scandinavian languages,
though.

--Robin


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From: "Kim Baird" <kbaird@cableone.net>
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Subject: RE: [h-cost] Victorian fancy dress
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Date: Sun, 21 Jul 2002 14:21:51 -0500
Status: RO

Jean--

I don't think a woman would have worn such a costume in 1897. The pants
are too short, the legs would show. Of course, I can't tell for sure
when it's on a bed instead of on a person, but it looks like this is a
man's costume. Could that be?

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Jean Waddie
Sent: Sunday, July 21, 2002 1:25 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Victorian fancy dress

Sorry people, the address needs a capital C -

www.montgomerie.demon.co.uk/Costume

Apologies to those who couldn't find the page.

Jean



Jean Waddie <anne@montgomerie.demon.co.uk> wrote
>People were discussing a few weeks ago "historical" costumes and fancy 
>dress from earlier periods.  When we went down to see my parents 
>recently, my mother brought out the most amazing costume she had found 
>among the stuff cleared from my great-grandmother's house.
>
>It is a jester's costume made in green and yellow satin, all 
>beautifully constructed and lined.  Unfortunately the satin has all 
>perished in a number of places.  It has a jacket with hanging tags with

>bells around the collar and waist and lace at the cuffs and down the 
>front.  The pantaloons were gathered on a drawstring at the waist, with

>lace at the cuffs.  It also has a wonderful hood, with more bells and a

>cardboard-stiffened crest, and a little jester's doll with a porcelain
head.
>
>I have put up some pictures at www.montgomerie.demon.co.uk/costume. You

>can just see the dress guards inside the armholes, and a brooch at the 
>neck.
>
>We think the costume may have been made for my great-grandmother for 
>Queen Victoria's golden jubilee in 1897, when she would have been 20. 
>There was also a sort of gypsy/gondolier outfit of a gathered and 
>embroidered shirt, black trousers and red cummerbund, but this had 
>obviously never been worn.  We wonder what happened to the young beau?
>
>I am considering contacting the local library/local history department 
>in Wolverhampton, where Great-Gran grew up, to see if they have any 
>records of a pageant, even perhaps any photographs.  My mother is 
>planning to offer the costume to a museum (maybe the V&A? not sure) 
>where they have a collection of items in less good condition which they

>allow people to handle to see the details of construction.

-- 
Jean Waddie
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Subject: [h-cost] Re: shop and home economics
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Date: Sat, 20 Jul 2002 22:15:57 -0700
Status: RO

Catching up on about a month of e-mail....

My experience with Home Ec in 7th grade sounds a lot like Kat's. One 
semester of cooking (extremely boring: white sauce, pumpkin pie) and 
one of sewing (everyone else made an A-line skirt, I had to be 
different so I made box pleats in pink and white gingham). This was 
in the mid 1960s and no one DREAMED of girls taking shop or boys 
taking Home Ec in THAT school.

Before I started 8th grade, we moved to another town and another 
school system -- what a difference! I was immediately plunked into a 
college prep program and lots of Honors courses, which was good, but 
nobody in college prep ever took _any_ practical courses -- those 
were for the "vocational" track kids, who weren't going on to college.

Actually what I remember most vividly is that in my 7th-grade school, 
we still had to stand up to answer when the teachers called on us in 
class, and it took me several weeks to get used to _not_ doing it at 
the new school. I've treasured that as something my grand-nieces and 
nephews will never believe when I tell them :)

As for when I actually learned to cook and sew -- my mother never let 
me help around the house at all. I learned to cook decently in Girl 
Scouts, but I have no idea how or when I learned to sew, except that 
I know I was already embroidering the summer I was six, because 
that's when I also learned to knit and crochet. These were just 
things that "everyone" knew how to do, at least the simple stuff. (I 
am also slightly surprised when I meet adults who don't know how to 
read music -- we just took it for granted, but then, my grandmother 
was a piano teacher.)

I work at a girls' high school now, and when I volunteered a few 
years ago to help a math teacher with quilts as part of the geometry 
class, I was appalled to discover how many students couldn't so much 
as thread a needle or sew on a button. Not only that, their 
_mothers_, who I was counting on to be able to help them, couldn't 
either. This is a school that prides itself on how many of its 
graduates go to "good" colleges, and I think the sewing classes went 
out when the "college" emphasis came in. I guess these days if you 
need your pants hemmed, you take them to a dry cleaner's and they 
charge you lots of money :)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Dharma Trading (WAS: Tansy wool )
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Date: Sat, 20 Jul 2002 22:19:28 -0700
Status: RO

At 1:09 PM -0700 7/18/02, Heather Meadows wrote:
>I was just thinking about this too, as I want some silk twill for a
>bustle dress.  I've never ordered fabric from Dharma though, I didn't know
>the quality.

In my experience, their stuff is EXCELLENT. I'm fortunate enough to 
live within driving distance of them (well, an hour and a quarter or 
so...), and while their selection of fabrics is somewhat limited (and 
all white or off-white) the quality seems to be very good. I picked 
up a very yummy remnant of silk gauze the last time I was there which 
feels wonderful. They also have lots and lots of knitting yarn :) And 
the people who work there are very nice and seem to be very 
knowledgeable as well.

They do have a website, BTW: the expected http://www.dharmatrading.com/
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Re: Books from David Brown, Renaissance Jewelry
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Date: Sat, 20 Jul 2002 22:17:59 -0700
Status: RO

At 2:36 PM +0000 7/16/02, Mary Temple wrote:
>Do they have a website one can order from?

On the Web, it's http://www.oxbowbooks.com This takes you to a screen
where you can choose whether to visit Oxbow Books in England, or
David Brown Books, their American branch. They are both very nice
people, even nicer if you call them on the telephone to ask questions
or find out whether they can get a certain book that isn't listed.
(Though they may also suggest, "...but if you're interested in
*this*, then you also might like *that* book, and...." Highly 
dangerous to the pocketbook! <g>)

I've ordered from both; Oxbow tends to have more titles (including
more discounted titles), but of course the shipping time is longer. 
Books often seem to go on sale there before they go on sale at the 
David Brown site, but if they have it in Britain, David Brown can get 
it for you if you prefer to order from them.

One more tip: the difference between the airmail rates and the
surface rates for shipping from Oxbow in England to the U.S. is usually only
about 20%. Airmail takes from about 10 days to 3 weeks, surface 4 to
12 weeks. I go for airmail.

*          *           *          *          *          *          *          *

ObCostumeRelated: Several months  ago I ordered a copy of _The 
Waddesdon Bequest in the British Museum, Vol. I. The Jewels_, by Hugh 
Tait, from Oxbow (which had it on sale, don't know if they still do).

I'd taken this book out of the library when it was new and was 
fascinated by it. It analyzes in exhaustive detail about fifty pieces 
of Renaissance jewelry from this major bequest to the British Museum, 
plus a few other odds and ends. It discusses everything from the 
sources of the stones, how they are cut, the style of the metal 
ornaments, the colors of the enamel, how the piece was assembled, and 
how it's been repaired over the years. They just about take them 
apart and put them back together for you while you watch. You could 
hardly get more detail, and of course there are lots of nice BIG 
photos, quite a few of them in color.

The really fascinating part is that this is one of the first books 
(1986) on Renaissance jewelry written *after* the British Museum 
slowly became aware that a good many of the pieces of "Renaissance" 
jewelry currently in existence -- including quite a few pieces in 
their own collections -- are, in fact, nineteenth-century fakes, or 
else so heavily altered and "repaired" in the nineteenth century as 
to be more modern than Renaissance. The book tells you the whole 
story, and as you progress through the jewels discussed in detail, 
the author points out all the telltale techniques and other bits of 
evidence that have been used to prove this.

This is the only one that's costume-related, but there are at least 
two other volumes in the series: Vol. II is the silver (dishes & 
plate), and Vol. III is the "curiosities" -- ostrich-egg cups, a 
so-called Cellini vase (a Roman vase with 19th-century 
fake-Renaissance additions), a tankard carved entirely of amber, 
several spectacular nautilus cups, et cetera. These are also on sale, 
but not for as deep a discount as the first volume. There are 
eventually supposed to be two more volumes covering glass, majolica, 
armor, et cetera.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Sun, 21 Jul 2002 03:14:09 -0700
Status: RO

Just a test

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From: Rose Amberwulf <roscelin@attbi.com>
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Date: Sun, 21 Jul 2002 04:11:48 -0700
Status: RO


--------------050409080805000105050201
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Daniel Fenwick wrote:

>>I'm slowly working on my SCA 14th century French lady costumes.  It
>>dawn on me that I know I have to have the chemise, but was there any
>>other underclothing - breast binding, underwear, so on.
>>
>
>Apparently not.  My lady also found that the sleeveless chemise gives better mobility in a tight gown/cote than the sleeved ones do.  The support comes from the kirtle.
>
But I thought the kirtle was the gown.

Roscelin

--------------050409080805000105050201
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<html>
<head>
</head>
<body>
Daniel Fenwick wrote:<br>
<blockquote type="cite" cite="mid:02e701c22638$5a1a6ae0$6401a8c0@home.com">
  <blockquote type="cite">
    <pre wrap="">I'm slowly working on my SCA 14th century French lady costumes.  It<br>dawn on me that I know I have to have the chemise, but was there any<br>other underclothing - breast binding, underwear, so on.<br></pre>
    </blockquote>
    <pre wrap=""><!----><br>Apparently not.  My lady also found that the sleeveless chemise gives better mobility in a tight gown/cote than the sleeved ones do.  The support comes from the kirtle.<br></pre>
    </blockquote>
But I thought the kirtle was the gown.<br>
    <br>
Roscelin<br>
    </body>
    </html>

--------------050409080805000105050201--

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Date: Sun, 21 Jul 2002 04:28:47 -0700
Status: RO



Robin Netherton wrote:

>On Sun, 7 Jul 2002, Rose Amberwulf wrote:
>I have never found any solid indication of any underwear other than the
>chemise in this place and time. 
>
I've thought about making bloomers even if they are not period. I hate 
the darn chaffing of the thighs and wearing panty hose during an outdoor 
weekend is just not that much fun.  :(    Of course, I would not enter 
the bloomers in the costume competition.

>The only reference I've heard to breast bindings is one oft-quoted complaint from a cleric writing in (I think?) the 12th century, who may or may not be an accurate source on typical women's wear.
>
That would be interesting to know why he wrote whatever.  It seems out 
of place.

> I know of no written references to bust-support garments in the 14th century. At the same time, visual images abound that show nursing Madonnas or other half-dressed women who clearly are wearing only the chemise under their dress, so this is probably more likely to be the norm.
>
It has been mentioned and shown that German women may have worn 
sleeveless chemises during the 14th century - could  French or English 
women also wear this type of chemise at times?

>From a practical standpoint, I've found the fitted dress (kirtle, cotte)
>offers plenty of support, and in my experience would probably not work
>anywhere near as well in the fitting if there were another support garment underneath.
>
Especially I suppose when a lady is well endowed/gifted.  ;)  I was 
going to try to cut out my own kirtle myself, but thought better of 
that.  So, Kat is going to help me with the cutting and fitting.

>As to underwear below the waist, I would not rule out the possibility of
>some wrapping or panty-style arrangement during the menstrual period
>(there are a few documentary references to "menstrual cloths"). But for
>normal wear, the norm and expectation seems to be that there was nothing
>under the chemise. In bawdy tales, women need only lift their dresses to
>allow their lovers swift access, or men take women by surprise by lifting
>their skirts. This image occurs in pictures as well as writing. Again,
>from a practical standpoint, it's a royal nuisance to use a toilet when
>you're wearing underwear beneath long, full skirts, and that nuisance
>would be compounded to near impossibility with a chamberpot. By contrast,
>without the encumbrance of underwear, chamberpot use in full skirts would
>be simple -- straddle and squat.
>
Makes a lot of sense.  I sure know what it is like to have to use the 
ladies room, and having to hike up all my layers of gowns, etc.

>Several times on this list, someone has brought up a particular English
>misericorde showing a woman donning what looks like boxer shorts. Given
>that many misericordes illustrate proverbs, and also that they often show
>role reversals or disruptions of the social order, I would be more
>inclined to see that as an illustration of an anomaly meant to be
>obviously ridiculous -- the woman "wearing the pants." Other than that
>particular image, the references to menstrual cloths, and a sealskin pad
>tied over the crotch of one of the Greenland corpses (which may have been
>for either incontinence or menstrual bleeding), I know of no visual or
>written evidence for 14th century female underwear.
>
The other thing I have thought of sewing for underwear is the same thing 
a man of the 14th century wore. I wish I could think of the name of 
those under pants.  I'm actually going to make a few pair for my own 
14th century man.

>I'd love to hear something more solid if it's out there, but at this point I'd guess that even if some exception pops up, the vast majority of
>evidence still points to chemise-only as the norm.
>
Thank you, Robin, for your help.

Roscelin

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Date: Sun, 21 Jul 2002 04:54:01 -0700
Status: RO



Robin Netherton wrote:

>On Mon, 8 Jul 2002, Tasha Kelly wrote:
>
>Just to clarify: The method I teach is for fitting the dress itself, not a chemise. I recommend a chemise that is not very full but is not fitted
>either. I have seen no indication of a fitted chemise or a chemise that
>laces up the front in this period, and I've looked at quite a few images
>of chemises. Also, I've found that lining the dress helps substantially
>with the fitting and support, and I can't see lining a chemise.
>
Thank you for the clarification.  Can you explain why a lined dress 
helps with the fitting and the support?  To me it seems it would make it 
less fitten.  But remember I am some what a beginning seamstress.

>But you're not the first person I've heard applying my methods to fit a
>chemise. If that works for you and for your desired level of authenticity,great! I just want to make sure people know that using a fitted chemise as a support layer is not an approach I would suggest as historically accurate for 14th-century France.
>
I definetly want be as historically accurate, since I would be entering 
the costume in competion.

>With this I agree wholeheartedly. Most illustrations I've seen of chemises (mostly in French and Flemish art) indicate the presence of sleeves. The only sleeveless sources I've seen are the supposed 14th-c. German chemise in Kohler (provenance uncertain and now apparently lost) and some images in the Wenceslaus Bible (Bohemia). That suggests to me the possibility that sleeveless chemises, if worn, were specific to that part of the Continent. (We recently had an extensive discussion on the list about this that should be available in the archives.)
>
I would more than likely would wear the sleeveles chemise during the hot 
summers, and not enter it in any competition (unless I can actually 
prove that there was such a thing for my persona).

>Personally, I've found the dress to be more comfortable on the arms with a layer of chemise as cushioning. Think of it as a sock under a shoe -- it minimizes chafing. If you wear a dress with a tight sleeve directly over your arm, it rubs against your skin when you move. If you have a chemise layer, the rubbing occurs between the dress fabric and the chemise, while the chemise itself stays put against your skin. I make my chemise sleeves rather narrow, use a fairly thin linen (not cotton!), and fit the sleeves over the chemise with my arm bent midway between straight and fully flexed.
>
Great advice.  Thanks, Robin.

Roscelin

>


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Date: Sun, 21 Jul 2002 04:42:14 -0700
Status: RO



Tasha Kelly wrote:

>If you make your chemise very close-fitting and laceable (up the front), you can easily and comfortably acquire the profile of a Gothic lady in a
>tight-fitting dress (see Robin Netherton's extensive notes on this subject) -- all while achieving good bosum support. I also have finally found the correct shaping of the pattern on myself so that the sleeves
>do not have to be tight. 
>
I hadn't seen any laceable chemises.  But, that would make sense.  I 
thought it was proper for the sleeves to be tight (of course, not too 
tight).

>Yes, you can make sleeveless chemises with thin shoulder straps, but the biggest downside to that might be a lack of underarm protection. Do we really want our nice kirtles and cotes coming in direct contact with our fragrant underarms? <smile>
>
How true.  I can see myself wearing the sleeveless chemises during the 
summer with my linen kirtles.  But if I was to wear silk kirtles, then I 
would wear the sleeved chemises.

>The support on a sleeved chemise is done entirely with a very tight fit immediately under the bosum, a bit of shaping of the panels covering the bosum, and the shoulder seams holding the whole thing up. When laced,
>the chemise does an excellent job of holding my not-small bosum in place and it stays there all day long with no discomfort. All that is to say you do not need breast binding. 
>
The first time I made this type of dress is when I used the Simplicity 
pattern.  I won't do that again.
Thank you for the advice.

>As for underwear, even though we are still debating that issue for women, you could attempt authenticity by mimicking the male version of underwear for that time period. 
>
Those are the ones I mentioned earlier in a message.  I still can't 
think of what they are called.

>Let's face it -- chafing is a real issue -- as real as the desire for bosum support when one's bosum is large. It does not make sense to me that women walked around constantly with sore inner thighs.
>
Been there, done that.  Not ever again.  :(

> Unfortunately, I can't give you detailed documentation for female undies at this time (no research done yet... anyone else?), but there are some attempts by costume historians to explain and replicate male
>undies. Perhaps begin with those.
>
Thanks, Marcele, for your help and insights.

Roscelin de Limoges


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Date: Sun, 21 Jul 2002 22:02:41 -0700
Status: RO

Could they be swaddling cloths? I've always imagined them somewhat like
bandages and that looks kind of like a basket of bandages....

Claire

Desamona Villani wrote:

> try this link instead.  It gives you the option of standard or GIANT size.
> The picture it'self is called, Adoration of the Magi, by Pieter Aertsen.
> The basket in question is in the lower right hand corner if you are looking
> at the painting. And the painting is about three magi presenting thier gifts
> to the infant Jesus.  Right beside Mary, there is a basket.  In the basket
> are a BUNCH of folded cloths.  They look to be too small to be cloths to
> wrap his whole body in (for warmth), so my thought was that they might be
> period diapers.
>
> http://www.artcyclopedia.com/r/aertsen_pieter.html
>
> Sorry!  Didn't mean to be ambiguous!
> Brandy
>

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Date: Sun, 21 Jul 2002 22:01:11 -0700
Status: RO



Sarah Lorraine wrote:

> I think my mom encouraged the historical costuming thing intitially
> because it got me to focus on something *other* than boys.  Of course,
> the result is that now I have a house littered with fabric and
> unfinished costumes, where as I might have had a house littered with
> sexy men... Right?  ;-)
>
>

Maybe if you made costumes for men you could have both....:-)
Claire


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Date: Sun, 21 Jul 2002 12:46:45 -0700 (PDT)
Status: RO


>Sorry people, the address needs a capital C -
>
>www.montgomerie.demon.co.uk/Costume
>
>Apologies to those who couldn't find the page.

Clicking on the Jester's Outfit links produces a File Not Found.
The two things I can think of are: you have spaces in the filename
(bad for unix systems) or you haven't set the permissions on the
files correctly and therefore we can't access them.

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: Sun, 21 Jul 2002 13:01:29 -0700 (PDT)
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Chris Laning <claning@igc.org> wrote:
> 
> My experience with Home Ec in 7th grade sounds a lot like Kat's. One 
> semester of cooking (extremely boring: white sauce, pumpkin pie) and 
> one of sewing (everyone else made an A-line skirt, I had to be 
> different so I made box pleats in pink and white gingham). This was 
> in the mid 1960s and no one DREAMED of girls taking shop or boys 
> taking Home Ec in THAT school.

As late as 1982, I was told that I couldn't take woodshop.  Actually,
the shop teacher simply told me on the first day, "Girls don't belong
in shop."  And made it clear by the second day that he wasn't going to
help _me_ learn to use the power tools.  The guidance councilor wanted
me to tough it out, except that the administration wasn't going to come
down on the instructor, so I'd have spent a semester getting abuse from
both the boys in the class _and_ the teacher.  I told the guidance 
councilor where he could stuff that idea and took graphic arts instead.
That class actually taught me some skills that were useful in later life.

I have since learned to use woodworking tools, some from my father, and
some from my uncle who was a master carpenter.  Now, if my uncle the 
ultimate Texas redneck didn't see anything wrong with my doing woodworking,
I _still_ don't understand why the schools have so much trouble with this.
[Before you talk about sexual discrimination laws here in the US, keep in
mind that before 1986 it was perfectly legal for schools to restrict 
students from taking a class simply because of their gender]

My first sewing project was when I was about 4.  Mother had done my room
up in hideous pink chiffon.  I always hated pink.  But the foofy material
looked like it would be _perfect_ for a doll dress.  Mother replaced the
pillow sham, then never again allowed me to have scissors unsupervised. ;}

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: Sun, 21 Jul 2002 13:09:46 -0700 (PDT)
Status: RO


Claire Clarke <Lady_Angharad@bigpond.com> wrote:
>
>Maybe if you made costumes for men you could have both....:-)

Nah, you gotta get the men to _stay still_ long enough to do fittings.
In my experience, most men don't have the patience for tailored clothing.
I've gotten Jody to stay still long enough to do the marching band jacket,
but never got to take the darts in the back, because I haven't gotten him
to _be still_ long enough to put it on him and baste the darts down.  So
it's still big on him (but at least I got the first fitting so the arms
and torso are long enough).  Ah, and he did stay still long enough for
me to measure and fit him for the waistcoat I made for him.

George-of-the-amazingly-long-arms won't stay still even long enough for
me to do a muslin on him.  Since he's 6'5", the only way he's gonna get
a fancy waistcoat is for me to make him one.  But that would mean he'd
have to BE STILL long enough for me to whip together a muslin, fit it on
him, then check the fit.  The quickie doublet I did for him years ago had
problems because he was too impatient to let me do the whole process...
which means the stupid thing was too short (I wasn't as good at estimating
in things like an allowance for tall guys who slouch back then).  He'll
get his silk vest when I can get him to 1) decide on which pattern 2) will
go to the fabric store with me to pick the fabric 3) will be still long
enough for me to do a proper fitting for him.  Which means it isn't gonna
happen anytime soon. ;}

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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Subject: Re: [h-cost] Re: synthetic lavender brocade Italian?
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Date: Sun, 21 Jul 2002 18:08:02 -0400
Status: RO

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http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3D944174176&r=3D0&t=3D=
0&showTutorial=3D0&ed=3D0&indexURL=3D0&rd=3D1
  ----- Original Message -----=20
  From: Azelana@aol.com=20
  To: h-costume@net.indra.com=20
  Sent: Saturday, July 20, 2002 9:44 AM
  Subject: [h-cost] Re: synthetic lavender brocade Italian?


  Well, I'd love to check it out.  I do wear synthetic, but mostly I =
just wanna see your work, Diane.  What's the link?

  --Gillian

  <<[snippage] But I did finish my lavender brocade Italian!! I put it =
up on eBay
  though--it's beautiful. but it's synthetic, and I just don't want to =
wear it
  now. You all have infected me!>>


  ]=20

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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&amp;item=3D94417417=
6&amp;r=3D0&amp;t=3D0&amp;showTutorial=3D0&amp;ed=3D0&amp;indexURL=3D0&am=
p;rd=3D1">http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&amp;item=3D944174=
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<BLOCKQUOTE=20
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=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3DAzelana@aol.com =
href=3D"mailto:Azelana@aol.com">Azelana@aol.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dh-costume@net.indra.com=20
  href=3D"mailto:h-costume@net.indra.com">h-costume@net.indra.com</A> =
</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, July 20, 2002 =
9:44=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Re: synthetic =
lavender=20
  brocade Italian?</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
face=3DArial size=3D2=20
  FAMILY=3D"SANSSERIF">Well, I'd love to check it out.&nbsp; I do wear =
synthetic,=20
  but mostly I just wanna see your work, Diane.&nbsp; What's the=20
  link?<BR><BR>--Gillian<BR><BR>&lt;&lt;[snippage] But I did finish my =
lavender=20
  brocade Italian!! I put it up on eBay<BR>though--it's beautiful. but =
it's=20
  synthetic, and I just don't want to wear it<BR>now. You all have =
infected=20
  me!&gt;&gt;<BR><BR><BR>]</FONT> </FONT></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] Sewing, England vs US,
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Date: Sun, 21 Jul 2002 18:37:33 -0400
Status: RO

I thank my lucky stars that I DID thank my mom for teaching me when I did--I
didn't expect to lose her so soon.

But the best thing ever was when she saw a quilt I had made just for her and
said "And to think I discouraged you from using my scraps for your
Barbies..."  The pleasure she got from that quilt---and this from a woman
who could make ANYTHING. She made my dad a denim jacket that looked better
than anything Levi ever produced, a burgundy velvet smoking jacket, and a
million other things. We once spent a week together making a life-size cloth
doll.

Oh, and she could cook, too.

Dianne
----- Original Message -----
From: "Jeanne Harney" <jeanne@parrotfantasy.com>
To: <h-costume@indra.com>
Sent: Sunday, July 21, 2002 12:31 AM
Subject: Re: [h-cost] Sewing, England vs US,


>
> ----- Original Message -----
> From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>
>
> > But the very best thing is still if you can learn to sew from your mom
:-)
>
> Unless, as a child, you think it's stupid and boring.  But she makes you
> learn anyway.
> Then, 20 years later, you fall to your knees and thank her because you
never
> knew how valuable her lessons were...and she's shocked.  Thank heavens
she's
> still here so I could thank her in person.
>
> Jeanne
> who always wanted "store" clothes and got homemade.  Now has store clothes
> and is thrilled when she has time to make "homemade".
>
> _______________________________________________
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Subject: Re: [h-cost] Re: 14th Century French lady
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Date: Sun, 21 Jul 2002 15:22:27 +0000
Status: RO

> >Let's face it -- chafing is a real issue -- as real as the desire 
> for bosum support when one's bosum is large. It does not make sense 
> to me that women walked around constantly with sore inner thighs.
> >
> Been there, done that.  Not ever again.  :(

One thing that can help with that has zip nada to do with costuming but a
lot to do with over-the-counter remedies. I use Lotromin, which is
ostensibly an athlete's foot cream. It really helps discourage chafing,
rashes and prickly heat in those delicate places you ladies have
mentioned. I am told Gold Bond, which is a medicated OTC powder, also
works well.


					Arlys

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Date: Sun, 21 Jul 2002 15:57:03 -0700 (PDT)
Status: RO

Roscelin wrote:
"It has been mentioned and shown that German women may
have worn 
sleeveless chemises during the 14th century - could 
French or English 
women also wear this type of chemise at times?"

Apparently Italian women did... There's a painting of
a large group crowded around a birth bed, and a lady,
possibly a wet nurse, is sitting in the foreground.
She has a sleeveless chemise with a belt secured
tightly under her breasts, as though to provide some
support. Can't remember the painting's name or artist,
though, at the moment. 

Robin wrote:
>From a practical standpoint, I've found the fitted
dress (kirtle, 
cotte)
>offers plenty of support, and in my experience would
probably not work
>anywhere near as well in the fitting if there were
another support 
garment underneath.

A fitted chemise with lacing to help give support
underneath a fitted kirtle works very well, as I use
them regularly (and am actually sitting here typing in
such an outfit right now! -- Just came back from an
SCA gathering..). And, yes, I've been amply 'gifted'
and I'll leave it at that. <smile> But, that doesn't
mean that my laced, bust-supporting chemises are
actually truly period. As has been pointed out (by
Robin), there's no good, solid evidence that chemises
were, in fact, laced up for support while there is
plenty of evidence to the contrary (note those nursing
Madonna portraits -- you can see the white chemise
stretched below the breast, one solid panel of fabric,
no lacing). At some point I'll have to attempt a
non-supporting chemise with a fitted kirtle and see if
I get adequate support. I don't think I should HAVE to
line the kirtle for it to work, as there's plenty of
pictorial evidence that suggests these fitted dresses
weren't always lined. As it stands, I get decent
support from one layer of lightweight linen (the
chemise) that is then bolstered by another layer (the
kirtle). 

>from a practical standpoint, it's a royal nuisance to
use a toilet 
when
>you're wearing underwear beneath long, full skirts,
and that nuisance
>would be compounded to near impossibility with a
chamberpot. 

Please allow devil's advocacy for a moment... the
nuisance, in my experience, is lifting and moving the
voluminous skirts out of the way. I have grown
accustomed to swiftly pulling down whatever
underclothes I have on before doing my business in the
bathroom (or more often in the dreaded portapotty),
all while holding the skirts bunched up around my
waist (sorry for the vivid visuals, folks! Really,
this IS an intellectual discussion! <GRIN>)

I find that the all-day-long benefit of having no
chafing problem far outweighs the annoyance of the
couple of times a day one must pull the "anti-chafing
device" (as it's called around these parts) out of the
way to use the bathroom. Even if it might not have
been socially acceptable for women to wear underwear
in this period we're discussing, I'm betting there
were those who just did anyway, for their own reasons.
Who was to know? 

Hey... maybe in period women built up leather-like
callouses on their inner thighs! <I think I'm joking
there...>

Roscelin wrote:
"I wish I could think of the name of 
those under pants.  I'm actually going to make a few
pair for my own 14th century man."

Do you mean braes?

--Enjoying this discussion, as sporadic as it may be,

Marcele

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Subject: Re: [h-cost] Re: shop and home economics
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Date: Sun, 21 Jul 2002 20:02:53 -0400
Status: RO

Linda,

It sounds like you made a popular baby doll dress.  It sounds like a pattern
I have.

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


----- Original Message -----
From: "Linda Krecker-Schkred" <rhianwen@optonline.net>
To: <h-costume@indra.com>
Sent: Sunday, July 21, 2002 12:18 PM
Subject: Re: [h-cost] Re: shop and home economics


> At 2:04 AM -0400 7/20/02, Penny Ladnier wrote:
> >Did anyone make something in home ec that they could wear?  In my first
> >class we made a jumper.
>
> by the time I had Home Ec in 7th grade, I had been sewing for about 7
> years. I chose to make a short pinafore dress with matching panties
> (It was that short) with a one way design fabric. The pattern had 16
> pieces. I only cut one piece upside down. And I wore that dress for
> the rest of the year.
>
> Linda K-S
> _______________________________________________
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>
>




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Date: Sun, 21 Jul 2002 19:18:53 -0500
Status: RO

What did you make?  In 4H a skirt and drawstring apron. Turned out rather
cute and I won a prize at the county fair.  My first project in home ec was
a straight skirt in peacock blue wool(made it too small).  One of the last
was a linen A-line jumper with an inverted pleat in the front.  Even my
mother couldn't get in to hang straight.

Genie

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From h-costume-admin@indra.com  Sun Jul 21 20:41:51 2002
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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Chafing (was:Re: [h-cost] Re: 14th Century French lady)
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Date: Mon, 22 Jul 2002 00:25:03 +0000
Status: RO

I'm not sure I'd want to use Lotrimin that close to parts that have a 
specific anti-fungal cream for them  - Gyne Lotrimin. But maybe I'm too 
paranoid.

Personally, I use plain old Cornstarch. It has to be reapplied periodically, 
but it WORKS.

Mary/Katerine

>One thing that can help with that has zip nada to do with costuming but a
>lot to do with over-the-counter remedies. I use Lotromin, which is
>ostensibly an athlete's foot cream. It really helps discourage chafing,
>rashes and prickly heat in those delicate places you ladies have
>mentioned. I am told Gold Bond, which is a medicated OTC powder, also
>works well.
>
>
>					Arlys
>


_________________________________________________________________
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
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Date: Sun, 21 Jul 2002 18:23:46 -0700
Status: RO

I often use synthetic fabrics in place of historically authentic due to
price -- if I waited around to be able to afford silk, I'd never be able to
make costumes!  (Most of what I do is Victorian).  So I'll often use
high-quality synthetic taffetas etc.

I think that sometimes people use cotton broadcloth rather than linen for
Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't catch me
at a California faire in a non-breathing fabric!  I often use cotton
broadcloth for Victorian undergarments (chemises, drawers, petticoats, etc.)
exactly for that reason.

- Kendra



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Date: Sun, 21 Jul 2002 21:28:45 -0400
Status: RO

You can get 100% silk, China Habitoi, for about $3.00 a yard from exotic
silks.  www.exoticsilks.com

Apollonia
----- Original Message -----
From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
Sent: Sunday, July 21, 2002 9:23 PM
Subject: Re: [h-cost] Re: faking historical fabrics (WAS
alleriges/reactions)


> I often use synthetic fabrics in place of historically authentic due to
> price -- if I waited around to be able to afford silk, I'd never be able
to
> make costumes!  (Most of what I do is Victorian).  So I'll often use
> high-quality synthetic taffetas etc.
>
> I think that sometimes people use cotton broadcloth rather than linen for
> Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't catch me
> at a California faire in a non-breathing fabric!  I often use cotton
> broadcloth for Victorian undergarments (chemises, drawers, petticoats,
etc.)
> exactly for that reason.
>
> - Kendra
>
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
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Date: Sun, 21 Jul 2002 18:37:03 -0700
Status: RO

Right -- but I was thinking of dress silks, eg duchesse satin, taffeta, etc.
And for underpinnings, such as petticoats, China silk wouldn't work.

- Kendra
----- Original Message -----
From: "Apollonia Margherita" <apollonia@bellsouth.net>
To: <h-costume@indra.com>
Sent: Sunday, July 21, 2002 6:28 PM
Subject: Re: [h-cost] Re: faking historical fabrics (WAS
alleriges/reactions)


> You can get 100% silk, China Habitoi, for about $3.00 a yard from exotic
> silks.  www.exoticsilks.com
>
> Apollonia
> ----- Original Message -----
> From: "Kendra Van Cleave" <kendrav@attbi.com>
> To: <h-costume@indra.com>
> Sent: Sunday, July 21, 2002 9:23 PM
> Subject: Re: [h-cost] Re: faking historical fabrics (WAS
> alleriges/reactions)
>
>
> > I often use synthetic fabrics in place of historically authentic due to
> > price -- if I waited around to be able to afford silk, I'd never be able
> to
> > make costumes!  (Most of what I do is Victorian).  So I'll often use
> > high-quality synthetic taffetas etc.
> >
> > I think that sometimes people use cotton broadcloth rather than linen
for
> > Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't catch
me
> > at a California faire in a non-breathing fabric!  I often use cotton
> > broadcloth for Victorian undergarments (chemises, drawers, petticoats,
> etc.)
> > exactly for that reason.
> >
> > - Kendra
> >
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
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From: "Apollonia Margherita" <apollonia@bellsouth.net>
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
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Date: Sun, 21 Jul 2002 21:41:24 -0400
Status: RO

LOL  I should've read the whole message...  I didn't realize you were
speaking of Victorian stuff....  BTW, all their silks are that cheap...

Apollonia
----- Original Message -----
From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
Sent: Sunday, July 21, 2002 9:37 PM
Subject: Re: [h-cost] Re: faking historical fabrics (WAS
alleriges/reactions)


> Right -- but I was thinking of dress silks, eg duchesse satin, taffeta,
etc.
> And for underpinnings, such as petticoats, China silk wouldn't work.
>
> - Kendra
> ----- Original Message -----
> From: "Apollonia Margherita" <apollonia@bellsouth.net>
> To: <h-costume@indra.com>
> Sent: Sunday, July 21, 2002 6:28 PM
> Subject: Re: [h-cost] Re: faking historical fabrics (WAS
> alleriges/reactions)
>
>
> > You can get 100% silk, China Habitoi, for about $3.00 a yard from exotic
> > silks.  www.exoticsilks.com
> >
> > Apollonia
> > ----- Original Message -----
> > From: "Kendra Van Cleave" <kendrav@attbi.com>
> > To: <h-costume@indra.com>
> > Sent: Sunday, July 21, 2002 9:23 PM
> > Subject: Re: [h-cost] Re: faking historical fabrics (WAS
> > alleriges/reactions)
> >
> >
> > > I often use synthetic fabrics in place of historically authentic due
to
> > > price -- if I waited around to be able to afford silk, I'd never be
able
> > to
> > > make costumes!  (Most of what I do is Victorian).  So I'll often use
> > > high-quality synthetic taffetas etc.
> > >
> > > I think that sometimes people use cotton broadcloth rather than linen
> for
> > > Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't
catch
> me
> > > at a California faire in a non-breathing fabric!  I often use cotton
> > > broadcloth for Victorian undergarments (chemises, drawers, petticoats,
> > etc.)
> > > exactly for that reason.
> > >
> > > - Kendra
> > >
> > >
> > >
> > > _______________________________________________
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> >
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Subject: Re: [h-cost] Re: window pane muslin
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Date: Sun, 21 Jul 2002 22:23:12 EDT
Status: RO

I have found similar curtains at Pier One and Restoration Hardware.  (The 
latter is more pricey, I think.)  I made an early 19th century gown with a 
peach silk twill undergown and am very pleased with the results.  
Ann Wass
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From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: RE: [h-cost] Blackwork shirt c1585-1600 Museum of Costume, Bath
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Date: Sun, 21 Jul 2002 23:40:28 -0500
Status: RO

At 07:23 AM 7/18/2002 -0700, you wrote:
>Oh, one more thing-if you can't go there to look more closely at it,
>would the embroidery motifs in QEWU in crimson work?  There are bugs,
>monsters, snails, birds etc.  Not an exact replica I know....


I saw that shirt while I was in Bath.  The embroidery reminded me very much 
of the patterns found in "A Schole-House for the Needle"  Produced from the 
original book printed in 1632 and now in the private collection of John and 
Elizabeth Mason.  ISBN 1 872665 72 1  I bought the book from the 
Embroiderer's Guild shop at Hampton Court.  The shirt with the red 
embroidery in the V&A has the exact patterns from this book so if you want 
embroidery pattern inspiration you might try there.

Cheers,
Danielle

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From h-costume-admin@indra.com  Mon Jul 22 01:34:50 2002
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] 14th Century French lady
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Date: Mon, 22 Jul 2002 00:44:11 -0500 (CDT)
Status: RO


> Daniel Fenwick wrote:

> >Apparently not.  My lady also found that the sleeveless chemise gives
> >better mobility in a tight gown/cote than the sleeved ones do.  The
> >support comes from the kirtle.

Rose asked:

> But I thought the kirtle was the gown.

Yes. There is no standard term. Daniel is saying the same thing I was
saying -- that the chemise does not give support, but the
dress/kirtle/gown/cote does. (I myself haven't had a problem with mobility
with sleeved chemises, though.)

Rose added, in another message:

> I've thought about making bloomers even if they are not period. I hate
> the darn chaffing of the thighs and wearing panty hose during an
> outdoor weekend is just not that much fun.

Ow! Pantyhose would be *awful*. I haven't found the need for anything
here, but I don't have a chafing problem. Still, we tend to have more
intense heat to deal with now than the medieval people did. I'm sure other
factors, such as leg-shaving or overweight, contribute to the problem for
some people today. I don't think anyone can fault you for taking a
nondocumentable solution to a practical health/comfort problem that may
itself be more modern.

> >The only reference I've heard to breast bindings is one oft-quoted
> >complaint from a cleric writing in (I think?) the 12th century, who
> >may or may not be an accurate source on typical women's wear. 

> That would be interesting to know why he wrote whatever.  It seems out
> of place.

It's been a while since I've seen the reference, and now I can't lay my
hands on it. (It's not my usual period.) I think his objection was to
women trying to make themselves more attractive, somehow -- maybe it had
to do with wearing bindings to fit into tighter dresses. That would
coincide with an era of fitted torsos as a new style (which received much
clerical censure). But don't quote me on that. I'd have to find the
reference again to be sure. (Does anyone else have it handy?)

> It has been mentioned and shown that German women may have worn
> sleeveless chemises during the 14th century - could French or English
> women also wear this type of chemise at times?

(I believe I expressed my thoughts on this question earlier in this
thread, about two weeks ago, in response to another response to your first
post on this subject line. If you missed that post, email me directly, or
check the archives.)

To repeat, I can't think of a sleeveless chemise image from
France/Flanders/England from this period, although I've seen quite a few
sleeved ones. I would personally not extrapolate the common use of
sleeveless chemises in Franco-Flemish fashion based on the possible use in
Germany/Bohemia (for which there is very slim evidence -- the Wenceslaus
Bible in Bohemia, and an now-missing extant presumably German garment that
may or may not have been be properly identified as to time, place, and
purpose). But I'm picky.

We discussed this at more length not long ago. Look in the archives under
"14th c. Italian chemise documentation," around June 11.

(Every time I mention archives, there's a flurry of queries, so here's the
URL: http://sca.uwaterloo.ca/~fashion/archives )

> Especially I suppose when a lady is well endowed/gifted.  ;)  I was
> going to try to cut out my own kirtle myself, but thought better of
> that.  So, Kat is going to help me with the cutting and fitting.

It really does help to have a second person to do the fitting! Before you
start, you might want to look over my past posts on this topic. Go to
<http://www.netherton.net/robin>. You might find the workshop handout
useful too.

> The other thing I have thought of sewing for underwear is the same
> thing a man of the 14th century wore. I wish I could think of the name
> of those under pants.  I'm actually going to make a few pair for my
> own 14th century man.

Sounds like you mean braies?

--Robin



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Date: Mon, 22 Jul 2002 08:57:59 +0200
Status: RO

NYT, July 12, 2002
A Few Saudis Defy a Rigid Islam to Debate Their Own Intolerance
By NEIL MacFARQUHAR

(...) But the most controversial change followed the fire at a Mecca girls' 
school, which was housed, like many, in a converted apartment building of 
dubious construction. Press reports said 15 girls had died after men from 
the country's religious vice squads blocked male rescuers from entering and 
girls from fleeing because they lacked their enveloping cloaks.
The government denied the reports. But during the ensuing outcry it shifted 
responsibility for women's education from a special presidency supervised 
by the clergy to the Ministry of Education, which calls it merely an 
administrative shift. (...)


http://www.nytimes.com/2002/07/12/international/middleeast/12SAUD.html


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: 14th Century French lady
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Date: Mon, 22 Jul 2002 02:20:40 -0500 (CDT)
Status: RO


I responded to Rose's earlier post just a little while ago, and then I got
a large pile of additional mail. I'm batching my replies to several posts
here, as they're on the same topic...

I wrote:

> >Also, I've found that lining the dress helps substantially
> >with the fitting and support, and I can't see lining a chemise.

> Thank you for the clarification.  Can you explain why a lined dress
> helps with the fitting and the support?  To me it seems it would make
> it less fitten.  But remember I am some what a beginning seamstress.

The lining adds a great deal of strength and takes much of the stress off
the outer (visible) layer. One big advantage here is that the resulting
garment is more durable, both because the individual seams are not as
stressed, and because the insides of all the seams are covered. The hem
lasts a lot longer, too.  Given that the average woman (even many
noblewomen) would have as little as one or two of these dresses for daily
wear, durability is a huge issue. I've also found that the lining is more
likely to wear out over time than the outer fabric, and the lining (or
parts thereof) can be replaced easily.

As to construction, actually easier to fit with a lining, because I fit
the lining first, and then cut the outer fabric to match. Because the
lining seams are already oriented correctly during fitting, there's no
need to fit backwards and then turn the fitted garment inside-out. (I've
gone into more detail about this in the past; you'll find that discussion
in my collected notes on my web page.) Lining improves other aspects of
construction, too, such as lacing holes (because you have two layers
already in place) and neckline (as you don't need to face the opening or
turn an edge under and tack it).

Once I started using linings routinely, I also found that the finished
dress looks better, with a smoother surface. An ideal combination is a
linen lining with a wool outerlayer. The linen is very strong and
supportive; the wool is more flexible, and does not show the stress lines
that are visible in the linen alone. I was not surprised to find that the
combination of wool-garment-with-linen-lining appears in documents of this
period. (My impression is that this is the most commonly mentioned
combination, but I haven't done a serious documentary study.)

Roscelin wrote:

> "It has been mentioned and shown that German women may have worn
> sleeveless chemises during the 14th century - could French or English
> women also wear this type of chemise at times?"

Tasha answered:

> Apparently Italian women did... There's a painting of a large group
> crowded around a birth bed, and a lady, possibly a wet nurse, is
> sitting in the foreground. She has a sleeveless chemise with a belt
> secured tightly under her breasts, as though to provide some support.
> Can't remember the painting's name or artist, though, at the moment.

Someone posted a link to this image to the list around July 8 or 9. I
don't have the link still, but you'll find it in the archives. The subject
line was "Picture of Sleeveless Italian Chemise." We had some discussion
about it at the time.

Tasha added:

> At some point I'll have to attempt a non-supporting chemise with a
> fitted kirtle and see if I get adequate support. I don't think I
> should HAVE to line the kirtle for it to work, as there's plenty of
> pictorial evidence that suggests these fitted dresses weren't always
> lined. As it stands, I get decent support from one layer of
> lightweight linen (the chemise) that is then bolstered by another
> layer (the kirtle).

It sounds like, in essence, your fitted chemise is providing the layer of
support that I would provide with a lining. That is, both your method and
mine use two fitted layers to achieve the necessary degree of support.

If you use a non-supporting chemise and rely on the dress to provide all
your support, I think you will find that you fare better with a lining
than without one. That has certainly been my experience -- and I've done
it both ways. Yes, you can get adequate support with a single-layer gown.
I started out routinely making these dresses unlined, so I know it's
possible. But after seeing the difference the lining makes in ease of
construction, degree of support, "smoothness" of look, and durability, I
now would never recommend skipping the lining.

If you're concerned about expense, consider using a lining just down to
the thighs. The bottom edge of the lining won't bulge as long as it cuts
off below the fitted area. Your trade-off is hem durability and, in some
cases, a certain quality in the skirt drape. But there's no loss of
functionality in the top half of the dress. I have no way to guess whether
this was or wasn't done in period, but it is a useful workaround for
costumers on a tight budget.

Can you clarify what you mean by "pictorial evidence that suggests these
fitted dresses weren't always lined"? I'd be really interested to see
this. I can think of plenty of images in which it's impossible to tell
whether there's a lining, but none in which it's clear that a dress is
*not* lined. (Lining need not be a contrasting color; I sometimes
self-line with the same fabric.) I'm not sure how the lack of a lining
would be clear -- perhaps an open dress with an obvious turn-under on the
inside of the opening? (And if so, can we trust artists to know what the
inside of the dress looked like?)

Of course, we certainly can't know if lining was done routinely. It's
reasonable to think that there was a range of practice. My sense, though,
is that on the fitted dresses, lining was probably the norm, for the
practical reasons I've stated above, and also because of documentary
evidence. It is right around this time that linings start to be mentioned
commonly in documentary accounts. (I picked that tidbit up from one of
Christopher Dyer's books -- probably "Standards of Living in the Later
Middle Ages.") I think it is no coincidence that this increase in
references to lining occurs at the same time as the new style of close
fitting.

The other potential source pool, extant garments, has (to my knowledge)
been of little help in helping us determine the frequency of lining.
Deliberately preserved garments (e.g. church artifacts, relics) have often
been conserved/remade over time, so any lining may be a later replacement
or addition. Found artifacts from this period are typically too
fragmentary to tell, and generally only the wool part (commonly the outer
fabric) is the only part to survive, as linen disintegrates under the
conditions that preserve wool. I seem to recall some evidence of garment
fragments that showed stitching holes that suggested the onetime presence
of lining, but I'd have to go delving into files for the details. Perhaps
Heather, who has a much better familiarity with extant garments, has a
better read on this than I do.

> >from a practical standpoint, it's a royal nuisance to use a toilet when
> >you're wearing underwear beneath long, full skirts, and that nuisance
> >would be compounded to near impossibility with a chamberpot. 
> 
> Please allow devil's advocacy for a moment... the nuisance, in my
> experience, is lifting and moving the voluminous skirts out of the
> way. I have grown accustomed to swiftly pulling down whatever
> underclothes I have on before doing my business in the bathroom (or
> more often in the dreaded portapotty), all while holding the skirts
> bunched up around my waist (sorry for the vivid visuals, folks!
> Really, this IS an intellectual discussion! <GRIN>)

And in the same spirit, I will continue the train of thought. :-) It is,
as you've described, certainly possible with practice to use a modern
sit-down facility (toilet, portapotty) in full skirts even if you're
wearing drawers/panties/knickers. However, sit-down facilities, while
known, were probably not the norm for medieval women. A chamberpot (or
anything at ground level) requires you to squat, not sit. That means
spreading the legs and balancing over them. If you've dropped a garment
around your ankles, this maneuver is somewhere between difficult and
impossible. This is why I made the distinction about chamberpots vs.
toilets above. Sorry to have to be so graphic, but sitting and squatting
are two different operations.

(I am reminded of a modern female traveler's account of a long bus trip
through a Middle Eastern desert. Periodically the bus would stop so that
the passengers could relieve themselves. No facilities were available
except the surrounding sand, apparently considered a natural litterbox.
The men would line up alongside the bus and relieve themselves against it
(!). The local women, all in long robes, would sink gracefully to the
ground, skirts billowing around them, and then, after a few moments, would
rise. The trousered American woman found herself in a tough spot! She
found her chance later when the bus stopped so that the men could pray.
They all unrolled their mats on the sand and bowed facing Mecca -- and
she, behind them, did her business in haste while their backs were
turned.)

Crotchless drawers are certainly a possibility, and we know they were used
in later periods. Still, they'd require some manipulation of the fabric
under the full skirts, and given the absence of evidence for their
existence at this time, I'd hesitate to hypothesize that they were used,
much less used commonly.

Please do understand that in bringing this up, I was not trying to suggest
that a modern re-enactor *shouldn't* wear underwear if she feels so
inclined, as long as she has access to a sit-down facility. The question,
though, was not what works for modern re-enactors, but rather what did
medieval women do. My point was that medieval women were very likely to
need to be prepared to squat to relieve themselves, which would make the
routine wear of underpants less likely.

<regarding chafing>
> Hey... maybe in period women built up leather-like callouses on their
> inner thighs!

Hmm. One thing we can be pretty sure of is that medieval women never
shaved their inner thighs. Many modern women do, though. I have no idea if
chafing correlates with shaving, but if it does, it was probably not
nearly as common a problem medievally.

--Robin

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 08:37:33 +0100 (BST)
Status: RO

 --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > 

Back at work at last and onto the pile of emails... (don't tell anyone that 
answer most of my mails at work, hey, it's convenient :-)

> I would be delighted to go 90 miles for a weekend event.  Probably not 
> for a day.  But unfortunately we're talking minimum 300 for me to the 
> Midlands, 

Oh my! I forgot taht yes, Edinburgh is far away. I have never been to Scotland
and would really like to. Maybe we should have a sewing meeting in Scotland
ones. ;-)

and by the time I've done that 6 or 7 times for events over 
> the summer, I really can't face it any more.  Spend the summer 
> travelling and putting out for the tourists, then hibernate and nest 
> through the winter!

Understandable.

> By the way, when we first thought of forming an SCA group in Scotland, 
> the admin in the US suggested we just join our"local" group in 
> south-east England.

OUCH!!!!! That would be.. what, 500 miles?

Nicole in the South East

=====
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] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 08:45:17 +0100 (BST)
Status: RO

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

> I have a 90 minute journey (across London) to get to work each 
> day, but it's a regular public transport commute.  Anything else, I'd 
> need Tom, or someone else with a car, to drive me... makes long 
> trips for one-day events kinda difficult/expensive/time-consuming 
> (half a day travelling for less than a couple of hours at the event etc)

That's why I think it would be the best if it were possible at all to stay
overnight. Something like arrive Sat morning and leave Sun afternoon. I spoke
to Linda offlist about it, she remembered a lovely house in Oxfordshire.

> News Nicole, a lot of small groups aren't on the web... <g>  Several 

ACK!!! *heart attack* Not online????? How can anyone live/survive/exist without
the world and opportunities of the internet/email. I am not kidding here, I
realy seriously cannot imagine. he world must be so small.....

> of our existing memebers don't have email or webaccess, or do but 
> don't actually spend more than a few hours a month on it, if that.

Oh my. Well, I had a similar shock when I heard from a whole piate group here
in the UK where only ONE member has internet access. L'Age d'Or wouldn't exist
without the internet, we're the CyberBaroques. :-))))

> That sort of group tends to advertise by word of mouth, paper fliers 
> and in publications.  The CGUK has had a website for a number of 
> years but minimal information about the group not regularly updated 
> stuff about upcoming events due to time constraints on the people 
> who put up the websites (the current person is more web-minded 
> so is/has been redoing it (when she has time).

I hope so, I don't want to miss out on great info.

> Next time we organise a get-together, I can let you know.

yes please! let us know on the list here so that everyone knows about it just
in case. After all, usually it's ppl talking about american stuff, why not talk
about UK or European stuff, there are ppl from all over here after all. :-)

> Like "Costume Closet" a one day event which is coming up in 
> November (I'll get details) which Tom is organising as a prelude to 
> a weekend costume convention, called Wardrobe next year.

Thanks, super, I'd love to know.

> I just noticed that they also list the CGUK costume open-days 
> (about one every 3 months) on there
> 
> Details of Costume closet are at
> 
> http://groups.yahoo.com/group/WardrobeUK/files/Index.html

Oh, warwick, that's okay, it's only Midlands, used to go there when I worked in
the other company with the branch in Leamington Spa.

> and of Wardrobe at
> 
> http://groups.yahoo.com/group/WardrobeUK/files/Index.html
> 
> in case any UK costumers are interested... Please note these are 
> *NOT* events for CGUK members only - they are open to anyone 
> interested in costume.

Thanks Teddy, I love costumes, not only for re-enactment. 

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] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 08:50:37 +0100 (BST)
Status: RO

 --- freyalyn <freyalyn@ivillage.com> wrote: > I'm also a member of the Costume
Guild, but everything they do seems to
> be down south. 

Really??? I haven't heard of anything, but then I haven't heard of any Costume
Guild activities per se. The costume society of GB is certainly doing most of
their stuff down here, bt it is understandable with the V&A in London... we are
going to another late night view and talk on 18th c. deportment and clothing in
August.

> Another point of Americans being prepared to drive further and longer
> than us here in the UK is that their petrol/gas is much cheaper. Our
> public transport is expensive and a nightmare too!

Very true, very true, it is SO expensive to drive anywhere, the petrol prices
are still atrocious. We could do care sharing perhaps (uh, yeah,with a car full
of costumes, hm... probably not. *sigh*)

> Teddy, do you know of any people up here, in Yorkshire sort of area? I

Oh yes, tanya from anmod dracan, she is costume mad and her sewing is to die
for.

> have been fascinated by costuming for ages, but have never made anything
> except my wedding dress as I would never get to wear it - good old
> Yorkshire thriftiness prevents me making anything with _no_ end use in
> mind.

you ahve to come to some re-enactments then! there are groups in yorkshir,
definitely. which periods are you interested in?

> Frustrated Freyalyn

don't be frustrated dear, we will get you into costume :-)))

Nicole - part-time mother-hen syndrome

=====
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: Mon, 22 Jul 2002 08:52:52 +0100 (BST)
Status: RO

 --- sustre@pixelations.com wrote: > I'm in the US myself, but I have a
historically-minded friend in the 
> UK who would be interested in such a circle- we've just been 
> commiserating on our lack of sewing friends via email! So if 
> something happens with it, I'll let her know.
> 
> -Amanda

The problem I have is that i don't have a clue how to go about trying to hire a
place! If anyone around here knew about that, it would help tremedously.

Nicole - who really wnats to see this thing coming to life but needs a little
help with things.

=====
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] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 08:57:44 +0100 (BST)
Status: RO

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

> Love the sound of it, Nicole.  A couple of groups that I'm in have 
> similar things (The Far Isles Garb School and Needleworkers 
> Guilds have occasional get togethers to work on costume, and the 
> Costume guild UK has costume get togethers -sometimes at a hall 
> so there's plenty of space to lay out stuff for cutting without getting 
> in each other's way)

Now how do they go about finding a venue that is cheap? I'd be happy with a
village hall or something like that. I also know some more re-enactors who
might be interested who are not on this list.

> The problem is usually figuring out a time/date and location that 
> enough people can get to to make it worthwhile doing it.

Exactly!

> If you can get it together, I'd be interested.

I'm good at making things happen (hey, I once managed to stage the rocky horror
picture show, and I made my socity happen from scratch!) but I can't do it
alone. I would need some help in the form of info, advice, perhaps from people
who have organised such a thing before? It must be cheap or ppl won't come.

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] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 08:59:19 +0100 (BST)
Status: RO

 --- Rachel <rachel_holliday@yahoo.co.uk> wrote: > Nicole
> 
> This is a great idea.  Count me in.  I'm in Hertfordshire, but can travel. 

That;s super rachel, hertfordshire isn't to far away either.

> My other half isn't
> into living history at all and gets quite fed up with the endless round of
> sewing and embroidery
> that I tend to subject him to.  Not to mention the risk of pins in the
> carpet.  it would make a

grins8 i can imagine... mine just doesn't sew so i sit in my room and stitch
along. great.....

> wonderful change to sew with like-minded people.  I enjoy it when our group
> gets together at
> events to sew, but that doesn't happen very often.

absolutely, it would be wonderful and i think it would give a boost for a while
to come.

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] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 09:12:40 +0100 (BST)
Status: RO

Nicole

The alternative in the short-term is perhaps to host it in poeples homes, if they are willing.  I
for one would be able to put a few people up overnight, and as we live only 5-10 mins from a
mainline railway station/M1/M25 and there is a convienient village hall just down the road as
well.

If we started in peoples homes, and rotated then at least we all get one time when we won't be
having to travel.

Let me know what you think.

Rachel

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote: >  --- sustre@pixelations.com wrote: > I'm in the
US myself, but I have a
> historically-minded friend in the 
> > UK who would be interested in such a circle- we've just been 
> > commiserating on our lack of sewing friends via email! So if 
> > something happens with it, I'll let her know.
> > 
> > -Amanda
> 
> The problem I have is that i don't have a clue how to go about trying to hire a
> place! If anyone around here knew about that, it would help tremedously.
> 
> Nicole - who really wnats to see this thing coming to life but needs a little
> help with things.
> 
> =====
> 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 

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 10:24:38 +0100 (BST)
Status: RO

 --- Rachel <rachel_holliday@yahoo.co.uk> wrote: > Nicole
> 
> The alternative in the short-term is perhaps to host it in poeples homes, if
> they are willing.  I
> for one would be able to put a few people up overnight, and as we live only
> 5-10 mins from a
> mainline railway station/M1/M25 and there is a convienient village hall just
> down the road as
> well.

I think this is a very good idea, if you were willing that would be great and
get the thing going. The bigest issue is always to take the first step!

> If we started in peoples homes, and rotated then at least we all get one time
> when we won't be
> having to travel.

That would be wonderful. My problem is that our house is really tiny, three
people and one cat in a teeny 1711 house, there is no way we have even floor
space for one air bed... I have my sewing machine on a camping table in front
of my chest of drawers. If I need socks I have to pull the machine away.

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: Mon, 22 Jul 2002 10:27:12 +0000 (GMT)
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> I think it's supposed to be gold?   Dark, slightly mustardy yellow
> that can easily get a nasty green tinge.  I got two sets, one that was
> cotton and was OK, a bit more brown-y, and one that was obviously
> synthetic and really euch!

Well, the synthetic ones I'd donate to somneone who'd use them, 
but the cotton ones (if I really didn't like the colour) I'd throw in the 
washing machine with a bright yellow dye to bring them farther into 
the definately yellow spectrum, or with a red to make them an 
orange colour, or a blue or green to make them a green shade.  
Possibly even a brown to get a rich golden brown instead of a 
vaguely brown gold...

Loke the dusky pink ones that seem to be the most common 
second-hand velvet curtain colour - they I've dyed them all sorts of 
different colours rather than use them pink.... ibncluding several 
curtains that were slightly differnet shades of pink and none of them 
big enough to use for the prokect i wanted - they all got overdyed 
the same colour and it did away with the slight difference in the 
original colours so I had plenty of matching velvet for the project.



Teddy
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Subject: Re: [h-cost] Re: shop and home economics
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Date: Mon, 22 Jul 2002 10:41:26 +0000 (GMT)
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> Did anyone make something in home ec that they could wear?  In my
> first class we made a jumper. 

When I was 13 I made an awful snot-green short sleeved shirt 
(straight up and down number with the collar set into a keyhole 
neck... in the most vile green polycotton)  I never actually wore it, 
however, as I was small and very fat and the style was terrible for 
someone that shape (not to mention the colour!!) I think it was after 
that experience that I put my foot down (in itself rare for me - to 
actually openly disagree with a teacher.  I was nearly as scared of 
them as I was of the other kids!) and insisted on choosing the 
patterns and fabrics myself.



Teddy
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Understand exactly how you feel!  One of the medieval groups I'm with (conquest) had a spate of events one the south east coast (UK) a few years back.

Given I was living near Newcastle at the time I often ended up making trips of up to  400 miles each way!  (And Newcastle's about a hundred miles or so south of where Jean lives).

Oh and I can't drive, so had to take the train, which was fun!

Debbie Lough

 

 

I would be delighted to go 90 miles for a weekend event.  Probably not 
for a day.  But unfortunately we're talking minimum 300 for me to the 
Midlands, and by the time I've done that 6 or 7 times for events over 
the summer, I really can't face it any more.  Spend the summer 
travelling and putting out for the tourists, then hibernate and nest 
through the winter!

By the way, when we first thought of forming an SCA group in Scotland, 
the admin in the US suggested we just join our"local" group in 
south-east England.

Jean

-- 
Jean Waddie






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<P>Understand exactly how you feel!&nbsp; One of the medieval groups I'm with (conquest) had a spate of events one the south east coast (UK) a few years back.</P>
<P>Given I was living near Newcastle at the time I often ended up making trips of up to&nbsp; 400 miles each way!&nbsp; (And Newcastle's about a hundred miles or so south of where Jean lives).</P>
<P>Oh and I can't drive, so had to take the train, which was fun!</P>
<P>Debbie Lough</P>
<P>&nbsp;</P>
<P>&nbsp;</P>
<P>I would be delighted to go 90 miles for a weekend event.&nbsp; Probably not <BR>for a day.&nbsp; But unfortunately we're talking minimum 300 for me to the <BR>Midlands, and by the time I've done that 6 or 7 times for events over <BR>the summer, I really can't face it any more.&nbsp; Spend the summer <BR>travelling and putting out for the tourists, then hibernate and nest <BR>through the winter!<BR><BR>By the way, when we first thought of forming an SCA group in Scotland, <BR>the admin in the US suggested we just join our"local" group in <BR>south-east England.<BR><BR>Jean<BR><BR>-- <BR>Jean Waddie<BR><BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com!
/mail_storage.html</font></a>
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From: Teddy <teddy1@mdx.ac.uk>
Subject: [h-cost] Re: faking historical fabrics
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Date: Mon, 22 Jul 2002 10:51:30 +0000 (GMT)
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>  Sometimes I wanna scream, "Fake would have looked better!" 

But not wear as nicely for those of us who dislike wearing 
synthetics......  Sometimes that's a high factor in ceciding to go for 
a particular fabric over another.  Personally, I'd go for the natural 
fibre choice most of the time simply for the fact that they're cooler 
and more comfortable to wear.  I can wear synthetics but I'd prefer 
nto to and only ever go for them for the most fancy garb as natural 
fibre brocades in period-suitable patterns are hard to come by and 
usually more expensive.




Teddy
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Subject: Re: [h-cost] Re: Uk sewing
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Date: Mon, 22 Jul 2002 10:57:40 +0100 (BST)
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Well, Debbie, would you be interested in loose meetings nowadays, or are you
still living in Newcastle?

Nicole

 --- Debbie Lough <debbie_lough@yahoo.co.uk> wrote: > 
> Understand exactly how you feel!  One of the medieval groups I'm with
> (conquest) had a spate of events one the south east coast (UK) a few years
> back.
> 
> Given I was living near Newcastle at the time I often ended up making trips
> of up to  400 miles each way!  (And Newcastle's about a hundred miles or so
> south of where Jean lives).
> 
> Oh and I can't drive, so had to take the train, which was fun!
> 
> Debbie Lough
> 


=====
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] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 11:03:41 +0000 (GMT)
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> I heard this before about the problems of getting people together
> in the UK for costume events.  I had a conversation at the
> CostumeCon in Hartford, CT a couple years ago.  A mother and
> daughter who flew over from England for the event.

That would be Miki Dennis and her mother.  Miki organises some of 
the few costume get togethers that *do* happen. 

>  When we told them we had driven two days with an overnite stop
> from Missouri to attend they said some of the people in the UK
> would not consider coming even half that distance no matter how the
> event.  Some of it is the gas prices I think.  We have much lower
> rates then Europe. We also carpooled for the trip, sharing one or
> two vehicles. For one of the next trips we're even thinking of
> chartering a bus so we can have someone else do the driving.  Split
> the price among a number of people and its quite reasonable. 

I think it's more than just the pertrol prices - I'm starting to get used 
to the distances that people in the US consider reasonable for 
getting places, but the mindeset over here seems (generally) to be 
very different.  Distances American friends have talked about for 
day-trips wouldn't be thought of for anything short of an overnight 
stay by lots of English people. Most of them would require a 
weekend trip and there are people (my other half's parents, for 
example) who would consider even a weekend trip as too short a 
time for a journeys of those distances.

>From what I can make out, the distances most re-enactors in the 
UK travel for weekend events during the summer season are 
considered a bit over the top by most non-re-enactors over here....

My sisters have "shown an interest" in seeing some of the stuff I do 
but this year is the only time they've ever come along to an event 
(as public, not to participate) because for the first time it happened 
in the centre of the town where they both live.



Teddy
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Date: Mon, 22 Jul 2002 11:14:57 +0100
Status: RO

Genie wrote:

Kate Bunting
Library, University of Derby

>>> I heard this before about the problems of getting people together in the UK for costume events.  I had a conversation at the CostumeCon in Hartford, CT a couple years ago.  A mother and daughter who flew over from England for the event.  When we told them we had driven two days with an overnite stop from Missouri to attend they said some of the people in the UK would not consider coming even half that distance no matter how the event.  Some of it is the gas prices I think.  

Yes, and I'm told that American motorists observe speed limits and don't drive so aggressively as many British do. I've been happily driving to reenactment events for 25 years, but recently I've started to find long journeys really stressful, with the roads often choked with huge lorries expecting everyone to give way to them.

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re:  [h-cost] Fabric shops in the UK
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Date: Mon, 22 Jul 2002 11:36:10 +0000 (GMT)
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> Hey Teddy,
> 
> do they have a website.  I like floaty cottons.

Yep.

http://www.whaleys.co.uk/  

Most of there stuff is undyed, however, so only order if you want 
white/offwhite (black in some cases) or want to dye it yourself.

I mostly buy canvas, unbleached calico and LRK88 cotton from 
them (that's the light and floaty one)



Teddy
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Baildon, top end of Bradford. Anywhere near you??

Freyalyn



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> From: Debbie Lough
> Sent: 7/20/2002 7:09:55 PM
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> Subject: [h-cost] Re: h-costume digest, Vol 1 #1081 - 16 msgs
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> 
> Whereabouts in Yorkshire? (I'm not a memeber of the Guild, but I am in
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> Debbie.
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Baildon, top end of Bradford.  Anywhere near you??<br>
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> Sent: 7/20/2002 7:09:55 PM<br>
> To: h-costume@indra.com<br>
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Subject: Re:  [h-cost] Fabric shops in the UK
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Date: Mon, 22 Jul 2002 11:51:07 +0100 (BST)
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 --- Teddy <teddy1@mdx.ac.uk> wrote: > 

> http://www.whaleys.co.uk/  
> 
> Most of there stuff is undyed, however, so only order if you want 
> white/offwhite (black in some cases) or want to dye it yourself.
> 
> I mostly buy canvas, unbleached calico and LRK88 cotton from 
> them (that's the light and floaty one)

I buy the calico from them too, and I also used their cotton velvet, ben's
baldrick is lined with it, lovely stuff, more hadwearing than they said it
would be. my ivory silk skirt is made with their silk, go for their full sample
range, that's the best option, wonderful touchy feely.

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] : getting men to stay still (WAS: Hooray for mothers)
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Date: Mon, 22 Jul 2002 11:57:09 +0000 (GMT)
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> Nah, you gotta get the men to _stay still_ long enough to do
> fittings. In my experience, most men don't have the patience for
> tailored clothing. 

Then you ain't goin' about it the right way at all!

There's nothing stiller than a man poised on a stool while you pin 
the crotch of his fitted hose.....<g>

I still have people who I barely recognizze walking up to me at 
events saying "you won't remember me, but I was one of the 
people at that hose-fitting session you did for the Paladins."



Teddy
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Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 07:07:35 -0400
Status: RO


> Yes, and I'm told that American motorists observe speed limits and don't
drive so aggressively as many British do.

choke-  anyone who says that has never driven on an American expressway!!

Dianne

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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 12:35:03 +0000 (GMT)
Status: RO


> The alternative in the short-term is perhaps to host it in poeples
> homes, if they are willing.

CGUK already do this (and don't restrict it, or any of their activities, 
to CGUK members)  The last one was in May so the next one 
should be around August or September some time.

Details should be on the CGUK webpage at;

http://groups.yahoo.com/group/CGUKNews/files/Index.html

> I for one would be able to put a few people up overnight, and as we
> live only 5-10 mins from a mainline railway station/M1/M25 and
> there is a convienient village hall just down the road as well. 

We (Wimbledon area) have a sewing room (built last year) and can 
offer spare beds to a couple of people, plus a sofa bed and a z bed 
and a couple of camp beds... by then we're about out of available 
floor-space.
 
> Let me know what you think.

I think you should get involved in CGUK so we can pool 
resources....<GGGG>

Teddy (ex-treasurer of CGUK)
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Subject: [h-cost] (h-cost) : Velvet cope at V&A
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Date: Mon, 22 Jul 2002 14:43:23 +0000 (GMT)
Status: RO

Hello folks,

Drea and I managed to find time for a trip tot he V&A to look at that 
cope.... 

Cope.  1330 to 50

Red velvet embroidered with metal thread and silk in underside 
couching and split stitch with seed pearls, gold rings and beads.

Cut up to  make a chasuble, stole and maniple.

Reassembled in 1854

Mounted in present form 1955.

The velvet is dark red.  If the velvet it was mounted on was 
matched to the colour it was in 1854 or 1955 it has faded 
considerably in the intervening years....

The velvet is short pile and worn in exactly the way I remember old 
theatre/cinema seats having worn though the pile of the velvet on 
the cope looks softer/finer than the more bristley stuff on cinema 
seats.  The background fabric, visible in the worn parts, is the 
same streaky yellowish colour, like it's faded to that in the parts that 
have been exposed but not in the parts that are still coloured, that 
the theatre ones always seemed to go.

They had parts of more embroidered red velvet vestments of 
around the same period 1320 - 40 and 1340 - 60, I think, I didn't 
actually make a note of the dates, all of which seemed to be about 
the same shade of dark red and with similar fading of the fabric and 
embroidery (differences in the style of the figures and motifs on 
each wer all that prevented me from thinking they might have 
originally come form the same garments - that red must have been 
popular)

They're later than I thought/remembered (14th instead of 13th 
century) but it pins down the use of velvet for *ecclesiatical* 
garments to the early 13th century.... not much help for non-church 
stuff, however, without a big leap of extrapolation....<g>

I hope, however, that this helps with the discussion.


Teddy
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] UK Costume Sewing Circle?
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Date: Mon, 22 Jul 2002 15:34:09 +0100 (BST)
Status: RO

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

> CGUK already do this (and don't restrict it, or any of their activities, 
> to CGUK members)  The last one was in May so the next one 
> should be around August or September some time.

I signed up to both the lists they advertise on the web page, so hopefully I am
starting to keep ahead of it. :-) I need others to help me get through the
loooong event-free winter to acually sit down and sew! I always end up going
mad with sewing when the season has started, I need either pressure or peer
support. Who else has this problem? I just can't start well ahead in time.

> We (Wimbledon area) have a sewing room (built last year) and can 
> offer spare beds to a couple of people, plus a sofa bed and a z bed 
> and a couple of camp beds... by then we're about out of available 
> floor-space.

that makes it 6, yes? we have a couple of soldiers' folding camp beds too. and
air beds, maybe you need another extension. *winks* hm, winbledon isn't that
far away, we could drive for example. about 1.5 hours if the M25 behaves
(harharharhar and pigs can fly)

> > Let me know what you think.
> 
> I think you should get involved in CGUK so we can pool 
> resources....<GGGG>

absolutely! when i get my next paycheck I will join. (sorry, seriously broke, I
just paid Ninya for my mantua :-)

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] Gold embroidery sources?
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Date: Mon, 22 Jul 2002 10:56:54 -0400
Status: RO

Teddy's message about the cope reminded me that I had no luck 
searching the archives for sources for high-quality gold embroidery 
stuffs. A student in a jewelry class I'm teaching asked me how hard 
it was to make it from scratch, she's that unhappy with the materials 
she's found. She's tried the copper plated with silver plated with 
gold and wants materials that doesn't tarnish the way it does.

Any suggestions? Off list is fine, and I'll pass the info along if anyone asks.

Thanks much!

-Amanda
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Date: Mon, 22 Jul 2002 08:24:05 -0700
Status: RO

At 08:07 PM 7/20/2002, you wrote:
>Catching up on my e-mail....
>
>At 1:39 PM +0200 7/15/02, Ingrid G. Storrř wrote:
>>"...Vid ĺtermonteringen
>>syddes alla sömmar med smygsöm...
>>
>>Translation of the word "smygsöm" is basically the only thing left that
>>I'm wondering about;
>
>It seems like it ought to mean "ornamental stitching" or "decorative 
>stitching," cf. Danish "smykke". However that doesn't get us much farther, 
>does it? A pass through my small collection of Danish/Norwegian embroidery 
>books doesn't turn up anything either. Sorry!

No, definitely not.  The Swedish word for ornament is "smycke".
"Smyga" is sneak, or skulk -- do something covert, anyhow -- the
sense I get from the word is that it's got to be some sort of stitch
that is invisible, or nearly so, from the right side.  I haven't
spoken up because I don't sew in Swedish, as it were, so I have no
idea *which* stitch is being referred to.

Ulrika, who was born in Sweden, but learned to sew in English.




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


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Subject: Re: Chafing (was:Re: [h-cost] Re: 14th Century French lady)
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Date: Mon, 22 Jul 2002 08:32:45 +0000
Status: RO

Try using the kind for athlete's foot. Works great.


				Arlys

On Mon, 22 Jul 2002 00:25:03 +0000 "Mary Temple" <noxcat@hotmail.com>
writes:
> I'm not sure I'd want to use Lotrimin that close to parts that have a  
> specific anti-fungal cream for them  - Gyne Lotrimin. But maybe I'm 
> too  paranoid.
> 
> Personally, I use plain old Cornstarch. It has to be reapplied 
> periodically, but it WORKS.
> 
> Mary/Katerine


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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
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Date: Mon, 22 Jul 2002 08:30:57 +0000
Status: RO

I like it because it breathes, it's often cheaper, and it's easier to
care for. It also feels better against your skin, IMHO. I always find
linen scratchy.

					Arlys

> I think that sometimes people use cotton broadcloth rather than 
> linen for
> Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't 
> catch me
> at a California faire in a non-breathing fabric!  I often use cotton
> broadcloth for Victorian undergarments (chemises, drawers, 
> petticoats, etc.)
> exactly for that reason.
> 
> - Kendra
> 
> 
> 
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] design vs. sewing
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Date: Mon, 22 Jul 2002 12:32:01 -0400
Status: RO


I have a huge backlog of digests so I will risk this thread being very old.

I would not be surprised to find that fashion design schools don't require
any sewing knowledge, though I don't know if this is true or not.

I write about graphic design, and very few designers know anything about
production, whether it's print (what can and can't be printed, or at least
printed well), sign design (what can be built and especially whether it can
be read at a proper distance), or exhibit/interior/exterior design. For
instance, when MOST designers design a huge outdoor sign, they don't know
the engineering requirements (what the wind load of the materials they want
is, what kind of a foundation it will require) or what size pieces the
materials come in (many common materials come in 9-ft. lengths, so designing
a 10-ft. sign face will require the manufacturer to seam it and to buy two
pieces of the material). This is not true of ALL designers, and certainly
not of the most reputable of them. But most graphic designers learn about
aesthetics, not practicality.

And of course how many architects know how to build buildings! Good ones do,
but any architect can tell you horror stories about plans that couldn't be
built or whole structures actually built without vital components.

As for objects being designed without any regard to comfort of use, that is
infamous, especially if an architect designs it. Look at all the chairs in
design books! For some reason, architects all want to design chairs. In my
opinion, it ought to be against the law for an architect to design any item
of furniture.

Gail Finke


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Date: Mon, 22 Jul 2002 12:44:19 -0400
Status: RO

> 
> > Yes, and I'm told that American motorists observe speed limits 
and don't
> drive so aggressively as many British do.
> 
> choke-  anyone who says that has never driven on an American 
expressway!!

Hehehehe.  I was thinking the same thing.  And it's worse in 
California... Road rage is basically the norm here, and everyone 
seems to drive enormous SUVs, barreling down the roads at 90 
mph and blowing everyone else out of the lane.  I don't even stick 
to the posted speed limit, but I get these jerks tailing me at 80mph, 
screaming on their cell phones while their yuppie brood bounces 
around unbelted in the back, watching movies on the onboard 
theater system.  It's conspicuous consumption for the 21st century 
at it's most dangerous... 

Sarah 
http://www.elizabethanlady.com
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Subject: [h-cost] home ec
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Date: Mon, 22 Jul 2002 12:46:06 -0400
Status: RO

As to making garments in home ec - when we had to take sewing, it took me six weeks to make a wrap around skirt because the teacher made me undo my work.She said,  "the seams weren't straight enough."  I tell you, it completely traumatized me against sewing (except for hemming my pants and putting on buttons) for years!!  It wasn't until about 30 years later I fell into doing a bit of costuming when I got into working at the Renaissance Faire here in San Bernandino, CA.  I quickly found it was easier to learn to make my costume than to buy it!

But home ec - that was a scary experience.  Being in a class where, indeed, some girls had mothers or grandmothers who taught them to sew and they go whizzing along while you are still trying to thread the needle.  Thank goodness those days are past and now I'm a member of the Costumer's Guild West and have been doing some historical costuming (just for myself).  It is truly wonderful to see some people's outfits (men's as well as women's)when we do our events.

Anyway... that's my bit.

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com
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To: h-costume@indra.com
From: Danielle Nunn-Weinberg <dannw@attbi.com>
Subject: Re: [h-cost] Gold embroidery sources?
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Date: Mon, 22 Jul 2002 12:22:47 -0500
Status: RO

Try Lorina at http://www.5rivers.org/ she has gold thread and pearl available.

Cheers,
Danielle

At 10:56 AM 7/22/2002 -0400, you wrote:
>Teddy's message about the cope reminded me that I had no luck searching 
>the archives for sources for high-quality gold embroidery stuffs. A 
>student in a jewelry class I'm teaching asked me how hard it was to make 
>it from scratch, she's that unhappy with the materials she's found. She's 
>tried the copper plated with silver plated with gold and wants materials 
>that doesn't tarnish the way it does.
>
>Any suggestions? Off list is fine, and I'll pass the info along if anyone 
>asks.
>
>Thanks much!
>
>-Amanda

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Date: Mon, 22 Jul 2002 17:42:39 +0000
Status: RO

OH my! Not here in Texas! If you're not doing 85mph on the highway when the 
speed limit is 65 or 70mph, you're in danger of being run over by all the 
people who think that gas (petrol) guzzling SUVs are safer because they're 
bigger!! (They REALLY need to pay attention to the news.)

Mary/Katerine

>Yes, and I'm told that American motorists observe speed limits and don't 
>drive so aggressively as many British do. I've been happily driving to 
>reenactment events for 25 years, but recently I've started to find long 
>journeys really stressful, with the roads often choked with huge lorries 
>expecting everyone to give way to them.
>




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Date: Mon, 22 Jul 2002 10:44:43 -0700
Status: RO

Hi everyone,

More developments on the 14th century Italian dress project.  I've been racking my brain and discussing with list members on what techniques would be used to make the trim on the sleeve ends and neckline of the purple dress in The Last Judgment (Nardo di Cione, Santa Maria Novella, Florence, 1350's).  The most recent answer was some kind of tablet weaving.  

I think I might have found the solution this weekend.  I was discussing it with one of the ladies who runs Patiche (Asha) and she suggested that tablet weaving might not be flexible enough to go around a neckline like that without being pieced.  She said that plait braiding (the precursor to bobbin lace) was often used for trim and was highly flexible.  They even had some trim that was plait braided.

I bought a yard of the stuff to have for reference and about fifteen minutes later, another lady at the event and I had managed to smooth the straight yard of trim into an almost complete circle with no wrinkles and no puckers.  I was practically jumping up and down with excitement!

So, next question for everyone here, any book suggestions for learning plait braiding?  

Best regards,

Colleen
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Date: Mon, 22 Jul 2002 18:00:32 +0000
Status: RO

I have no problem starting a project - I get lost somewhere in the middle!! 
I have several projects floating around in various stages of completion!

Mary/Katerine

>I signed up to both the lists they advertise on the web page, so hopefully 
>I am
>starting to keep ahead of it. :-) I need others to help me get through the
>loooong event-free winter to acually sit down and sew! I always end up 
>going
>mad with sewing when the season has started, I need either pressure or peer
>support. Who else has this problem? I just can't start well ahead in time.
>


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Date: Mon, 22 Jul 2002 11:07:37 -0700 (PDT)
Status: RO

Aaaii, Robin, I think you've 'got' me on the
linings... I would really have to get organized to
find pictures that lurk in my memory as showing skirts
flipped up or in some manner exposing their insides --
with no contrasting color AND some sort of stitch/seam
detail. I simply can't do such a search any time soon,
due to rabid sewing commitments in the short term.. I
will therefore definitely concede that linings could
have often been the same color and that artists may
have painted whatever they wanted, either by adding a
different-colored lining or taking one away that is
actually present in life. I also admit to taking leaps
of logic, such as, "during the summer months they
might minimize layers". Not a scholarly approach, for
sure.

I also am drawn to the idea of an inner lining between
the shoulders and the hips for the reasons you
describe. The first time I made a shift with lacing to
support my bosum, I used this method by intuition,
assuming that two layers of thin linen were better
than one. I am willing to attemp the same thing for a
kirtle acting as the sole support garment, and will
certainly let you know my results. I noticed you have
a request on your website for others to submit their
pictures when they've got working garments done along
the lines you recommend. Have you receive any yet?
Please post them! We could all use the inspiration...

One of my still-standing questions (asked elsewhere
and never really answered to much satisfaction) is:
how were linings sewn in this time period? Were they
bag linings (two mirrored garments sewn together on
the good sides and then turned out) or were they
flat-lined, where two layers for each piece of cloth
are then sewn together at each seam? Or, might there
have been individual pieces sewn to the inside of the
garment? There's a fabulous picture of a man whose
doublet is tied down around his waist done by Rogier
van der Weyden called "Beheading of St. John the
Baptist" circa 1455-60. In this picture you can
clearly see stitchs and fabric placement. It appears
he has some buff-colored fabric sewn in pieces to the
inside of his doublet. Of course, this doesn't prove
anything about how linings were placed for fitted
female dresses for the century previous, but it IS a
tantalizing glimpse into tailoring techniques at that
time. For a "won't do justice to the real thing" web
view, check out
http://www.abcgallery.com/W/weyden/weyden57.html.
Unfortunately, the picture is cut off on the right
side, where most of the lining detail occurs, and the
resolution isn't what it needs to be to see the
stitches.

Robin wrote:
"Lining improves other aspects of construction, too,
such as lacing holes (because you have two layers
already in place) and neckline (as you don't need to
face the opening or turn an edge under and tack it).

I respond:
Okay, this is an area I have questions about too...
The Museum of London book shows an extant example of
what was probably a neckline, faced in silk. It's
clear from this piece that there is no lining to
whatever garment it original was part of (it's only a
small fragment). In addition, there are sleeve
fragments and lacing hole fragments, all of which
appear to be single layers of garment faced with a
piece of silk and then worked with buttonholes or
eyelets within the area covered by the silk facing. If
women's fitted garments were lined routinely, were the
mens' as well? Could these fragments all be from male
clothing? Or, possibly feminine clothing? Not sure if
we'll ever know, without a full garment.

Robin wrote:
<snip> the combination of
wool-garment-with-linen-lining appears in documents of
this period. 

I respond:
Oooh, I know it's a pain in the butt, but would you be
willing to dig for this reference for us
knowledge-starving/budding clothing historians? I am
dying to read more on the topic of period text citing
clothing standards...

Robin wrote:
If you use a non-supporting chemise and rely on the
dress to provide all your support, I think you will
find that you fare better with a lining than without
one. 

I respond:
Practical question -- how close to the body do you cut
your shift/chemise? Is it relatively fitted (but not
supportive) to cut down on bunching of fabric when the
tight top layer is added? 

Robin wrote:
I think it is no coincidence that this increase in
references to lining occurs at the same time as the
new style of close fitting.

I respond:
I will certainly pick up Dyer's book, then, and take a
look! Any other good sources for such discussion on
the lining of garments?

Robin wrote:
A chamberpot (or anything at ground level) requires
you to squat, not sit. That means spreading the legs
and balancing over them. If you've dropped a garment
around your ankles, this maneuver is somewhere between
difficult and impossible. 

I respond:
Agreed! I never, for that very reason, drop my
undergarments around my ankles when dressed in this
period's clothing. I tend to be a bit fastidious (ask
my husband; drives him nuts) about certain things, not
least of which is use of facilities shared by others,
especially strangers. I never sit down, but rather
crouch, all while clutching my underwear around my
spread knees and up and out of the way. I would posit
that this method of mine would work equally well (if
not better) for a full-squat over a chamberpot, but
I'm only so certain after living like this for days in
a row on a regular basis and testing my method in
action. All I'm trying to say is that the wearing of
underwear in no way inconveniences me when using any
sort of bathroom facility. My inconvenience comes from
voluminous skirting and the plumbing we women have
that disallows a standing 'aim' like the menfolk have.


Robin wrote:
Hmm. One thing we can be pretty sure of is that
medieval women never shaved their inner thighs. Many
modern women do, though. I have no idea if
chafing correlates with shaving, but if it does, it
was probably not nearly as common a problem
medievally.

I respond:
I don't grow enough hair to make shaving an issue, but
I did think further about the issue of chafing in
general. When I was a teenager and much thinner than
now, I still chafed in a skirt on a hot day (while
walking around) because of the swivel of my hips
and/or my leg movements/gait. It didn't have to do
with bulging thighs so much as the way the legs move
in relation to each other. I can't imagine that the
whole of Medieval womanhood was immune to these same
issues. However, I am in the realm of speculation
without further sources, such as finding a hoard of
perfectly preserved graves of 14th century women
wearing underwear under their dresses! <ah, one could
dream...>

Tasha

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Plait braiding solution for trim
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Date: Mon, 22 Jul 2002 11:15:58 -0700
Status: RO


>So, next question for everyone here, any book suggestions for learning 
>plait braiding?

Is there a way you can figure it out, between analyzing the piece you have 
and looking in a bobbin lace book?

Kayta

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Date: Mon, 22 Jul 2002 11:23:42 -0700
Status: RO

<<Is there a way you can figure it out, between analyzing the piece you have 
and looking in a bobbin lace book?>>

Possibly, and I know someone who knows how.  I requested the book recommendations because I will need to document all of this within an inch of its life for a competition.

Best regards,

Colleen
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Subject: Re: [h-cost] design vs. sewing
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Date: Mon, 22 Jul 2002 14:32:15 -0400 (EDT)
Status: RO

On Mon, 22 Jul 2002, Gail & Scott Finke wrote:
> As for objects being designed without any regard to comfort of use, that is
> infamous, especially if an architect designs it. Look at all the chairs in
> design books! For some reason, architects all want to design chairs. In my
> opinion, it ought to be against the law for an architect to design any item
> of furniture.
>
> Gail Finke

Well, a friend of mine told me this weekend that Isey Mikaye (sp?), the
fashion designer, started out as an architect; and that a lot of the
current crop of fashion designers are following his lead.

So perhaps we ought to extend the ban on architects designing things of
practical use to clothing ;)

-- Mara

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Subject: [h-cost] Lining (was Re: 14th Century French lady
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Date: Mon, 22 Jul 2002 14:40:14 -0400 (EDT)
Status: RO

On Mon, 22 Jul 2002, Tasha Kelly wrote:
> One of my still-standing questions (asked elsewhere
> and never really answered to much satisfaction) is:
> how were linings sewn in this time period? Were they
> bag linings (two mirrored garments sewn together on
> the good sides and then turned out) or were they
> flat-lined, where two layers for each piece of cloth
> are then sewn together at each seam? Or, might there
> have been individual pieces sewn to the inside of the
> garment?

I don't know much about 14th c. lining practices, but just re-read the
instructions in _Costume Close-Up_ (Linda Baumgartner) for lining an 18th
c. man's coat and found that it was MUCH different from what I'd been
doing (I was basically bag-lining coats/waistcoats and then topstitching).

Apparently, the way coats/waistcoats are made is to put the inner and
outer fabric together, wrong sides together, and turn under the seam
allowances at the top and bottom, then top-stitch (i.e., the top-stitching
is what holds the lining to the outer fabric).  Before you do this, you
put on the pockets, sew on the buttons and sew the buttonholes, etc.; the
areas under the buttons and buttonholes have a separate interfacing, and
sometimes the lining is slit around the buttonholes and whip-stitched
around the holes, making it easier to remove the lining and replace it
later on.

Anyway, after all this is done, you sew the vertical (side and back) seams
together on the outer fabric, then whip-stitch the vertical seams of the
lining down.

Am still figuring out more of the details on this; the book is pretty
clear, but one needs a few times working through to assimilate all the
little details.

-- Mara

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Date: Mon, 22 Jul 2002 11:47:54 -0700 (PDT)
Status: RO

Greetings Colleen,

Colleen wrote:
So, next question for everyone here, any book
suggestions for learning 
plait braiding?  

I respond:
I sheepishly admit that I don't know what you mean by
"plait braiding" exactly -- I was taught the two words
were synonymous, but I've seen the term used that way
before, and I'd love to get a quick explanation). If
you are interested in finger-loop braids, though,
there is an excellent Compleat Anachronist (#108 --
http://www.sca.org/ca/issues.html), on fingerloop
braiding. I have used this manual to learn quite a few
period braids that I've subsequently used for both
lacing and for trim on clothing. Some give you a
flatter braid, while some are rather round and
bulging. These sort of braids can easily be bent
around a neckline with minimal puckering, but it might
be a challenge to make one wide enough to match
exactly the width shown in the picture you cite. You
could make a few and lay them down parallel and
touching, though. For a shiny, silky gleam, consider
using Trebizond silk thread -- it's a thick
buttonhole-twist and it produces lovely braids.

Have others recommended strips of alternately-colored
fabric? Or even fabric that has been embroidered? Even
if you cut the fabric on-grain, as opposed to bias,
you don't have to make it all one piece. You could
have separate pieces that are cut and attached on the
bias at the top of the shoulders to fit the body and
lay down flat. These sorts of dresses almost certainly
have shoulder seams, so an alternating color of fabric
but on the same angle as the shoulder seams would work
quite well.

Good luck,

Tasha (Marcele in the SCA)

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Date: Mon, 22 Jul 2002 12:00:03 -0700
Status: RO

Thanks for the suggestion of the Compleat Anachronist issue.  I already have it, but don't think it would be the choice for this.  The trim that I'm looking at on the dress is not narrow - it's at least two, possibly three fingers wide and appears flat.  The fingerloop braids that I've done have come out much narrower and were bulkier.

Plait braiding was the term that Asha used in describing it to me.  It is apparently a precursor to bobbin lace and is made using pins to create the braid.  The example of the trim that I saw of this type was exceedingly flat.  Sorry I can't provide a better definition.  Kat - can you help me out with this?

The trim in this particular picture (The Last Judgment, Nardo di Cione) doesn't seem to be couched because I can't see any of the purple color of the dress showing through.  It is gold colored and appears to have a pattern of some type in it - I need a better close up to actually see the pattern.  It also appears to be one continuous line - I haven't seen any seams in it.  Granted the artist could have just left them out.

I'm not sure how likely it would be that fabric would have been used for trim on this type of dress.  I haven't seen anything in what I've read to indicate that so far.  Is there a source that specifically refers to that practice?


Best regards,

Colleen















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Date: Mon, 22 Jul 2002 15:13:32 -0400
Status: RO

It was just as frustrating to know how to sew and have a teacher who made
you take an entire semester to make one lousy dress.  Oh how I hated that
dress by the time it was done.  I wore it the one time I was required to,
to the end of the semester reception.  My sister wore it for years, but I
didn't even like it on her.  How anyone could take an hour to sew a
couple of seams was beyond my impatient imagination.

Lalah
Never give up, Never surrender
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Date: Mon, 22 Jul 2002 15:01:12 -0500
Status: RO

I've worked a plaited braid stitch, from an Elizabethan Embroidery book, by Jane Zimmerman, a self published book, if I remember correct.
In the book this stitch is considered an advance stitch, and I know it took me some time to figure it out when most stitches are really easy to do.  Once you get going though, it's smoothing sailing and makes a really nice braided trim.

Alex

---------- Original Message ----------------------------------
From: "Colleen McDonald" <Colleen.McDonald@mackie.com>
Reply-To: h-costume@indra.com
Date:  Mon, 22 Jul 2002 11:23:42 -0700

><<Is there a way you can figure it out, between analyzing the piece you have 
>and looking in a bobbin lace book?>>
>
>Possibly, and I know someone who knows how.  I requested the book recommendations because I will need to document all of this within an inch of its life for a competition.
>
>Best regards,
>
>Colleen
>_______________________________________________
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
In-Reply-To: <00d301c2311f$2080e2e0$d8994cd8@sgrochoski> "from Apollonia Margherita
 at Jul 21, 2002 09:28:45 pm"
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Date: Mon, 22 Jul 2002 13:13:19 -0700 (PDT)
Status: RO

and that's not nearly adequate weight for any victorian garments that I
have touched.  Habatoi is too thin to even use as a proper lining fabric for
modern garments, IMO.

.heather.


> You can get 100% silk, China Habitoi, for about $3.00 a yard from exotic
> silks.  www.exoticsilks.com
> 
> Apollonia
> ----- Original Message -----
> From: "Kendra Van Cleave" <kendrav@attbi.com>
> To: <h-costume@indra.com>
> Sent: Sunday, July 21, 2002 9:23 PM
> Subject: Re: [h-cost] Re: faking historical fabrics (WAS
> alleriges/reactions)
> 
> 
> > I often use synthetic fabrics in place of historically authentic due to
> > price -- if I waited around to be able to afford silk, I'd never be able
> to
> > make costumes!  (Most of what I do is Victorian).  So I'll often use
> > high-quality synthetic taffetas etc.
> >
> > I think that sometimes people use cotton broadcloth rather than linen for
> > Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't catch me
> > at a California faire in a non-breathing fabric!  I often use cotton
> > broadcloth for Victorian undergarments (chemises, drawers, petticoats,
> etc.)
> > exactly for that reason.
> >
> > - Kendra
> >
> >
> >
> > _______________________________________________
> > 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, 22 Jul 2002 15:49:29 -0500 (CDT)
Status: RO


On Mon, 22 Jul 2002, Tasha Kelly wrote:

> ...I also admit to taking leaps of logic, such as, "during the summer
> months they might minimize layers".

That's one I hear people say a lot, and it sounds right until you really
start analyzing it. My sense now is that the idea of a summer vs. winter
wardrobe did not mean the same thing then as it did now. Although there
are written references to summer and winter clothing, the overall number
of garments owned by any one woman would be fairly small. Many people even
of reasonable means would not have found it worth spending money on a
dress wearable *just* for the two or three hottest months; they would more
likely have had heavier and lighter weight dresses that were all wearable
at least half the year. For winter, they would wear the heavier ones and
also add layers -- that meaning not linings in garments, but additional
garments or cloaks/mantles.

Other points to remember: summer temperatures in medieval Europe were
nowhere near what is routinely experienced in most of the U.S. (If they
were, the clothing would be a lot different!) And wool seems to have been
the dominant cloth year-round. I find that fine worsteds (e.g. men's
summer suiting weight) are just right for warm weather.

> I noticed you have a request on your website for others to submit
> their pictures when they've got working garments done along the lines
> you recommend. Have you receive any yet?

Heh. People keep telling me about their work, but no one ever sends me pix
... sniff ... However, I have a couple of links that my husband will
eventually get around to putting up on the site. I think I've mentioned
both of them here before you joined us, but here they are for you and
other newcomers:

 -- To see photos from the workshop I did in Boise in July 2001, follow
this link. There are six pages of photos.
	<http://www.barony-of-arnhold.org/gothicdress1.htm>

 -- To see two photos of Marie Vibbert in a Gothic fitted dress she made
after I fit a mockup for her and taught her the method, go here:
	<http://cleftlands.cwru.edu/archive/picture.asp?id=1>
	<http://cleftlands.cwru.edu/archive/picture.asp?id=2>

> One of my still-standing questions (asked elsewhere and never really
> answered to much satisfaction) is: how were linings sewn in this time
> period? Were they bag linings (two mirrored garments sewn together on
> the good sides and then turned out) or were they flat-lined, where two
> layers for each piece of cloth are then sewn together at each seam?
> Or, might there have been individual pieces sewn to the inside of the
> garment?

No clue! I do them as a separately sewn layer, because I fit the lining
first and then build the outer layer over it. I connect them only at the
neck edge and front openings, and the interior armhole seam. I think this
works well for reducing the stress on the outer layer. But this is just
how I work. I have seen no good sources on lining methods for this period
-- even Charles de Blois jupon/pourpoint/whatever was apparently relined
during conservation, so God knows what it was like originally. I'd love to
hear any solid evidence on lining methods from this time.

Still, I suspect there was a great deal of variation among individual
seamsters, and from one style to another over the course of
decades/centuries, depending on what worked best for different types of
garments. The van der Weyden you mention, for instance, is from more than
100 years after the fitted dress first appeared, and there have been many
new technological changes in costume in that time (for instance, waistline
seams and more structuring in the upper body) that would make me hesitate
to read backwards in time to try to apply that particular lining technique
to the fitted dress.

> Robin wrote:
> "Lining improves other aspects of construction, too, such as lacing
> holes (because you have two layers already in place) and neckline (as
> you don't need to face the opening or turn an edge under and tack it).
> 
> I respond:
> Okay, this is an area I have questions about too... The Museum of
> London book shows an extant example of what was probably a neckline,
> faced in silk. It's clear from this piece that there is no lining to
> whatever garment it original was part of (it's only a small fragment).
> In addition, there are sleeve fragments and lacing hole fragments, all
> of which appear to be single layers of garment faced with a piece of
> silk and then worked with buttonholes or eyelets within the area
> covered by the silk facing. If women's fitted garments were lined
> routinely, were the mens' as well? Could these fragments all be from
> male clothing? Or, possibly feminine clothing? Not sure if we'll ever
> know, without a full garment.

Exactly.  The odds are not good that any particular fragment pulled out of
the Thames comes from a woman's fitted dress or even a man's fitted cote.
Fitted body garments were worn by the middle and upper classes, men and
women, but the majority of the population didn't fit into that category.
Lower-class people may have been more likely to be wearing unlined
clothing, as they certainly were wearing less fitted clothing. And then
there are many many garments other than basic body garments -- cloaks and
mantles, surcotes/tabards/overtunics of various sorts, horse barding,
whatever.

Bear in mind also that identification of many of the London fragments is
very uncertain. The sleeve piece is pretty clear, but for most of the rest
of the pieces ... your guess is as good as theirs (and that's exactly what
a MoL curator told me!). For instance, the pieces that are presented in
"Dress and Textiles" as parts of a "skirt" feel pretty odd to me, given
their extremely small size, the pleating at the top of one piece, and the
implication of a waistline seam (that does not seem likely for styles of
this time). I think there are plenty of equally good possibilities for
that group -- say, parts of a child's cloak, or maybe a worker's apron.  
And it's far more likely for a child to drop his cloak in the Thames, or a
craftsman to lose an apron he'd temporarily slung over the back of his
cart, than for a woman to lose half a dress :-)

As to the eyelet holes, lots and lots of things were laced. We can learn
some techniques for eyelet-making from that fragment, but we can't be sure
what it was those particular eyelets were used for. Similarly, there's a
good-sized fragment that is pretty clearly identifiable as a buttoned
lower sleeve, but the fragment simply tells me that unlined lower sleeves
existed. I do not always line my sleeves, even though I always line the
body of my dress.  I'm also aware that many loose garments (e.g. some
lower-class garments, upper-class robes, and many gowns from the earlier
half of the century) were buttoned on the forearm. So, again, we can learn
about one technique for buttons and buttonholes from that fragment, but we
don't know what garment, what class, what gender, or even exactly what
decade it represents.

> Robin wrote:
> <snip> the combination of wool-garment-with-linen-lining appears in
> documents of this period. 
> 
> I respond:
> Oooh, I know it's a pain in the butt, but would you be willing to dig
> for this reference for us knowledge-starving/budding clothing
> historians? I am dying to read more on the topic of period text citing
> clothing standards...

I think you'll find that one in the same place as the other nugget I
dropped in that post: Christpher Dyer's "Standards of Living in the Later
Middle Ages." This is, essentially, an economic analysis covering income
and expenditure habits, but it has lots of good detail from specific
household accounts at various class levels.  He covers many things besides
clothing: food, household goods, horses, etc. Dyer has done two other
books, one of which I don't even have yet (saw it at K'zoo this year but
was short on cash); they might be worth reading too. Neither is
specifically on costume, but I expect they'll have some useful tidbits.

Among the cool things I remember seeing in Dyer were references to
garments that were "russet lined with blanket" but never the other way
around. The garments in question were, IIRC, annual clothing allowances to
lay tenants of church properties.) Russet was undyed wool of a black
sheep. Blanket was undyed wool of a white sheep (from "blanc," meaning
white). These were the two cheapest available wools, as they were not
dyed. The natural color of the black-sheep wool apparently was considered
more attractive or suitable for a garment than the plain white, so the
white was used on the inside. Note that even these bottom-of-the-line
garments were lined; I'm guessing that was for warmth and durability.
Tenants were dressed plainly, but not poorly.

> I respond:
> Practical question -- how close to the body do you cut
> your shift/chemise? Is it relatively fitted (but not
> supportive) to cut down on bunching of fabric when the
> tight top layer is added? 

Yes. I can slip it on over my head, but I don't struggle to get into it.
It's cut from narrow body pieces, with gores to create enough skirt flare
to skim my hips without hanging up there. The most important thing is not
to make the armhole opening too large, and use an underarm gusset so that
you can press the fabric against your underarm (as the dress will do)
without tugging or binding on the sleeve or lifting the body. I use a
lightweight but strong linen. It bunches a bit, but I've never noticed the
bunching, and you don't see any bunching through the lined fitted dress.
(There are some pictures of me in such a dress on the Boise workshop photo
pages. I think the surfaces are quite smooth, and that's with an unfitted
chemise underneath.)

> Robin wrote:
> I think it is no coincidence that this increase in
> references to lining occurs at the same time as the
> new style of close fitting.
> 
> I respond:
> I will certainly pick up Dyer's book, then, and take a
> look! Any other good sources for such discussion on
> the lining of garments?

Not that occurs to me at the moment. What I find are, unfortunately,
usually small tidbits in books about other topics completely. Oh, of
course you should look at Stella Mary Newton's "Fashion in the Age of the
Black Prince," which includes some wardrobe account details. Sometimes you
can tell a lot from the yardage purchased for a garment, for instance, or
if the item refers to the purchase of cloth for linings, edgings, etc. The
accounts are royalty, but it's something.

(I know where you can get your hands on the wardrobe accounts of the three
King Edwards, but they are unfortunately not yet translated. You'd need
background in Latin, medieval French, and paleography, and a ticket to
London ... and a few years to spare, probably.)

> I respond:
> I never sit down, but rather crouch, all while clutching my underwear
> around my spread knees and up and out of the way. I would posit that
> this method of mine would work equally well (if not better) for a
> full-squat over a chamberpot...

Then you have better balance than I do! When I squat, my knees separate
and spread from side to side, or I fall over backward. I don't think my
underwear would stretch that far. However, I am not intending to
experiment anytime soon. Perhaps this is a medieval skill that I have not
had cause to learn.

<on chafing>
> I can't imagine that the whole of Medieval womanhood was
> immune to these same issues.

And alas, we can only guess as to what they dealt with or how, because
they didn't write us notes! I was noticing some of the comments on another
thread on this list the other day, when someone was talking about how she
tucks in her shirt to her underpants and still keeps them from showing
under low-rise jeans. That sort of data on the medieval woman's tricks for
wearing specific styles would be priceless today!

Still, there are too many cultures even today in which women do not wear
underwear under skirts for me to assume that chafing is a universal
problem requiring a fabric layer as a solution.

--Robin

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Subject: RE: [h-cost] Re: Plait braiding solution for trim
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Date: Mon, 22 Jul 2002 13:38:12 -0700
Status: RO


> Plait braiding was the term that Asha used in describing it to me.  It
> is apparently a precursor to bobbin lace and is made using pins to
> create the braid.  The example of the trim that I saw of this type was
> exceedingly flat.  Sorry I can't provide a better definition.  Kat -
> can you help me out with this?

It's called plait braiding. 

Plait braiding and bobbin lace have very little in common because 
of the twists and the like in bobbin lace, even if it was a precursor. 
Probably someone accidently twisted when they were just 
supposed to pass and ended up with it staying in one place, unlike 
the plaits. So, books on bobbin lace are just about useless.

The place to look is in books on braiding. The pins are done only 
along the edge as you go, not within it.

Good books:
for the medieval period context, MOL's _Textile and Clothing_ has 
that. However, their braid is not as wide as your sample.

However, for wider braids (such as Colleen will need, having seen 
her "sample piece"):
_The Techniques of Ply-Split Braiding_ by Peter Collingwood (ISBN 
0-9625586-9-9) I got my copy at Seattle's Weaving Works.
_Braids: 250 Patterns from Japan, Peru & Beyond_ by Rodrick 
Owen (ISBN 1-883010-06-3)
_Braidmaking_ by Barbara Pegg. (ISBN 0-7136-31988)

You want a flat (not a round, hollow, spiral or square) braid. Avoid 
the knotted braids (these are macrame and would not have the 
same give, just like the bobbin lace techneques don't). One of the 
"sprangs"  I saw in Ms. Pegg's book might do the trick (the Hopi 
Wedding Sash). However, then you'd have to dig for the medieval 
context of sprang.

Collingwood's book has the best type for what you are looking, 
since his are quite wide. He also explains how to analyze a design 
so that you can reproduce your sample (if that is the one you want 
to use.)

Most of the best explanation books are based on samples from 
Peru and Japan, as you might have guessed from the names of the 
books. You might want to write to the author of the MOL chapter 
on plait braiding to see if they have other information on it in terms 
of more samples from the time period. (As they don't quote 
everything in there.) I've not seen much else from the medieval 
period on it, but then textile archeology is much more recent 
(especially in Europe) than pottery, metal bits and the like. They 
might be able to refer you to professional articles, or (as they have 
done with me in the past) send them to you. Ask them specifically 
if they also have information about plait braiding in Italy. (If they 
don't have that, then the English stuff we do have may have to do.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] design vs. sewing
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Date: Mon, 22 Jul 2002 16:42:35 -0400
Status: RO

Mara,

I started out in college as an architectural drawing major.  I never thought
I would use it again until I learning how to take patterns from existing
garments.  Surprising to me, after 25 years, I still remembered what I had
learned in those classes.  It came right back to me.  I guess once you learn
to draw in scale, it stays with you forever.

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




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Subject: Re: [h-cost] home ec
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Date: Mon, 22 Jul 2002 16:44:19 -0400
Status: RO

Lalah,

Maybe this is why home ec classes died out... and the changing roles of
women in society.

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





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Subject: [h-cost] Re: lethal lack of cloaks
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Date: Mon, 22 Jul 2002 17:01:36 -0400
Status: RO



Last week's Newsweek had a good article on this horrifying story. For those
who want an immediate summary, here it is:

A fire broke out in Saudi girl's school (started by a girl caught smoking a
cigarette) and the one door out was locked, the attendant taking care of it
off doing an errand. When the girls did get out, men whose job it was to
make sure that women are never in public without their long cloaks (I forget
the name) made them go back in, because many of the girls had run from the
fire without them. The police stopped the men, I think, but not before a
number of girls (less than 10, I think) had died and a larger number had
been injured.

This has caused a huge furor in Saudi Arabia. The school was not an
expensive one, but a converted apartment building. These were ordinary girls
from ordinary families, so this has hit people at home.

Gail Finke


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From h-costume-admin@indra.com  Mon Jul 22 18:46:07 2002
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Subject: [h-cost] August  Online Classes
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Date: Mon, 22 Jul 2002 18:20:39 -0400
Status: RO

For those who don't know how to sew, we have an online Beginning Sewing
class that starts August 5 at the Costume Classroom,
www.costumeclassroom.com .

Marna Jean Davis will be teaching Beginning Flat Patternmaking: A Bustle
Period Bodice class.  It starts Aug. 5.

Jennie Chancey is teaching a new class, Fact or Fantasy? A Look at Costumes
in Recent Regency Film Adaptations that starts on Aug. 12.

JP Ryan is teaching her Making a Late 18th Century Wardrobe:
Ladies Strapless Stays class beginning Aug. 26.

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





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Date: Mon, 22 Jul 2002 17:40:35 EDT
Status: RO

In a message dated 7/22/02 2:35:01 PM Eastern Daylight Time, lindo@Radix.Net 
writes:

<< 
 So perhaps we ought to extend the ban on architects designing things of
 practical use to clothing ;)
  >>

In a similar vein, there's those damn set designers who also think they can 
design the costumes too!!!! [actually some can.but most....hoo boy!]
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Subject: Re: [h-cost] Re: Re: 14th Century French lady
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Date: Mon, 22 Jul 2002 14:21:00 -0700
Status: RO

snip
> <on chafing>
> > I can't imagine that the whole of Medieval womanhood was
> > immune to these same issues.
snip 
> Still, there are too many cultures even today in which women do not
> wear underwear under skirts for me to assume that chafing is a
> universal problem requiring a fabric layer as a solution.
> 
> --Robin

I've never understood this wearing of fabric to prevent chapping or 
chafing. I know that (and I'm technically obese, so don't say as 
some have tried, that it's because I'm skinny) I chafe *more* if there 
is any fabric next to my skin in warm or sweaty weather. This is 
especially true if I try to put on something like bike pants, shorts, 
nylons, etc. I've found that I'd much rather have my sweaty thighs 
rubbing together (as the sweat helps them glide) than to have 
something damp and my sweaty thighs rubbing together (where 
there is definitely no gliding going on, just rubbing). The fabric acts 
like sandpaper (even silk, nylons, cotton, you name it.)

If you look at *really* hot climates (like Samoa) and the obese 
women there, they don't wear anything between their legs if they 
can help it.

I suspect it is what a person is used to. My legs chafe with fabric 
like a Samoan lady's would do, because I'm *not* used to wearing 
it. Those of you who always wear something between your legs 
such as bike pants, nylons, etc probably get more chafed without it.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Re: Re: 14th Century French lady
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Date: Mon, 22 Jul 2002 23:06:32 +0200 (CEST)
Status: RO

On Mon, 22 Jul 2002, Robin Netherton wrote:
> On Mon, 22 Jul 2002, Tasha Kelly wrote:
> 
>  -- To see photos from the workshop I did in Boise in July 2001, follow
> this link. There are six pages of photos.
> 	<http://www.barony-of-arnhold.org/gothicdress1.htm>

*sigh* Oh, how I yearn for one of these in Northern Europe! I'd be there 
in a flash. Too bad you couldn't make it over this summer, Robin, even 
though you weren't planning on a whole workshop. :)

> > answered to much satisfaction) is: how were linings sewn in this time
> > period? Were they bag linings (two mirrored garments sewn together on
> > the good sides and then turned out) or were they flat-lined, where two
> > layers for each piece of cloth are then sewn together at each seam?
> > Or, might there have been individual pieces sewn to the inside of the
> > garment?
> 
> No clue! I do them as a separately sewn layer, because I fit the lining
> first and then build the outer layer over it. I connect them only at the
> neck edge and front openings, and the interior armhole seam. 

You don't connect the skirt hems? I can't remember any references for 
this late in the century right now, but manuscript illustrations from 
earlier, for example the Manesse Codex to cite a well-known source, 
often show skirts held up to show the contrasting lining. And they 
definitely look like they're connected to the outer layer, since they 
follow the outer fabric hemlines exactly. But that usually applies to 
surcotes and not kirtles - perhaps there's a difference? But for hem 
protection, you'd think that the kirtle would get more wear than the 
surcote since it touches the ground first, and would  be the layer 
that'd _need_ the extra lining. Hmm.

Ingrid

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Subject: Re: [h-cost] Re: Re: 14th Century French lady
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Date: Mon, 22 Jul 2002 16:17:08 -0700 (PDT)
Status: RO

Robin, are you ever going to do a workshop in Northern California?
seems like there ought to be enough interest here to bring you out...

.heather.

> On Mon, 22 Jul 2002, Robin Netherton wrote:
> > On Mon, 22 Jul 2002, Tasha Kelly wrote:
> > 
> >  -- To see photos from the workshop I did in Boise in July 2001, follow
> > this link. There are six pages of photos.
> > 	<http://www.barony-of-arnhold.org/gothicdress1.htm>
> 
> *sigh* Oh, how I yearn for one of these in Northern Europe! I'd be there 
> in a flash. Too bad you couldn't make it over this summer, Robin, even 
> though you weren't planning on a whole workshop. :)
> 
> > > answered to much satisfaction) is: how were linings sewn in this time
> > > period? Were they bag linings (two mirrored garments sewn together on
> > > the good sides and then turned out) or were they flat-lined, where two
> > > layers for each piece of cloth are then sewn together at each seam?
> > > Or, might there have been individual pieces sewn to the inside of the
> > > garment?
> > 
> > No clue! I do them as a separately sewn layer, because I fit the lining
> > first and then build the outer layer over it. I connect them only at the
> > neck edge and front openings, and the interior armhole seam. 
> 
> You don't connect the skirt hems? I can't remember any references for 
> this late in the century right now, but manuscript illustrations from 
> earlier, for example the Manesse Codex to cite a well-known source, 
> often show skirts held up to show the contrasting lining. And they 
> definitely look like they're connected to the outer layer, since they 
> follow the outer fabric hemlines exactly. But that usually applies to 
> surcotes and not kirtles - perhaps there's a difference? But for hem 
> protection, you'd think that the kirtle would get more wear than the 
> surcote since it touches the ground first, and would  be the layer 
> that'd _need_ the extra lining. Hmm.
> 
> Ingrid
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Mon, 22 Jul 2002 16:32:45 -0700 (PDT)
Status: RO



Well, I didn't meet any H-Costumers there, but I did meet some really
great folks.  What did you all think of the classes?  i didn't get as
excited as I did the year before.  I enjoyed many of the presenters
quite a bit, but some certainly lacked organization or background 
material -- and I found that quite frustrating.  I also wish there were
more breakdowns of types of lectures -- getting an overview slideshow 
on a period is very different than having a show & tell lecture on a 
presenters collection pieces.

My favorite, I think, was the lecture on the House of Worth sunday
afternoon.  Beautiful, well organized, beautiful... sigh.  to be rich
and to have lived in the 1880s!

.heather.


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Subject: Re: [h-cost] Gold embroidery sources?
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Date: Mon, 22 Jul 2002 19:31:18 EDT
Status: RO

hi There Amanda!!
I just taught a class in gold bullion metal thread this last weekend at 
Costumne College in Van Nuys, California---and will be happy to email you or 
anyone else off list a couple of sources I use that are pretty good:)
Cheers and Best!!
Albra/Kathryn
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Subject: Re: [h-cost] Re: Re: 14th Century French lady
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Date: Mon, 22 Jul 2002 21:20:08 -0500 (CDT)
Status: RO


On Mon, 22 Jul 2002, [iso-8859-1] Ingrid G. Storrř wrote:

> *sigh* Oh, how I yearn for one of these in Northern Europe! I'd be
> there in a flash. Too bad you couldn't make it over this summer,
> Robin, even though you weren't planning on a whole workshop. :)

It absolutely broke my heart not to be there. I was scheduled a year in
advance to read a paper at the Leeds conference, but had to cancel due to
family health considerations. (My husband is recovering nicely from his
cardiac bypass; then last week, his mother ended up having one herself.
It's been a helluva year.) I will get there, some year, really. I haven't
been in England for several years now, and have managed only brief tourist
visits in France and Spain in the last few years, courtesy of a friend who
put me up in both places. (And I have slides from both trips still
unsorted, ouch.)

<on linings>
> > No clue! I do them as a separately sewn layer, because I fit the lining
> > first and then build the outer layer over it. I connect them only at the
> > neck edge and front openings, and the interior armhole seam. 
> 
> You don't connect the skirt hems?

Oh, sorry, yes I do, for a normal lining, for all the reasons you cited.  
Since we had also been talking about linings that went only to the thigh,
that's where my brain must have been. For those, I just finish the lower
edge and let it hang free within the skirts at thigh level. But I wouldn't
suggest that as a medieval approach.

On Mon, 22 Jul 2002, Heather Meadows wrote:

> Robin, are you ever going to do a workshop in Northern California?
> seems like there ought to be enough interest here to bring you out...

I'm really reluctant to do another large-group workshop of the sort I did
in Boise. At that one, we aimed to make a mockup for *everyone* there, and
it's very hard to do justice to so many people. The logistics were also
very challenging -- all those sewing machines, etc. I am quite happy to
work with individuals or small groups (e.g. one dress fitting with several
people observing, in someone's living room). And I'm also quite happy to
hear that people who learned from me go on to help others fit; a very
medieval way of passing knowledge :-)

I can stand up and lecture all day, though, and have done so in quite a
few places. Any group that wants to bring me in can email me directly. I
do need my expenses covered, but I don't think any group has lost money on
me yet.

--Robin

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Subject: Re: [h-cost] design vs. sewing
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Date: Mon, 22 Jul 2002 20:16:42 -0700
Status: RO


> In a similar vein, there's those damn set designers who also think
> they can design the costumes too!!!! [actually some can.but
> most....hoo boy!] 

Or costume designers who don't sew and have no idea about what 
fabric can do what or why grain lines are important, etc...


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] rhinestones on Elizabethan costumes
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Date: Mon, 22 Jul 2002 22:15:50 -0500
Status: RO

Hello!

I think that I have this all straightened out in my mind and then I hear
another "fact" and I get all confused again.  I am working on two
Elizabethan costumes that have to get done very quickly.  Can I put
rhinestones on these costumes?  Obviously I would be imitating gemstones
(emeralds, sapphires, amethysts, and possibly diamonds).  I would be glueing
or using a rim setting.  I am not in the SCA and am more interested in
having fun and having a gorgeous costume than being precisely accurate in
every detail, however, I like to know what "rules" I am breaking when I
break them.

Thanks so much for any help!
Avien

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From h-costume-admin@indra.com  Mon Jul 22 23:49:34 2002
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From: "chiara" <chiara@io.com>
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Subject: Re: [h-cost] rhinestones on Elizabethan costumes
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Date: Mon, 22 Jul 2002 22:29:22 -0500
Status: RO

I do not remember where I got the information from, it may have been this
list, but I was told that the gems were actually attached to a very sheer
scrim that was attached to the costumes she wore so that they could be moved
from one dress to the next.

See if that works. :)

Chiara

----- Original Message -----
From: "Avien" <aviendiora@mcleodusa.net>
To: <h-costume@indra.com>
Sent: Monday, July 22, 2002 10:15 PM
Subject: [h-cost] rhinestones on Elizabethan costumes


> Hello!
>
> I think that I have this all straightened out in my mind and then I hear
> another "fact" and I get all confused again.  I am working on two
> Elizabethan costumes that have to get done very quickly.  Can I put
> rhinestones on these costumes?  Obviously I would be imitating gemstones
> (emeralds, sapphires, amethysts, and possibly diamonds).  I would be
glueing
> or using a rim setting.  I am not in the SCA and am more interested in
> having fun and having a gorgeous costume than being precisely accurate in
> every detail, however, I like to know what "rules" I am breaking when I
> break them.
>
> Thanks so much for any help!
> Avien
>
> _______________________________________________
> 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 Jul 23 00:07:28 2002
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Subject: [h-cost] Web Errors/Jester Costume
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Date: Mon, 22 Jul 2002 20:52:38 -0700
Status: RO

For those of you who were still unable to see the pictures of the jester 
costume, I'll share a cute geeky tip so that you can. :)

When you run into the problem of spaces or unrecognizable characters in the 
file name, there's always a three-character replacement that will return 
results.  For example, the space character is replaced by %20 and the 
apostrophe is replaced by %27.  So "Jester's Outfit 1.jpg" would be changed 
to "Jester%27s%20Outfit%201.jpg" for it to work.  If you come across 
unfamilliar characters, you can try to save the source to the desktop, and 
then open it locally in a browser to look at what the characters show up as. 
  (On my mac, it ends up being a 
"file://My%20HD/Desktop%20Folder/filename.jpg or something similar.)

So to see the pictures, 
http://www.montgomerie.demon.co.uk/Costume/Jester%27s%20Outfit%201.jpg is 
your best bet.   They're lovely. :)

-Laura
(über-geeky)

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Subject: RE: [h-cost] Gold embroidery sources?
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Date: Tue, 23 Jul 2002 00:32:31 -0400
Status: RO

OOOOOOOHH!!!  PLEASE share with all of us!!

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of AlbraKat@aol.com
Sent: Monday, July 22, 2002 7:31 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Gold embroidery sources?


hi There Amanda!!
I just taught a class in gold bullion metal thread this last weekend at 
Costumne College in Van Nuys, California---and will be happy to email
you or 
anyone else off list a couple of sources I use that are pretty good:)
Cheers and Best!! Albra/Kathryn
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Subject: Re: [h-cost] Re: window pane muslin
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Date: Tue, 23 Jul 2002 02:08:29 EDT
Status: RO

In a message dated 7/21/02 1:31:38 PM Eastern Daylight Time, 
gailscott@eos.net writes:

<< American shoppers looking for batiste-thin cloth should check out the 
Martha
 Stewart sheers at K-mart. >>

I keep seeing great sheers in drapery dept's. At Jo Ann's there was a 100% 
cotton sheer in large-ish gingham checks....woven. In beige and white, light 
OD green and white, orange and white, and red, green and yellow. That last 
one may be difficult to use, I think, but the others would make a nice 1860's 
summer dress. Wide 100% cotton for sheers in solid colors were at the $7 
upholstery store.....for $5-something. Rich red and navy blue. An ochre too. 
I thought something over white with tucks or something....from 1800 to 
1870s....or up to the 20th century if you like. Hanckock's had a linen sheer 
with a little [1/2"?] window pane woven in shiny polyester threads, giving it 
lots of body.
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Subject: [h-cost] Re: faking historical fabrics  (WAS alleriges/reactions)
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Date: Mon, 22 Jul 2002 20:06:40 -0700
Status: RO

At 6:23 PM -0700 7/21/02, Kendra Van Cleave wrote:
>I think that sometimes people use cotton broadcloth rather than linen for
>Renaissance faires, SCA, etc., because it BREATHES.  You wouldn't catch me
>at a California faire in a non-breathing fabric!  I often use cotton
>broadcloth for Victorian undergarments (chemises, drawers, petticoats, etc.)
>exactly for that reason.

I am slowly converting all the cotton under-layers to in my 
Elizabethan garb to linen, and I find it's notably cooler and also 
sturdier. My cotton shirts look nice at first, but the collars start 
fraying when I've only worn them a dozen times. Eventually I will 
have an all-linen farthingale, petticoats, smocks/shirts, and the 
back parts of the underskirt that has the decorated forepart (Thank 
you, Margo!). Oh, and caps too :)

IMHO, cotton really doesn't "breathe" that well. It's often as 
tightly woven as sheeting, and while it may _absorb_ fairly well, it 
doesn't let air and breezes through the way linen does. Of course 
it's better than polyester, but personally I'd rather hunt around for 
inexpensive linen -- since I know it exists and I know where to start 
looking for it.

I actually think the main reason people use cotton broadcloth is 
familiarity -- it looks like the cloth they're used to seeing "real 
clothes" made out of, and if they've done any sewing, they are used 
to the way cotton handles and drapes and washes. And they can go to 
their local fabric store (or Wal-Mart) and find a good variety of 
colors for prices that seem normal -- no research, no mail order, 
instant gratification.

Margo, do I remember right that you have "cotton broadcloth Tudor" in 
your Bad Elizabethan Costume article? (Along with the kind of 
upholstery cloth that makes people look like walking sofas.....)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Re: Swedish terminology, Bocksten man?
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Date: Mon, 22 Jul 2002 20:18:45 -0700
Status: RO

At 8:24 AM -0700 7/22/02, Ulrika A. O'Brien wrote:
>At 08:07 PM 7/20/2002, you wrote:
>>It seems like it ought to mean "ornamental stitching" or 
>>"decorative stitching," cf. Danish "smykke". However that doesn't 
>>get us much farther, does it? A pass through my small collection of 
>>Danish/Norwegian embroidery books doesn't turn up anything either. 
>>Sorry!
>
>No, definitely not.  The Swedish word for ornament is "smycke".
>"Smyga" is sneak, or skulk -- do something covert, anyhow -- the
>sense I get from the word is that it's got to be some sort of stitch
>that is invisible, or nearly so, from the right side.  I haven't
>spoken up because I don't sew in Swedish, as it were, so I have no
>idea *which* stitch is being referred to.
>
>Ulrika, who was born in Sweden, but learned to sew in English.

Ah! Thank you! I figured that sooner or later someone who REALLY knew 
the language would surface! Whew <wipes brow>.

I do flounder through the Scandinavian languages well enough to 
extract basic information from them, but I often get tripped up like 
this by words that never made it into my vocabulary. (And of course 
the sewing, knitting, weaving (etc.) terms are never in the standard 
dictionaries....)
-- 
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|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Re: design vs. sewing
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Date: Mon, 22 Jul 2002 20:42:31 -0700
Status: RO

At 12:32 PM -0400 7/22/02, Gail & Scott Finke wrote:
>As for objects being designed without any regard to comfort of use, that is
>infamous, especially if an architect designs it. Look at all the chairs in
>design books! For some reason, architects all want to design chairs. In my
>opinion, it ought to be against the law for an architect to design any item
>of furniture.

Nonononono. They should just have to _sit_ in the chair for six hours 
at a stretch once it's built. Let the punishment fit the crime :)

And of course we can all think of clothing designers who should be 
subject to the same rule!
-- 
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|     <claning@igc.org>
+    Davis, California
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: Re: 14th Century French lady
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Date: Tue, 23 Jul 2002 08:14:38 +0100 (BST)
Status: RO

 --- kat@grendal.rain.com wrote: >
> 
> I suspect it is what a person is used to. My legs chafe with fabric 
> like a Samoan lady's would do, because I'm *not* used to wearing 
> it. Those of you who always wear something between your legs 
> such as bike pants, nylons, etc probably get more chafed without it.

I second to that. I always always ALWAYS wear trousers and have done for years
because I hate skirts, the ionly time I wear skirts is when in costume. I wore
my dress ONCE without any type of shorts/pants you name it, when I wore it te
first time and I ended with the most horrid chafing it was SO painful and took
a week or more to heal. I made myself after that a copy of the Charles II 1685
effigy underpants/shorts in linen, and voila, I'm  ahappy bunny. It's not
period (I'm not a man after all :-) but it makes me happy though I do have a
patern for a Victorian crotchless seam open pant thingy and might try that.
Portaloos with briefs AND shorts are near impossible to manage with those huge
skirts.
Hmmm...

Nicole - life-long crossdresser 

=====
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: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Web Errors/Jester Costume
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Date: Tue, 23 Jul 2002 00:59:53 -0700
Status: RO


>So to see the pictures, 
>http://www.montgomerie.demon.co.uk/Costume/Jester%27s%20Outfit%201.jpg is 
>your best bet.   They're lovely. :)

I believe this for a woman, even for the late 1800s.  Circus women wore 
less, and shorter 'pants'.  The rhinestone pin looks 20s, as does the 
little face on the stick, but the outfit itself could be older.

Thanx for including the inside view of the jacket.  I love how the seams 
turn into the hems, and will use this trick myself someday, for something.


Kayta

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Date: Tue, 23 Jul 2002 09:14:13 +0100
Status: RO

I stand corrected! This was told me by colleagues who have exchanged visits with Americans. I suppose experiences vary from region to region.

Kate Bunting
Library, University of Derby

>>> sarah@elizabethanlady.com 07/22/02 05:44pm >>>
> 
> > Yes, and I'm told that American motorists observe speed limits 
and don't
> drive so aggressively as many British do.
> 
> choke-  anyone who says that has never driven on an American 
expressway!!

Hehehehe.  I was thinking the same thing.  And it's worse in 
California... Road rage is basically the norm here, and everyone 
seems to drive enormous SUVs, barreling down the roads at 90 
mph and blowing everyone else out of the lane.  I don't even stick 
to the posted speed limit, but I get these jerks tailing me at 80mph, 
screaming on their cell phones while their yuppie brood bounces 
around unbelted in the back, watching movies on the onboard 
theater system.  It's conspicuous consumption for the 21st century 
at it's most dangerous... 

Sarah 
http://www.elizabethanlady.com 
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Date: Tue, 23 Jul 2002 09:47:53 +0100 (BST)
Status: RO

--0-1835552776-1027414073=:91802
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 Sorry, should have said, yes I'd be interested in meetings - but for me it'd have to be over winter (too many events over summer (May - Sept)).
And no, I now live near Leeds (West Yorks), although still can't drive - that's another winter project!!.
By the way, somebody else on this thread mentioned Tanya from Anmod Dracon - she was wearing her new 15th century silk gown at Tewkesbury and it was absolutely gorgeous!  Dark red, lined in gold, with white linen undersleeves - and being a silversmith, she's specially made the jewellery to go with it.
Debbie.
Well, Debbie, would you be interested in loose meetings nowadays, or are you
still living in Newcastle?

Nicole

--- Debbie Lough wrote: > 
> Understand exactly how you feel! One of the medieval groups I'm with
> (conquest) had a spate of events one the south east coast (UK) a few years
> back.
> 
> Given I was living near Newcastle at the time I often ended up making trips
> of up to 400 miles each way! (And Newcastle's about a hundred miles or so
> south of where Jean lives).
> 
> Oh and I can't drive, so had to take the train, which was fun!
> 
> Debbie Lough
> 


=====
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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<P> Sorry, should have said, yes I'd be interested in meetings - but for me it'd have to be over winter (too many events over summer (May - Sept)).
<P>And no, I now live near Leeds (West Yorks), although still can't drive - that's another winter project!!.
<P>By the way, somebody else on this thread mentioned Tanya from Anmod Dracon - she was wearing her new 15th century silk gown at Tewkesbury and it was absolutely gorgeous!&nbsp; Dark red, lined in gold, with white linen undersleeves - and being a silversmith, she's specially made the jewellery to go with it.
<P>Debbie.
<BLOCKQUOTE style="BORDER-LEFT: #1010ff 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: 5px"><BR>Well, Debbie, would you be interested in loose meetings nowadays, or are you<BR>still living in Newcastle?<BR><BR>Nicole<BR><BR>--- Debbie Lough <DEBBIE_LOUGH@YAHOO.CO.UK>wrote: &gt; <BR>&gt; Understand exactly how you feel! One of the medieval groups I'm with<BR>&gt; (conquest) had a spate of events one the south east coast (UK) a few years<BR>&gt; back.<BR>&gt; <BR>&gt; Given I was living near Newcastle at the time I often ended up making trips<BR>&gt; of up to 400 miles each way! (And Newcastle's about a hundred miles or so<BR>&gt; south of where Jean lives).<BR>&gt; <BR>&gt; Oh and I can't drive, so had to take the train, which was fun!<BR>&gt; <BR>&gt; Debbie Lough<BR>&gt; <BR><BR><BR>=====<BR>Nicole Kipar M.A.<BR>Leader - L'Age d'Or &amp; Kirke's Lambs <BR>Baroque Living History Society 1660-1715<BR>URL: http://www.kipar.org/<BR>Email: marquis@kipar.org<BR><BR>__________________!
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: UK sewing
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 --- Debbie Lough <debbie_lough@yahoo.co.uk> wrote: > 
>  Sorry, should have said, yes I'd be interested in meetings - but for me it'd
> have to be over winter (too many events over summer (May - Sept)).

For me too, the same dates, May - sept is re-enactment season time.

> By the way, somebody else on this thread mentioned Tanya from Anmod Dracon -
> she was wearing her new 15th century silk gown at Tewkesbury and it was
> absolutely gorgeous!  Dark red, lined in gold, with white linen undersleeves
> - and being a silversmith, she's specially made the jewellery to go with it.
> Debbie.

Oh my, yes, this woman can sew! and embroider! and silvermith! and tablet
braid! I hate her *grins* 
One of those people who just excel at anything they touch. Oh, I forgot to
mention her cakes, yummy!!!

Nicole - envious ;-) 

=====
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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>Baildon, top end of Bradford. Anywhere near you??

>Freyalyn


Not too far - I'm in Knottingley (by Ferrybridge at the M62/A1).  I'd imagine it's about half an hour / 40 mins by car (longer for me, not being able to drive - as I said on another thread - learning to drive is a winter project to go along with the 1865 crinolined outfit!) 
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<P><BR><BR>&gt;Baildon, top end of Bradford. Anywhere near you??<BR><BR>&gt;Freyalyn<BR><BR><BR>Not too far - I'm in Knottingley (by Ferrybridge at the M62/A1).&nbsp; I'd imagine it's about half an hour / 40 mins by car (longer for me, not being able to drive - as I said on another thread - learning to drive is a winter project to go along&nbsp;with the 1865 crinolined outfit!) <BR>____________________________________________<BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] UK Costume Sewing Circle?s
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Date: Tue, 23 Jul 2002 09:49:02 +0000 (GMT)
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> I signed up to both the lists they advertise on the web page, so
> hopefully I am starting to keep ahead of it. :-) I need others to help
> me get through the loooong event-free winter to acually sit down and
> sew! I always end up going mad with sewing when the season has
> started, I need either pressure or peer support. Who else has this
> problem? I just can't start well ahead in time.

Memememe! 

I simply cannot get ht ehang of starting things in time - I need that 
panic-fed adrenaline rush to kick start both my ability to start work 
on something *and* my ability to do a reasonable job of it.  My last 
minute costumes have all come out far better (and lastel 
longer/been worn more) than the few pre-planned and started-in-
advance ones.... but the *stress* involved is horrible!

> > We (Wimbledon area) have a sewing room (built last year) and can
> > offer spare beds to a couple of people, plus a sofa bed and a z bed
> > and a couple of camp beds... by then we're about out of available
> > floor-space.
> 
> that makes it 6, yes? we have a couple of soldiers' folding camp
> beds too. and air beds, maybe you need another extension.

We have camp-beds and stuff to fill the spaces - so you may be 
right - another extension to provide more space...<G>

> hm, winbledon isn't that far away, we could drive for example.
> about 1.5 hours if the M25 behaves (harharharhar and pigs can fly) 

Where are you coming from?
 


Teddy
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS
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Date: Tue, 23 Jul 2002 09:52:43 +0000 (GMT)
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> I like it because it breathes, it's often cheaper, and it's easier to
> care for. It also feels better against your skin, IMHO. I always find
> linen scratchy.

A friend in Sweden has said this to me too... I've found te 
occasional linen scratchy but most of them, once washed, are 
wonderfully soft - to me at least.  Is there a type of linen, perhaps, 
that has shorter fibres or something that results in a scratchier feel?





Teddy
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Subject: Re: [h-cost] Re: faking historical fabrics  (WAS
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Date: Tue, 23 Jul 2002 10:03:35 +0100 (BST)
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 --- Teddy <teddy1@mdx.ac.uk> wrote: > 

> A friend in Sweden has said this to me too... I've found te 
> occasional linen scratchy but most of them, once washed, are 
> wonderfully soft - to me at least.  Is there a type of linen, perhaps, 
> that has shorter fibres or something that results in a scratchier feel?

I personally don't think that there is adifferent 'scratchy' linen out there,
but then I don't know what type of (maybe inferior?) linens are available
oustide of Europe. I agree with Teddy (and am in fact wearing a linen shirt
right now a work) that after a wash linen is beautifully soft. One should
always (!) pre-wash anyway because of the shrinkage. The wonderful thing with
linen is that it gets better and nicer the more you wash and wear it, until it
falls apart.

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: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Starting a project (WAS: UK Costume Sewing Circle?)
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Date: Tue, 23 Jul 2002 09:59:24 +0000 (GMT)
Status: RO


> I have no problem starting a project - I get lost somewhere in the
> middle!! I have several projects floating around in various stages of
> completion!

I have thaqt problem with any project that has to be put asside 
unfinished (like when a more urgent deadline looms for something 
else).. it's part of the not beign able to start thing - I find it even 
harder to *restart* something that's been set aside unfinished than I 
do to start a completely new project and follow it all the way through.

My "Unfinished Projects Pile" fills several stacking crates and some 
cupboards and drawers



Teddy
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Subject: Re: [h-cost] UK Costume Sewing Circle?s
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Date: Tue, 23 Jul 2002 10:05:59 +0100 (BST)
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 --- Teddy <teddy1@mdx.ac.uk> wrote: > > 
> > problem? I just can't start well ahead in time.
> 
> Memememe! 

Gosh I'm soglad I'm not alone. :-)

> I simply cannot get ht ehang of starting things in time - I need that 
> panic-fed adrenaline rush to kick start both my ability to start work 

Bingo, same here. I have to finish ben's coat for Kirby, but have I started
yet??? no.......

> on something *and* my ability to do a reasonable job of it.  My last 
> minute costumes have all come out far better (and lastel 
> longer/been worn more) than the few pre-planned and started-in-
> advance ones.... but the *stress* involved is horrible!

Absolutely, I fell ill because of the exhaustion last time. That is not much
fun at all.

> We have camp-beds and stuff to fill the spaces - so you may be 
> right - another extension to provide more space...<G>

*grins* what about a garden shed for christmas?

> Where are you coming from?

The Medway towns.

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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I studied fashion at university, (till I decided that historic costume was far more interesting and left college to make some!).
The thing that I noticed more than anything else was that apart from me, only two of the other students could actually sew when they arrived, (out of around 25!), and although sewing classes and design classes were given equal weight by the tutors, most of the students just weren't interested in learning to sew.  (Despite being continually told that in industry they'd get absolutely no respect from cutters and machinists if they didn't at least know the basics.)
On the theatre costume module, it seemed to be more important to be able to make a character sketch look lifelike than to be able to tell whether a costume would actually work.
And as for the costume history classes - I knew more than the lecturer from my weekends spent at the local library, and my re-enactment (one stand up row later.....).
So it doesn't surprize me that fashion / costume designers know hardly anything about fabric and sewing, (with obvious exceptions of those like Dior who went through apprenticeships, rather than college).
Debbie.




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<P>I studied fashion at university,&nbsp;(till I decided that historic costume was far more interesting and left college to make some!).
<P>The thing that I noticed more than anything else was that apart from me, only two of the other students could actually sew when they arrived, (out of around 25!), and although sewing classes and design classes were given equal weight by the tutors, most of the students just weren't interested in learning to sew.&nbsp; (Despite being continually told that in industry they'd get absolutely no respect from cutters and machinists if they didn't at least know the basics.)
<P>On the theatre costume module, it seemed to be more important to be able to make a character sketch look lifelike than to be able to tell whether a costume would actually work.
<P>And as for the costume history classes - I knew more than the lecturer from my weekends spent at the local library, and my re-enactment (one stand up row later.....).
<P>So it doesn't surprize me that fashion / costume designers know hardly anything about fabric and sewing, (with obvious exceptions of those like Dior who went through apprenticeships, rather than college).
<P>Debbie.</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From h-costume-admin@indra.com  Tue Jul 23 05:42:45 2002
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Date: Tue, 23 Jul 2002 05:26:21 -0400
Status: RO

I told you all that early in the morning around 4 AM East Coast time... on
the old game shows... designers show up.  Well this morning, a 1950/60s
designer named  Micol Fontana was on "To Tell the Truth."  For those who do
not know who she is, the sisters, Zoe, Giovanna, and Micol Fontana were
evening wear and bridal designers known for glamous and theatrical look.

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





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Subject: Re: [h-cost] Starting and finishing a project (WAS: UK Costume Sewing Circle?)
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Date: Tue, 23 Jul 2002 10:30:48 +0100 (BST)
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 --- Teddy <teddy1@mdx.ac.uk> wrote: > 

> I have thaqt problem with any project that has to be put asside 
> unfinished (like when a more urgent deadline looms for something 
> else).. it's part of the not beign able to start thing - I find it even 
> harder to *restart* something that's been set aside unfinished than I 
> do to start a completely new project and follow it all the way through.

Oh yes! particularly embroideries. I have a project that I stpped years ago
when I just didn't have that much time anymore. That's mebroidering in real
gold the Birka deer onto pale rose silk to be sewn around the wrist cuffs, neck
lineand hem of a dark red tunic. first of all i stopped crossdressing when i
gained a female figure, and would have to turn the half finished tnuic into a
dress, and secondly I don't even really do the period anymore, except at Viking
York, and thirdly, when the heck do I find the time t embroider all the deers
for the hem!

Then there was the Coptic pegasus that got stopped 3/4 and is now framed in
this state on my sister's wall.

There's the Anglo-saxon cloak with its one (!) side/hem of silk and gold
embroidery on silk, instead of all four!

Not to forget the velvet mules with gold embroidery where I never got beyond
the drawing of the design stage.

and.. and.. and..

Oh, and who knows the phenomenon of the 'It's almost finished but notquite but
I have to have it ready for an event tomorrow morning so I'll just wear it
slapped up with a afety pin like that, no one will know, and finish it right
afterwards'
and they get NEVER ever finished....

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: Teddy <teddy1@mdx.ac.uk>
Subject: Re:  [h-cost] Re: UK sewing
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Date: Tue, 23 Jul 2002 11:14:29 +0000 (GMT)
Status: RO


> By the way, somebody else on this thread mentioned Tanya from
> Anmod Dracon - she was wearing her new 15th century silk gown at
> Tewkesbury and it was absolutely gorgeous!  Dark red, lined in
> gold, with white linen undersleeves - and being a silversmith,
> she's specially made the jewellery to go with it. 

I was there and I don't recall seeing anything that matched that 
description!!!!  Waaaah!



Teddy
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Subject: Re: [h-cost] Starting a project (WAS: UK Costume Sewing Circle?)
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Date: Tue, 23 Jul 2002 06:57:06 -0400
Status: RO

Oh, Teddy, trust me, when you make quilts as well the problem is many, many
times worse. I have overflowing Rubbermaid tubs of projects!!

Dianne
----- Original Message -----
From: "Teddy" <teddy1@mdx.ac.uk>
To: <h-costume@indra.com>
Sent: Tuesday, July 23, 2002 5:59 AM
Subject: Re: [h-cost] Starting a project (WAS: UK Costume Sewing Circle?)


>
> > I have no problem starting a project - I get lost somewhere in the
> > middle!! I have several projects floating around in various stages of
> > completion!
>
> I have thaqt problem with any project that has to be put asside
> unfinished (like when a more urgent deadline looms for something
> else).. it's part of the not beign able to start thing - I find it even
> harder to *restart* something that's been set aside unfinished than I
> do to start a completely new project and follow it all the way through.
>
> My "Unfinished Projects Pile" fills several stacking crates and some
> cupboards and drawers
>
>
>
> Teddy
> _______________________________________________
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Date: Tue, 23 Jul 2002 22:25:55 -0700
Status: RO



Teddy wrote:

> >  When we told them we had driven two days with an overnite stop
> > from Missouri to attend they said some of the people in the UK
> > would not consider coming even half that distance no matter how the
> > event.  Some of it is the gas prices I think.  We have much lower
> > rates then Europe. We also carpooled for the trip, sharing one or
> > two vehicles. For one of the next trips we're even thinking of
> > chartering a bus so we can have someone else do the driving.  Split
> > the price among a number of people and its quite reasonable.
>
> I think it's more than just the pertrol prices - I'm starting to get used
> to the distances that people in the US consider reasonable for
> getting places, but the mindeset over here seems (generally) to be
> very different.  Distances American friends have talked about for
> day-trips wouldn't be thought of for anything short of an overnight
> stay by lots of English people. Most of them would require a
> weekend trip and there are people (my other half's parents, for
> example) who would consider even a weekend trip as too short a
> time for a journeys of those distances.
>

I recently got back from a 1200 km journey for an event (although we pegged
a few days for visiting rellies in the same state on the end). This was a 3-4

day event and there were people who had come further. These sorts of
distances are common for going to events in Australia, especially big
events. People regularly come from Sydney for small events here, which is
about
300km. For what it's worth, we drove the 1200km in one day, with only my
husband driving.
I guess it's just a matter of scale. I remember the seemingly endless drives
to my
nana's house when I was little, and since we were going from the Midlands to
Yorkshire it couldn't have been more than a couple of hours.
Claire

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Date: Tue, 23 Jul 2002 07:58:35 -0300
Status: RO

Laura Geek

I just printed out your internet tip and filed it in my Computer Wisdom
notebook. If it works for me, I will remember you fondly forever.  Thanks
for sharing Laura%27Little%20Lesson.

 Martha


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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Starting and finishing a project (WAS: UK Costume Sewing Circle?)
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Date: Tue, 23 Jul 2002 13:31:56 +0100 (BST)
Status: RO

Nicole

It's funny, but I find embroirdery projects the easiest to finish.  My current one is a blackwork
long cushion that if I am very diligent will take a good two years of work to complete (its 2.5
feet long!, but it will be worth it.  The only problem is that I do alot of embroidery on a more
professional basis (hence the musuem of costume at bath thread!) so I don't always get the time to
spend on my own projects, but I always get them finished!  The blackwork one is good because it
has been drawn out using authentic methods, to an authentic pattern and will be embroidered in
naturally dyed silk threads.

Its costumes I have the trouble with.  I am making a Lady's doublet from patterns of fashion
(1560-1620) at the moment.  It's the 1585 doublet, and I can do a little bit now and again but it
just gets put back at the bottom of the work basket, probably becuase it involves too much
thinking!  I get enough of that at work!

Rachel

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Subject: Re: [h-cost] UK Costume Sewing Circle?s
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Date: Tue, 23 Jul 2002 13:38:30 +0100 (BST)
Status: RO

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote: >  --- Teddy <teddy1@mdx.ac.uk> wrote: 
> > We have camp-beds and stuff to fill the spaces - so you may be 
> > right - another extension to provide more space...<G>
> 
> *grins* what about a garden shed for christmas?
> 

Never underestimate the power of a group to fill up your garden shed.  We have a huge shed in our
garden and so my group has stored some of its furniture in there, there is hardly any room left!

Rachel

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Starting and finishing a project (WAS: UK Costume Sewing Circle?)
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Date: Tue, 23 Jul 2002 14:00:21 +0100 (BST)
Status: RO

 --- Rachel <rachel_holliday@yahoo.co.uk> wrote: > 

> Its costumes I have the trouble with.  I am making a Lady's doublet from
> patterns of fashion
> (1560-1620) at the moment.  It's the 1585 doublet, and I can do a little bit
> now and again but it
> just gets put back at the bottom of the work basket, probably becuase it
> involves too much
> thinking!  I get enough of that at work!

Well, Rachel, I guess we would have to 'push' each other then: you me for the
embroidery, and I you for the costumes.
;-)))

Anyone out there who would like to embroider a pair of velvet mules in gold
raised embroidery for me? *grins*

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] Gold embroidery sources?
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Date: Tue, 23 Jul 2002 09:01:05 EDT
Status: RO

Well--since you asked----Hedgehog Handiworks--(proprieters, Colin and Jodey 
Gorlick) have a very nice selection of metal treads---as well as lovely 
needlework tools ---and books for ALL sorts of needlework and costumning.  
Their catalogue is $5.00Their toll free number is 888-67-6040.
Another favorite is TL Barnes Imports---which gets a lot of their metal 
threads directly from India.(some of them are bought by Hedgegog:) GREAT 
selection of metal threads. They also have an amazing selection of trims, and 
buttons. The proprieter, Lynnette, is a former student of mine--who does 
absolutely beautiful couched work with kanegawa gold. Those of you who are 
SCA members   may have met her as Lady Rouge, who merchants and teaches at 
Pensic,Estrella, and other SCA events. Her daughter Tammy(Justina Marie) co 
merchants with her. They are both great to do business with.  I don't know if 
they have a cataloque or website yet. Tammy's email is THLJMB@aol.com.
godd luck!!
Have fun!!
Cheers ---
Albra/Kathryn
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Date: Tue, 23 Jul 2002 07:21:27 -0600
Status: RO

Boy, I sure do understand *that*! As an embroiderer and costumer, too,
I've got loads of unfinished projects, but I figure that's due, at least
in part, to being process-oriented rather than goal-oriented! (sounds so
much nicer that way, don't you think?....) I have one embroidery project
that's been a constant companion for a couple of years now (I tuck into
it's own special bag, and then into my backpack, so I can take it to
work, etc.).  I'm doing a mid-late 16th c. Italian shift of handkerchief
linen, and I'm embroidering the whole thing in these itsy-bitsy
blackwork "stripes" (in silk, of course! <g>), based on a 16th c.
pattern and a couple of portraits that I've found that show this sort of
embroidery.  I have over 1000 hours in it so far, and I'm not quite half
done.....
On the wait-till-the-last-minute side of costuming, one of my first
ItalianRens (made from a nice, dark blue velveteen) was made in a hurry
for a dance competition oh--12? years ago, maybe 13.  As I was also
making the costumes for the other members of our little troupe, mine got
left till last.  I got everything done at home, except for the hem,
which I *swore* I'd handle on the 24 hour trip south to the War (that's
24 hours straight, if you don't stop for too many meals, or to sleep).
*snerk* Hem still wasn't done by the morning of the competition, so...we
duct-taped it! (just about everyone in the SCA seems to have a roll of
the stuff--it's very handy for more things than wrapping up rattan
weaponry!).  The pattern I'd used for my dress was a Medieval
Miscellania one, and it was the first time I ever encountered their
assumption that as you get larger in size, you must be also getting
taller--and I am round, but short, so the durned skirt was _way_ too
long, and the "extra" taken to the inside almost reached my
*knees!*....the sad thing with duct tape, though, is that when I very
carefully went to remove the duct taped hem so I could do it the real
way, the duct tape pulled the velveteen pile right through the back of
the fabric, leaving knee-high bald spots--big ones.  Drycleaning it to
remove the tape prevented any more bald spots, but did result in the
duct tape forming little stiff spots all over the velveteen (which the
cleaners had warned me might happen).  I ended up turning 100 dollars
worth of velvet into banners so we could hide the spots with applique!
--Sue, who should be getting ready for work instead of playing on the
computer! ;-)

N Kipar wrote:
> 

> Oh, and who knows the phenomenon of the 'It's almost finished but notquite but
> I have to have it ready for an event tomorrow morning so I'll just wear it
> slapped up with a afety pin like that, no one will know, and finish it right
> afterwards'
> and they get NEVER ever finished....
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Subject: Re: [h-cost] Starting and finishing a project (WAS: UK Costume Sewing Circle?)
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Date: Tue, 23 Jul 2002 14:17:05 +0100 (BST)
Status: RO

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote: >  --- Rachel <rachel_holliday@yahoo.co.uk> wrote:
> Anyone out there who would like to embroider a pair of velvet mules in gold
> raised embroidery for me? *grins*
> 

Nicole

If you are serious about this contact me off list and we can discuss.

Rachel

=====
Rachel

Tudor Bibliography
http://website.lineone.net/~reholliday/Tudor/

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Date: Tue, 23 Jul 2002 07:34:38 -0600
Status: RO

*Laughs* Our group has rather completely filled the garage space a
member loaned us, so we've finally rented a storage space (there are
lots in town, as we're a college town, and students tend to rent these
spaces for the summer so they can store things without having to ship
them back and forth).  We got a 10' by 20' space, of which I personally
am renting half to store all my fabric and project bins in (I easily
have a dozen of those *really large* rubbermaid tubs). This move has
forced me to go through all of the bins and inventory everything, so
that I can mark the tubs, and know which contains what....I've got
projects in there that are 10 years old and about which I no longer care
one way or t'other.  So I've been adopting them out to others in the SCA
community who will finish them and use them!
--Sue

Rachel wrote:
> 
>  --- N Kipar <nicolas_fouquet@yahoo.com> wrote: >  --- Teddy <teddy1@mdx.ac.uk> wrote:
> > > We have camp-beds and stuff to fill the spaces - so you may be
> > > right - another extension to provide more space...<G>
> >
> > *grins* what about a garden shed for christmas?
> >
> 
> Never underestimate the power of a group to fill up your garden shed.  We have a huge shed in our
> garden and so my group has stored some of its furniture in there, there is hardly any room left!
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Date: Tue, 23 Jul 2002 07:39:12 -0600
Status: RO

I've never personally encountered this with linen made from flax (I love
the stuff and how *soft* it is....mmmmmm <g>), but perhaps the
scratchiness is due to the presence of another bast fiber? or a
finishing process? (and the individuals aren't washing the linen, but
drycleaning it?) Or perhaps they have extra-sensitive skin? Or perhaps
it's a coarser linen?
--Sue, certified linen and natural fiber fiend 

Teddy wrote:
> 
> > I like it because it breathes, it's often cheaper, and it's easier to
> > care for. It also feels better against your skin, IMHO. I always find
> > linen scratchy.
> 
> A friend in Sweden has said this to me too... I've found te
> occasional linen scratchy but most of them, once washed, are
> wonderfully soft - to me at least.  Is there a type of linen, perhaps,
> that has shorter fibres or something that results in a scratchier feel?
> 
> Teddy
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Subject: [h-cost] duct tape and velvet
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Date: Tue, 23 Jul 2002 06:34:37 -0700 (PDT)
Status: RO

One of life's little lessons. Velvet/velvetten and
duct tape are two things that should *never* be
combined!

I did the same thing (duct taped hem) 5 years ago, but
with $25/yd amethyst-colored cotton velvet...I still
have it--it's not too badly de-nuded--the bad spots
are about mide-calf with the worst places on the back
of the skirt. 

I cried.

The really sad thing is that the dress wasn't done
when I wore it. I'd finished the bodice (took me over
40 hours to hand lay the trim), attached the skirt and
sleeves and just plain ran out of time to finish the
hem. However, the sleeves and skirt weren't done. They
were to have trim on them too. 

The gown has been taken apart. I'm working on laying
the gold on the upper sleeves. It has gold on each
side of the 8 velvet sleeve panels velvet panel, then
sateen panel, then velvet panel...total of 16 panels
per sleeve) as well as the 4 skirt panels. I have
found that each line of gold on the sleeve takes me
about 3 hours to sew down. So maybe I'll be done
sometime before the fabric disintegrates...

The gown is based on Titian's La Bella Helena. 

kate 


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Date: Tue, 23 Jul 2002 09:34:51 -0400
Status: RO

      I was one of those who first learned to sew at home.  My first 
home ec class was in junior high (when I was about 11 or 12).  We had 
these little bins to store the project and tools.  So the first 15 
minutes of each class was spent waiting to get to the narrow closet, 
unpacking the tools, unrolling the project, and getting out the 
wrinkles so I could sew about one seam.  Then fold it back up again, 
pack it in the little bin, wait to put the bin away in the narrow 
closet...   How I missed having a whole room to myself, leaving my 
project lying on the ping pong table in between sewing sessions!

      My mother got to a certain point where she could no longer 
answer my questions, and insisted I take classes.  At first I tried 
to listen to the teacher and do things the "right way", which 
sometimes went against my instincts and the results were not always 
good.  I went to a Catholic high school, in the mid/late 70s.  Sister 
tended to benevolently ignore the content of our projects, which 
tended to be Quiana prom dresses.  Quiana was a very clingy, shiny 
knit synthetic, mostly known for the loud prints on men's shirts of 
the disco era.  On our dresses (generally solid colors), they were 
clingy and probably indecent by her standards.  But it worked for me, 
because we could work on the projects and get help as needed.  And 
the storage was better. :-)

      College tailoring was probably my best class.  I was into the 
SCA by then, and interested in old sewing techniques.  Every time the 
teacher (Dr. Taylor, no kidding!) mentioned the traditional way of 
doing something, I did that.  My coat had many more hand stitches 
than machine stitches on it.  Of course, I have no idea how to use 
iron-on interfacing in a tailored coat (I hear it can be done), but 
that's ok.

      One of the more interesting sewing experiences was working as a 
stitcher in a theatrical costume shop.  Suddenly I had to ask 
everything.  Projects were passed around, and everyone depended on 
each other, so everything had to be consistent.  It was quite a 
change after sewing all by myself for so many years.

      -Carol
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Subject: Re: [h-cost] UK Costume Sewing Circle?s
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Date: Tue, 23 Jul 2002 14:35:07 +0000 (GMT)
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> > We have camp-beds and stuff to fill the spaces - so you may be right
> > - another extension to provide more space...<G>
> 
> *grins* what about a garden shed for christmas?

Please!  Anything to replace the exisitng one (which was probably 
very nice, back in the 1930's when it was new and all in one piece!)

> > Where are you coming from?
> 
> The Medway towns.

<knowledge of geography fails him>  Where's that then?




Teddy
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Subject: Re: [h-cost] UK Costume Sewing Circle?s
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Date: Tue, 23 Jul 2002 14:44:48 +0100 (BST)
Status: RO

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

> > The Medway towns.
> 
> <knowledge of geography fails him>  Where's that then?

http://www.ashville.demon.co.uk/gc2000/se_mtrnet.gif

Pretty much where the Uni is. The ring around London is the *horror* 25.

Nicole - who just started putting a gold brush fringe onto ben's pale kid
leather gloves (costume content)

=====
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] Starting and finishing a project (WAS: UK
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Date: Tue, 23 Jul 2002 14:42:41 +0000 (GMT)
Status: RO


> Oh, and who knows the phenomenon of the 'It's almost finished but
> notquite but I have to have it ready for an event tomorrow morning so
> I'll just wear it slapped up with a afety pin like that, no one will
> know, and finish it right afterwards' and they get NEVER ever
> finished....

My 'Troll Queen' gown (gold brocade German Renaissance gown 
made from livingroom curtains discarded by a friend's mother 
when she redecorated, it got it's name form the costume 
convention Masquerade entry I first wore it for) existed for several 
years with nappy-pins holding the bodice and skirt together before 
someone I loaned it to ruined the bodice (I *told* him it wasn't 
meant to lace edge-to-edge!....<grrrrr!>) and I unpicked it all and re-
used the fabric to make my cousin's Lucrecia Borgia gown.




Teddy
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Date: Tue, 23 Jul 2002 10:34:12 -0400
Status: RO

This sounds like the cope that was on display with the (600 Years of English Art???) exhibit in Denver maybe three years ago. IIRC, the objects d'art were from the V&A, so perhaps...

The one we saw was surprising in that the whole thing appeared to be pieced together with apparently no regard for the direction of the pile - so unlike modern methods of construction. Perhaps this was due to it's unfortunate history, but I was not aware of that until Teddy's post. I was working on a sarafan at the time, and had accidentially cut two of the four 1/4 circle peices the same. I agonized over this mistake, as there was exactly enough fabric, and I had custom dyed it besides. No way could I have gotten more.  

After seeing the cope, I took what scraps I had and pieced them in to fix the error. The piecing is sideways to the rest of the pattern, and you know what? It isn't noticable. I don't think anyone has seen it without me pointing it out. OK, so the sarafan is dated 250 years later than that English cope, but based on the extant example that I saw, I presumed that Medieval/Renaissance tailors were less concerned with matching patterns than we are today. Is this a valid conclusion, or am I completely off-base?

Melanie

---------- Original Message ----------------------------------
From: Teddy <teddy1@mdx.ac.uk>
Reply-To: h-costume@indra.com
Date:  Mon, 22 Jul 2002 14:43:23 +0000 (GMT)

>Hello folks,
>
>Drea and I managed to find time for a trip tot he V&A to look at that 
>cope.... 
>
>Cope.  1330 to 50
>
>Red velvet embroidered with metal thread and silk in underside 
>couching and split stitch with seed pearls, gold rings and beads.
>
>Cut up to  make a chasuble, stole and maniple.
>
>Reassembled in 1854
>
>Mounted in present form 1955.
>
<snip>
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: faking historical fabrics  (WAS
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Date: Tue, 23 Jul 2002 10:02:23 -0500 (CDT)
Status: RO


On Tue, 23 Jul 2002, Teddy wrote:

> A friend in Sweden has said this to me too... I've found te occasional
> linen scratchy but most of them, once washed, are wonderfully soft -
> to me at least.  Is there a type of linen, perhaps, that has shorter
> fibres or something that results in a scratchier feel?

Yes, I've run into it a couple of times. A friend of mine calls it "tow
linen" and explained to me the difference in fiber refinement/processing
that produces this cheaper grade, but I don't recall the details. I've
also seen linen sacking that didn't have the twiggy bits fully removed. It
was extremely coarse, but you can imagine it being used for sacking
medievally -- and of course they were using linen for that, and many other
"industrial" uses.

And add me to the list of people who can attest that linen is more
comfortable than any similar cotton, even under extremely hot conditions.
I was quite surprised to see someone insist that cotton was more
comfortable for her in hot weather and that it "breathes" better; I have
found quite the opposite. Linen not only breathes, but it's actually
cooler to the touch than cotton.

It also shrinks less and wears better, even after intense sweating, brutal
treatment, and frequent washings. If it's white, you can bleach it with
impunity; cotton won't survive that over the long term.

In wear, linen drapes differently -- none of the stiffness or creasing of
cotton. That helps it achieve the visual look for historicals better than
cotton does.  The small wrinkles visible after you've washed and dried it
tend to disappear while you wear it, as the linen picks up the heat and
moisture of your body.
 
Linen can be hell to cut and make up if you're doing anything with
curves, because it deforms and stretches and crawls as you work with it.
But that same quality allows it to mold to your body. Cotton doesn't do
that.

--Robin

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Matching patterns, was: Velvet cope at V&A
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Date: Tue, 23 Jul 2002 15:41:23 +0100 (BST)
Status: RO

 --- Melanie  Unruh-Bays <maredudd@caerthe.org> wrote: > 
> based on the extant example that I saw, I presumed that Medieval/Renaissance
> tailors were less concerned with matching patterns than we are today. Is this
> a valid conclusion, or am I completely off-base?

It depends (and I'm only talking about 17th/18th century here!)
Looking at where it shows, yes it matters a lot. For example the front of
alovely silk damask waistcoat in the V&A is beautifully pieced together. The
back? HA!!! Nothing like hat, the patern goes sideways, backways, wherever they
managed to make it fit. it didn't matter because it didn't show. nteesting I
always agonised about pocket flaps, but again, the extant examples I've
seenjust cut them from wherever they could get a scrap, though usually on the
grain/inthe same direction of the pattern. Now, mantuas, take the
brocaded/patterned examples. They ae perfectly pieced in the back pleats on the
bodice, but the sleeves? not necessarily.

It seemed to be more  amatter of 'where it shows and where I have to be flashy
i go to the expense of using more fabric and cutting it to match. where it
doesn't show, hey who cares, the fabric is already enormously expensive!'

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: Tue, 23 Jul 2002 07:55:15 -0700 (PDT)
Status: RO

Robin wrote:
For instance, the pieces that are presented in
"Dress and Textiles" as parts of a "skirt" feel pretty
odd to me, given their extremely small size, the
pleating at the top of one piece, and the
implication of a waistline seam (that does not seem
likely for styles of this time). 

I respond:
Yup, I agree. I find that suspect as well, although if
that fragment is from the mid-1400s, a pleated,
separate skirt section may have been plausible. I
can't remember where that fragment was dated to.

Robin wrote:
I think there are plenty of equally good possibilities
for that group -- say, parts of a child's cloak, or
maybe a worker's apron. And it's far more likely for a
child to drop his cloak in the Thames, or a craftsman
to lose an apron he'd temporarily slung over the back
of his cart, than for a woman to lose half a dress :-)

I respond:
The authors also speculate that the remains of
clothing may have come from the Great Wardrobe which
was located in some geographically pertinent location
to one or more of the dumps. If this could be true,
the fragments may have come from the workrooms of
royal tailors. Another supposition in the book is that
the fragments represent the recycled bits of clothing
scavanged and resold by second-hand clothing dealers.
A tantalizing look at life through the scraps of
centuries-old textiles...

Robin wrote:
(I know where you can get your hands on the wardrobe
accounts of the three King Edwards, but they are
unfortunately not yet translated. You'd need
background in Latin, medieval French, and paleography,
and a ticket to London ... and a few years to spare,
probably.)

I respond:
One more activity to add to my "when I win the
lottery" list! <smile> Are there actual plans to
translate/publish, do you know?

Tasha

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Date: Tue, 23 Jul 2002 08:33:21 -0700
Status: RO

<snip>OK, so the sarafan is dated 250 years
> later than that English cope, but based on the extant example that I
> saw, I presumed that Medieval/Renaissance tailors were less concerned
> with matching patterns than we are today. Is this a valid conclusion,
> or am I completely off-base?

Not completely. They were not concerned about it in the same 
way. When recutting something or doing small piecings, they just 
did them (hence the cope and other clothing. See Janet Arnold, 
Patterns of Fashion 1560-1620). But they did have conventions. For 
example, the nap of a fabric would generally be up on the front and 
down on the back. There's practical reasons for this: it looks 
prettier up and it wears better when sitting down. It made cutting 
easier too.

To get an idea about how they cut things, check out Juan Alcega's 
Tailor's Pattern Book 1589, the facsimile of his "Libro de 
Geometria, Patica, Y Traca." Also check out the patterns on 
Laurellen's site as she has found other manuscripts as well:
http://www.vertetsable.com/

These are, of course, late, but they give us a good idea of the 
conventions and where piecing methods differ from modern ones 
(where they try to avoid it at all cost.) Extant garments can give us 
some ideas but since sometimes there are changes by later (not 
modernly trained) conservators which might be contrary to what 
would have been done in the period.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Tue, 23 Jul 2002 08:33:21 -0700
Status: RO

 
> I personally don't think that there is adifferent 'scratchy' linen out
> there, but then I don't know what type of (maybe inferior?) linens are
> available oustide of Europe. I agree with Teddy (and am in fact
> wearing a linen shirt right now a work) that after a wash linen is
> beautifully soft. One should always (!) pre-wash anyway because of the
> shrinkage. The wonderful thing with linen is that it gets better and
> nicer the more you wash and wear it, until it falls apart.
> Nicole

I adore linen, and have modern dresses and shirts as well as 
historic costumes in it. It has always been very soft. However, in 
the stores I've felt linens which have been horribly scratchy. Usually 
they are either inferior (which also goes along with making it 
"sheer" by having the threads further apart rather than by using 
finer threads in the weaving) or mixed with other fibres (like cotton 
or rayon.)

I still wash and then iron (damp to dry) all my linens that I sew. I 
did get a kick out of one of my fabric definition books (where I was 
looking for some information on modern linen manufacture). It said 
that it was not necessary to preshrink linen! I had to laugh at that 
since I'd noticed that when I do preshrink it, I lose length (although 
not as much as with cotton.) But then, they expect people to dry 
clean the fabric after (which might make the fibres shrink less, but 
they won't be as soft as washed linen.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Tue, 23 Jul 2002 08:33:21 -0700
Status: RO


>  --- Teddy <teddy1@mdx.ac.uk> wrote: > 
> > I have thaqt problem with any project that has to be put asside
> > unfinished (like when a more urgent deadline looms for something
> > else).. it's part of the not beign able to start thing - I find it
> > even harder to *restart* something that's been set aside unfinished
> > than I do to start a completely new project and follow it all the
> > way through.
Nicole replied:
> Oh yes! particularly embroideries. I have a project that I stpped
> years ago when I just didn't have that much time anymore. That's
> mebroidering in real gold the Birka deer onto pale rose silk to be
> sewn around the wrist cuffs, neck lineand hem of a dark red tunic.
> first of all i stopped crossdressing when i gained a female figure,
> and would have to turn the half finished tnuic into a dress, and
> secondly I don't even really do the period anymore, except at Viking
> York, and thirdly, when the heck do I find the time t embroider all
> the deers for the hem!

Most of my projects which don't finished have a reason which 
"blocked" it.

I have a goldwork embroidery project which didn't get finished 
because the dress it was supposed to go with already served it's 
purpose. But it had to do it without the neckline because I was 
having eyeglass problems and couldn't work on it for more than 10 
minutes at a time before the event where the dress was intended. (I 
should just put it out of sight so that it doesn't sit there accusing 
me.)

My 1510 Flemish is waiting for me to work out how to do the bell 
sleeves with a square cut armscye. (I know it can be done, but I 
can't get the bell right with that armscye.)

My 1540 Tudor is waiting for me to have a skilled friend get the 
neckline stabilization right (and the corset done, which isn't done 
because the eyelet making hurts my hands and I *have* to get my 
reunion dress done first.)

I've got one or two other projects like that which are just waiting for 
something (like recutting after I gained weight as I was finishing the 
dress. Surprise!)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Tue, 23 Jul 2002 11:29:48 -0400
Status: RO

---------- Original Message ----------------------------------
From: AlbraKat@aol.com
Reply-To: h-costume@indra.com
Date:  Tue, 23 Jul 2002 09:01:05 EDT

<snip>

>Another favorite is TL Barnes Imports---which gets a lot of their metal 
>threads directly from India.(some of them are bought by Hedgegog:) GREAT 
>selection of metal threads. They also have an amazing selection of trims, and 
>buttons. The proprieter, Lynnette, is a former student of mine--who does 
>absolutely beautiful couched work with kanegawa gold. Those of you who are 
>SCA members   may have met her as Lady Rouge, who merchants and teaches at 
>Pensic,Estrella, and other SCA events. 

I believe that Rouge is planning on teaching and merchanting at KWCS III in Denver next October. I know it's over a year away, but we're very much looking forward to her being here. 

Melanie
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: 14th century French lady
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Date: Tue, 23 Jul 2002 11:29:17 -0500 (CDT)
Status: RO


On Tue, 23 Jul 2002, Tasha Kelly wrote:

> Yup, I agree. I find that suspect as well, although if that fragment
> is from the mid-1400s, a pleated, separate skirt section may have been
> plausible.

Really? What are you thinking of specifically as plausible? I haven't seen
much evidence that a mid-body horizontal seam was used as a structural
element for full-length garments in England in the 1400s.  Italy or Spain,
perhaps.

<I wrote:>
> (I know where you can get your hands on the wardrobe accounts of the
> three King Edwards, but they are unfortunately not yet translated.
> You'd need background in Latin, medieval French, and paleography, and
> a ticket to London ... and a few years to spare, probably.)

<Tasha asked:>
> One more activity to add to my "when I win the lottery" list! <smile>
> Are there actual plans to translate/publish, do you know?

I seriously doubt it, unless someone with the right background and nothing
else to do decided to make it a personal project. Those three books are
hardly the most important mansucripts (from a non-costumer's perspective)
in the English national collections. I frankly wouldn't be surprised if it
turned out that the only people to touch the books in the last 200 years
were myself and the researcher who showed them to me. I looked at Edward
II's book just long enough to realize, "This is someone's life's work here
... but not mine."

But I was sorely tempted. (I have the paleography background already, and
the Middle English, though I'd need refreshers in both the French and
Latin, and some additional research into abbreviations used in clerk hand
of the mid-1400s, and a better grounding in economics, currency values,
etc. Say, about two or three years full-time prep before I started work on
the manuscripts proper. And each is an oversize book about two inches
thick. But can you imagine how much data is in there?)

--Robin

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Date: Tue, 23 Jul 2002 13:06:53 -0400
Status: RO

> right now a work) that after a wash linen is beautifully soft. One should
> always (!) pre-wash anyway because of the shrinkage.

At least twice, in hot water.

I got tricked once, pre-washed my linen in warm water only once and ended up
with a tunic that kept shrinking and had to add a band at the bottom to make
it long enough. Of course, it is much nicer now than before I added the
bottom piece, but still :-)
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Date: Tue, 23 Jul 2002 13:17:03 -0400
Status: RO

> Linen can be hell to cut and make up if you're doing anything with
> curves, because it deforms and stretches and crawls as you work with it.

That's the reason why I LOVE working with linen... you can ease it into
place, stretch it, tap it gently, and it just falls where it's supposed to
go. Of course, you have to pin, not like cotton (I usually do without
pinning cotton).
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Subject: Re: [h-cost] Fabric printing research
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Date: Tue, 23 Jul 2002 10:30:11 -0700
Status: RO

Thank you, Angela, for your help.  I've seen and had some very minor 
experience with modern fabric printing.  But my goal is to do it as 
period as possible with all of the reading and written research that 
goes with it.  I'm planning on making this subject one of the items in a 
SCA Arts & Science project.

Cabbage Rose wrote:

>I do fabric printing all the time. It's fun, and can be really useful in my line of work. I just bought some stamps of Egyptian motifs, some gilded pigments in three shades from Dharma Trading and some clear acrylic to hold the pigments together. I mixed up this fabulous gold stuff and stamped away. I used it on white jersey (I'm making the Elvis/Pharoah from Joseph and the Amazing Technicolor Dreamcoat)... the color was strong and the stuff is drycleanable after being ironed.
>
What you have done sounds really nice.  I wish I could see it.

>I don't know about it's correctness of use for the periods you discussed,
>but it can be used all over, for borders, whatever.  It's particular useful when you want some design to accentuate the shape of a garment, like a border, because you can cut out your pattern piece and then make your border to fit perfectly, rather than buying a border fabric andbeing forced to cut everything in the one direction that works.  Anyway, I love it.
>
>angela
>
It was suggested that maybe I should first make a wall hanging, which I 
think is a great idea.  I was thinking about doing my heraldic device 
and my guy's heraldic device.  But haven't come to a complete decision 
on the actual piece.

Roscelin

>

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Subject: Re: [h-cost] Re: Re: 14th Century French lady
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Date: Tue, 23 Jul 2002 12:18:44 -0500
Status: RO


>snip
>> <on chafing>
>> > I can't imagine that the whole of Medieval womanhood was
>> > immune to these same issues.
>snip 
>
>I suspect it is what a person is used to. My legs chafe with fabric 
>like a Samoan lady's would do, because I'm *not* used to wearing 
>it. Those of you who always wear something between your legs 
>such as bike pants, nylons, etc probably get more chafed without it.
>

>From the time I was a teenager I have had to deal with chafing, then about a year or so I quit doing all those things I had been doing to avoid it, like hose with a dress and such.  What I've found is that if I just slow down and take my time getting to where it is I'm going, I don't have chafing, sweat yes, no chafing.  And I'm much cooler without the hose as well.  
Alex
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From h-costume-admin@indra.com  Tue Jul 23 13:59:22 2002
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From: Rose Amberwulf <roscelin@attbi.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] Fabric printing research
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Date: Tue, 23 Jul 2002 10:40:54 -0700
Status: RO

Thank you, Kim, for the suggestion.  I've been planning on going down to 
the library today to see what I can find out.

Roscelin

Kim Baird wrote:

>There are lots of books on the subject. Start at your local library.
>Hand block printing is a very expensive way to produce fabrics, but is
>still done in a limited amount today. It was mostly superseded by roller
>printing, and now also by silk screen.
>
>Kim
>


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From h-costume-admin@indra.com  Tue Jul 23 14:11:14 2002
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Subject: [h-cost] Thank you Teddy and Drea
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Date: Tue, 23 Jul 2002 10:49:46 -0700
Status: RO

Thanks to Teddy and Drea for taking time out of their busy day to go to the
V&A and look at that garment!

I know very little about the time period involved but I do know that going
to the V&A always takes more time than planned, and the bookstore is a
dangerous thing to walk by.

Thanks again!

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From h-costume-admin@indra.com  Tue Jul 23 14:17:19 2002
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From: "Angela F. Lazear-  Cabbage Rose" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Fabric printing research
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Date: Tue, 23 Jul 2002 10:57:28 -0700
Status: RO

It's a fairly primitive process, so I imagine that a wooden block with a
design (rather than the rubber stamps I use) would be just the ticket.  I
don't know about the kind of dyes you would be allowed to use, but it's
really a fun project to tackle. 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
----- Original Message -----
From: "Rose Amberwulf" <roscelin@attbi.com>
To: <h-costume@indra.com>
Sent: Tuesday, July 23, 2002 10:30 AM
Subject: Re: [h-cost] Fabric printing research


> Thank you, Angela, for your help.  I've seen and had some very minor
> experience with modern fabric printing.  But my goal is to do it as
> period as possible with all of the reading and written research that
> goes with it.  I'm planning on making this subject one of the items in a
> SCA Arts & Science project.
>
> Cabbage Rose wrote:
>
> >I do fabric printing all the time. It's fun, and can be really useful in
my line of work. I just bought some stamps of Egyptian motifs, some gilded
pigments in three shades from Dharma Trading and some clear acrylic to hold
the pigments together. I mixed up this fabulous gold stuff and stamped away.
I used it on white jersey (I'm making the Elvis/Pharoah from Joseph and the
Amazing Technicolor Dreamcoat)... the color was strong and the stuff is
drycleanable after being ironed.
> >
> What you have done sounds really nice.  I wish I could see it.
>
> >I don't know about it's correctness of use for the periods you discussed,
> >but it can be used all over, for borders, whatever.  It's particular
useful when you want some design to accentuate the shape of a garment, like
a border, because you can cut out your pattern piece and then make your
border to fit perfectly, rather than buying a border fabric andbeing forced
to cut everything in the one direction that works.  Anyway, I love it.
> >
> >angela
> >
> It was suggested that maybe I should first make a wall hanging, which I
> think is a great idea.  I was thinking about doing my heraldic device
> and my guy's heraldic device.  But haven't come to a complete decision
> on the actual piece.
>
> Roscelin
>
> >
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-admin@indra.com  Tue Jul 23 14:27:42 2002
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: faking historical fabrics  (WAS
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Date: Tue, 23 Jul 2002 13:26:12 -0500 (CDT)
Status: RO


On Tue, 23 Jul 2002, Audrey Bergeron-Morin wrote:

> > Linen can be hell to cut and make up if you're doing anything with
> > curves, because it deforms and stretches and crawls as you work with it.
> 
> That's the reason why I LOVE working with linen... you can ease it into
> place, stretch it, tap it gently, and it just falls where it's supposed to
> go.

Yes. I've heard a lot of people say that they can't believe medieval
people didn't use darts to pick up the bits of excess fabric in certain
places on a fitted garment: "How can you *not* know about darts? The
fabric just naturally folds that way, and it's obvious." I've found that's
a reasonable view if you're used to using cotton, but if you're using
linen, the "obvious" solution is to stretch and pull the fabric into place
and mold it there without a fold. (And funny thing, you get a very
different product -- one that's more consistent with the visual
silhouette, and that provides the necessary elasticity and support.) Wool
is equally flexible. Given that wool and linen were by far the standard
fabrics for the bulk of the middle ages, I can quite easily imagine no
need to invent the dart.

Most of my fitting problems on the Gothic fitted dress disappeared when I
stopped using cotton.

When you work with linen (or wool) it's also important to remember that
the fabric will relax as it picks up your body heat and moisture. So your
fitting needs to take a few more minutes, and some extra steps to
accommodate the relaxed shape.

--Robin

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Subject: Re: [h-cost] Re: design vs. sewing
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Date: Tue, 23 Jul 2002 11:06:34 -0700
Status: RO

At 08:42 PM 7/22/2002, you wrote:
>At 12:32 PM -0400 7/22/02, Gail & Scott Finke wrote:
>>As for objects being designed without any regard to comfort of use, that is
>>infamous, especially if an architect designs it. Look at all the chairs in
>>design books! For some reason, architects all want to design chairs. In my
>>opinion, it ought to be against the law for an architect to design any item
>>of furniture.
>
>Nonononono. They should just have to _sit_ in the chair for six hours at a 
>stretch once it's built. Let the punishment fit the crime :)

Heh.  Except if you're Frank Lloyd Wright and design to suit
your own comfort then people of normal height may find the
chairs uncomfortable anyway.  (Wright was quite a short man,
and did, apparently, design furniture to suit his own comfort
without much sympathy for tall people.  The little man's
revenge!)




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


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Status: RO



has anyone ever found muslin a disposition?  I'm always charmed
by plates showing it in gowns from the 1850s, but I've never ever
seen anything like it. Maybe one of the reproduction places has it?

.heather.


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Date: Tue, 23 Jul 2002 16:59:37 +0000 (GMT)
Status: RO


> http://www.ashville.demon.co.uk/gc2000/se_mtrnet.gif
> 
> Pretty much where the Uni is. The ring around London is the *horror*
> 25.
 
So why did I think you were living over to the *west* of London???



Teddy
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Date: Tue, 23 Jul 2002 12:31:45 -0700 (PDT)
Status: RO

Robin wrote:
Really? What are you thinking of specifically as
plausible? I haven't seen much evidence that a
mid-body horizontal seam was used as a structural
element for full-length garments in England in the
1400s. Italy or Spain, perhaps.

I respond:
I was thinking of the Flemish art showing dresses with
subtly gathered skirts. Van der Weyden shows such a
style in a number of different works, and possibly
other artists of his time and 'school', though I don't
know without consulting the book I'm thinking of at
home. I give credence to Van der Weyden's portrayal of
clothing as he does such a painstaking job of
capturing the drape, stitchery, and almost
photo-realistic appearance of clothing in his works.
With the Low Countries being so close to England and
the active trade of cloth between the two areas being
so prevalent at that time, I do not think it's beyond
possibility that some styles portrayed in mid-15th
century Flemish art may also have been found in urban
centers in England concomitantly.

However, since the Textiles and Clothing book ranges
at MOST to 1450, this is a long-shot. It's not totally
impossible, but like you, I'm more inclined to think
it's a piece of something other than a skirt on a
fitted dress.

Tasha

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Date: Tue, 23 Jul 2002 15:37:42 -0400
Status: RO


> Heh.  Except if you're Frank Lloyd Wright and design to suit
> your own comfort then people of normal height may find the
> chairs uncomfortable anyway.  (Wright was quite a short man,
> and did, apparently, design furniture to suit his own comfort
> without much sympathy for tall people.  The little man's
> revenge!)

Good for him, says I!!

Dianne

five feet nothin'---my feet never touch the floor, no matter what chair I'm
sitting in!


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Date: Tue, 23 Jul 2002 13:02:22 -0700
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> I respond:
> I was thinking of the Flemish art showing dresses with
> subtly gathered skirts. 

Van der Weyden et als paintings never looked gathered into the 
waist to me. Yes, a seam, but it seemed very much a plain seam. 
There are times when the belts make them appear more gathered 
(much like the men's cotehardies which have the low belts. There 
is no waist seam but the way the belt is pushed down from above 
makes it look like there must be gathering. But there isn't. It's the 
effect of the belt.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Fabric printing research
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Date: Tue, 23 Jul 2002 12:34:30 -0700
Status: RO


>It's a fairly primitive process, so I imagine that a wooden block with a
>design (rather than the rubber stamps I use) would be just the ticket.  I
>don't know about the kind of dyes you would be allowed to use, but it's
>really a fun project to tackle. Good luck.

For primitive, read 'simple'.  Linoleum blocks are easy to get, from 
well-stocked art supply stores, and they have no grain to deal with, as 
wood blocks do.  (Carving linoleum is a lot like carving soap.)

Get a book about linoleum block printing, and do whatever it says in 
there.  These books usually have a little about printing on fabric (like 
curtains), especially the ones written in the 1950s.  And the process is so 
simple you can do it on your kitchen table, or floor, on newspaper.  (If it 
was me, I'd cut out the garment pieces before printing, so I'd have smaller 
pieces to print and so I could match up the printing on the cloth better.)

Kayta

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From: Wolfcat Hall <dragonwolfcat@yahoo.com>
Subject: Re: [[h-cost] Re: shop and home economics]
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Date: Tue, 23 Jul 2002 13:46:21 -0700 (PDT)
Status: RO

*ugh*

Home ec....I managed to escape until my first year of
high school.

My mother began teaching me embroidery and sewing when
I was 4.  I never managed crocheting and knitting from
either her or my grandmother, but I haven't given up
hope yet.

I struggled with my mother because of our attitudes
towards sewing, she is a very methodical by-the-book
(early 40's and 50's sewing methods) person, and I
wanted to make historical costumes or pieces based off
of artwork.  Nowadays she's rather amused at how much
sewing and such I am doing, I send her photos of the
pieces and information on what each piece was for and
according to my brothers, she actually shows them off!


(Side note, she's an extremely orthodox Latter-Day
Saint, or "Mormon", with little tolerance for my
historical and fantasy interests, although she's
gotten better with age and distance. Being able to
link more of it to geneaology for her helps immensely.
 She tracks down the family lineage, and I show her
what our ancestors would have worn or done on a daily
basis. *grin*)

In our home ec class that I was forced to take, we had
a full quarter of cooking, where my classmates ate all
of the egg-based dishes when the teacher wasn't
looking, since she refused to believe that I would be
sick if I ate them.  We had to sew a pillowcase and
two articles of clothing, the pillowcase went to our
local Cyndi Lauper/Boy George wanna-be, she cut it up
and wore it as a piece of clothing. They also did a
section on raising children and basic checkbook
balancing/budget making.

I'd have been happier in shop, more band, or taking
art classes personally, havens, I too despised P.E.
and would rather have taken another PE class than her
class, sexual harassment or not.  I couldn't stand
that teacher and was *SO* glad that she retired before
I would have had to work with her in that school
district on a professional level.

Angharad

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] re: 14th Century French lady
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Date: Tue, 23 Jul 2002 16:13:36 -0500 (CDT)
Status: RO


On Tue, 23 Jul 2002, Tasha Kelly wrote:

I wrote, much too fast:
> Really? What are you thinking of specifically as
> plausible? I haven't seen much evidence that a
> mid-body horizontal seam was used as a structural
> element for full-length garments in England in the
> 1400s. Italy or Spain, perhaps.

And I was completely fried when I wrote that. I was thinking *mid-1300s*,
or 14th century, since that's what we were talking about on this thread,
and that's when the fragments (I think) supposedly were dated to. Yes, of
course, by mid-1400s, there are waistline seams all over the place,
particularly in Flemish art. I'm sorry I didn't catch that before you had
to take the time to explain! My apologies.

> However, since the Textiles and Clothing book ranges at MOST to 1450,
> this is a long-shot. It's not totally impossible, but like you, I'm
> more inclined to think it's a piece of something other than a skirt on
> a fitted dress.

Yep. The size of the pieces make the "skirt" interpretation shaky, too. I
think there are many other possibilities that are far more likely. But
then, the person who wrote the text for that section had a rather shaky
understanding of garment construction for 14th century, as evidenced by
her discussion of waistline seams at this point, and also the completely
off-kilter presentation of the Greenland finds as fitted dresses. But
that's another thread, and one we've had ... many times ...

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: 14th century French lady
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Date: Tue, 23 Jul 2002 16:42:40 -0500 (CDT)
Status: RO


Yeesh. I'm really not in good form today. I just looked back over my
earlier post, and I made the same mistake twice:

<I wrote:>
> But I was sorely tempted. (I have the paleography background already, and
> the Middle English, though I'd need refreshers in both the French and
> Latin, and some additional research into abbreviations used in clerk hand
> of the mid-1400s, and a better grounding in economics, currency values,
> etc.

Mid-1300s. Mid-1300s. I will cut-and-paste that on the virtual blackboard
100 times.

--Robin

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Plait braiding solution for trim
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Date: Tue, 23 Jul 2002 22:30:03 +0100
Status: RO

I'm not familiar with this term "plait braiding".  Is it the same as 
fingerloop braiding?  Can you describe or show us an example?

Jean

Colleen McDonald <Colleen.McDonald@mackie.com> wrote
>Hi everyone,
>
>More developments on the 14th century Italian dress project.  I've been 
>racking my brain and discussing with list members on what techniques 
>would be used to make the trim on the sleeve ends and neckline of the 
>purple dress in The Last Judgment (Nardo di Cione, Santa Maria Novella, 
>Florence, 1350's).  The most recent answer was some kind of tablet 
>weaving.
>
>I think I might have found the solution this weekend.  I was discussing 
>it with one of the ladies who runs Patiche (Asha) and she suggested 
>that tablet weaving might not be flexible enough to go around a 
>neckline like that without being pieced.  She said that plait braiding 
>(the precursor to bobbin lace) was often used for trim and was highly 
>flexible.  They even had some trim that was plait braided.
>
>I bought a yard of the stuff to have for reference and about fifteen 
>minutes later, another lady at the event and I had managed to smooth 
>the straight yard of trim into an almost complete circle with no 
>wrinkles and no puckers.  I was practically jumping up and down with 
>excitement!
>
>So, next question for everyone here, any book suggestions for learning 
>plait braiding?
>
>Best regards,
>
>Colleen
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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-- 
Jean Waddie
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Subject: Re: [h-cost] Victorian fancy dress
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Date: Tue, 23 Jul 2002 22:33:22 +0100
Status: RO

Oh gugh!

I'm really sorry, we set this up really quickly.  I think it works for 
people using Internet Explorer, but you're right, possibly not for Unix. 
Could you ll please just kill this thread for a few days while I get it 
sorted?

Sorry!!

Jean


Lee Thompson-Herbert <lee@retro.com> wrote
>
>>Sorry people, the address needs a capital C -
>>
>>www.montgomerie.demon.co.uk/Costume
>>
>>Apologies to those who couldn't find the page.
>
>Clicking on the Jester's Outfit links produces a File Not Found.
>The two things I can think of are: you have spaces in the filename
>(bad for unix systems) or you haven't set the permissions on the
>files correctly and therefore we can't access them.
>
>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"
>_______________________________________________
>h-costume mailing list
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-- 
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Subject: [h-cost] Re: 14th Century French lady
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Date: Tue, 23 Jul 2002 14:36:33 -0700
Status: RO

At 3:57 PM -0700 7/21/02, Tasha Kelly wrote:
>Roscelin wrote:
>"It has been mentioned and shown that German women may
>have worn
>sleeveless chemises during the 14th century - could
>French or English
>women also wear this type of chemise at times?"
>
>Apparently Italian women did... There's a painting of
>a large group crowded around a birth bed, and a lady,
>possibly a wet nurse, is sitting in the foreground.
>She has a sleeveless chemise with a belt secured
>tightly under her breasts, as though to provide some
>support. Can't remember the painting's name or artist,
>though, at the moment.

I keep meaning to contribute a data-point to this thread, and then 
not being around my file cabinet when I think of it.

In an illustrated ms. of "Historia Troiana" from ca. 1450 Germany, 
shows a couple getting out of bed and putting their clothes on.  She 
first puts on a sleeveless shift that bears a strong resemblance to 
some of the "Bohemian bathhouse babe" outfits -- narrow straps over 
the shoulders attached to a clearly-visible band going around over 
the breasts and under the arms, which edges the top of the garment. 
While wearing this, she is manipulating a gown in preparation to 
putting it on, supporting the idea that the sleeveless garment is an 
ordinary under-garment rather than some special-purpose garment. 
(Her boyfriend has put on what appears to be a short-sleeved 
undershirt, and he's wearing the most amusing almost-not-there 
underpants, tied in a bow on each hip.)

I found the pictures in "Liebesfreuden im Mittelalter" by Gabriele 
Bartz, Alfred Karnen, and Claudio Lanse (Belser Verlag, Stuttgart, 
1994).

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Tue, 23 Jul 2002 15:12:25 -0700
Status: RO


> I'm not familiar with this term "plait braiding".  Is it the same as
> fingerloop braiding?  Can you describe or show us an example?
> Jean

It is different than fingerloop braiding. The simplest "plait braid" is 
what we do to hair with 3 strands. Most plait braiding takes many 
more strands, however. It is still used for some passamentarie. I 
had some wonderful (machine, not that I had done) plait braid that 
looked like Celtic knotwork. 

A funny one to look at that is done this way is the thread in some 
cheap sewing kits. They are done in all sorts of colors and you just 
pull to get the thread you want (and then you start losing the 
pattern). But they are plait braided to begin with often times.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: RE: [h-cost] Re: Plait braiding solution for trim
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Date: Tue, 23 Jul 2002 18:22:14 -0400
Status: RO

OK.  I went looking for a copy of the Collingwood book, and found the
Susan's Fiber shop had it.  Email address is:
Susan McFarland susanfiber@internetwis.com
or you can do a web search for Susan's Fiber Shop.
Happy hunting.
-Megan

> _The Techniques of Ply-Split Braiding_ by Peter Collingwood (ISBN
> 0-9625586-9-9)

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Date: Tue, 23 Jul 2002 19:13:20 -0500
Status: RO

Found this in my sunday paper.

http://www.largelypro.com/haikus.html


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Date: Tue, 23 Jul 2002 19:53:29 -0600
Status: RO

Never even heard of it, but then I don't know much about 19th c.
costume.  What kind of muslin is it?
--Sue, curious....

Heather Meadows wrote:
> 
> has anyone ever found muslin a disposition?  I'm always charmed
> by plates showing it in gowns from the 1850s, but I've never ever
> seen anything like it. Maybe one of the reproduction places has it?
> 
> .heather.
> 
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Date: Tue, 23 Jul 2002 20:51:11 -0500
Status: RO

Thanks, Teddy,

White, off-white or enven black would be ok.  Thats what dye was made for.

Genie
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> It is different than fingerloop braiding. The simplest "plait braid" is 
> what we do to hair with 3 strands. Most plait braiding takes many 
> more strands, however. It is still used for some passamentarie. I 
> had some wonderful (machine, not that I had done) plait braid that 
> looked like Celtic knotwork. 

In other words, the type of braiding you'd find in a sailors' handbook?
For making sea mats and bolsters and such?  I've found that those same
knots and plaits show up in japanese kumihimo books and books on chinese
decorative knots and braids.  If I've understood you, you mean a typical
_braided_ strand.  Ah, I know the other place I've seen that stuff...
traditional leatherworking uses round, hollow and flat braids quite often.

I have too little time and too many cats to do this stuff much anymore,
But I've still got all my books.  In fact, I just added a kumihimo and
a corn dolly book to my collection this week.  ;}  But for wide braids,
look for _Leather Braiding_, by Bruce Grant ISBN 0-87033-039-X.  He has
a 21-strand flat braid in there, as well as round, and square braids and
every sort of decorative lacing you can think of.  Another good book is
_The Book of Decorative Knots_, Peter Owen, ISBN 1-55821-304-X.  Chapter
6 is "Sinnets" or braids, chapter 7 is "Flat Knots" (using Turk's Head knots
to make a flat pattern, or an extended carrick bend knot to produce a
fairly spectacular piece that can be couched down) and chapter 8 is "Applied
Decorative Knots" which talks about frogs, brocade knot buttons, and a 
couple crafty-type projects.  

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: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
References: <200207231844.g6NIi0m79810@jabberwock.wonderland.com> <3D3E0899.78DC218E@in-tch.com>
Subject: Re: [h-cost] fabric source
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Date: Tue, 23 Jul 2002 20:54:07 -0700
Status: RO

It's fabric (and it doesn't have to just be muslin) that's printed or woven
with a border for use in 1850's skirt flounces.  I think it mainly refers to
the fabric being woven for a specific pattern piece/part of the dress.

Some examples:
http://www.ucad.fr/mmt/chrono/1846-1865/792.jpg
http://www.centraalmuseum.nl/database/Kleur.phtml?GeenTerug=1&ItemId=51
http://www.metmuseum.org/collections/view1.asp?dep=8&full=0&item=1977%2E304%
2E1
http://www.centraalmuseum.nl/database/Item.phtml?ItemId=53&Terug=1

- Kendra


----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Tuesday, July 23, 2002 6:53 PM
Subject: Re: [h-cost] fabric source


> Never even heard of it, but then I don't know much about 19th c.
> costume.  What kind of muslin is it?
> --Sue, curious....
>
> Heather Meadows wrote:
> >
> > has anyone ever found muslin a disposition?  I'm always charmed
> > by plates showing it in gowns from the 1850s, but I've never ever
> > seen anything like it. Maybe one of the reproduction places has it?
> >
> > .heather.
> >
> > _______________________________________________
> > 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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Date: Tue, 23 Jul 2002 22:36:07 -0600
Status: RO

Hey, those are pretty (I liked the second one, except for the bows down
the front <g>, and the last one...less fussy?)! I like the sort of
curved lines of the bodice (shoulders slope, the vertical design lines
curving in), contrasted with the fullness of the skirts.  I'd imagine
you'd have to be using fairly light, crisp fabric on these to make it
work, wouldn't you? or am I completely off-base?
--Sue, who's beginning to suspect that there's very little historical
clothing that she *doesn't* like......;-)

Kendra Van Cleave wrote:
> 
> It's fabric (and it doesn't have to just be muslin) that's printed or woven
> with a border for use in 1850's skirt flounces.  I think it mainly refers to
> the fabric being woven for a specific pattern piece/part of the dress.
> 
> Some examples:
> http://www.ucad.fr/mmt/chrono/1846-1865/792.jpg
> http://www.centraalmuseum.nl/database/Kleur.phtml?GeenTerug=1&ItemId=51
> http://www.metmuseum.org/collections/view1.asp?dep=8&full=0&item=1977%2E304%
> 2E1
> http://www.centraalmuseum.nl/database/Item.phtml?ItemId=53&Terug=1
> 
> - Kendra
> 
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: <h-costume@indra.com>
> Sent: Tuesday, July 23, 2002 6:53 PM
> Subject: Re: [h-cost] fabric source
> 
> > Never even heard of it, but then I don't know much about 19th c.
> > costume.  What kind of muslin is it?
> > --Sue, curious....
> >
> > Heather Meadows wrote:
> > >
> > > has anyone ever found muslin a disposition?  I'm always charmed
> > > by plates showing it in gowns from the 1850s, but I've never ever
> > > seen anything like it. Maybe one of the reproduction places has it?
> > >
> > > .heather.
> > >
> > > _______________________________________________
> > > 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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> h-costume@mail.indra.com
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From h-costume-admin@indra.com  Wed Jul 24 01:38:49 2002
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From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Linen and bloomers (WAS: Re: faking historical fabrics)
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Date: Tue, 23 Jul 2002 21:38:17 -0700
Status: RO

At 9:52 AM +0000 7/23/02, Teddy wrote:
>  > I like it because it breathes, it's often cheaper, and it's easier to
>>  care for. It also feels better against your skin, IMHO. I always find
>>  linen scratchy.
>
>A friend in Sweden has said this to me too... I've found te
>occasional linen scratchy but most of them, once washed, are
>wonderfully soft - to me at least.  Is there a type of linen, perhaps,
>that has shorter fibres or something that results in a scratchier feel?

I have ten yards of very lightweight linen that is _horribly_ 
scratchy. It was bought off a Jo-Ann's sale table for something like 
$2.99 a yard, so I'm actually not terribly surprised that I'm having 
problems with it (you get what you pay for). I've occasionally found 
other linen to be scratchy at first, but this stuff I've washed 
several times and I still can't bear the idea of wearing it next to 
my skin. And of course I bought it to make smocks and bloomers out of 
(thus neatly tying two threads together!).

I can't help wondering if it's been sized to death, or maybe has bits 
of tow in it or something. I think I mentioned it on this list a 
couple of years ago and was advised either to "just keep washing" or 
else to wet it, freeze it, and then rub it and work it back and forth 
as it thaws. Haven't been close to a big enough freezer since, with 
enough time to do that, though ;)

OTOH, all of the really _expensive_ lightweight linen I've ever 
handled has been nice and soft and lovely.....

As for underpants or bloomers, my Renaissance guild admits cheerfully 
that they're not Elizabethan, but strongly suggests them for comfort 
and modesty for any woman who (1) dances or (2) performs up on a 
stage. Our guild's cook was in a stage show years ago, *not* wearing 
such things, tripped over something on stage, and went head over 
teakettle, Revealing All to everyone behind her on stage (fortunately 
not the audience, this is supposed to be a family show!). Most of us 
have plain white or dark colored knee-length things, gathered at 
waist but not knee. (I used a clown costume for the pattern for mine.)

Since the temptation to do silly take-offs on history is always with 
us, some of the other guilds who do Renaissance fairs with us seem to 
make a point of wearing bloomers of the loudest, most outrageous 
fabric they can find -- lime green with yellow happy faces, purple 
Elvis prints, tropical fish, screaming plaids, et cetera. This is 
fine until they trip or something, and there goes the 16th century 
atmosphere.

We, of course, look down from our infinitely superior position 
<tongue firmly in cheek> and point out loftily that _everyone_ knows 
that the thing to make out of green and purple dragon fabric, 
passionate red with black lace hearts, or pink fabric with 
hairbrushes printed on it is one's CORSET. _That_ hardly ever gets 
seen by accident! :)))
-- 
____________________________________________________________
O  Christian Ashley, gentlewoman to Lady Stafford
|     Chris Laning  <claning@igc.org>
+   Guild of St. George, Northern California
____________________________________________________________
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From h-costume-admin@indra.com  Wed Jul 24 03:02:43 2002
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From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
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Subject: [h-cost] Fabric a disposition (WAS: fabric source)
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Date: Tue, 23 Jul 2002 23:39:25 -0700
Status: RO

As far as fabric a disposition, I've seen it done in many different fabrics
of widely different weights.  Some of those silhouettes would definitely
require a light, crisp fabric.

I've wondered about the possibility of buying one of those border-printed
fabrics and cutting off some of the width in order to make flounces.  The
problem would be finding a print/weave that's appropriate...

- Kendra

----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Tuesday, July 23, 2002 9:36 PM
Subject: Re: [h-cost] fabric source


> Hey, those are pretty (I liked the second one, except for the bows down
> the front <g>, and the last one...less fussy?)! I like the sort of
> curved lines of the bodice (shoulders slope, the vertical design lines
> curving in), contrasted with the fullness of the skirts.  I'd imagine
> you'd have to be using fairly light, crisp fabric on these to make it
> work, wouldn't you? or am I completely off-base?
> --Sue, who's beginning to suspect that there's very little historical
> clothing that she *doesn't* like......;-)
>
> Kendra Van Cleave wrote:
> >
> > It's fabric (and it doesn't have to just be muslin) that's printed or
woven
> > with a border for use in 1850's skirt flounces.  I think it mainly
refers to
> > the fabric being woven for a specific pattern piece/part of the dress.
> >
> > Some examples:
> > http://www.ucad.fr/mmt/chrono/1846-1865/792.jpg
> > http://www.centraalmuseum.nl/database/Kleur.phtml?GeenTerug=1&ItemId=51
> >
http://www.metmuseum.org/collections/view1.asp?dep=8&full=0&item=1977%2E304%
> > 2E1
> > http://www.centraalmuseum.nl/database/Item.phtml?ItemId=53&Terug=1
> >
> > - Kendra
> >
> > ----- Original Message -----
> > From: "Sue Clemenger" <mooncat@in-tch.com>
> > To: <h-costume@indra.com>
> > Sent: Tuesday, July 23, 2002 6:53 PM
> > Subject: Re: [h-cost] fabric source
> >
> > > Never even heard of it, but then I don't know much about 19th c.
> > > costume.  What kind of muslin is it?
> > > --Sue, curious....
> > >
> > > Heather Meadows wrote:
> > > >
> > > > has anyone ever found muslin a disposition?  I'm always charmed
> > > > by plates showing it in gowns from the 1850s, but I've never ever
> > > > seen anything like it. Maybe one of the reproduction places has it?
> > > >
> > > > .heather.
> > > >
> > > > _______________________________________________
> > > > 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
> > >
> >
> > _______________________________________________
> > 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] Linen and bloomers (WAS: Re: faking historical fabrics)
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Date: Tue, 23 Jul 2002 23:50:54 -0700
Status: RO


>I have ten yards of very lightweight linen that is _horribly_ scratchy. It 
>was bought off a Jo-Ann's sale table for something like $2.99 a yard, so 
>I'm actually not terribly surprised that I'm having problems with it (you 
>get what you pay for).

OTOH, I got some linen yardage out of a free box in Berkeley, and it never 
was scratchy, even before I washed it.  And I doubt that it had been 
previously washed.

>As for underpants or bloomers, my Renaissance guild admits cheerfully that 
>they're not Elizabethan,

People keep saying that.  They do so too exist in period, mostly from 
Italian and French influence.  Mary, Queen of Scots wore them, probably 
because of her Italian mother-in-law when she was married to the Dauphin of 
France and living in France.  They weren't universally worn, especially by 
the lower classes.

Davenport has photos of a matching set of sixteenth century Sicilian 
underwear, including two shirts, a pair of footless stockings, and two 
pairs of drawers (p.633, ills. 1689-1693).  In the caption for these pieces 
(on p.634), she says "Undererawers, like most refinements of dress, 
originated in Italy.  Moryson mentions "silke or linnen breeches under 
their gownes" as being characteristic of Italian townswomen's dress.  He 
says that they are not worn at all in Germany; they were obviously none too 
common in his native England at the end XVIc."  Apparently this eyewitness 
disagrees with 21st century 'common knowledge'.

>We, of course, look down from our infinitely superior position <tongue 
>firmly in cheek> and point out loftily that _everyone_ knows that the 
>thing to make out of green and purple dragon fabric, passionate red with 
>black lace hearts, or pink fabric with hairbrushes printed on it is one's 
>CORSET. _That_ hardly ever gets seen by accident! :)))

I made a corset lined in pink cotton child-nightgown flannel on which are 
printed little corsets.  I found a remnant just big enough to do this.


Kayta

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Date: Wed, 24 Jul 2002 08:41:04 +0100 (BST)
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> By the way, somebody else on this thread mentioned Tanya from
> Anmod Dracon - she was wearing her new 15th century silk gown at
> Tewkesbury and it was absolutely gorgeous! Dark red, lined in
> gold, with white linen undersleeves - and being a silversmith,
> she's specially made the jewellery to go with it. 

>I was there and I don't recall seeing anything that matched that 
>description!!!! Waaaah!



>Teddy



I probably wouldn't have seen it either, but she came to show me it, because I pointed her in the direction of the silk supplier.  

And Nicole's right, Tanya is one of those people who are just good at whatever they turn their hands to!

Debbie.




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<BLOCKQUOTE style="BORDER-LEFT: #1010ff 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: 5px">
<P>&gt; By the way, somebody else on this thread mentioned Tanya from<BR>&gt; Anmod Dracon - she was wearing her new 15th century silk gown at<BR>&gt; Tewkesbury and it was absolutely gorgeous! Dark red, lined in<BR>&gt; gold, with white linen undersleeves - and being a silversmith,<BR>&gt; she's specially made the jewellery to go with it. <BR><BR>&gt;I was there and I don't recall seeing anything that matched that <BR>&gt;description!!!! Waaaah!<BR><BR><BR><BR>&gt;Teddy<BR></P>
<P><BR>I probably wouldn't have seen it either, but she came to show me it, because I pointed her in the direction of the silk supplier.&nbsp; </P>
<P>And Nicole's right, Tanya is one of those people who are just good at whatever they turn their hands to!</P>
<P>Debbie.</P></BLOCKQUOTE><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Subject: RE: [h-cost] fabric source - a comment and a question
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Date: Wed, 24 Jul 2002 08:17:43 -0300
Status: RO


The comment: re. "muslin" - I have lately been reading more carefully
Godey's, Peterson's, etc. descriptions of their plates.  Muslin is usually
included with the summer sheers.  I get the impression (somebody who really
knows, please tell us) that "muslin" was more like organdy.  The museum
dresses I've handled are often quite sheer but also quite crisp. Alas, the
tag usually is noncommittal - "cotton - 1859-1861" for example.

The question:  those are wonderful images from the Centraal.  How did you
find them?  I'm having trouble getting into their system.

Martha

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Subject: Re: [h-cost] Fabric a disposition (WAS: fabric source)
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Date: Wed, 24 Jul 2002 00:54:39 -0700
Status: RO


>As far as fabric a disposition, I've seen it done in many different fabrics
>of widely different weights.  Some of those silhouettes would definitely
>require a light, crisp fabric.

And some were done with fabric that was lined to get it that way.

>I've wondered about the possibility of buying one of those border-printed
>fabrics and cutting off some of the width in order to make flounces.

Do it.  And make the bodice and sleeves out of the parts you cut off - they 
did.

>The
>problem would be finding a print/weave that's appropriate...

Not really.  Shirt-weight cotton, like what quilters use, ought to do 
fine.  There are other weights they used in period, and other fibres, but 
the range of printed cotton is enormous.


Kayta

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Subject: Re:  [h-cost] Thank you Teddy and Drea
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Date: Wed, 24 Jul 2002 10:18:02 +0000 (GMT)
Status: RO


> Thanks to Teddy and Drea for taking time out of their busy day to go
> to the V&A and look at that garment!
> 
> I know very little about the time period involved but I do know that
> going to the V&A always takes more time than planned, and the
> bookstore is a dangerous thing to walk by.
> 
> Thanks again!

You're welcome.  It was actually the shortest visit I've ever made to 
the V&A....  It would have been shorter still but Drea found out that 
I'd never been to the textiles room....<G>


Teddy
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Subject: [h-cost] Dorset buttons?
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Date: Wed, 24 Jul 2002 11:40:44 +0100 (BST)
Status: RO

I have recently discovered with the help of really fine portraits what kind of
buttons were used on c 1700 gentlemen's shirts when they did use buttons
instead of the two-buttonholes-with-ribbon method. They were these thread-woven
'Dorset buttons' where one uses a ring and then weaves the white thread in and
out and so on, to create the button. 
Does anyone know if it is possible to buy those buttons (I remember they used
to be on my grandmother's bed linens as well) already made? I have a
description on how to make them but I really don't have time to do hat, I
rather buy those. Has anyone heard of a source for them?


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  Wed Jul 24 10:55:11 2002
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Date: Wed, 24 Jul 2002 06:07:43 -0700 (PDT)
Status: RO

> Van der Weyden et als paintings never looked
> gathered into the waist to me. Yes, a seam, but it
> seemed very much a plain seam. 
> Kat 

Hi Kat,
If you have a good source (not necessarily the Web,
where all detail is lost to bad resolution), you may
want to look at:
Dieric Bouts' The Descent from the Cross, left wing --
the lady at the foot of the cross is painted with an
overtly gathered/pleated skirt;
Van der Weyden's Triptych of the Seven Sacraments (the
lady in red looks very much like she has subtle
gathering in the back of her skirt, regardless of the
very loose belt;
Van der Weyden's Triptych of the Adoration of the Magi
which shows a lady in the right panel wearing a bright
green dress. From the relatively high-quality picture
I have, you can just barely make out what might be a
slightly dropped waist seam and a few folds of fabric
that start distinctly at that point. 

There may be other representations, but I'm only privy
to one book: _Rogier van der Weyden_ by Dirk de Vos,
ISBN: 0-8109-6390-6.

Tasha

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Subject: RE: [h-cost] fabric source - a comment and a question
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Date: Wed, 24 Jul 2002 09:49:12 -0400 (EDT)
Status: RO


I've seen both very sheer and drapey muslins, and very sheer and crisp
muslins in regency gowns.  One way to achieve the crispness is to use a
solution of gum arabic when ironing your gown. This is from an 1830s
receipt book. I'll see if I can rustle up the details.


Drea

On Wed, 24 Jul 2002, Martha Kelly wrote:

> 
> The comment: re. "muslin" - I have lately been reading more carefully
> Godey's, Peterson's, etc. descriptions of their plates.  Muslin is usually
> included with the summer sheers.  I get the impression (somebody who really
> knows, please tell us) that "muslin" was more like organdy.  The museum
> dresses I've handled are often quite sheer but also quite crisp. Alas, the
> tag usually is noncommittal - "cotton - 1859-1861" for example.
> 
> The question:  those are wonderful images from the Centraal.  How did you
> find them?  I'm having trouble getting into their system.
> 
> Martha
> 
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Date: Wed, 24 Jul 2002 08:39:22 -0600
Status: RO

Hi, everybody.  I'm looking at this one image from the Manesse Codex,
and durned if it doesn't look like the lower part of his sleeves and the
front seam from his collarbone to his neck are buttoned....Whaddya
think? (this is the gentleman on the left in the red outfit, bottom half
of the page)

http://www.tempora-nostra.de/manesse/img/133.jpg

Virtually all of the other tunic-garments (as opposed to surcoats and
mantles) that I saw in the Codex had tight lower sleeves, but this is
the only garment I remember seeing that also looked like it had a
collar, if not a proto-collar of some sort.  It's also the only one I
say which seemed to be depicting buttons.....

Somehow, I'd pictured button usage as being later that this, but I very
well may be wrong.....I'm wondering if the fact that this seems to be
the only garment with depicted buttons (I looked at most, but not all,
of the 130+ images, so there may be another one in there) indicates that
buttons were a rarity? perhaps a further development of the tight-sleeve
style? or was the artist simply not depicting the buttons on the other
sleeves?

--Sue, full of early-morning musings, and not nearly enough caffeine....
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Date: Wed, 24 Jul 2002 08:31:06 -0600
Status: RO

While digging about in the Manesse Codex this morning, looking for ideas
for my next outfit, I found this image:
http://www.tempora-nostra.de/manesse/img/135.jpg

The second figure from the left, in the yellow tunic, has long hair AND
a beard! <g> In all of the others pictures that I examined, only women
had long hair, while the men's tended to be about chin-length.
Does anybody know if this is depicting an allegory, or if these are
performers of some sort? (there are several scenes in the Codex that
have musicians and dancers, so.....)
It's also one of the only ones I recall seeing wearing a *yellow* tunic
(there were a few that were parti-colored or striped and had yellow),
and all of those seemed to be men as well.....
Just thought I'd throw this out for comments! <g>
--sue
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Subject: [h-cost] Another question from the Manesse Codex
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Date: Wed, 24 Jul 2002 08:46:06 -0600
Status: RO

Geez, I'm chatty this morning....<g>
One of the things I noticed when looking at the garments that the people
were wearing in these images was the persistent appearance, on the
necklines of both men and women, of this broad sort of collar? yoke?
running roughly about where the collarbone sits, and a few inches wide. 
I did not see it in any color except gold, and it seems to be particular
to outer tunics and surcoats.  I did see a few images in which a similar
band appeared on the cuffs of a man's tunic, but....
I'm wondering...are these integral parts of the garment? or are they
depictions of jewelry of some sort? I sure didn't see much evidence at
all of any other kind of jewelry, and I'm not at all familiar with the
styles and customs of Germany during the 13th c.....

Here's a sample of what I mean:

http://www.tempora-nostra.de/manesse/img/017.jpg

Thanks,
Sue....
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Subject: Re: [h-cost] Dorset buttons?
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Date: Wed, 24 Jul 2002 08:54:57 -0600
Status: RO

I sure haven't heard of a source for them, although I've got articles on
how to do them....they don't look too difficult, although I certainly
understand the time issue!
--Sue, in already-hot Montana (in the 90s again today....yech!)

N Kipar wrote:
> 
> I have recently discovered with the help of really fine portraits what kind of
> buttons were used on c 1700 gentlemen's shirts when they did use buttons
> instead of the two-buttonholes-with-ribbon method. They were these thread-woven
> 'Dorset buttons' where one uses a ring and then weaves the white thread in and
> out and so on, to create the button.
> Does anyone know if it is possible to buy those buttons (I remember they used
> to be on my grandmother's bed linens as well) already made? I have a
> description on how to make them but I really don't have time to do hat, I
> rather buy those. Has anyone heard of a source for them?
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From: Teddy <teddy1@mdx.ac.uk>
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Subject: [h-cost] Re: Tewkesbury...?
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Date: Wed, 24 Jul 2002 15:50:53 +0000 (GMT)
Status: RO


> >I was there and I don't recall seeing anything that matched that
> >description!!!! Waaaah!
> 
> >Teddy
> 
> I probably wouldn't have seen it either, but she came to show me it,
> because I pointed her in the direction of the silk supplier.  
> 
> And Nicole's right, Tanya is one of those people who are just good at
> whatever they turn their hands to!
> 
> Debbie.

OK, Debbie, which group at Tewkesbury are you with....?

And if I know you but haven't made the right connections, I 
appologise, but I've always been terrible with putting the right 
names to the right faces.





Teddy
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: 15th century Flemish lady (was 14th cent)
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Date: Wed, 24 Jul 2002 11:17:59 -0500 (CDT)
Status: RO


Kat wrote:

> > Van der Weyden et als paintings never looked
> > gathered into the waist to me. Yes, a seam, but it
> > seemed very much a plain seam. 

Tasha replied:

> Dieric Bouts' The Descent from the Cross, left wing --
> the lady at the foot of the cross is painted with an
> overtly gathered/pleated skirt;

Can you please supply a little more detail about this painting so I can
locate a reproduction of it -- e.g. what collection is it in? I have about
30 books and maybe 400 slides of Flemish art, so I probably have it
somewhere.

If she's at the foot of the cross, she's almost certainly a Magdalen.
Obligatory caveat: Van der Weyden, and most of the Flemish painters who
followed, did some wild things with Magdalens and certain other
Biblical/historical figures. So, unless there's corroborating evidence
from more "normal" characters, any particular detail is suspect. Some
(e.g. hats, skirt slits, trims) are more suspect than others, as they were
deliberately used to indicate that the character was foreign, legendary,
saintly, or otherwise "other" in character. Magdalen was a special case,
in that she is depicted as being cutting-edge fashionable (she was the
equivalent of a courtesan, after all) as well as foreign/other, so the
idea of "fashion" can take some real flights of fancy. (I have a fun
lecture on this.)

> Van der Weyden's Triptych of the Seven Sacraments (the lady in red
> looks very much like she has subtle gathering in the back of her
> skirt, regardless of the very loose belt;

OK, that's a Magdalen, of the stylistic category of "half-undressed
distress." Van der Weyden, and some of those who followed him, give us
nice examples of Magdalen in her underdress, indicating she had other
things on her mind that day than getting properly done up for public
display.

In this case, I'm uncertain just what's going on at the back. It may be
pleats (though not likely gathers) into a seam at the back waist. However,
it's also possible that she did something I've seen on other 15th century
Flemish figures: hiked up the skirt a few inches at the back waist and
pinned (or basted?) the fabric into a horizontal tuck. Because the
horizontal measurement at the hip is much wider than at the waist on a
flared skirt, the excess fullness of the fabric, which would normally
spread over the tush, has to go somewhere when you pull it up, and so it
forms an informal group of pleats at the back waist. What's making me
think this way on this one is the fact that the belt rises a bit above the
waist seam level on the back, and lies gently along the top of what would
be the pulled-up area, which would form a ridge on which the belt might
sit. Conversely, if this were actually a seam, the seam would not be
straight across at the back, but have an odd rise at back waist.

However, there may be just too much fullness here to make the "pulling up"
idea a legit interpretation. It's hard to tell -- I have six or seven
reproductions of this painting in books, but none are clear. I will have
to go back to the slides I took of this painting in Antwerp. I think I may
have a closeup of this lady. But, um, don't expect me to get to it today.

> Van der Weyden's Triptych of the Adoration of the Magi which shows a
> lady in the right panel wearing a bright green dress. From the
> relatively high-quality picture I have, you can just barely make out
> what might be a slightly dropped waist seam and a few folds of fabric
> that start distinctly at that point.

Assuming I've got the right painting (Munich, Pinakothek, the St. Columba
Altarpiece?), she's Mary's companion, another Biblical/legendary figure
(see her hat and the skirt slit? dead giveaways). Her back waist may be
OK, though. It looks pleated to me, not gathered.

If so, what this tells us is that pleating into the back seam was not
unknown. From a practical standpoint, it also makes sense. It's during
this period that a second form of the fitted underdress appears -- the
original version being cut in one length with no waist seam, and the new
version (showing up around 1440-50) having a waist seam. The waist-seam
version apparently did not replace the cut-in-one version, as both
continue to appear frequently in art for the last half of the 1400s. Now,
it happens that one of the most annoying parts of the fitting of a
cut-in-one fitted dress is the small of the back. It's common to get a
crease there, if the woman has a fairly large expansion of the hip or a
sizable protrusion of the tush below a smallish waist. There are several
ways to fit around this. On a cut-in-one dress, the two best solutions
seem to be fitting the curve of the back vertically on the back seam
and/or adding a gore in the center back. If you have a waist seam, though,
that adds the opportunity to make the back waist of the skirt a little
larger than the back waist of the bodice section, and you can take up the
excess width needed to make it around the hips by pleating in the
difference at the waist. I think this is what we see in dresses such as
the Seven Sacraments example.

But ... it's also important to note that this applies only to the back
waist. In fact, I can't think of any examples from Franco-Flemish fashion
of this period that have pleats all the way around, and I can't recall
examples of waist *gathers* at all. If we view the back pleats as a
solution to the tush-expansion wrinkle, it makes sense that the pleats
would only be here, as a technique for fitting closely over a lump. The
idea of pleating a skirt into a bodice all the way around -- just as a
means of skirt attachment -- is inconsistent with the overall silhouette
of this time, as it would add bulk in places where you don't want bulk.
The fullness of the skirt at front and sides still seems to be achieved
primarily by flare, and the top of the skirt, where possible, fits neatly
and plainly into the waist seam, as Kat described. So, the silhouette of
the fitted dress remains substantively the same at the waist/hip level,
with the chief differences in the two versions (waisted and waistless)
occurring above the waist, in the placement of the bosom and the structure
of the bodice section.

(As with almost everything I say about Flanders, this is not necessarily
the case in Italy.)

So, more food for thought.

--Robin




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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Linen and bloomers (WAS: Re: faking historical fabrics)
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Date: Wed, 24 Jul 2002 12:10:51 -0400
Status: RO

> I have ten yards of very lightweight linen that is _horribly_ 
> scratchy. It was bought off a Jo-Ann's sale table for something like 
> $2.99 a yard, so I'm actually not terribly surprised that I'm having 
> problems with it (you get what you pay for). I've occasionally found 
> other linen to be scratchy at first, but this stuff I've washed 
> several times and I still can't bear the idea of wearing it next to 
> my skin. And of course I bought it to make smocks and bloomers out of 
> (thus neatly tying two threads together!).

The absolute *best* linen I ever got my hands on was by a total freak 
of nature.  It was a going out of business sale for House of Fabrics 
(which, I belive, was bought up by JoAnn's) about 10 years ago and my 
mom and I were dutifully raiding the sale tables whereupon she found an 
entire bolt of the finest, softest, drapiest, loveliest white linen on 
the planet for something like $2.00/yard.  We bought the remainder of 
the bolt which amounted to roughly 10 yards or so.  I currently have 
one corset I never wear made from it and a high-necked Elizabethan 
chemise that gets regular abuse.  It wrinkles like a bitch, but it's 
absolutely heavenly fabric and very much the antithesis of the linen 
I've been able to find lately from places like Pheonix Textiles and 
Fabrics-Store.com, which tend toward the scratchy, coarse side of 
things.

Incedentally, at that same sale I scored 5 yards of the most gorgeous 
dress weight burgundy wool which will one day, I swear, become a good 
Elizabethan petticoat bodies.  Honest.  

> 
> I can't help wondering if it's been sized to death, or maybe has bits 
> of tow in it or something. I think I mentioned it on this list a 
> couple of years ago and was advised either to "just keep washing" or 
> else to wet it, freeze it, and then rub it and work it back and forth 
> as it thaws. Haven't been close to a big enough freezer since, with 
> enough time to do that, though ;)

I'm just guessing, but I don't think it's the sizing so much as the 
actual fiber that's beind used.  I know *nothing* about producing 
linen, but it seems to me that in comparison between the really fine 
lovely stuff and the more recent linen purchases I've made, the quality 
of the fiber is different.  Maybe the manufacturers are using a lesser 
quality plant?  Cheaper processing of the plant?  I dunno... I do know 
that, yes, after a zillion washings the coarser linen becomes less 
coarse, but it sort of begins to pill at a certain point, which I'm 
guessing has something to do with the way the fibers were spun to begin 
with (this stuff tends to be rather slubby, and the only thing I can 
think of that is similar is silk duiponi, so it makes me wonder if the 
manufacturers are using broken fibers spun together, creating a coarser 
weave that isn't as strong... Could be way off base with this, 
though).  The fine linen chemise, however, has stood up to rigorous 
washings and wearings over the last 5 or so years and has remained as 
smooth and lovely as it was when I first bought the material.  And not 
in the least bit itchy. :)

> As for underpants or bloomers, my Renaissance guild admits cheerfully 
> that they're not Elizabethan, but strongly suggests them for comfort 
> and modesty for any woman who (1) dances or (2) performs up on a 
> stage. Our guild's cook was in a stage show years ago, *not* wearing 
> such things, tripped over something on stage, and went head over 
> teakettle, Revealing All to everyone behind her on stage (fortunately 
> not the audience, this is supposed to be a family show!). Most of us 
> have plain white or dark colored knee-length things, gathered at 
> waist but not knee. (I used a clown costume for the pattern for mine.)

I'm split over the issue of wearing bloomers for comfort... They tend 
to make me sweat more, mainly because its one more layer of clothing to 
deal with, but OTOH, they're so darned cute!  

> 
> Since the temptation to do silly take-offs on history is always with 
> us, some of the other guilds who do Renaissance fairs with us seem to 
> make a point of wearing bloomers of the loudest, most outrageous 
> fabric they can find -- lime green with yellow happy faces, purple 
> Elvis prints, tropical fish, screaming plaids, et cetera. This is 
> fine until they trip or something, and there goes the 16th century 
> atmosphere.

Well, it's still better than unninentionally mooning the audience, 
especially with the fact that REC holds it's performers to that 
good 'ol PG rating.  

> 
> We, of course, look down from our infinitely superior position 
> <tongue firmly in cheek> and point out loftily that _everyone_ knows 
> that the thing to make out of green and purple dragon fabric, 
> passionate red with black lace hearts, or pink fabric with 
> hairbrushes printed on it is one's CORSET. _That_ hardly ever gets 
> seen by accident! :)))

Heh.  I think I need to make more amusing underwear... ;)

Sarah
http://www.elizabethanlady.com
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Medieval cross-dressing?
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Date: Wed, 24 Jul 2002 12:16:09 -0400
Status: RO



> While digging about in the Manesse Codex this morning, looking for 
ideas
> for my next outfit, I found this image:
> http://www.tempora-nostra.de/manesse/img/135.jpg
> 
> The second figure from the left, in the yellow tunic, has long hair 
AND
> a beard! <g>

LOL!  I have an ex-boyfriend who looked *exactly* like that prior to 
cutting his hair.  The resemblence is uncanny... ;)

Sarah
http://www.elizabethanlady.com
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Subject: Re: [h-cost] Linen and bloomers 
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Date: Wed, 24 Jul 2002 09:55:56 -0700
Status: RO


> >As for underpants or bloomers, my Renaissance guild admits cheerfully
> >that they're not Elizabethan,
> 
> People keep saying that.  They do so too exist in period, mostly from
> Italian and French influence.  Mary, Queen of Scots wore them,
> probably because of her Italian mother-in-law when she was married to
> the Dauphin of France and living in France.  They weren't universally
> worn, especially by the lower classes.

But as she said, they're not Elizabethan. They are French, Italian 
and Spain (where they started but then segued to Italy with the 
Spanish people who took over parts of Italy.)

> Davenport has photos of a matching set of sixteenth century Sicilian
> underwear, including two shirts, a pair of footless stockings, and two
> pairs of drawers (p.633, ills. 1689-1693).  In the caption for these
> pieces (on p.634), she says "Undererawers, like most refinements of
> dress, originated in Italy.  Moryson mentions "silke or linnen
> breeches under their gownes" as being characteristic of Italian
> townswomen's dress.  He says that they are not worn at all in Germany;
> they were obviously none too common in his native England at the end
> XVIc."  Apparently this eyewitness disagrees with 21st century 'common
> knowledge'.

It's interesting to see the influx of them into Italy. There are some 
charming letters written about the subject (and the "townswomen's" 
reactions to them) from either the d'Este sisters or Lucrezia Borgia 
(and I don't have time to look them up right now.) These ladies (who 
were considered very "fast" in their day) brought them from Spain 
(where they were evidently much more common, although still 
more among the "fast" crowd than the "nice" ladies.) Their 
discourse reminded me a lot about the reaction to pierced earrings 
back in the late '60 where it went from something only "girls from 
the wrong side of the tracks" did, to something (by the mid '70's) 
that even my ultra-religious mom did!


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Wed, 24 Jul 2002 09:55:56 -0700
Status: RO


> Hi Kat,
> If you have a good source (not necessarily the Web,
> where all detail is lost to bad resolution), you may
> want to look at:

Thanks, Tasha, I'll look them up. I've got tons of books on the 
artists of that time (several on Van der Weyden if you count the 
museum catalogues too.) (No time right now. Barely time to do 
email. Got to get that reunion dress done!)


Kat 

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Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Plait braiding solution for trim
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Date: Wed, 24 Jul 2002 09:55:56 -0700
Status: RO

 
> > It is different than fingerloop braiding. The simplest "plait braid"
> > is what we do to hair with 3 strands. Most plait braiding takes many
> > more strands, however. It is still used for some passamentarie. I
> > had some wonderful (machine, not that I had done) plait braid that
> > looked like Celtic knotwork. 
> 
> In other words, the type of braiding you'd find in a sailors'
> handbook? For making sea mats and bolsters and such?  

Yes, although those tend to be of specific size (dependant upon 
your rope diameter) rather than in yardage like Colleen wants. (It's 
why I didn't add the knot book references I have to her list.)


I've found that
> those same knots and plaits show up in japanese kumihimo books and
> books on chinese decorative knots and braids.  If I've understood you,
> you mean a typical _braided_ strand.  Ah, I know the other place I've
> seen that stuff... traditional leatherworking uses round, hollow and
> flat braids quite often.

Yes. The plait refers to the flatness of the braid, as opposed to 
round, spiral, hollow, etc. That's why I listed the Japanese and 
Peruvian sources, is that they do. (But Collingwood is still the best 
for what she wants.)
 
>   But
> for wide braids, look for _Leather Braiding_, by Bruce Grant ISBN
> 0-87033-039-X.  He has a 21-strand flat braid in there, as well as
> round, and square braids and every sort of decorative lacing you can
> think of.  

Oh, great. One  I don't have. Sigh.

Another good book is _The Book of Decorative Knots_, Peter
> Owen, ISBN 1-55821-304-X. 

Got this one, but deliberately left it off her list.



Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] Processing Linen
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Date: Wed, 24 Jul 2002 12:17:07 -0500
Status: RO

This is a multi-part message in MIME format.

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Maybe this short bit will help you with why some linen is more scratchy =
than others.

First off- linen is a bast fiber- that means it comes from the stem of =
the plant- the best flax is pulled up by the roots in the flowering =
stage, and allowed to dry- most flax is now raised to produce linseed =
oil so the fiber is not as much bred for as it used to be- so modern =
variations may be a bit less desirable.=20

The flax is first laid out in bundles to dry thoroughly and when this is =
accomplished it is put in a still source of water (like a pool or =
trough) and allowed to "rett" or rot for a few days- this helps break =
down the outer stem fiber.  It is taken out after a suitable period and =
allowed to dry again. The linen is then scrutched- or broken, by beating =
it or breaking the stem down in a special device. It is then ready to =
hackle- the first hackle looks like big iron nails driven into a board =
and the flax is brought down upon it and pulled through these "nail =
bristles"  to break up the fibers and take off the outer "shell" of the =
stem. The coarse fiber from this is called tow- and may have outer bits =
of  stem in it. The fiber from the flax is then hackled through =
repeatedly finer "hackles" the finest being similar to a fine steel wire =
brush- what is left by the finest brush is your finest  and longest =
fibers. As the flax progresses through each brush or hackle some is left =
behind in the brush and that is your coarser shorter fiber. It will have =
to be twisted tighter in spinning making a stiffer fabric and leave more =
ends sticking out to scratch than the long fine fibers of the final =
hackling- which can be spun with a lighter twist and still have them =
"hang" together. Because there is not much left after the final hackle =
some will not use as fine a brush to leave more fiber from the original =
source.
MJ

Doug and Marna Jean Davis
Shooting Star Enterprises
Living History & Custom Historical Clothing
http://www.shootingstarhistory.com/home.html
 oakley@access-one.com
Alternate email-
oakley@shootingstarhistory.com

Instructor for www.costumeclassroom.com -
 Victorian and Old West Era=20
Online Classes in History and Period Sewing

------=_NextPart_000_0024_01C2330C.075C2A60
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Dwindows-1252" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2919.6307" name=3DGENERATOR></HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Times New Roman">Maybe this short bit will help you =
with why=20
some linen is more scratchy than others.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">First off- linen is a bast fiber- =
that means=20
it comes from the stem of the plant- the best flax is pulled up by the =
roots in=20
the flowering stage, and allowed to dry- most flax is now raised to =
produce=20
linseed oil so the fiber is not as much bred for as it used to be- so =
modern=20
variations may be a bit less desirable. </FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">The flax is first laid out in =
bundles to dry=20
thoroughly and when this is accomplished it is put in a still source of =
water=20
(like a pool or trough) and allowed to "rett" or rot for a few days- =
this helps=20
break down the outer stem fiber.&nbsp; It is taken out after a suitable =
period=20
and allowed to dry again. The linen is then scrutched- or broken, by =
beating it=20
or breaking the stem down in a special device. It is then ready to =
hackle- the=20
first hackle looks like big iron nails driven into a board and the flax =
is=20
brought down upon it and pulled through these&nbsp;"nail bristles"  to =
break up=20
the fibers and take off the outer "shell" of the stem. The coarse fiber =
from=20
this is called tow- and may have outer bits of&nbsp; stem in it. The =
fiber from=20
the flax is then hackled through repeatedly finer "hackles" the finest =
being=20
similar to a fine steel wire brush- what is left by the finest brush is =
your=20
finest&nbsp; and longest fibers. As the flax progresses through each =
brush or=20
hackle some is left behind in the brush and that is your coarser shorter =
fiber.=20
It will have to be twisted tighter in spinning making a stiffer fabric =
and leave=20
more ends sticking out to scratch than the long fine fibers of the final =

hackling- which can be spun with a lighter twist and still have them =
"hang"=20
together. Because there is not much left after the final hackle some =
will not=20
use as fine a brush to leave more fiber from the original =
source.</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">MJ</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">Doug and Marna Jean =
Davis<BR>Shooting Star=20
Enterprises<BR>Living History &amp; Custom Historical Clothing<BR><A=20
href=3D"http://www.shootingstarhistory.com/home.html">http://www.shooting=
starhistory.com/home.html</A><BR>&nbsp;<A=20
href=3D"mailto:oakley@access-one.com">oakley@access-one.com</A><BR>Altern=
ate=20
email-<BR><A=20
href=3D"mailto:oakley@shootingstarhistory.com">oakley@shootingstarhistory=
.com</A></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">Instructor for <A=20
href=3D"http://www.costumeclassroom.com">www.costumeclassroom.com</A>=20
-<BR>&nbsp;Victorian and Old West Era <BR>Online Classes in History and =
Period=20
Sewing</FONT></DIV></BODY></HTML>

------=_NextPart_000_0024_01C2330C.075C2A60--

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Date: Wed, 24 Jul 2002 12:05:36 -0500
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Count me in as another linen fan!  I've found a variety of linen over the last year, some scratchy, some not.  I have some of the yarn dye linen from Frabrics-store.com and it is probably the stiffest/scratchiest, but I'm not planning on using it for undergarments.  I've washed at several times and it's still stiff so I may try a fabric softener next.  I think I'm learning what linen is worth paying the price for :).

I'm also another bloomers fan and couldn't survive the midwest heat and humidity without them.  I even wear them w/ pantyhose, much more comfortable.  Originally I used cotton sheeting but recently switched to a cotton/linen blend and noticed a big improvement. 100% linen is next!

Catherine
(PS; try Desinex instead of Lotrimin for chafing :) )

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Subject: [h-cost] muslin
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Date: Wed, 24 Jul 2002 12:34:02 -0500
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According to the Dictionary of Needlework 1882-
Muslin- A thin and more or less transparent cotton textile of Eastern =
Origin...
... There are many varieties of muslin, such a A dressed and stiffened =
variety called Swiss mull, Cambric muslin- an imitation of linen... =
Nainsook, Leno(soft, fine and gauze-like)
>From Textiles in America:
1833- English made muslin is made in 3 distinct kinds hard(stiffened or =
dressed) soft(undressed and an imitation of India muslin) and lawn book =
(stiffer and less clear than the hard book muslin)
Muslin could be had in stripes, colors and prints-

sooo... basically its a plain weave cotton and the "use" of the term =
changes throughout the Victorian era. Usually it has fairly fine threads =
and a plain weave- the rest? well- it depends on "what type" of muslin =
it is - In 1833 there were 25 varieties listed in one book...
MJ

Doug and Marna Jean Davis
Shooting Star Enterprises
Living History & Custom Historical Clothing
http://www.shootingstarhistory.com/home.html
 oakley@access-one.com
Alternate email-
oakley@shootingstarhistory.com

Instructor for www.costumeclassroom.com -
 Victorian and Old West Era=20
Online Classes in History and Period Sewing

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<META content=3D"text/html; charset=3Dwindows-1252" =
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<META content=3D"MSHTML 5.00.2919.6307" name=3DGENERATOR></HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Times New Roman">According to the Dictionary of =
Needlework=20
1882-</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">Muslin- A thin and more or less =
transparent=20
cotton textile of Eastern Origin...</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">... There are many varieties of =
muslin, such a=20
A dressed and stiffened variety called Swiss mull, Cambric muslin- an =
imitation=20
of linen... Nainsook, Leno(soft, fine and gauze-like)</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">From Textiles in =
America:</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">1833- English made muslin is made in =
3=20
distinct kinds hard(stiffened or dressed) soft(undressed and an =
imitation of=20
India muslin) and lawn book (stiffer and less clear than the hard book=20
muslin)</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">Muslin could be had in stripes, =
colors and=20
prints-</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">sooo... basically its a plain weave =
cotton and=20
the "use" of the term changes throughout the Victorian era. Usually it =
has=20
fairly fine threads and a plain weave- the rest? well- it depends on =
"what type"=20
of muslin it is - In 1833 there were 25 varieties listed in one=20
book...</FONT></DIV>
<DIV><FONT face=3D"Times New Roman">MJ</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">Doug and Marna Jean =
Davis<BR>Shooting Star=20
Enterprises<BR>Living History &amp; Custom Historical Clothing<BR><A=20
href=3D"http://www.shootingstarhistory.com/home.html">http://www.shooting=
starhistory.com/home.html</A><BR>&nbsp;<A=20
href=3D"mailto:oakley@access-one.com">oakley@access-one.com</A><BR>Altern=
ate=20
email-<BR><A=20
href=3D"mailto:oakley@shootingstarhistory.com">oakley@shootingstarhistory=
.com</A></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Times New Roman">Instructor for <A=20
href=3D"http://www.costumeclassroom.com">www.costumeclassroom.com</A>=20
-<BR>&nbsp;Victorian and Old West Era <BR>Online Classes in History and =
Period=20
Sewing</FONT></DIV></BODY></HTML>

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Subject: Re: [h-cost] Linen and Bloomers
In-Reply-To: <sd3e9816.039@gatedo.kumc.edu> "from Catherine Kinsey at Jul 24,
 2002 12:05:36 pm"
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Date: Wed, 24 Jul 2002 10:36:49 -0700 (PDT)
Status: RO

so which linens would folks recommend for undergarments that can be purchased
online?  


> Count me in as another linen fan!  I've found a variety of linen over the last year, some scratchy, some not.  I have some of the yarn dye linen from Frabrics-store.com and it is probably the stiffest/scratchiest, but I'm not planning on using it for undergarments.  I've washed at several times and it's still stiff so I may try a fabric softener next.  I think I'm learning what linen is worth paying the price for :).
> 
> I'm also another bloomers fan and couldn't survive the midwest heat and humidity without them.  I even wear them w/ pantyhose, much more comfortable.  Originally I used cotton sheeting but recently switched to a cotton/linen blend and noticed a big improvement. 100% linen is next!
> 
> Catherine
> (PS; try Desinex instead of Lotrimin for chafing :) )
> 
> _______________________________________________
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Subject: Re: [h-cost] Linen and bloomers (WAS: Re: faking historical fabrics)
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Date: Wed, 24 Jul 2002 11:05:04 -0700
Status: RO

 
> The absolute *best* linen I ever got my hands on was by a total freak
> of nature.  It was a going out of business sale for House of Fabrics
> (which, I belive, was bought up by JoAnn's) about 10 years ago 

In some areas JoAnn's bought them directly. However, those were 
only the ones recently who had survived being bought out by 
Fabricland 10 years ago. (Who then was bought out by JoAnn's.) 
(House of Fabrics was the one I couldn't remember last week when 
we were discussing the loss of fabric stores.)

> I'm just guessing, but I don't think it's the sizing so much as the
> actual fiber that's beind used.  I know *nothing* about producing
> linen, but it seems to me that in comparison between the really fine
> lovely stuff and the more recent linen purchases I've made, the
> quality of the fiber is different.  Maybe the manufacturers are using
> a lesser quality plant?  Cheaper processing of the plant?  

My guess would be a change in processing or going after second 
quality fibre. You can still get the good stuff (even at JoAnn's). 
However, sizing would wash out after the first or second time.

> I do know that, yes, after a zillion washings the coarser linen
> becomes less coarse, but it sort of begins to pill at a certain point,

If it is pilling, then chances are you have a blend, not 100%. It is 
usually the cotton, poly, rayon or whatever that makes it pill.

Linen will generally just get very, very thin before it wears through, 
rather than pilling or getting rips (like cotton and others do.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From h-costume-admin@indra.com  Wed Jul 24 14:48:34 2002
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Subject: Re: [h-cost] Medieval cross-dressing?
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Date: Wed, 24 Jul 2002 12:23:46 -0600
Status: RO

On Wed, Jul 24, 2002 at 08:31:06AM -0600, Sue Clemenger wrote:
> http://www.tempora-nostra.de/manesse/img/135.jpg

I'm not sure why, but it strikes me that this looks like a depiction
of something theatrical - all of the figures are men, but one is
wearing a wig and playing a woman.  The jester-like mask at the top is
probably another clue towards this, as is the note that musicians and
dancers are shown in other pages.  But then again, *shrug*.

						...eliz

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Subject: [h-cost] Re: Dorset buttons?
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Date: Wed, 24 Jul 2002 19:52:38 +0100 (BST)
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>I have recently discovered with the help of really fine portraits what kind of
>buttons were used on c 1700 gentlemen's shirts when they did use buttons
>instead of the two-buttonholes-with-ribbon method. They were these thread-woven
>'Dorset buttons' where one uses a ring and then weaves the white thread in and
>out and so on, to create the button. 
>Does anyone know if it is possible to buy those buttons (I remember they used
>to be on my grandmother's bed linens as well) already made? I have a
>description on how to make them but I really don't have time to do hat, I
>rather buy those. Has anyone heard of a source for them?
>
>
>Nicole

Dear Nicole,
How many do you need?  
I make Dorset thread buttons for my own costumes, and will make them to order for other people(price depends on the size of the button).  I can do them in linen, silk or cotton.  (Yet another thing my Nana taught me!)
Debbie.
PS Will you be at Kirby Hall?




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<P>&nbsp;<BR>&gt;I have recently discovered with the help of really fine portraits what kind of<BR>&gt;buttons were used on c 1700 gentlemen's shirts when they did use buttons<BR>&gt;instead of the two-buttonholes-with-ribbon method. They were these thread-woven<BR>&gt;'Dorset buttons' where one uses a ring and then weaves the white thread in and<BR>&gt;out and so on, to create the button. <BR>&gt;Does anyone know if it is possible to buy those buttons (I remember they used<BR>&gt;to be on my grandmother's bed linens as well) already made? I have a<BR>&gt;description on how to make them but I really don't have time to do hat, I<BR>&gt;rather buy those. Has anyone heard of a source for them?<BR>&gt;<BR>&gt;<BR>&gt;Nicole<BR><BR>Dear Nicole,
<P>How many do you need?&nbsp; 
<P>I make Dorset thread buttons for my own costumes, and will make them to order for other people(price depends on the size of the button).&nbsp; I can do them in linen, silk or cotton.&nbsp; (Yet another thing my Nana taught me!)
<P>Debbie.
<P>PS Will you be at Kirby Hall?</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Dorset buttons?
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Date: Wed, 24 Jul 2002 11:26:50 -0700
Status: RO


>Does anyone know if it is possible to buy those buttons (I remember they used
>to be on my grandmother's bed linens as well) already made? I have a
>description on how to make them but I really don't have time to do hat, I
>rather buy those. Has anyone heard of a source for them?

Not since the 'Teens or maybe 'Twenties, when they were available thru some 
mail-order catalogs.


Kayta

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Subject: Re: [h-cost] Dorset buttons?
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Date: Wed, 24 Jul 2002 20:36:50 +0200
Status: RO

Dear Sue.
I baught some buttons from Najecki Reproduktions in USA. They used to have this
website: http://members.aol.com/Najecki/repro.html
But it is not there any more.
They also had some very fine buckles for Stock Kravats, i baught one also. Perhaps
you could try to search for them. Perhaps they mooved webspace to somewhere else.

Bjarne

Sue Clemenger wrote:

> I sure haven't heard of a source for them, although I've got articles on
> how to do them....they don't look too difficult, although I certainly
> understand the time issue!
> --Sue, in already-hot Montana (in the 90s again today....yech!)
>
> N Kipar wrote:
> >
> > I have recently discovered with the help of really fine portraits what kind of
> > buttons were used on c 1700 gentlemen's shirts when they did use buttons
> > instead of the two-buttonholes-with-ribbon method. They were these thread-woven
> > 'Dorset buttons' where one uses a ring and then weaves the white thread in and
> > out and so on, to create the button.
> > Does anyone know if it is possible to buy those buttons (I remember they used
> > to be on my grandmother's bed linens as well) already made? I have a
> > description on how to make them but I really don't have time to do hat, I
> > rather buy those. Has anyone heard of a source for them?
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Date: Wed, 24 Jul 2002 20:22:10 +0100
Status: RO

Carolyn Kayta Barrows <kayta@frys.com> wrote
>
>>I have ten yards of very lightweight linen that is _horribly_ 
>>scratchy. It was bought off a Jo-Ann's sale table for something like 
>>$2.99 a yard, so I'm actually not terribly surprised that I'm having 
>>problems with it (you get what you pay for).
>
>OTOH, I got some linen yardage out of a free box in Berkeley, and it 
>never was scratchy, even before I washed it.  And I doubt that it had 
>been previously washed.
>
>>As for underpants or bloomers, my Renaissance guild admits cheerfully 
>>that they're not Elizabethan,
>
>People keep saying that.  They do so too exist in period, mostly from 
>Italian and French influence.  Mary, Queen of Scots wore them, probably 
>because of her Italian mother-in-law when she was married to the 
>Dauphin of France and living in France.

We always knew she was a shameless foreign tart!

Jean

> They weren't universally worn, especially by the lower classes.
>
>Davenport has photos of a matching set of sixteenth century Sicilian 
>underwear, including two shirts, a pair of footless stockings, and two 
>pairs of drawers (p.633, ills. 1689-1693).  In the caption for these 
>pieces (on p.634), she says "Undererawers, like most refinements of 
>dress, originated in Italy.  Moryson mentions "silke or linnen breeches 
>under their gownes" as being characteristic of Italian townswomen's 
>dress.  He says that they are not worn at all in Germany; they were 
>obviously none too common in his native England at the end XVIc." 
>Apparently this eyewitness disagrees with 21st century 'common knowledge'.
>
>>We, of course, look down from our infinitely superior position <tongue 
>>firmly in cheek> and point out loftily that _everyone_ knows that the 
>>thing to make out of green and purple dragon fabric, passionate red 
>>with black lace hearts, or pink fabric with hairbrushes printed on it 
>>is one's CORSET. _That_ hardly ever gets seen by accident! :)))
>
>I made a corset lined in pink cotton child-nightgown flannel on which 
>are printed little corsets.  I found a remnant just big enough to do 
>this.
>
>
>Kayta
>
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Subject: [h-cost] dorset button source
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Date: Wed, 24 Jul 2002 12:27:41 -0700
Status: RO


http://www.najecki.com/repro/reproindex.html

this online site lists Dorset button reproductions - I have never used them,
just found them on the web.

Good Luck!

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Subject: [h-cost] Dorset Buttons
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Date: Wed, 24 Jul 2002 15:56:58 -0400
Status: RO



www.woodedhamlet.com has dorsets (and lots of other goodies also)

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Date: Wed, 24 Jul 2002 12:50:09 -0700
Status: RO

The vintage ones show up on ebay occasionally.

Fran

Carolyn Kayta Barrows wrote:

> >Does anyone know if it is possible to buy those buttons (I remember they used
> >to be on my grandmother's bed linens as well) already made? I have a
> >description on how to make them but I really don't have time to do hat, I
> >rather buy those. Has anyone heard of a source for them?
>
> Not since the 'Teens or maybe 'Twenties, when they were available thru some
> mail-order catalogs.

---------------------------------------------
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Subject: Re: [h-cost] Linen and Bloomers
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Date: Wed, 24 Jul 2002 14:15:58 -0500
Status: RO



> so which linens would folks recommend for undergarments that can be
purchased
> online?
>
 I bought white 100% linen from fabric.com (aka Phoenix Textiles) and it is
lovely - nice and soft. I made a shirt for my husband with it and hope to be
able to buy more soon for more shirts for him and me. I also bought a
linen/cotton blend from them that worked wonderfully - I have lined a
doublet, venetians and most of a kirtle/petticoat bodies with it (however I
need a little bit more to finish the skirt). Again, nice and soft and washes
well.

My $0.02.

**********************
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
**********************


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Date: Wed, 24 Jul 2002 16:11:27 +0000
Status: RO

Oh Drek!!!  >:(

I accidentally deleted the phone number for Hedgehog Handiworks, as well
as their website and catalog cost information. Could someone please
re-post this?

Thanks!


					Arlys

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Date: Wed, 24 Jul 2002 19:53:40 EDT
Status: RO

Whoops!!:) No problem to repeat!!
Hedgehog Handworks---proprieters Joady and Jerry Gorelick--888-670-6040;fax 
310-216-2872--also I found their online address:)
http://www.hedgehoghandworks.com
Happy metal thread hunting:)
Cheers and Best---
Albra
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Subject: Re: [h-cost] Great place to shop for fabric in MA:Was: You live in Boston?  (WAS:Re: shop and home economics)
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Date: Wed, 24 Jul 2002 21:02:29 -0400
Status: RO

Ummm, from what I remember, it wouldn't have been hard to make it more
organized, but you're right- it was a great place to go.  My mom took me
there once in a while when we were havin ladies' day out going from fabric
outlet to fabric outlet.  (unfortunately, most of them have gone under since
then, accordin to my mom.);-p
Moira

> At 9:17 AM -0700 7/21/02, Saragrace knauf wrote:
> There is a fabulous place in Springfield MA, called Osgood's.  When I
> used to work at UMass in the costume shop (another lifetime ago), we
> used to shop there.  But it was there a few years ago when I was
> visiting too-much more organized than I remembered it!


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Date: Wed, 24 Jul 2002 19:01:00 +0000
Status: RO

Thanks much!!!!  8)

			Arlys

On Wed, 24 Jul 2002 19:53:40 EDT AlbraKat@aol.com writes:
> Whoops!!:) No problem to repeat!!
> Hedgehog Handworks---proprieters Joady and Jerry 
> Gorelick--888-670-6040;fax 
> 310-216-2872--also I found their online address:)
> http://www.hedgehoghandworks.com
> Happy metal thread hunting:)
> Cheers and Best---
> Albra
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] Centraal Museum (WAS: fabric source - a comment and a question)
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Date: Wed, 24 Jul 2002 19:35:57 -0700
Status: RO

----- Original Message -----
From: "Martha Kelly" <marthakelly@nyc.rr.com>
Subject: RE: [h-cost] fabric source - a comment and a question


<snip>
> The question:  those are wonderful images from the Centraal.  How did you
> find them?  I'm having trouble getting into their system.

To get into the Centraal Museum's image database (which, FYI, is only in
Dutch) start at:

http://www.centraalmuseum.nl/eng_/eng_data/index_choice.html (which is the
"Collections" link from the English home page)
- click on "Collection Database"
- click on "Mode en Kostuums"
- if you know any Dutch, you can search from this page, OR to just page
through all of their images (worth it!) just click on the very far right
orange arrow (to the right of the search boxes)
- you'll see image links in sets of 5.  to page forward, click on "Volgende
5"
- notice that a lot of the images have "Kleur" links at the bottom -- click
on that for a larger, color image

Happy drooling!

- Kendra


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From h-costume-admin@indra.com  Wed Jul 24 23:42:52 2002
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From: "Wanda Pease" <wandap@hevanet.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Wed, 24 Jul 2002 20:37:46 -0700
Status: RO

Got it!  While I was in Germany in May I picked up a German edition of the
Manesse.  Lovely pictures, who needs to read German!  The Picture is of
Sampson before he met up with Delilah!  The other three guys are Knights.
I'm going to send the whole page of text to my friend Master Klement St.
Christophe to see if he can give me a better idea of what the whole thing is
about.

The gold necklines are yokes.  That is, they are part of the outfit, not
jewelry.  There are a couple of examples in the treasury in Frankfurt am
Main if I remember correctly.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Elizabeth Lear
Sent: Wednesday, July 24, 2002 11:24 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Medieval cross-dressing?


On Wed, Jul 24, 2002 at 08:31:06AM -0600, Sue Clemenger wrote:
> http://www.tempora-nostra.de/manesse/img/135.jpg

I'm not sure why, but it strikes me that this looks like a depiction
of something theatrical - all of the figures are men, but one is
wearing a wig and playing a woman.  The jester-like mask at the top is
probably another clue towards this, as is the note that musicians and
dancers are shown in other pages.  But then again, *shrug*.

						...eliz

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From h-costume-admin@indra.com  Thu Jul 25 00:02:49 2002
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Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Wed, 24 Jul 2002 20:58:03 -0700
Status: RO

The "mask" at the top is not a mask.  It is a German heraldic helmet and the
two things springing out of it are the torse and mantling.  The blue bits on
the shield and the torse are actually supposed to be silver, but the
compound they used to paint them has oxidized.  They are supposed to be
stylized lilies atop two red mountains.

The thing that "Sampson", the guy in yellow is holding is some type of
musical instrument.  The holes show up a bit better in my book than they do
on-line.


Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Elizabeth Lear
Sent: Wednesday, July 24, 2002 11:24 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Medieval cross-dressing?


On Wed, Jul 24, 2002 at 08:31:06AM -0600, Sue Clemenger wrote:
> http://www.tempora-nostra.de/manesse/img/135.jpg

I'm not sure why, but it strikes me that this looks like a depiction
of something theatrical - all of the figures are men, but one is
wearing a wig and playing a woman.  The jester-like mask at the top is
probably another clue towards this, as is the note that musicians and
dancers are shown in other pages.  But then again, *shrug*.

						...eliz

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From h-costume-admin@indra.com  Thu Jul 25 00:07:48 2002
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From: "Wanda Pease" <wandap@hevanet.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Early use of buttons???
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Date: Wed, 24 Jul 2002 21:01:14 -0700
Status: RO

Lots of buttons depicted in German Statuary of this time period.  Also check
out the Macejiwski (?) Bible (alt title:  Old Testament Miniatures).  It was
done a bit earlier, but shows many of the same clothing styles.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Wednesday, July 24, 2002 7:39 AM
To: h-costume@indra.com
Subject: [h-cost] Early use of buttons???


Hi, everybody.  I'm looking at this one image from the Manesse Codex,
and durned if it doesn't look like the lower part of his sleeves and the
front seam from his collarbone to his neck are buttoned....Whaddya
think? (this is the gentleman on the left in the red outfit, bottom half
of the page)

http://www.tempora-nostra.de/manesse/img/133.jpg

Virtually all of the other tunic-garments (as opposed to surcoats and
mantles) that I saw in the Codex had tight lower sleeves, but this is
the only garment I remember seeing that also looked like it had a
collar, if not a proto-collar of some sort.  It's also the only one I
say which seemed to be depicting buttons.....

Somehow, I'd pictured button usage as being later that this, but I very
well may be wrong.....I'm wondering if the fact that this seems to be
the only garment with depicted buttons (I looked at most, but not all,
of the 130+ images, so there may be another one in there) indicates that
buttons were a rarity? perhaps a further development of the tight-sleeve
style? or was the artist simply not depicting the buttons on the other
sleeves?

--Sue, full of early-morning musings, and not nearly enough caffeine....
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From h-costume-admin@indra.com  Thu Jul 25 00:39:46 2002
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Subject: Re: [h-cost] Dorset buttons?
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Date: Wed, 24 Jul 2002 14:45:31 -0700
Status: RO

At 8:54 AM -0600 7/24/02, Sue Clemenger wrote:
>I sure haven't heard of a source for them, although I've got articles on
>how to do them....they don't look too difficult, although I certainly
>understand the time issue!
>--Sue, in already-hot Montana (in the 90s again today....yech!)

I've seen them for sale at Lacis, but I don't know whether they are 
still being made or whether these were from an old and limited stock. 
As I recall, they were not too bad pricewise (don't have a dollar 
amount, sorry).

I've taught a few people how to make them and they're pretty easy -- 
they take me about 20 minutes each, though if I do several in a row 
the later ones get done a bit faster. Usually the hard part is 
finding the rings. I generally use plastic ones because they are 
seamless and light colored; I know people who use wire rings, but 
seamless ones are hard to find (and the thread always gets caught in 
the seam if there is one).

Unfortunately our guild's costume director won't let us put them on 
our smocks/shirts because we are dressing more or less in the 1570s 
and they didn't come into common fashion in England until about 1610.

(I HATE having to tie my shirt cuffs. They ALWAYS come undone, and 
you have to keep tucking the ends back in all day or they get into 
your soup and things. I visited Plimoth Plantation a couple of years 
ago and took the opportunity to ask some of the ladies there what 
they did to keep their "points" tied. They smiled and said, oh, we 
just count on having to re-tie them several times a day! Argh!)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Wed, 24 Jul 2002 22:57:07 -0600
Status: RO

Are they metal to which the fabric is sewn some how? or fabric?
--Sue, almost too tired and hot and sticky (11 p.m., and it's still 80
degrees outside, and that's cooler than my house!)

Wanda Pease wrote:
> 

> The gold necklines are yokes.  That is, they are part of the outfit, not
> jewelry.  There are a couple of examples in the treasury in Frankfurt am
> Main if I remember correctly.
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Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Wed, 24 Jul 2002 22:18:56 -0700
Status: RO

The gold yoked costumes I saw in the Treasury of the Dom in Frankfurt (or
maybe it was Mainz) were of cloth of gold.  A fabric not stiff metal.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Wednesday, July 24, 2002 9:57 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Medieval cross-dressing?


Are they metal to which the fabric is sewn some how? or fabric?
--Sue, almost too tired and hot and sticky (11 p.m., and it's still 80
degrees outside, and that's cooler than my house!)

Wanda Pease wrote:
>

> The gold necklines are yokes.  That is, they are part of the outfit, not
> jewelry.  There are a couple of examples in the treasury in Frankfurt am
> Main if I remember correctly.
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From h-costume-admin@indra.com  Thu Jul 25 01:32:26 2002
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Date: Wed, 24 Jul 2002 23:21:50 -0600
Status: RO

Heck, if I won the lottery, something like that would be perfect for me,
although my French and Latin are more than a little rusty.  I love
puzzles and research and....oooh.....(swooning.....;-)
I'd do it just for the pleasure of the knowledge <g>.....*sigh*
--Sue, who could do research for the rest of her life.....

Robin Netherton wrote:
> 

> <Tasha asked:>
> > One more activity to add to my "when I win the lottery" list! <smile>
> > Are there actual plans to translate/publish, do you know?
> 
> I seriously doubt it, unless someone with the right background and nothing
> else to do decided to make it a personal project. Those three books are
> hardly the most important mansucripts (from a non-costumer's perspective)
> in the English national collections. I frankly wouldn't be surprised if it
> turned out that the only people to touch the books in the last 200 years
> were myself and the researcher who showed them to me. I looked at Edward
> II's book just long enough to realize, "This is someone's life's work here
> ... but not mine."
> 
> But I was sorely tempted. (I have the paleography background already, and
> the Middle English, though I'd need refreshers in both the French and
> Latin, and some additional research into abbreviations used in clerk hand
> of the mid-1400s, and a better grounding in economics, currency values,
> etc. Say, about two or three years full-time prep before I started work on
> the manuscripts proper. And each is an oversize book about two inches
> thick. But can you imagine how much data is in there?)
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Date: Wed, 24 Jul 2002 23:25:34 -0600
Status: RO

The 3.5 oz. handkerchief linen I ordered from Fabricsstore.com is very
nice and soft (especially after preshrinkage), although a tidge heavier
than I'd like for lighter-weight shifts...would be great, though, for
unders, or sturdier shifts and shirts.
--Sue

Heather Meadows wrote:
> 
> so which linens would folks recommend for undergarments that can be purchased
> online?
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 00:45:06 -0500 (CDT)
Status: RO


On Wed, 24 Jul 2002, Wanda Pease wrote:

> The gold yoked costumes I saw in the Treasury of the Dom in Frankfurt
> (or maybe it was Mainz) were of cloth of gold.  A fabric not stiff
> metal.

I've often wondered just how those bands functioned in these garments --
they're all over the Codex but I haven't seen them elsewhere. This is the
first I've heard that there are extant garments, presumably c. 1300? that
show them! Or is it only the bands that survived? Or could these have been
(I hope not) a reproduction?

I hope Heather is reading this -- Heather, do you have these on your list?

If they were cloth of gold, does that mean they were cut in curved shapes,
like any other garment piece? I had been thinking they might have been
tablet-woven bands, as that technique was known to use gold, but the
pronounced curves of these pieces in the images made tablet-weaving seem
unlikely.

--Robin

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Date: Wed, 24 Jul 2002 23:40:46 -0600
Status: RO

Oh, okay....that half-way makes sense.  They sure looked like yokes of
fabric, but you said the _Treasury_.....
Hmmm....I wonder how I'd fake/duplicate it, since I don't exactly have
access to cloth of gold.....
--Sue

Wanda Pease wrote:
> 
> The gold yoked costumes I saw in the Treasury of the Dom in Frankfurt (or
> maybe it was Mainz) were of cloth of gold.  A fabric not stiff metal.
> 
> Regina Romsey
> 
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Sue Clemenger
> Sent: Wednesday, July 24, 2002 9:57 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Medieval cross-dressing?
> 
> Are they metal to which the fabric is sewn some how? or fabric?
> --Sue, almost too tired and hot and sticky (11 p.m., and it's still 80
> degrees outside, and that's cooler than my house!)
> 
> Wanda Pease wrote:
> >
> 
> > The gold necklines are yokes.  That is, they are part of the outfit, not
> > jewelry.  There are a couple of examples in the treasury in Frankfurt am
> > Main if I remember correctly.
> _______________________________________________
> h-costume mailing list
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 01:00:11 -0500 (CDT)
Status: RO


To the excellent responses already posted, I'll add a few tidbits:

1. There's a wonderful but rather old facsimile of the Manesse Codex in
some libraries, usually in the rare book rooms, that includes every page,
and also has extensive information on the contents. It's enormous,
probably exact size, and I believe it is in a couple of volumes. I saw one
at Northwestern University Library in Chicago. Since then, I think there
has been another decent facsimile published, but I don't know if it
includes everything, or if it is in English.

2. If I remember right, many of the people represented were minnesingers
(musicians, sort of like troubadours, who were I think also knights). The
book described their lives and exploits. This is why you see the helms and
crests and heraldry (for identification of the main figures), and also why
you see a lot of images of musicians and entertainers, as well as
tournaments. Then again, I could be remembering completely wrong!

3. The color yellow is very rare in images of clothing of this time and
may have had certain connotations. The fact that Samson, an Old Testament
figure, is so prominently presented in yellow suggests to me that it might
at that time have been a symbol of "otherness" -- visual code used by
artists to depict foreigners, Jews, etc. Most schools of medieval art have
a set of such conventions that were commonly understood by the viewers of
the time, which is one reason why it's so dicey to use Biblical,
historical, foreign, or other non-realistic characters as costume sources,
particularly if they're wearing something unusual! Also, it was common
enough in some places and times for Jews, prostitutes and other categories
of "outsiders" to be required to wear some identifying element in their
clothing -- certain colors, patterns, badges, hats, etc. So perhaps at
this time, yellow was reserved for Jews in real life, which would make it
a logical artistic choice to delineate Samson.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: "h-costume@indra.com" <h-costume@indra.com>
Subject: Re: [h-cost] Early use of buttons???
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Date: Thu, 25 Jul 2002 01:30:21 -0500 (CDT)
Status: RO


On Wed, 24 Jul 2002, Sue Clemenger wrote:

> Somehow, I'd pictured button usage as being later that this...

You have to do some hunting, but it's possible to find buttons around 1300
and before, typically on collar and/or wrist. The Manesse Codex is early
14th century, so certainly not the earliest use. I'm not sure what the
archaeological record says, but there might be something about dating in
"Dress Accessories," which has lots of buttons.

You can see another of those standing collar thingies, but without the
buttons, on image 136.

> I'm wondering if the fact that this seems to be the only garment with
> depicted buttons (I looked at most, but not all, of the 130+ images,
> so there may be another one in there) indicates that buttons were a
> rarity? perhaps a further development of the tight-sleeve style? or
> was the artist simply not depicting the buttons on the other sleeves?

Buttons were one option, but lacing/sewing seems to have been another. At
least one 13th-century written source (The Romance of the Rose) describes
someone sewing up his sleeves as part of his morning routine. I presume
this means tightening up the forearm area. The Codex shows a lot of those
sleeves -- loose in the shoulders and upper arms (no true set-in sleeves
or close fitting yet), but pulled tight on the forearms, often with some
of the upper-arm fabric hanging loosely over the top of the fitted area.
I've found this a very comfortable and practical cut -- the closeness in
the forearm keeps your sleeves out of the way, but the looseness over the
elbow allows freedom of movement. When you bend your arm, it takes up the
slack. You'll see that in some of the Codex images -- drape over the elbow
in some positions, and none in others.

==========================================================
Robin Netherton // Editor at Large
robin@nightowl.net
voice: (314) 439-1222 // fax: (314) 439-1333
Life is just a bowl of queries.


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Manessische Liederhandschrift, was Re: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 08:04:11 +0100 (BST)
Status: RO

 --- Robin Netherton <robin@shell.nightowl.net> wrote: > 

> 2. If I remember right, many of the people represented were minnesingers
> (musicians, sort of like troubadours, who were I think also knights). The
> book described their lives and exploits. This is why you see the helms and
> crests and heraldry (for identification of the main figures), and also why
> you see a lot of images of musicians and entertainers, as well as
> tournaments. Then again, I could be remembering completely wrong!

Yes, you are right, and the Handschrift (Manuscript) is in Althochdeutsch, as
far as I remember. (Old High german, would probably be starting to change to
Middle High german by that time but I am NOT a German language historical
linguist, but an English one 'by trade')
It is commonly called 'Die Manessische Liederhandschrift' which means
'song-manuscript' and it is indeed all about the troubadours/Minnesaenger like
Walter von der Vogelweide etc. All about courtly life, the Minne-love, etc.

Nicole

=====
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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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 08:44:41 +0100 (BST)
Status: RO

 --- Chris Laning <claning@igc.org> wrote: > 
> I've seen them for sale at Lacis, but I don't know whether they are 
> still being made or whether these were from an old and limited stock. 
> As I recall, they were not too bad pricewise (don't have a dollar 
> amount, sorry).

Thanks, but they didn't have any, I just checked.

> I've taught a few people how to make them and they're pretty easy -- 
> they take me about 20 minutes each, though if I do several in a row 
> the later ones get done a bit faster. 

Uhm, yes, but I think I'll tak Debbie up on her offer instead. My time is SO
limited, and I do need 8 hours sleep. *grins*

Usually the hard part is 
> finding the rings. I generally use plastic ones because they are 
> seamless and light colored; I know people who use wire rings, but 
> seamless ones are hard to find (and the thread always gets caught in 
> the seam if there is one).

Ahhhh, I think I found the solution to this, I just ordered wooden rings from
sewingbuttons online, I haven't seen them yet so Debbie might say they are
wrong, but they do look right, have a look:

http://www.sewingbuttons.co.uk/acatalog/P06-OW5264.jpg

> (I HATE having to tie my shirt cuffs. They ALWAYS come undone, and 
> you have to keep tucking the ends back in all day or they get into 

Why???? I think something must be wrong then, sorry. We tie all our shirts,
kneebands on breeches, shifts, etc. except for 1700 where gentlemen started to
wear shirts with buttons more often. Neither ben's nor mine have ever come
undone during the day. Hmm.. what do you tie it with? I presume you have the 2
buttonhole-ribbon method (well, how else :-) Ben's is occasionally tied with
black silk ribbon (in the 1660s) and with white narrow linen tape (in the
1690s). Mine are the same. I do though push a thin brass lace pin into the knot
in ben's silk ribbon to secure it and help it stay in place. Not with the linen
tape though.

> your soup and things. I visited Plimoth Plantation a couple of years 
> ago and took the opportunity to ask some of the ladies there what 
> they did to keep their "points" tied. They smiled and said, oh, we 
> just count on having to re-tie them several times a day! Argh!)

Strange, strange, strange! :-)

Nicole

=====
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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] UK Online sewing Buttons supplier
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Date: Thu, 25 Jul 2002 08:55:40 +0100 (BST)
Status: RO

here is the best buttons place that I have ever found online (and, mind you,
including shops other than the specialist button shop in York! which is not so
easy to get to when working in canterbury :-) 
The buttons are a super quality, cheap for what they are, and the service is
very nice and friendly:

http://www.sewingbuttons.co.uk/

Nicole

=====
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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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Dorset Buttons
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Date: Thu, 25 Jul 2002 08:57:36 +0100 (BST)
Status: RO

 --- RobinandKelly Dorman <robinandkellydorman@hotmail.com> wrote: > 
> 
> www.woodedhamlet.com has dorsets (and lots of other goodies also)

Oh my, yes, they are exactly what I was looking for, but if debbie makes them
too I can avoid ordering abroad. :-) Thanks ever so much for the link, I forgot
that Wooded Hamlet might make hem.

Nicole

=====
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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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] dorset button source
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Date: Thu, 25 Jul 2002 09:05:05 +0100 (BST)
Status: RO

 --- Agnes G <countess11@mac.com> wrote: > 
> http://www.najecki.com/repro/reproindex.html
> 
> this online site lists Dorset button reproductions - I have never used them,
> just found them on the web.

Thanks, but theirs looked rather crude I have to say. *S*
Thanks for finding it though!

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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: Dorset buttons?
To: h-costume@indra.com
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Date: Thu, 25 Jul 2002 09:14:10 +0100 (BST)
Status: RO

 --- Debbie Lough <debbie_lough@yahoo.co.uk> 

Hi Debbie

> How many do you need?  

Hmm.. not many, roughly either 3 or 6, it depends on if I do double buttons
holes on the cuffs and collar or not.

> I make Dorset thread buttons for my own costumes, and will make them to order
> for other people(price depends on the size of the button).

That would be super! I need them fairly small, unfortunately the wooden ones I
ordered from sewingsbuttons were the smallest and I think those were 16 mm
rings.

 I can do them in
> linen, silk or cotton.  (Yet another thing my Nana taught me!)

Linen please!

> Debbie.
> PS Will you be at Kirby Hall?

Oh yes, will be, with which group will you be there?

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] Dorset buttons?
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Date: Thu, 25 Jul 2002 09:27:07 +0100
Status: RO

Nicole wrote:
> We tie all our shirts, kneebands on breeches, shifts, etc. except for 1700 >where gentlemen started to wear shirts with buttons more often. Neither >ben's nor mine have ever come undone during the day. Hmm.. what do >you tie it with? I presume you have the 2 buttonhole-ribbon method (well, >how else :-) 

Interesting! I'd never thought of doing it that way, though it makes perfect sense that that's how they did it. Among reenactors, I've only seen tapes or cords stitched to the ends of the cuffs, or, on breeches, the legband open at the ends and ribbon threaded right through.

My problem is not with cuffs coming undone, but shoe ties as the skirt hem swishes past them.



Kate Bunting
Library, University of Derby

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 09:35:57 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: >
> 
> Interesting! I'd never thought of doing it that way, though it makes perfect
> sense that that's how they did it. 

Yep, there's a lovely embroidered shift in the V&A now exhibited in the New
British galleries which shows exactly that. Also, I have photos of the few
(very few alas) surviving shirts from the period (one from the 1620s/30s, one
from the mid 17th I believe and one from the effigy from the 1680s) that all do
the same.

Among reenactors, I've only seen tapes or
> cords stitched to the ends of the cuffs, 

Duh? What a starnge way to do it, I never thought of that! *laughs*
Well, I fear it is the same problem with re-enactors as often, they don't study
the original primary and secondary sources enough! Quite a few paintings show
clearly how the shirts are tied, and I even have a couple paintings/tapestries
that clearly show how the breeches work.

or, on breeches, the legband open at
> the ends and ribbon threaded right through.

Yep, guilty as charged, we did that too before I discovered 'ze truth'.
Actually, Petty Chapman got me onto it regarding breeches.

> My problem is not with cuffs coming undone, but shoe ties as the skirt hem
> swishes past them.

ahhh, well, I have an old trick, I just use double bows, knotting the loops
created by the bow once more. Uhm, hope that makes sense.

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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Thread-Topic: [h-cost] Re: Dorset buttons?
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Subject: Re: [h-cost] Re: Dorset buttons?
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What is happening at Kirby Hall, when is it happening, and where is it??

Freyalyn, who needs information.





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<-----Original Message----->
> 
> From: N Kipar
> Sent: 7/25/2002 5:14:10 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Re: Dorset buttons?
> 
> --- Debbie Lough 
> 
> Hi Debbie
> 
> How many do you need? 
> 
> Hmm.. not many, roughly either 3 or 6, it depends on if I do double
buttons
> holes on the cuffs and collar or not.
> 
> I make Dorset thread buttons for my own costumes, and will make them
to order
> for other people(price depends on the size of the button).
> 
> That would be super! I need them fairly small, unfortunately the
wooden ones I
> ordered from sewingsbuttons were the smallest and I think those were
16 mm
> rings.
> 
> I can do them in
> linen, silk or cotton. (Yet another thing my Nana taught me!)
> 
> Linen please!
> 
> Debbie.
> PS Will you be at Kirby Hall?
> 
> Oh yes, will be, with which group will you be there?
> 
> 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!?
> 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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<HTML>
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What is happening at Kirby Hall, when is it happening, and where is it??<br>
<br>
Freyalyn, who needs information.<br>
<br>
<br>
<br>

</BODY></HTML>
<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

</font><br><br><-----Original Message-----><br>
>  <br>
> From: N Kipar<br>
> Sent: 7/25/2002 5:14:10 PM<br>
> To: h-costume@indra.com<br>
> Subject: Re: [h-cost] Re: Dorset buttons?<br>
> <br>
> --- Debbie Lough  <br>
> <br>
> Hi Debbie<br>
> <br>
> How many do you need?  <br>
> <br>
> Hmm.. not many, roughly either 3 or 6, it depends on if I do double buttons<br>
> holes on the cuffs and collar or not.<br>
> <br>
> I make Dorset thread buttons for my own costumes, and will make them to order<br>
> for other people(price depends on the size of the button).<br>
> <br>
> That would be super! I need them fairly small, unfortunately the wooden ones I<br>
> ordered from sewingsbuttons were the smallest and I think those were 16 mm<br>
> rings.<br>
> <br>
>  I can do them in<br>
> linen, silk or cotton.  (Yet another thing my Nana taught me!)<br>
> <br>
> Linen please!<br>
> <br>
> Debbie.<br>
> PS Will you be at Kirby Hall?<br>
> <br>
> Oh yes, will be, with which group will you be there?<br>
> <br>
> Nicole<br>
> <br>
> =====<br>
> Nicole Kipar M.A.<br>
> Leader - L'Age d'Or & Kirke's Lambs <br>
> Baroque Living History Society 1660-1715<br>
> URL: http://www.kipar.org/<br>
> Email: marquis@kipar.org<br>
> <br>
> __________________________________________________<br>
> Do You Yahoo!?<br>
> Everything you'll ever need on one web page<br>
> from News and Sport to Email and Music Charts<br>
> http://uk.my.yahoo.com<br>
> _______________________________________________<br>
> h-costume mailing list<br>
> h-costume@mail.indra.com<br>
> http://mail.indra.com/mailman/listinfo/h-costume<br>
> <br>

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From h-costume-admin@indra.com  Thu Jul 25 05:38:43 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Kirby Hall, was Re: [h-cost] Re: Dorset buttons?
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Date: Thu, 25 Jul 2002 10:23:07 +0100 (BST)
Status: RO

 --- freyalyn <freyalyn@ivillage.com> wrote: > What is happening at Kirby Hall,
when is it happening, and where is it??
> 
> Freyalyn, who needs information.

Oh dear, you haven't heard f the annual multi period event run by English
heritage called 'History in ASction' now in its 7th year, and held at Kirby
hall (thus everyone calls it Kirby Hall) in Northamptonshire?
It's on the 10th/11th, invited groups only, no dressing up of visitors
(naturally!)
English Heritage members reduce entrance fee when being a visitor.

Cheerio
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: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 10:18:51 +0000 (GMT)
Status: RO


> (I HATE having to tie my shirt cuffs. They ALWAYS come undone, and
> you have to keep tucking the ends back in all day or they get into
> your soup and things. I visited Plimoth Plantation a couple of
> years ago and took the opportunity to ask some of the ladies there
> what they did to keep their "points" tied. They smiled and said,
> oh, we just count on having to re-tie them several times a day!
> Argh!) -- 

I'm stepping into Evil-Bunny mode here to suggest that you cheat - 
button them so that the buttons go from the outside to the inside 
(so are hidden on the *inside* - like you've made that part inside 
out) then sew fake points on the outside that are sewn into the bow, 
so they can't come undone.

It should look the same but not be as fiddly and not keep needing re-
tying



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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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: shirt tie knots (was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 02:37:14 -0700
Status: RO

When you tie the knot, wrap the tie twice around when doing the bow part, 
and the tie stays longer (if you tie your bows by making one loop and tying 
the other loop around it).  If you tie that kind of bow like a granny knot, 
it will come out real soon, so tie it like a square knot instead.  Or use 
the knot that is used for children's shoes; tying the bow then tying the 
loops in a single-overhand-knot on top of it (make a square knot of this, 
whether you tie your bows by tying the loops together to do it or the other 
way).

Synthetic-fibre grosgrain ribbon stays tied much longer than 
synthetic-fibre satin ribbon does, for any knot you use.

BTW, hooks and eyes may be period for shirt closures, in some 
cases.  There's a fuzzy picture, in Davenport, of an un-named English 
princess, p.433, ill. #1158, which has what look like hooks and eyes 
fastening the neck opening closed.  There are certainly no ties or buttons, 
and the shirt is indeed fastened.  The original is listed as being in the 
Metropolitan Museum in New York, in the Bache Collection.  (Davenport hints 
that it might be a portrait of a young Mary Tudor.)  Does anyone know of a 
clear picture of this?  Or maybe one of us who lives in New York might have 
seen the original in the Metropolitan.

> > (I HATE having to tie my shirt cuffs. They ALWAYS come undone, and
> > you have to keep tucking the ends back in all day or they get into
>
>Why???? I think something must be wrong then, sorry. We tie all our shirts,
>kneebands on breeches, shifts, etc. except for 1700 where gentlemen started to
>wear shirts with buttons more often. Neither ben's nor mine have ever come
>undone during the day. Hmm.. what do you tie it with? I presume you have the 2
>buttonhole-ribbon method (well, how else :-) Ben's is occasionally tied with
>black silk ribbon (in the 1660s) and with white narrow linen tape (in the
>1690s). Mine are the same. I do though push a thin brass lace pin into the 
>knot
>in ben's silk ribbon to secure it and help it stay in place. Not with the 
>linen
>tape though.
>
> > your soup and things. I visited Plimoth Plantation a couple of years
> > ago and took the opportunity to ask some of the ladies there what
> > they did to keep their "points" tied. They smiled and said, oh, we
> > just count on having to re-tie them several times a day! Argh!)
>
>Strange, strange, strange! :-)
>
>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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Kayta

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Subject: [h-cost] Re: Dorset buttons
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Date: Thu, 25 Jul 2002 10:40:56 +0100 (BST)
Status: RO

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>Uhm, yes, but I think I'll tak Debbie up on her offer instead. My time is SO
>limited, and I do need 8 hours sleep. *grins*

>>Usually the hard part is 
>> finding the rings. I generally use plastic ones because they are 
>> seamless and light colored; I know people who use wire rings, but 
>> seamless ones are hard to find (and the thread always gets caught in 
>> the seam if there is one).

>Ahhhh, I think I found the solution to this, I just ordered wooden rings from
>sewingbuttons online, I haven't seen them yet so Debbie might say they are
>wrong, but they do look right, have a look:

>http://www.sewingbuttons.co.uk/acatalog/P06-OW5264.jpg

I've checked the website, and the wooden rings look perfect for Dorset crosswheels.

And by the way, I have the problem with the ties at the cuffs of my C17th shift - always coming undone (although that could be because I insist on using pink silk ribbon!).  I just tie them in a double knot, and then tie the bow on top of that, so that even if the bow comes undone, my cuffs stay tied.  (That said, I do have the advantage of not having to untie the cuffs to take the shift off (really small hands!))

Debbie.




---------------------------------
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<P>&gt;Uhm, yes, but I think I'll tak Debbie up on her offer instead. My time is SO<BR>&gt;limited, and I do need 8 hours sleep. *grins*<BR><BR>&gt;&gt;Usually the hard part is <BR>&gt;&gt; finding the rings. I generally use plastic ones because they are <BR>&gt;&gt; seamless and light colored; I know people who use wire rings, but <BR>&gt;&gt; seamless ones are hard to find (and the thread always gets caught in <BR>&gt;&gt; the seam if there is one).<BR><BR>&gt;Ahhhh, I think I found the solution to this, I just ordered wooden rings from<BR>&gt;sewingbuttons online, I haven't seen them yet so Debbie might say they are<BR>&gt;wrong, but they do look right, have a look:<BR><BR>&gt;<A href="http://www.sewingbuttons.co.uk/acatalog/P06-OW5264.jpg">http://www.sewingbuttons.co.uk/acatalog/P06-OW5264.jpg</A></P>
<P>I've checked the website, and the wooden rings look perfect for Dorset crosswheels.</P>
<P>And by the way, I have the problem with the ties&nbsp;at the cuffs of my&nbsp;C17th shift - always coming undone (although that could be because I insist on using pink silk ribbon!).&nbsp; I just tie them in a double knot, and then tie the bow on top of that, so that even if the bow comes undone, my cuffs stay tied.&nbsp; (That said, I do have the advantage of not having to untie the cuffs to take the shift off (really small hands!))</P>
<P>Debbie.</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Ties, was and is Re: [h-cost] Re: Dorset buttons
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Date: Thu, 25 Jul 2002 11:08:51 +0100 (BST)
Status: RO

 --- Debbie Lough <debbie_lough@yahoo.co.uk> wrote: > 

> I've checked the website, and the wooden rings look perfect for Dorset
> crosswheels.

Fine, they are on its way, I ordered a couple of packs to go over the Ł5 mark
so that shipping is free. :-)

> And by the way, I have the problem with the ties at the cuffs of my C17th
> shift - always coming undone (although that could be because I insist on
> using pink silk ribbon!).  I just tie them in a double knot, and then tie the
> bow on top of that, so that even if the bow comes undone, my cuffs stay tied.
>  (That said, I do have the advantage of not having to untie the cuffs to take
> the shift off (really small hands!))

Hmm.. so what I do is the knot-the-loops-from-the-bow solution. Stays on
perfectly. Do a normal knot, then make the bow, then take the loops created by
the bow and knot those again. As I said in the other mail a great trick is to
push a lace pin into the ribbon, then the bow and back out again. Invisible,
even period, and stays on well.

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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: shirt tie knots (was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 11:12:14 +0100 (BST)
Status: RO

 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: > 
> the knot that is used for children's shoes; tying the bow then tying the 
> loops in a single-overhand-knot on top of it (make a square knot of this, 
> whether you tie your bows by tying the loops together to do it or the other 
> way).

Oh tanks, this was exactly what I tried to explain.

> Synthetic-fibre grosgrain ribbon stays tied much longer than 
> synthetic-fibre satin ribbon does, for any knot you use.

Uhm, sorry to butt in but I'd say don't use snthetic fibre ribbon anything.
Full stop. It's wrong and it's slippery. *ducks* sorry, I shall not mention it
again. :-) but you are right indeed, grosgrain is a lot less slippery.
Linen ribbon is fanastic for tying anything, it just stays on, can be washed
and then ironed.

> BTW, hooks and eyes may be period for shirt closures, in some 
> cases.  There's a fuzzy picture, in Davenport, of an un-named English 
> princess, 

which period????? which years? Sorry, but not everyone is SCA and it would be
really helpful if the period could be mentioned, thanks ever so much. *smile*

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] Re: shop and home economics
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Date: Thu, 25 Jul 2002 06:43:36 -0400
Status: RO

And to think some of my  students consider me unreasonable to make them make
sweatshirts!!!
Not to mention that I always try to schedule it so that they are done just
before Christmas, or Father's Day, so they can be given away as presents.
    I really did hate Home Ec when I took it, so I try not to forget why I
hated it and be adaptable to what would work for each students.   They might
not always believe it, but I try...
Rowena

> > Did anyone make something in home ec that they could wear?  In my
> > first class we made a jumper.
>
> When I was 13 I made an awful snot-green short sleeved shirt
> (straight up and down number with the collar set into a keyhole
> neck... in the most vile green polycotton)  I never actually wore it,
> however, as I was small and very fat and the style was terrible for
> someone that shape (not to mention the colour!!) I think it was after
> that experience that I put my foot down (in itself rare for me - to
> actually openly disagree with a teacher.  I was nearly as scared of
> them as I was of the other kids!) and insisted on choosing the
> patterns and fabrics myself.


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Date: Thu, 25 Jul 2002 06:51:16 -0400
Status: RO

    I am going to have great sheer cotton between my "bedroom" space and my
"living" space in my pavilion at Pennsic.   I do not want people to have a
straight look in from the business pavilion, as even with the appropriate
wooden bed, chests, etc, there is always something looking far too modern!
    When the best JoAnn's around here (the one that had a LOT of
upholstery-type stuff) went out of business this spring (Because they opened
an Etc.),  I bought the whole roll of the 100% cotton, thin, gauzy stuff in
white and green.    I was thinking undercurtains, because it is so loosely
woven I didn't think under anything.    Now I'll have to re-look at it.
Sigh - one more thing on the count-down list.
    And I wasted almost all of yesterday going to a job interview, when I
could have been sewing!
   Rowena

> << American shoppers looking for batiste-thin cloth should check out the
> Martha
>  Stewart sheers at K-mart. >>
>
> I keep seeing great sheers in drapery dept's. At Jo Ann's there was a 100%
> cotton sheer in large-ish gingham checks....woven. In beige and white,
light
>

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Date: Thu, 25 Jul 2002 07:05:28 -0300
Status: RO

Thank you, Kendra.  I'm way short on Dutch.  I just printed out your
instructions.  I guess I know what I'll be doing with my next dozen coffee
breaks.

Martha



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Date: Thu, 25 Jul 2002 14:42:45 +0100 (BST)
Status: RO

--0-555334906-1027604565=:61573
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>Hmm.. not many, roughly either 3 or 6, it depends on if I do double buttons
>holes on the cuffs and collar or not.

>That would be super! I need them fairly small, unfortunately the wooden ones I
>ordered from sewingsbuttons were the smallest and I think those were 16 mm
>rings.

>Linen please!

No problem - 16mm is probably the smallest possible (even when forced to use plastic (aargh!!) curtain rings).  I'm ordering some from sewingbuttons myself.  The rings used in the 17th - 19th centuries were specially made.  When the buttonmaking died out, so did the rings.


>> PS Will you be at Kirby Hall?

>Oh yes, will be, with which group will you be there?


This year I'm trading, (I normally only trade at Blackbird Leys (as was), but sometimes the job has to come first!).  Usually, (every year apart from the first), I'm there with Conquest (the Normans) - although I did once tag along with the Fairfax.  

Debbie.





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<P> 
<P>&nbsp; <BR>&gt;Hmm.. not many, roughly either 3 or 6, it depends on if I do double buttons<BR>&gt;holes on the cuffs and collar or not.<BR><BR>&gt;That would be super! I need them fairly small, unfortunately the wooden ones I<BR>&gt;ordered from sewingsbuttons were the smallest and I think those were 16 mm<BR>&gt;rings.<BR><BR>&gt;Linen please!</P>
<P>No problem - 16mm is probably the smallest possible (even when forced to use plastic (aargh!!) curtain rings).&nbsp; I'm ordering some from sewingbuttons myself.&nbsp; The rings used in the 17th - 19th centuries were specially made.&nbsp; When the buttonmaking died out, so did the rings.<BR></P>
<P>&gt;&gt; PS Will you be at Kirby Hall?<BR><BR>&gt;Oh yes, will be, with which group will you be there?<BR></P>
<P>This year I'm trading, (I normally only trade at Blackbird Leys (as was), but sometimes the job has to come first!).&nbsp; Usually, (every year apart from the first), I'm there with Conquest (the Normans) - although I did once tag along with the Fairfax.&nbsp; </P>
<P>Debbie.<BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 14:44:31 +0100
Status: RO

I wrote:

>>Among reenactors, I've only seen tapes or cords stitched to the ends of >>the cuffs, 

to which Nicole replied:

>Duh? What a starnge way to do it, I never thought of that! *laughs*
>Well, I fear it is the same problem with re-enactors as often, they don't >study the original primary and secondary sources enough! 

Out of curiosity (and having some spare time because our library housekeeping system is down) I looked up some links from Drea's site giving instructions for Elizabethan smocks. All use drawstrings except one which says "attach ribbons or tapes for ties".
Drawstrings have been discussed at length on this list, and the consensus seems to be that they were not usual before the 18th century, but they're still commonly seen in readymade reenactors' garments. I bought a linen shift this spring which has them. It's very big, so I may cut off the ends of the sleeves to make cuffs. I'm charmed by the idea of a separate ribbon threaded through buttonholes; so much more practical for washing than having dangling tapes.

Kate Bunting
Library, University of Derby

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Subject: RE: [h-cost] Dorset buttons- alternative ties..
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Date: Thu, 25 Jul 2002 08:50:54 -0500
Status: RO



-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Chris Laning
Sent: Wednesday, July 24, 2002 4:46 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Dorset buttons?


At 8:54 AM -0600 7/24/02, Sue Clemenger wrote:
(snippage)

Unfortunately our guild's costume director won't let us put them on
our smocks/shirts because we are dressing more or less in the 1570s
and they didn't come into common fashion in England until about 1610.

(I HATE having to tie my shirt cuffs. They ALWAYS come undone, and
you have to keep tucking the ends back in all day or they get into
your soup and things. I visited Plimoth Plantation a couple of years
ago and took the opportunity to ask some of the ladies there what
they did to keep their "points" tied. They smiled and said, oh, we
just count on having to re-tie them several times a day! Argh!)
--
________

Do you just tie regular bows? try this- when you go around the loop, go
around again-
this gives more contact area to hold on to when you pull it tight.
alternately- what we call the Baby knots- a regular bow,
then do an overhand knot with the two loops, but
this will likely require an assistant to either get done, or get out of...
my.o2
Betsy

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Subject: [h-cost] Shirt tie knots
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Date: Thu, 25 Jul 2002 08:51:05 -0500
Status: RO

Try cotton, or linen for the ties.  I experimented around with ties several years ago and found that ties braided out of cotton embroidery floss would stay tied all day.  Since then I have moved to a lucet with cotton or linen cord, they work great!  Thanks for reminding me about the 2-buttonholes Nicole, I'm going to have to look into that for the next shirt.

Catherine

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 15:32:25 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > 
> Out of curiosity (and having some spare time because our library housekeeping
> system is down) I looked up some links from Drea's site giving instructions
> for Elizabethan smocks. All use drawstrings except one which says "attach
> ribbons or tapes for ties".

Well, I do not know that much about the 16th c. but I am vey surprised to hear
this, I never thought that this would have been the case, but then, as I said,
I did not research 16th c. clothing.
Actually, the shift in the V&A has one linen tape stipp attached to one
buttonholes, it had been knotted there to keep in place, so funny because I do
exactly the same so that they don't get lost. :-)

> Drawstrings have been discussed at length on this list, and the consensus
> seems to be that they were not usual before the 18th century, but they're
> still commonly seen in readymade reenactors' garments. 

Yep, and it's prett wrong, but so much easier to make. There are 'drawstrings'
on some paintings of shifts of the late 17th, as early as the 1680s (one
verelst painting, and no, I haven't found an earlier one) at the neck BUT they
were ALL gathered onto a narrow band first and then seem to just ahve had an
added drawstring to allow some adjustment. most of teh time though what appears
to be adrawstring is actually just the ribbon tie hanging loose.
There are some paintings of men in shirts, often artists and their self
portraits, notably 3 I cabn think of, which show a coloured quite broad silk
ribbon loosely floating still in one buttonhole, the shirt undone and
decorateively falling over a nice male shoulder. yummy *grins*

I bought a linen shift
> this spring which has them. It's very big, so I may cut off the ends of the
> sleeves to make cuffs. 

I did that to one too, which I had made (the so-called 'Italian' shift in cut
my cote, which works perfecetly BTW for mid 17th c. very low necked wide cut
bodices) because  had to do something to the sleeves with 10 minutes to spare
for an event. I later cut the piece off to make cuffs properly. the famous
'it's almost done but not quite'...

I'm charmed by the idea of a separate ribbon threaded
> through buttonholes; so much more practical for washing than having dangling
> tapes.

Don't forget, when you want to wash the ties too, to knot them into ne
buttonhole.. you wouldn't believe how many washing machines feed on ties...
hehehe. Also, a tip, undo the knots before the garment is dry if you use linen
tape, or it's gonna be a pain! *laughs*

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: Thu, 25 Jul 2002 15:58:11 +0100 (BST)
Status: RO

 --- Debbie Lough <debbie_lough@yahoo.co.uk> wrote: > 
>  
> No problem - 16mm is probably the smallest possible (even when forced to use
> plastic (aargh!!) curtain rings).  I'm ordering some from sewingbuttons
> myself.  The rings used in the 17th - 19th centuries were specially made. 
> When the buttonmaking died out, so did the rings.

Well, I hope that we have found a new source then, usually the buttons from
them are very lovely.
> 
> This year I'm trading, (I normally only trade at Blackbird Leys (as was), but

Oh, with whom? I go to every Oxford (now Warwick) market.

> sometimes the job has to come first!).  Usually, (every year apart from the
> first), I'm there with Conquest (the Normans) - although I did once tag along
> with the Fairfax.  

Okay, just let me know where to find you nearer at the time. :-)
Nicole

=====
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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: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 16:00:42 +0100
Status: RO

Nicole wrote:

>Well, I do not know that much about the 16th c. but I am vey surprised to hear
>this, I never thought that this would have been the case, but then, as I said,
>I did not research 16th c. clothing.

I didn't mean to suggest that this was correct, just that many traders/pattern makers have jumped onto the bandwagon of using drawstrings or sewn-on ties. It gives roughly the right effect so re-enactors have gone on doing it that way without question.


Kate Bunting
Library, University of Derby

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Subject: [h-cost] vintage clothing exhibit
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Date: Thu, 25 Jul 2002 08:19:02 -0700 (PDT)
Status: RO



there was a very lovely vintage clothing exhibit - primarly lingerie
dresses -- at Costume College 2002.  I got so excited by it and took so 
many photos that I didn't manage to get many of people!  oops.

I haven't really sorted through this album, so there are some near duplicates
and they aren't in any sensible order but if you'd like to see the preview-
"Way too many pictures of Vintage dresses and accessories" please
check out:

http://www.wonderland.com/~alice/galleries/costumecollege2002/

.heather.


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Subject: [h-cost] Re-enactors' myths, was Re: Ribbon ties,
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Date: Thu, 25 Jul 2002 16:18:00 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > 

> I didn't mean to suggest that this was correct, just that many
> traders/pattern makers have jumped onto the bandwagon of using drawstrings or
> sewn-on ties. It gives roughly the right effect so re-enactors have gone on
> doing it that way without question.

Oh yes, the re-enactors' myth, like the gawdawful 'Viking furry hat' which
never ever existed in history like that. It is even possible to pinpoint the
first occurence of the fur brimmed hat. his was in a book, a danish one, and
the artist who was supposed to draw the Viking figures admitted he didn't know
that much, this was back in the 70s. So they found the leather and fur bits in
Haithabu and didn't know to where they belonged, so he drew up a eather cap
with a small fur brim. English re-enactors saw the illustrations, didn't
understand the Danish and whooops, the first furry brimmed hat was made. THEY
NEVER EXISTED LIKE THAT! except for amongst re-enactors... *hysterical
laughter*

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: Thu, 25 Jul 2002 08:28:57 -0700
Status: RO

 
> On Wed, 24 Jul 2002, Wanda Pease wrote:
> 
> > The gold yoked costumes I saw in the Treasury of the Dom in
> > Frankfurt (or maybe it was Mainz) were of cloth of gold.  A fabric
> > not stiff metal.
snip 
> If they were cloth of gold, does that mean they were cut in curved
> shapes, like any other garment piece? I had been thinking they might
> have been tablet-woven bands, as that technique was known to use gold,
> but the pronounced curves of these pieces in the images made
> tablet-weaving seem unlikely.
> --Robin

Perhaps they were plait braided? Heaven knows I've used enough 
gold braid and it seems to go around corners well. If it were wide 
enough (which plait braiding allows), it could do well for a garment 
yoke. It might also look more like cloth of gold depending on how it 
is done.

Tablet weaving tends not to be quite as malleable in terms of going 
around things.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: [h-cost] Centraal Museum (WAS: fabric source - a comment and a question)
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Date: Thu, 25 Jul 2002 10:04:39 -0700
Status: RO

You're more than welcome -- and it's the pictures that are the most
important thing!

- Kendra
----- Original Message -----
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: <h-costume@indra.com>
Sent: Thursday, July 25, 2002 3:05 AM
Subject: RE: [h-cost] Centraal Museum (WAS: fabric source - a comment and a
question)


> Thank you, Kendra.  I'm way short on Dutch.  I just printed out your
> instructions.  I guess I know what I'll be doing with my next dozen coffee
> breaks.
>
> Martha
>
>
>
> _______________________________________________
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 10:47:05 -0700
Status: RO

Do the existing shirts actually have pairs of worked buttonhles? I've heard
of cuffs and neckbands tied with ribbons that were taken directly through
the fabric with a needle, but buttonholes seem to have escaped me.  I'd
love a reference to a picture!

Margo
"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: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 19:10:53 +0100 (BST)
Status: RO

 --- Margo Anderson <margo@margospatterns.com> wrote: > Do the existing shirts
actually have pairs of worked buttonhles? I've heard
> of cuffs and neckbands tied with ribbons that were taken directly through
> the fabric with a needle, but buttonholes seem to have escaped me.  I'd
> love a reference to a picture!

No picture I'm afraid of the shift in the V&A, everytime I've been there the
last times I didn't have a camera with me *growls* I'm getting a good digital
camera for Christmas, so hopefully I won't go out of the house anymore without
it! It isn't in the close-up book either. 
Yes they do have worked buttonholes but all the examples I have are 17th
century, I don't have a clue what was done before that, I don't research before
the 17th. The pictures that I have are on my PC and if I ever find time I might
upload them somewhere. And there we are, time....
Oh hang on, there are several on the CGFA web site and the web gallery of art.
Dutch painters, 17th century, and no, sorry, I don't have the time to go look
for them and c&p the links, the first version of me looking through my pix is
more realistic, if at all.
:-)

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  Thu Jul 25 14:52:14 2002
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Subject: [h-cost] More on ties on shirts
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Date: Thu, 25 Jul 2002 19:36:23 +0100 (BST)
Status: RO

Soo.. as promised I did actually go through some of my folders and uploaded two
paintings from the later period I research which show the ties and buttonholes
solution.

http://www.kipar.org/temp/1711_selfportrait-manyoki.jpg
and
http://www.kipar.org/temp/1690s_youngma_kupecky.jpg

I also had a look though in my folder with the exant garemnst photos and
surprise, surprise I found that at the neck, the use of ties as attached to the
shirt and ribbons threaded through two buttonholes depended on the cut and use
of lace. One from 1625 shoes ties attached to a falling band collar and
sporting tassels. One from denmark from 1648 shows ties attached to the shirt
because they are beneath the lace that adorned the neck opening and thus
hidden. One from 1680 shoes ties made from lace that are incorporated in the
attached lace collar design and are attached to the shirt too. All of the above
have buttonholes at the cuffs though. No wonder I never used attached ties
because I never made any of the styles of shirts like the above!
:-)
So, seems we are both right, but depending on the style.

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: Thu, 25 Jul 2002 12:45:20 -0700 (PDT)
Status: RO

A few notes:

Further detail about Dieric Bouts... He's refered to
as the Louvain master, and the picture I referenced
previously comes from his Passion Triptych which I'm
presuming resides in Capilla Real, Grenada (according
to the text) and the principle scene is the Descent
from the Cross. The left panel, however, shows a woman
in an ivory dress with red pin-on sleeves hugging the
cross beneath Jesus' feet. She has a blue mantle
fallen loosely around her legs/skirt-area. The picture
I'm viewing is on p. 36 of the book called Rogier Van
der Weyden, written by Dirk de Vos. Now that I'm more
aware of Magdalene sightings, I'm guessing this lady
is her.

A related question occurs to me... there is a more
famous van der Weyden image of the Descent from the
Cross housed in the Museo del Prado, showing a woman
(the Magdalen?) wearing a light, almost green-grey
dress with a fringe of what appears to be blue-ish fur
around the bottom (or perhaps a high-pile velvet?).
She wears rich, red brocade pin-on sleeves, and her
arms are bent at a dramatic angle, hands clasped,
presumably in mournful prayer at the sight of Jesus's
dead body. My question concerns the construction of
her skirt -- there's a clear waist seam, but her skirt
appears to be constructed from many, many smaller
pieces. The painter took the effort to paint these
tiny seams, radiating out from the waist. There even
appears to be bands that are sewn around the skirt
circumference-wise! I'm wondering why our
detail-oriented artist would bother painting these
seams -- surely, constructing a skirt this way makes
zero sense -- it's intensive work, and would take
intensive skill to make it drape well... The only
thing I can think of is that it might symbolize
poverty of some kind -- needing to work with scraps.
Still, if that were so, why would she have a rich hem
and rich sleeves? So, what I'm wondering is: is there
any historical evidence that this picture could be
depicting a known method for skirt construction? Or,
is it an extremely subtle allegorical point being
made?

Thoughts?

Tasha/Marcele


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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 12:57:43 -0700
Status: RO

The ones I have seen were in the treasuries of either Mainz, or Frankfurt am
Main in Germany. (I think, I was there for many years so cathedrals and art
museums tend to fuse together in my brain :-).  At any rate, these looked to
be gold fabric, put on exactly as you would any other fabric. Whether they
were appliqued or an actual "working piece" of the finished garment I could
not see since they were behind glass.  The garments were definitely lined
because they had that heft to them that you only get with linings.  However,
whether they were lined originally, or for conservation I'm not sure
(certainly they are lined now for conservation purposes, but they may still
have been lined when first made - sorry, headache is not making me more
coherent).

As I remember they were constructed much like the Tunic that is in all the
costume books from the Schatzkammer in Vienna (Charlemagne?) but the bands
were gold, not brocade, and they were not pearled.

A place to write and ask these questions would be the German History Museum
in Nuremberg (no umlauts on my keyboard).  When I was there the curator was
a very nice relatively young man who spoke perfect English and was delighted
to show my friend around after we had made the appointment.

Regina Romsey



-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Robin Netherton
Sent: Wednesday, July 24, 2002 10:45 PM
To: h-costume@indra.com
Subject: RE: [h-cost] Medieval cross-dressing?



On Wed, 24 Jul 2002, Wanda Pease wrote:

> The gold yoked costumes I saw in the Treasury of the Dom in Frankfurt
> (or maybe it was Mainz) were of cloth of gold.  A fabric not stiff
> metal.

I've often wondered just how those bands functioned in these garments --
they're all over the Codex but I haven't seen them elsewhere. This is the
first I've heard that there are extant garments, presumably c. 1300? that
show them! Or is it only the bands that survived? Or could these have been
(I hope not) a reproduction?

I hope Heather is reading this -- Heather, do you have these on your list?

If they were cloth of gold, does that mean they were cut in curved shapes,
like any other garment piece? I had been thinking they might have been
tablet-woven bands, as that technique was known to use gold, but the
pronounced curves of these pieces in the images made tablet-weaving seem
unlikely.

--Robin


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Subject: [h-cost] Ribbon ties (WAS: Re: Dorset buttons?)
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Date: Thu, 25 Jul 2002 15:54:00 -0400
Status: RO



On Thu, 25 Jul 2002, Nicole wrote:

>Why???? I think something must be wrong then, sorry. We tie all our shirts,
kneebands on breeches, shifts, etc. except for 1700 where gentlemen started to
wear shirts with buttons more often. Neither ben's nor mine have ever come
undone during the day. Hmm.. what do you tie it with? I presume you have the 2
buttonhole-ribbon method (well, how else :-) Ben's is occasionally tied with
black silk ribbon (in the 1660s) and with white narrow linen tape (in the
1690s). Mine are the same. I do though push a thin brass lace pin into the
knot in ben's silk ribbon to secure it and help it >stay in place. Not with
the linen tape though.

A pin? That's a good idea. 

I've tried all kinds of double bows, surgeon's knots and so forth -- they ALL
come untied at _least_ once a day, no matter how tightly you pull them.
(Equally annoying, I always have to get someone else to tie them because I
can't do it one-handed.) Usually I'm using polyester narrow grosgrain ribbon,
because it doesn't start looking like a grubby bit of string after two or
three wearings, which linen or cotton ties often do.

Believe me, I've been tempted to just take a stitch or two through the bow
after it's tied!

Most of the shirts/smocks I've made actually have a ribbon tie _inside_ the
cuff, running all the way around and sticking out about 6 inches at each end.
Each end is tied in a small overhand knot to prevent raveling. The single tie
prevents it pulling out of the cuff, as shorter ties sometimes do. It can't
possibly get lost this way and washes beautifully.

As for hooks and eyes or buttons -- well, I love our costume director dearly,
but her mind is made up: the "norm" was cuffs tied with points, so that's what
we wear, end of discussion. <Sigh.>

Chris Laning

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Date: Thu, 25 Jul 2002 16:32:20 -0400
Status: RO



Okay, so it's not my period, but sewing ties to the ends of cuffs doesn't
sound strange to me. That's what I would do. What is the "real" way? I don't
understand from the brief discussion so far.

Gail Finke


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Subject: Re: [h-cost] Re: ties/closures
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Date: Thu, 25 Jul 2002 21:39:02 +0100 (BST)
Status: RO

 --- Gail & Scott Finke <gailscott@eos.net> wrote: > 
> 
> Okay, so it's not my period, but sewing ties to the ends of cuffs doesn't
> sound strange to me. That's what I would do. What is the "real" way? I don't
> understand from the brief discussion so far.
> 
> Gail Finke

It appears that it depends on the period and the type of shirt though it also
appears that sewing ties to the neck/collar/slit of the shirt is more common
with certain styles than is the buttonhole method. I have not seen in any of my
paintings nor the photos of surviving garments (which do not show the cuffs
clearly usually though!) any ties sewn onto the cuffs but instead a buttonhole
on each side and the ribbon slipped through each and tied.

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: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 11:02:45 -0700
Status: RO

At 12:45 AM -0500 7/25/02, Robin Netherton wrote:
>On Wed, 24 Jul 2002, Wanda Pease wrote:
>
>>  The gold yoked costumes I saw in the Treasury of the Dom in Frankfurt
>>  (or maybe it was Mainz) were of cloth of gold.  A fabric not stiff
>>  metal.
>
>I've often wondered just how those bands functioned in these garments --
>they're all over the Codex but I haven't seen them elsewhere. This is the
>first I've heard that there are extant garments, presumably c. 1300? that
>show them! Or is it only the bands that survived? Or could these have been
>(I hope not) a reproduction?
>
>I hope Heather is reading this -- Heather, do you have these on your list?

I'm paying attention, but I'm still not clear on exactly what the 
item is that's being described.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 11:05:19 -0700
Status: RO

At 11:40 PM -0600 7/24/02, Sue Clemenger wrote:
>Oh, okay....that half-way makes sense.  They sure looked like yokes of
>fabric, but you said the _Treasury_.....
>Hmmm....I wonder how I'd fake/duplicate it, since I don't exactly have
>access to cloth of gold.....

Cathedral "treasuries" often encompass a museum-like function, 
especially for items with special religious significance.  If these 
are remnants of a religious vestment associated with a saint, the 
natural place for them to end up is the cathedral treasury.  Is it 
actual cloth of gold or is it gold-thread embroidery?

Heather
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Date: Thu, 25 Jul 2002 11:08:06 -0700
Status: RO

At 8:28 AM -0700 7/25/02, kat@grendal.rain.com wrote:
>



>Tablet weaving tends not to be quite as malleable in terms of going
>around things.

In my files, I have at least one medieval example of a tablet-woven 
braid going around a curved neckline, and it's just tucked into 
little pleats on the inner edge on a regular basis.  I've got 
examples of a couple of fabric-faced necklines that do the same 
thing.  You can gloss over that sort of thing when you're painting, 
though.

Heather
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From: Margo Anderson <margo@margospatterns.com>
Subject: [h-cost] Costuming Maypole Dancers
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Date: Tue, 28 May 2002 08:51:40 -0700
Status: RO

My children's Waldorf school puts on an annual Renaissance Mayfaire, which,
traditionally, features the 8th grade, clad all in white, doing a Maypole
dance.  

This year we made the transition from being a school carnival to being a
professional level Renaissance Faire.  Not surprisingly, I'm the costume
advisor.

Unfortunately, our 8th graders were overextended and were unable to meet
even the basic costume requirements I gave them, and our Rennaissance
Maypole dancers were wearing white T-shirts, sleevless blouses, and other
inapropriate clothing, inluding one girl in pants and another in a white
sleevless short sheath dress.  Needless to say, this was an embarrassment
to me, and I won't let it happen again.  

I've volunteered to coordinate the design and construction of a wardrobe of
Maypole dancer costumes, which can be used year after year.  As it happens,
we won't have an eight grade next year (five years ago that class became
too small to be viable, and they were absorbed into the classes above and
below them) This gives me a full two years to accomplish them.  

Here's what I'm thinking of doing.  Any comments and suggestions would be
greatly appreciated.

1.  Design.  I'm leaning toward the standard Renn Faire peasant look, with
long full sleeved smocks, flowing skirts, and laced bodices for the girls,
and loose shirts, knee length breeches, and jerkins for the boys.
Traditionally the dancers wear garlands, so we don't need hats. 

(when I use the term "traditional", I mean traditionally for the school or
for Waldorf education, not historically traditional.  I'm aware that most
of the Maypole "traditions" are conscious re-creations dating to the late
18th century) 

I'd like to keep the traditional mostly white clothing, and possibly have
the bodices and jerkins be assorted bright colors.  Multicolored ribbons
may be used as trim.

2.  Sizing  Fitting this age group, 12-14, can be difficult.  Some of them
have their full growth, and some still have children's bodies.  Some are
tall but undeveloped, some are small but voluptuous.  It's also possible
for them to completly change body types or grow several inches in, say, the
month between a final fitting and a performance.  Clothing that adapts to
different sizes and is easily altered is a must.   I'm thinking elastic
waists on skirts and breeches,  bodices and jerkins constructed theatrical
style, with large, easily let out side and shoulder seams,  and skirts and
sleeves with tucks that can be let out. 

3.  Modesty is important in the Waldorf world.  If we use the  drawstring
necked smock, the neck string will be sturdy cording, not elastic, and will
be firmly stitched in place so that our girls can't pull them lower.
Fabrics will be opaque. 

4.  Construction    Much as I love to sew, I don't wnat to make 20 costumes
all by myself.  I'm thinking of offering a series of free workshops, in
"Making a Shirt", "Making a Bodice", etc.  Particpants would construct the
garments in class, but they would remain school property.  Participants
would receive a copy of the pattern and class handouts for their own use.
Would that work?  


Let me know what you think,

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Subject: Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 22:33:42 +0100
Status: RO

I make them Nicole but they work out horribly expensive.

Sally Ann
medcc@medcc.free-online.co.uk

----- Original Message -----
From: N Kipar <nicolas_fouquet@yahoo.com>
To: H-Costume <h-costume@indra.com>
Sent: Wednesday, July 24, 2002 11:40 AM
Subject: [h-cost] Dorset buttons?


> I have recently discovered with the help of really fine portraits what
kind of
> buttons were used on c 1700 gentlemen's shirts when they did use buttons
> instead of the two-buttonholes-with-ribbon method. They were these
thread-woven
> 'Dorset buttons' where one uses a ring and then weaves the white thread in
and
> out and so on, to create the button.
> Does anyone know if it is possible to buy those buttons (I remember they
used
> to be on my grandmother's bed linens as well) already made? I have a
> description on how to make them but I really don't have time to do hat, I
> rather buy those. Has anyone heard of a source for them?
>
>
> 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] Costuming Maypole Dancers
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Date: Thu, 25 Jul 2002 14:47:08 -0700
Status: RO

Re: multi-sizing bodices, you might try making them with lacing at each
size.  That way you could let them out as necessary without giant gaps in
the CF or CB.

> 2.  Sizing  Fitting this age group, 12-14, can be difficult.  Some of them
> have their full growth, and some still have children's bodies.  Some are
> tall but undeveloped, some are small but voluptuous.  It's also possible
> for them to completly change body types or grow several inches in, say,
the
> month between a final fitting and a performance.  Clothing that adapts to
> different sizes and is easily altered is a must.   I'm thinking elastic
> waists on skirts and breeches,  bodices and jerkins constructed theatrical
> style, with large, easily let out side and shoulder seams,  and skirts and
> sleeves with tucks that can be let out.

- Kendra



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Date: Thu, 25 Jul 2002 15:03:18 -0700
Status: RO

Look at this!

http://www.scansewsuccess.com/index.html

You can now get patterns made that are drafted to custom scans of your body!

They say they have 600 pattern options, but they don't say if they do
standard slopers that we could use to base historical costumes on, nor do
they have a contact eamil address for questions.  They do give you a copy
of your measurement chart from the scan.

I'm going to do it just to satisfy my curiosity, if nothing else.

Margo  
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Subject: Re: [h-cost] Costuming Maypole Dancers
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Date: Thu, 25 Jul 2002 15:07:19 -0700
Status: RO

I have no idea why my computer picked this months old message to re-send.
At any rate, ugly politics, personal issues, and the need to make a living
have all conspired to make me say forget it to this particvular event.
Thanks anyway!

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From: "Ann Neff" <aneff@mindspring.com>
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Subject: RE: [h-cost] Costuming Maypole Dancers
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Date: Thu, 25 Jul 2002 18:03:04 -0400
Status: RO

I've raised three boys in Renn Faire clothes from 9 years old to college
age, and we loan out assortments of garb (including mine) to the HS
theatre and our church's Boar's Head Feast, so I have some experience
with adapting on that age group. 

You really do not need to worry much about fit if you're doing this
design.  The chemise/smock/shift work well with several large tucks
about calf and knee level.  I've also found that the tucks act to
provide some body to the skirt so that it doesn't wrap around the legs
so easily. Since there will be a skirt over the chemise, any re-sewing
of the tucks won't have to be beautiful. You will need skirts for girls
ranging from 4feet tall up to 6 feet, so perhaps 3 or 4 lengths would
work.  If you use elastic, with a drawstring, the skirts will fit all
widths of girls. Buttons aren't flexible enough.  
 
For boys and girls:  Use elastic on the wrist, and medium full sleeves
will adapt to a wide range of arm length.  Shorter armed children just
have less full sleeves.

Remember, boys now wear very loose clothing everyday.  They will
complain if their clothes do fit well!  Loose shirts (the Cheesemaker's
Smock -- forgot which pattern company) adapts well.  Cut them long, and
with a jerkin over, you can cover a whole lot of sudden growth.  Put
only a hint of waist fitting, and the jerkin will fit several body
types.  

They won't be wearing the clothing all day to work in, so you can fudge
a little for comfort and style.

Ann Neff
Georgia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Margo Anderson
Sent: Tuesday, May 28, 2002 11:52 AM
To: h-costume@indra.com; H-Costume
Subject: [h-cost] Costuming Maypole Dancers

Snip
Here's what I'm thinking of doing.  Any comments and suggestions would
be greatly appreciated.

1.  Design.  I'm leaning toward the standard Renn Faire peasant look,
with long full sleeved smocks, flowing skirts, and laced bodices for the
girls, and loose shirts, knee length breeches, and jerkins for the boys.
Traditionally the dancers wear garlands, so we don't need hats. 

snip

2.  Sizing  Fitting this age group, 12-14, can be difficult.  Some of
them have their full growth, and some still have children's bodies.
Some are tall but undeveloped, some are small but voluptuous.  It's also
possible for them to completly change body types or grow several inches
in, say, the month between a final fitting and a performance.  Clothing
that adapts to
different sizes and is easily altered is a must.   I'm thinking elastic
waists on skirts and breeches,  bodices and jerkins constructed
theatrical style, with large, easily let out side and shoulder seams,
and skirts and sleeves with tucks that can be let out. 

3.  Modesty is important in the Waldorf world.  If we use the
drawstring necked smock, the neck string will be sturdy cording, not
elastic, and will be firmly stitched in place so that our girls can't
pull them lower. Fabrics will be opaque. 

4.  Construction    Much as I love to sew, I don't wnat to make 20
costumes
all by myself.  I'm thinking of offering a series of free workshops, in
"Making a Shirt", "Making a Bodice", etc.  Particpants would construct
the garments in class, but they would remain school property.
Participants would receive a copy of the pattern and class handouts for
their own use. Would that work?  


Let me know what you think,

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From h-costume-admin@indra.com  Thu Jul 25 18:51:48 2002
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: RE: [h-cost] Costuming Maypole Dancers
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Date: Thu, 25 Jul 2002 18:38:03 -0400
Status: RO


> 
> You really do not need to worry much about fit if you're doing this
> design.  The chemise/smock/shift work well with several large tucks
> about calf and knee level.  I've also found that the tucks act to
> provide some body to the skirt so that it doesn't wrap around the legs
> so easily. Since there will be a skirt over the chemise, any re-sewing
> of the tucks won't have to be beautiful. You will need skirts for 
girls
> ranging from 4feet tall up to 6 feet, so perhaps 3 or 4 lengths would
> work.  If you use elastic, with a drawstring, the skirts will fit all
> widths of girls. Buttons aren't flexible enough. 

Thought I'd add my $0.02 since I'm speaking from experience on being 
short and having been involved in various costumed pageants and whatnot 
over the years (both as costumer and participant).  The skirt issue is 
actually the least problematic.  I've found that you can take 
an "average" skirt, say 40-45" long and hike it up around your ribcage 
(my waist to ankle measurment is about 35") until it clears the ground 
and adding the bodice over it, no one knows the difference.  I did this 
last year when I worked at a bodice booth at Northern and was required 
to wear the owner's skirts which were standardized to fit a woman 
between 5'6 and 6'0.    

For the bodices, I'll also refer back to this bodice seller at 
Northern... If anyone is familiar with Hathor's Mirror bodices by Darla 
Hitchcock, this is the person I'm talking about.  The majority of her 
bodices have adjustable lacing down the front and sides (the "double 
lace" bodices have a stomacher front that laces down either side but 
not in the middle).  This allows for her to sell 4 basic sizes to fit a 
wide array of body types (X-Small, small, medium and large.  She makes 
XXL and XXXL bodices but by far, those 4 sizes fit pretty much everyone 
from people like me at 5 foot nuthin' to my friend who is a size 20 and 
fits into the large tripple lace easily).  If you took this concept and 
added shoulder straps that can be laced into the front of the bodice, 
you've got one heck of an adjustable garment that could probably size 
up or down several sizes.  

Sarah
http://www.elizabethanlady.com
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From h-costume-admin@indra.com  Thu Jul 25 18:54:49 2002
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Costuming Maypole Dancers
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Date: Thu, 25 Jul 2002 18:39:07 -0400
Status: RO

Yikes!  Then never mind!  Sorry to hear that it didn't work out... :(

Sarah
http://www.elizabethanlady.com

> I have no idea why my computer picked this months old message to re-
send.
> At any rate, ugly politics, personal issues, and the need to make a 
living
> have all conspired to make me say forget it to this particvular event.
> Thanks anyway!
> 
> 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
> 
> 

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." 
-Carl 
Sagab
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From h-costume-admin@indra.com  Thu Jul 25 19:09:48 2002
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From: "Glenda Robinson" <glendar@compassnet.com.au>
To: "Historical Costume" <h-costume@indra.com>
References: <20020725203902.13063.qmail@web13305.mail.yahoo.com>
Subject: Re: [h-cost] Re: ties/closures
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Date: Fri, 26 Jul 2002 08:50:30 +1000
Status: RO

Very interesting!

I've always done the cuffs similar to the neckline ties when I've used 
sewn-on ties, as that's all I can see from the pictorial evidence that 
we get over here. I haven't had any originals come out to Australia on 
tour. I have got some patterns from extant 17th century shirts, but 
never realised this.

Looks like a change is required for Wayne's shirts, but not the kids
(currently hovering around 1 shoe tie lost each time they wear them, and
don't want to lose the cuff ties as well). At least it's not a structural 
change :-)

Gee you miss a lot being across the other side of the world from the place
you're reenacting.   Next year for sure!

Glenda.


----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
> It appears that it depends on the period and the type of shirt though it
also
> appears that sewing ties to the neck/collar/slit of the shirt is more
common
> with certain styles than is the buttonhole method. I have not seen in any
of my
> paintings nor the photos of surviving garments (which do not show the
cuffs
> clearly usually though!) any ties sewn onto the cuffs but instead a
buttonhole
> on each side and the ribbon slipped through each and tied.
>
> Nicole
>


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From h-costume-admin@indra.com  Thu Jul 25 19:27:57 2002
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Subject: RE: [h-cost] Body scanning at last!
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Date: Thu, 25 Jul 2002 16:03:38 -0700
Status: RO

I wonder if you went in wearing a corset and then selected a princess
line pattern if it would screw it up too much.  I wonder if you (Margo)
offerered to work with them on a historical 'sloper' if they would
consider a partnership with you?  That would be way cool.

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Margo Anderson
**Sent: Thursday, July 25, 2002 3:03 PM
**To: h-costume@indra.com; h-costume@indra.com
**Subject: [h-cost] Body scanning at last!
**
**
**Look at this!
**
**http://www.scansewsuccess.com/index.html
**
**You can now get patterns made that are drafted to custom 
**scans of your body!
**
**They say they have 600 pattern options, but they don't say if 
**they do standard slopers that we could use to base historical 
**costumes on, nor do they have a contact eamil address for 
**questions.  They do give you a copy of your measurement chart 
**from the scan.
**
**I'm going to do it just to satisfy my curiosity, if nothing else.
**
**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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Subject: RE: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 17:30:05 -0700
Status: RO

 
> >Tablet weaving tends not to be quite as malleable in terms of going
> >around things.
> 
> In my files, I have at least one medieval example of a tablet-woven
> braid going around a curved neckline, and it's just tucked into little
> pleats on the inner edge on a regular basis. 

Exactly! That's what is so nice about plait braiding is that you don't 
need those little tucks like you do with most trims and fabric. 
(Although you can cut a shaped piece of fabric which doesn' t need 
the tucks.)




Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: Re: Manessische Liederhandschrift, was Re: [h-cost] Medieval 
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Date: Thu, 25 Jul 2002 18:45:42 -0600
Status: RO

Oh, cool...thanks for the additional information.  Do you happen to know
if it's ever been translated into English?
--Sue, the mostly completely language-deficient

N Kipar wrote:
> 

> Yes, you are right, and the Handschrift (Manuscript) is in Althochdeutsch, as
> far as I remember. (Old High german, would probably be starting to change to
> Middle High german by that time but I am NOT a German language historical
> linguist, but an English one 'by trade')
> It is commonly called 'Die Manessische Liederhandschrift' which means
> 'song-manuscript' and it is indeed all about the troubadours/Minnesaenger like
> Walter von der Vogelweide etc. All about courtly life, the Minne-love, etc.
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From h-costume-admin@indra.com  Thu Jul 25 21:04:20 2002
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Date: Thu, 25 Jul 2002 18:54:27 -0600
Status: RO

These things....
http://www.tempora-nostra.de/manesse/img/017.jpg
http://www.tempora-nostra.de/manesse/img/026.jpg
(take a look at the necklines--we're talking about the gold bands)
--Sue

Heather Rose Jones wrote:
> 

> I'm paying attention, but I'm still not clear on exactly what the
> item is that's being described.
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From h-costume-admin@indra.com  Thu Jul 25 22:05:35 2002
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Subject: [h-cost] Glass aglets for sale
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Date: Tue, 23 Jul 2002 13:19:39 -0400 (EDT)
Status: RO

Hey guys!  I am back from London!  And have shed my hundred-spams-a-day
(for a while at least), so I can get back on the list.

I don't know if this has been posted in my absence, but a woman is making
glass aglets for Elizabethan dress:
http://www.canyonkeep.com/costume.htm

It looks very similar to the original item (pic at 
http://www.dnaco.net/~aleed/corsets/pics/aglet.gif)

Expensive, but very pretty.  I need to get some to wear with a black
velvet gown with silver embroidery.  Of course, then I'll have to /make/
the black velvet gown with silver embroidery...

Drea

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From h-costume-admin@indra.com  Thu Jul 25 22:46:46 2002
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From: "Wanda Pease" <wandap@hevanet.com>
To: <h-costume@indra.com>
Subject: RE: Manessische Liederhandschrift, was Re: [h-cost] Medieval cross-dressing?
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Date: Thu, 25 Jul 2002 19:42:02 -0700
Status: RO

My new copy of the Mannesse is not in English, but it is a new printing in 8
x 12 size, nice color, and only cost me $30.  Try www.amazon.de.com . You
can always use bablefish for some quick and dirty translation of a paragraph
or two.

My friend Master Clement was wondering if there would be a market for
Manesse translations.  He is getting his Master's in German, and has spent
many years in Germany working and playing there.  Old German is one of the
interests he pursues when he's not working on his thesis (which will land
the Humanities on their collective ear and revolutionize them - chuckle!)

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Thursday, July 25, 2002 5:46 PM
To: h-costume@indra.com
Subject: Re: Manessische Liederhandschrift, was Re: [h-cost] Medieval
cross-dressing?


Oh, cool...thanks for the additional information.  Do you happen to know
if it's ever been translated into English?
--Sue, the mostly completely language-deficient

N Kipar wrote:
>

> Yes, you are right, and the Handschrift (Manuscript) is in Althochdeutsch,
as
> far as I remember. (Old High german, would probably be starting to change
to
> Middle High german by that time but I am NOT a German language historical
> linguist, but an English one 'by trade')
> It is commonly called 'Die Manessische Liederhandschrift' which means
> 'song-manuscript' and it is indeed all about the troubadours/Minnesaenger
like
> Walter von der Vogelweide etc. All about courtly life, the Minne-love,
etc.
_______________________________________________
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From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: London recommendations was [h-cost] Glass aglets
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Date: Thu, 25 Jul 2002 22:17:18 -0600
Status: RO

You got to go to London??? How cool!!
I'll be there (for the very first time) in just over a month (eeek! I
have way, way too much to do!). We're only spending three days in
London, actually, so what do you recommend for Absolutely Necessary
Site-Seeing for a couple of costume and needlework fiends? I want to go
to the V&A, and the Museum of London, but are there specific exhibits
you (or anyone on the list) would recommend? Any really spiffy shopping?
I wish we had more time in London, but I'm also going to (lessee if I
can remember)...Canterbury, Ipswich (for the Sutton Hoo museum), York
(for the Jorvik Viking Centre, the Shambles, and the Minster),
Shrewsbury (cathedral and other stuff), Bath (Assembly Rooms, Roman
Baths, the Costume Museum, where I'll be lucky if I don't get arrested
trying to take those Elizabethan shirts home with me! <g>), Salisbury,
some local stuff around Bath, and then it's up through Wales, where I
catch the ferry to Dublin, and get 3.5 days there, before I go home in
complete exhaustion!

So, if anybody (traveler or resident) has any recommendations for their
favorite/best spots, I'd love to know them so I can maximize the little
time I've got!

--Sue, in summer-stormy Montana, watching another thunder/hail storm
roll in.....

Drea Leed wrote:
> 
> Hey guys!  I am back from London!
<snipped>
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Subject: Re: [h-cost] Dorset buttons- alternative ties..
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Date: Thu, 25 Jul 2002 22:43:58 -0600
Status: RO

Ummm...no, I didn't say that....<g> I'm not in a guild with a costume
director at all....I'm in the SCA, plus I'm a perennial gadfly in the
non-SCA period classes on Penny's website (I love historical clothing,
but don't have any access to groups other than the SCA).
--Sue, catching up on emails....

Betsy Marshall wrote:
> 
> At 8:54 AM -0600 7/24/02, Sue Clemenger wrote:
> (snippage)
> 
> Unfortunately our guild's costume director won't let us put them on
> our smocks/shirts because we are dressing more or less in the 1570s
> and they didn't come into common fashion in England until about 1610.
> 
> (I HATE having to tie my shirt cuffs. They ALWAYS come undone, and
> you have to keep tucking the ends back in all day or they get into
> your soup and things. I visited Plimoth Plantation a couple of years
> ago and took the opportunity to ask some of the ladies there what
> they did to keep their "points" tied. They smiled and said, oh, we
> just count on having to re-tie them several times a day! Argh!)
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To: h-costume@indra.com
Subject: Re: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Thu, 25 Jul 2002 23:03:40 -0600
Status: RO

The boy's shirt that's dated to 1540s, with the blue knotwork columbine
pattern on the collar and cuffs? I've got a closeup of the
neckline/collar area from an old library book (actually clear enough,
even after enlarging, to graph the embroidery design), and I don't
recall seeing buttonholes in the collar (or eyelet holes). The fabric
was solid.  I'd wondered if maybe it was pinned closed, or if it'd had
ties and they'd worn out.....
--Sue, who also seems to recall the cuffs of that thing actually being
gathered into a sort of ruffle with a narrow band of some sort of trim
or braid or embroidery....

N Kipar wrote:
> 
>
> No picture I'm afraid of the shift in the V&A, everytime I've been there the
> last times I didn't have a camera with me *growls* I'm getting a good digital
> camera for Christmas, so hopefully I won't go out of the house anymore without
> it! It isn't in the close-up book either.
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] re: 15th century female dress
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Date: Fri, 26 Jul 2002 02:11:08 -0500 (CDT)
Status: RO


On Thu, 25 Jul 2002, Tasha Kelly wrote:

> Further detail about Dieric Bouts... He's refered to as the Louvain
> master, and the picture I referenced previously comes from his Passion
> Triptych which I'm presuming resides in Capilla Real, Grenada
> (according to the text) and the principle scene is the Descent from
> the Cross.

I'm going to have to pass on this one. I didn't think there was a Bouts I
didn't have a repro of, but I've been through my entire shelf of Flemish
art books with no luck, not even a mention of this piece in a list of
Bouts' major works. Either it's a really minor work, or it's been
re-attributed, or it's by Dirk Bouts the Younger, or something. I haven't
seen the Vos book (and I have two or three books with the same title!) --
when was it published? (There's a ton of Flemish art in Spain, but a
surprising amount of what I saw there was flagrantly misattributed, not in
the major museums, but in the smaller galleries and private collections,
where some historian a century ago decided to call some piece or other a
"Memling" rather than the more conservative "school of Memling" -- and no
one ever bothered to change the tags. More impressive that way ...  On the
other hand, though, a lot of Flemish work in Spain seems never to have
made it into the "standard" lists and references, so I wouldn't be
surprised to find an underappreciated Bouts in Grenada.)

> The left panel, however, shows a woman in an ivory dress with red
> pin-on sleeves hugging the cross beneath Jesus' feet. She has a blue
> mantle fallen loosely around her legs/skirt-area. The picture I'm
> viewing is on p. 36 of the book called Rogier Van der Weyden, written
> by Dirk de Vos. Now that I'm more aware of Magdalene sightings, I'm
> guessing this lady is her.

That's a traditional position/pose for her. Clue: You may (but not always)
find an ointment jar near her, on the ground.

> A related question occurs to me... there is a more famous van der
> Weyden image of the Descent from the Cross housed in the Museo del
> Prado, showing a woman (the Magdalen?) wearing a light, almost
> green-grey dress with a fringe of what appears to be blue-ish fur
> around the bottom (or perhaps a high-pile velvet?). She wears rich,
> red brocade pin-on sleeves, and her arms are bent at a dramatic angle,
> hands clasped, presumably in mournful prayer at the sight of Jesus's
> dead body. My question concerns the construction of her skirt --
> there's a clear waist seam, but her skirt appears to be constructed
> from many, many smaller pieces. The painter took the effort to paint
> these tiny seams, radiating out from the waist. There even appears to
> be bands that are sewn around the skirt circumference-wise! I'm
> wondering why our detail-oriented artist would bother painting these
> seams -- surely, constructing a skirt this way makes zero sense --
> it's intensive work, and would take intensive skill to make it drape
> well... The only thing I can think of is that it might symbolize
> poverty of some kind -- needing to work with scraps. Still, if that
> were so, why would she have a rich hem and rich sleeves? So, what I'm
> wondering is: is there any historical evidence that this picture could
> be depicting a known method for skirt construction? Or, is it an
> extremely subtle allegorical point being made?

I love this painting. I went to Madrid for this painting (OK, and to see a
dear friend, too, but the painting was a major motivation). I spent a lot
of time photographing and sketching the weird seams in this dress. They
aren't visible in most reproductions, so you have a *really* good picture.
(Unless you were there too? You can also see this clearly in the Tournai
museum, which has a full-size photographic reproduction of this piece, in
a display of Rogier's works. Tournai is exceedingly proud of having been
Rogier's hometown, though he left the city pretty much as soon as he could
get out, and there are few if any of his actual works there. Tournai is
also exceedingly proud of having been the medieval tapestry-manufacture
capital, even though there are only about six medieval tapestries left in
the town, most of the rest having been exported at the time of
manufacture. The best things to come out of Tournai went out of Tournai
with great speed. But I digress.)

As you've seen, the skirt appears to be pieced in tiers of trapezoidal
sections, about four or five inches in height. The tiers of trapezoidal
panels are separated with horizontal strips about two inches deep. In all,
there are five tiers of panels, four strips between them, plus shorter
vertical strips edging the lacing opening in the front. At the bottom is a
wide fur band (yes, I think you can definitely say fur). The skirt is
partially obscured by a mantle falling over her left hip and left leg.

So what's going on here? Beats the hell out of me! Rogier was exceedingly
careful about painting clothing realistically, perhaps surpassed only by
Jan Van Eyck in that capacity. At the same time, he played a lot of tricks
with clothing, and manipulated it frequently for symbolic value. Some of
his inventions are so beautifully rendered it's hard to believe they're
not real, even if all other evidence points that way.

He painted three or four Magdalens in variations of this dress (which is
an underdress, by the way), but this is the only one, I think, that has
this weird collection of skirt seams. A sign of poverty? I think not,
because as you say it's inconsistent with the rest of the clues in the
clothing, and Flemish painting generally shows Magdalen as richly dressed
(being both a high-priced call girl and saint-in-the-making), except
during her penitent-in-the-wilderness period. On the other hand, that kind
of piecing might be seen as a sign of richness, because of the skill and
labor involved. But you're right -- it doesn't make any sort of sense in
construction terms.

I have heard one novel theory, and now I can't remember who suggested this
to me: What if the skirt is completely lined with fur, and the seam lines
show the geometric piecing of the furs? It's still an odd pattern, but at
least it would justify the positioning of the small trapezoidal sections
(though perhaps not the horizontal strips). By the same token, we might
hypothesize that the skirt is quilted, or perhaps stitched down to a
lining in this decorative pattern. (Though the pattern looks too
structural in nature, and an odd choice if one wanted just to be
decorative.)

If anyone has any more ideas, I'm all ears. I haven't found a truly
convincing explanation yet, except maybe "Rogier having fun again."

--Robin, who named her son Roger (really)


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Ribbon ties, was Re: [h-cost] Dorset buttons?
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Date: Fri, 26 Jul 2002 08:04:37 +0100 (BST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > The boy's shirt that's dated
to 1540s, with the blue knotwork columbine
> pattern on the collar and cuffs?

No, I don't mean this one, it's a boy's one after all and before my period of
interest. I have VERY close-up photos of it, took themonce in the V&A years ago
before they took it out of display when they made the new british galleries.

I've got a closeup of the
> neckline/collar area from an old library book (actually clear enough,
> even after enlarging, to graph the embroidery design), and I don't
> recall seeing buttonholes in the collar (or eyelet holes). The fabric

You are right, there are none, because the blue ties are sewn onto the stand-up
collar. That's the point though, the type of collar and the period. I have a
piccie uploaded somewhere on my sites...
http://www.kipar.demon.co.uk/elizabethan/boyshirt1540s.jpg
Here you are, I have an even bigger close-up at home.

> was solid.  I'd wondered if maybe it was pinned closed, or if it'd had
> ties and they'd worn out.....

Ties are on there.

> --Sue, who also seems to recall the cuffs of that thing actually being
> gathered into a sort of ruffle with a narrow band of some sort of trim
> or braid or embroidery....

I have a close-up of the cuffs too. they are gathered into a band, just like
any old shirt, but then there's a small ruffle which is gathered into the band
too.

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: London recommendations was [h-cost] Glass aglets
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Date: Fri, 26 Jul 2002 08:16:50 +0100 (BST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > You got to go to London??? How
cool!!
> I'll be there (for the very first time) in just over a month (eeek! I
> have way, way too much to do!). 
> I wish we had more time in London, but I'm also going to (lessee if I
> can remember)...Canterbury, 

Canterbury? CANTERBURY?? when Sue, when? I work in Canterbury, right near the
city centre, close to the cathedral, at Canterbury Christ Church University
College. If you are here on a week day we could meet for a coffee? (or tea :-)
at lunchtime? 

Ipswich (for the Sutton Hoo museum), 

Hehehe, you can't avoid me, because my voice is on the visitor video, I am
speaking Old English and also whispering a modern English translation. Colin
(Ben's dad) is on a HUGELY blown up photo in the exhibition, and all of us are
in the video too.

You HAVE to go do a quick visit at least to Wst Stow Anglo-Saxon village, it is
only a very few miles away, 15 mins tops? 
Ben made the reproductions for the military stule belt fittings in the museum
and I finished off the arrows, Colin made part of them.

> York (for the Jorvik Viking Centre, the Shambles, and the Minster),

Absolutely, and the button shop, and Betsy's (which is a traditional Edwardian
style cake place with the most wonderful delicious sweeties, such a nice
place). Don't forget the York museum, which is in the gardens. It has some very
interesting bits.

> Shrewsbury (cathedral and other stuff), 

would yu believe I've never been there?

Bath (Assembly Rooms, Roman
> Baths, the Costume Museum, where I'll be lucky if I don't get arrested
> trying to take those Elizabethan shirts home with me! <g>), Salisbury,
> some local stuff around Bath, and then it's up through Wales, where I
> catch the ferry to Dublin, and get 3.5 days there, before I go home in
> complete exhaustion!

Dublin! Ohhhh, the national museum is one of my very favourite European ones,
beautiful building and the jewellery and metalwork in the exhibitin I can only
say BREATHTAKING! Are you going to see the book of Kells too? You have to! 

> So, if anybody (traveler or resident) has any recommendations for their
> favorite/best spots, I'd love to know them so I can maximize the little
> time I've got!

See above :-)

Nicole - in humid Canterbury

=====
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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: ties/closures
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Date: Fri, 26 Jul 2002 08:27:52 +0100 (BST)
Status: RO

 --- Glenda Robinson <glendar@compassnet.com.au> wrote: > Very interesting!
> 
> I've always done the cuffs similar to the neckline ties when I've used 
> sewn-on ties, as that's all I can see from the pictorial evidence that 
> we get over here. I haven't had any originals come out to Australia on 
> tour. I have got some patterns from extant 17th century shirts, but 
> never realised this.

Yeeeees... but I may be wrong :-) That's the problem with anything like trying
to re-create period clothes correctly.  have only so much material, and only so
many paintings that show this, it could well be that there are others that I
don't have, or that seem to be like this but in reality are different because
the photo is from the 1930s and a bad b/w one etc.
So, please always add a disclaimer.
;-)
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: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Ribbon ties
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Date: Fri, 26 Jul 2002 09:45:47 +0000 (GMT)
Status: RO

 
> Do the existing shirts actually have pairs of worked buttonhles?
> I've heard of cuffs and neckbands tied with ribbons that were taken
> directly through the fabric with a needle, but buttonholes seem to
> have escaped me. I'd love a reference to a picture! 

I knew nothing about this buttonholes and ties business until this 
thread came up on list.  I've actually done a variation on it myself - 
one of my 15th century shirts fastens at the neck with a tie through 
two hand-worked eyelets on the collar.

Teddy
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Subject: RE: Manessische Liederhandschrift, was Re: [h-cost] Medieval
 cross-dressing?
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Date: Fri, 26 Jul 2002 11:09:10 +0200 (CEST)
Status: RO

On Thu, 25 Jul 2002, Wanda Pease wrote:
> My new copy of the Mannesse is not in English, but it is a new printing in 8
> x 12 size, nice color, and only cost me $30.  Try www.amazon.de.com . You
> can always use bablefish for some quick and dirty translation of a paragraph
> or two.

Hi! Does this have all the illustrations and in colour? How good is the 
picture quality? If it's good I'll be placing an order today, thanks 
for the tip. :) An English translation would definitely also be 
interesting, but for me it would depend on the price since I can read 
German fairly well, if slow. :)

Ingrid

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>Oh, with whom? I go to every Oxford (now Warwick) market.

I trade as myself - well 'Deborah Lough Costumes', anyway.

>Okay, just let me know where to find you nearer at the time. :-)
>Nicole


Can't say exactly where I'll be, because I won't find out until I get there, but if you have access to a map, I'll be somewhere in the box marked 'period traders'.  (Out of hours I'll be camping with the Normans, but could actually be anywhere - soooo many friends from other periods to visit!)





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<P>&nbsp;<BR><BR>&gt;Oh, with whom? I go to every Oxford (now Warwick) market.</P>
<P>I trade as myself - well 'Deborah Lough Costumes', anyway.<BR><BR>&gt;Okay, just let me know where to find you nearer at the time. :-)<BR>&gt;Nicole<BR></P>
<P>Can't say exactly where I'll be, because I won't find out until I get there, but if you have access to a map, I'll be somewhere in the box marked 'period traders'.&nbsp; (Out of hours I'll be camping with the Normans, but could actually be anywhere - soooo many friends from other periods to visit!)<BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Date: Fri, 26 Jul 2002 10:35:09 +0100 (BST)
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>Drawstrings have been discussed at length on this list, and the consensus seems to be >that they were not usual before the 18th century, but they're still commonly seen in >readymade reenactors' garments. 

>Kate Bunting

>Library, University of Derby

None of the V&A, (or anywhere else), examples of earlier shifts / chemises I've seen of the earlier dates have drawstrings - it's almost exclusively ties through two buttonholes, which are stitched into a proper cuff (or neckband on higher necked stuff).  

I think the reason so many ready made shifts, etc., have drawstrings is simple - it's faster (therefore cheaper) to just create a double hem and thread a drawstring than it is to make a proper cuff / neckband.

And as a result most re-enactors think drawstrings are correct.  My customers are amazed when they place an order with me, and I tell them that I'll use drawstrings if they really want, but there's virtually no evidence for them that I'm aware of!

Debbie.




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<BLOCKQUOTE style="BORDER-LEFT: #1010ff 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: 5px">
<P>&gt;Drawstrings have been discussed at length on this list, and the consensus seems to be &gt;that they were not usual before the 18th century, but they're still commonly seen in &gt;readymade reenactors' garments. </P>
<P>&gt;Kate Bunting</P>
<P>&gt;Library, University of Derby</P>
<P>None of the V&amp;A, (or anywhere else), examples of earlier&nbsp;shifts / chemises I've seen of the earlier dates have drawstrings - it's almost exclusively ties through two buttonholes, which are stitched into a proper cuff (or neckband on higher necked stuff).&nbsp; </P>
<P>I think the reason so many ready made shifts, etc., have drawstrings is simple - it's faster (therefore cheaper) to just create a double hem and thread a drawstring than it is to make a proper cuff / neckband.</P>
<P>And as a result most re-enactors think drawstrings are correct.&nbsp; My customers are amazed when they place an order with me, and I tell them that I'll use drawstrings if they really want, but there's virtually no evidence for them that I'm aware of!</P>
<P>Debbie.</P></BLOCKQUOTE><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Subject: Re: [h-cost] Costuming Maypole Dancers
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Date: Fri, 26 Jul 2002 10:40:18 +0000 (GMT)
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> Here's what I'm thinking of doing.  Any comments and suggestions
> would be greatly appreciated. 
> 
> 1.  Design.  I'm leaning toward the standard Renn Faire peasant
> look, with long full sleeved smocks, flowing skirts, and laced
> bodices for the girls, and loose shirts, knee length breeches, and
> jerkins for the boys. Traditionally the dancers wear garlands, so
> we don't need hats. 

> I'd like to keep the traditional mostly white clothing, and possibly
> have the bodices and jerkins be assorted bright colors.  Multicolored
> ribbons may be used as trim.

Then I'd suggest saving yourself (or whoever) a lot of sewing and 
make basic white drawstring neck and wrist chemises in various 
lengths (to accomodate various heights of girls) in thick enough 
fabric that additional white skirts over the top aren't necessary and 
make coloured bodices in various sizes to go over them.  

The bodices can lace up centre front and both side backs (or side 
both sides, if you prefer) so each one will adjust to a range of sizes 
around the size it is made in without any need to do extra sewing (a 
tip here is to sew the ends of the  lacing cords into the bodice so 
they don't go astray..<g>)

For the boys, the jerkins can be done the same way as the 
bodices, which just needs a set of baggy shirts and breeches that 
can fairly-well be one-size-fits-most.

> Clothing that adapts to different sizes and is easily altered is a
> must.   I'm thinking elastic waists on skirts and breeches, 
> bodices and jerkins constructed theatrical style, with large,
> easily let out side and shoulder seams,  and skirts and sleeves
> with tucks that can be let out. 

Letting out or taking in seams is avoidable work if you do lacings 
instead.  A placket behind the lacings will deal with any possible 
gaping.

We've made sets of loan-garb for our "Medieval Society" in this 
way.  4 dresses in different sizes, each a different colour, each 
adjustable by lacings at side-backs and centre fronts so we can fit 
pretty much anyone.
 
> 4.  Construction    Much as I love to sew, I don't wnat to make 20
> costumes all by myself.  I'm thinking of offering a series of free
> workshops, in "Making a Shirt", "Making a Bodice", etc. 
> Particpants would construct the garments in class, but they would
> remain school property. Participants would receive a copy of the
> pattern and class handouts for their own use. Would that work?  

Sounds like a good plan.


Teddy
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Sue,

In London there's Klein's haberdashery shop, and Foyles book shop.

In York, as well as Yorvik (just refurbed) and York Minster, of course, are York City Art Gallery, The Merchant Adventurer's Hall, York Castle Museum, Fairfax House, The Barley Hall.  The Tourist Information Office can point you to all of these.

Also in York is The Viking Loom embroidery and craft shop, near the Minster (website is www.vikingloom.co.uk).

Oh, and you can't go to York without having tea at Betty's!  (Be warned, though, don't go at lunchtime or tea time (queues out the door!))

Debbie.





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<P>&nbsp;<BR>Sue,</P>
<P>In London there's Klein's haberdashery shop, and Foyles book shop.</P>
<P>In York, as well as Yorvik (just refurbed) and York Minster, of course, are York City Art Gallery, The Merchant Adventurer's Hall, York Castle Museum, Fairfax House, The Barley Hall.&nbsp; The Tourist Information Office can point you to all of these.</P>
<P>Also in York is The Viking Loom embroidery and craft shop, near the Minster (website is <A href="http://www.vikingloom.co.uk">www.vikingloom.co.uk</A>).</P>
<P>Oh, and you can't go to York without having tea at Betty's!&nbsp; (Be warned, though, don't go at lunchtime or tea time (queues out the door!))</P>
<P>Debbie.<BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] re: 15th century female dress
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Date: Fri, 26 Jul 2002 11:21:53 +0000 (GMT)
Status: RO


> I have heard one novel theory, and now I can't remember who suggested
> this to me: What if the skirt is completely lined with fur, and the
> seam lines show the geometric piecing of the furs?

That's exactly what I was thinking from reading your description of it 
(and from studying reproductions of it last time this dress was 
mentioned).  Can't say if I had the same thought or if I'm 
remembering it being suggested last time the dress was discussed 
on list....

> It's still an odd pattern, but at least it would justify the
> positioning of the small trapezoidal sections (though perhaps not
> the horizontal strips). By the same token, we might hypothesize
> that the skirt is quilted, or perhaps stitched down to a lining in
> this decorative pattern. (Though the pattern looks too structural
> in nature, and an odd choice if one wanted just to be decorative.) 

Perhaps the lining was one of *those* fabrics that sagged and 
wrinkled but only became apparent after the garment was made so 
they quilted it to the garment to keep it in place and made a feature 
of it...?  Again, a guess.

Teddy
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: h-costume digest, Vol 1 #1107 - 14 msgs
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Date: Fri, 26 Jul 2002 11:41:05 +0100 (BST)
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 --- Debbie Lough <debbie_lough@yahoo.co.uk> wrote: > 

> Can't say exactly where I'll be, because I won't find out until I get there,
> but if you have access to a map, I'll be somewhere in the box marked 'period
> traders'.  (Out of hours I'll be camping with the Normans, but could actually
> be anywhere - soooo many friends from other periods to visit!)

Okiedokie, I try to find you, but we are so few people in our group at Kirby
that I might not be able to leave the encampment to go to the trader's market.

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 Jul 26 08:44:47 2002
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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: London recommendations was [h-cost] Glass aglets
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Date: Fri, 26 Jul 2002 08:30:52 -0400 (EDT)
Status: RO

Let's see...the V&A is top of my list.  They have some really lovely gowns
on display in their costume section (though a substantial number of them
are temporarily in storage to make room for an exhibit of 20th century
evening gowns....ARRGH!) and also some good 16th century clothing in their
Britain 1500-1900 exhibit.  Their textile exhibit is an absolute must
see , and the textile study rooms right next to them, which are filled
with hundreds upon hundreds of flat panels of fabric and embroidery from
every period in history. They also have textile pieces scattered here and
there throughout their museum. And they allow you to take photographs,
too. Their British Exhibition has a 16th c. braid sample book on display,
too.

After that...well, it's a tough choice.  The Globe theatre is something
you absolutely cannot miss, if you like later period stuff.  They have a
wonderful exhibit there, including some 16th century clothing and a
fascinating recreation of a 16th century tailor's shop.  Twelfth Night is
currently being performed in hand-sewn, excruciatingly authentic clothing.
WHen I saw it, I felt like I had been whisked 400 years back in time. It
was really something.

The Museum of London has some really good earlier period stuff.  Some
textiles, quite a few shoes, but the bulk of it is tools, metal, wood,
pottery, art. They allow photos, too.

The National Portrait gallery has a rather small Tudor section, but it's
chock full of all those famous paintings that you see reproduced
everywhere: Queen Elizabeth, Lady Jane Grey, etc.

The British museum has very little in the way of textiles, but a
breathtaking jewelry section, and quite a lot of earlier period
accessories and items.

As for Shopping:  well, Teddy can give you the best on that.  :)  He took
me all around the Oxford Circus area, to stores selling lovely and very
expensive fabric (including one silk gauze with peacock feathers handsewn
all over it!) and to Liberty's of London.  I've heard very good things
about the Handweaver's Studio.  They have a transcription of the
aforementioned braid sample book in the V&A, among other things.

As for bath: the costume museum is really great.  Their display of gowns
on modern mannequins with padding added leaves a bit to be desired, but
the gowns themself are breathtaking. They have two sixteenth century
smocks and lots of embroidered 16th c. gloves on display.

Have fun!

Drea

 On Thu, 25 Jul 2002, Sue Clemenger wrote:

> You got to go to London??? How cool!!
> I'll be there (for the very first time) in just over a month (eeek! I
> have way, way too much to do!). We're only spending three days in
> London, actually, so what do you recommend for Absolutely Necessary
> Site-Seeing for a couple of costume and needlework fiends? I want to go
> to the V&A, and the Museum of London, but are there specific exhibits
> you (or anyone on the list) would recommend? Any really spiffy shopping?
> I wish we had more time in London, but I'm also going to (lessee if I
> can remember)...Canterbury, Ipswich (for the Sutton Hoo museum), York
> (for the Jorvik Viking Centre, the Shambles, and the Minster),
> Shrewsbury (cathedral and other stuff), Bath (Assembly Rooms, Roman
> Baths, the Costume Museum, where I'll be lucky if I don't get arrested
> trying to take those Elizabethan shirts home with me! <g>), Salisbury,
> some local stuff around Bath, and then it's up through Wales, where I
> catch the ferry to Dublin, and get 3.5 days there, before I go home in
> complete exhaustion!
> 
> So, if anybody (traveler or resident) has any recommendations for their
> favorite/best spots, I'd love to know them so I can maximize the little
> time I've got!
> 
> --Sue, in summer-stormy Montana, watching another thunder/hail storm
> roll in.....
> 
> Drea Leed wrote:
> > 
> > Hey guys!  I am back from London!
> <snipped>
> _______________________________________________
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Subject: RE: [h-cost] More on ties on shirts
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Date: Fri, 26 Jul 2002 09:15:50 -0300
Status: RO

Nicole

This may be a dumb question - but are Manyoki and Kupecky both artists?
Where did you find these paintings?  I love the detail, but now I want to
see the whole painting (and more) by the same artists.

Martha




http://www.kipar.org/temp/1711_selfportrait-manyoki.jpg
and
http://www.kipar.org/temp/1690s_youngma_kupecky.jpg



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From h-costume-admin@indra.com  Fri Jul 26 09:41:14 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] More on ties on shirts
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Date: Fri, 26 Jul 2002 14:23:12 +0100 (BST)
Status: RO

 --- Martha Kelly <marthakelly@nyc.rr.com> wrote: > Nicole
> 
> This may be a dumb question - but are Manyoki and Kupecky both artists?
> Where did you find these paintings?  I love the detail, but now I want to
> see the whole painting (and more) by the same artists.
> 
> Martha

Yes they are both artists. Kupecky (or Kupetzky) was a german artist, but like
so many worked all around Europe. There was an exhibition I think in Aachen or
near this past year and a friend of mine who works as a guide got me the
catalogue, chockerblock full of portraits with amazing details. Manyoki, hmm...
have a look on CGFA or the Web gallery of art, I think I got the image from
there, am pretty sure.

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 Jul 26 10:19:13 2002
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To: <h-costume@indra.com>
Subject: RE: [h-cost] Dorset buttons- alternative ties..
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Date: Fri, 26 Jul 2002 08:58:39 -0500
Status: RO

umm- that's sorta my fault- I left in the bit I was responding to, 
and put my remarks at the bottom, which seem to have disappeared...
sigh. Betsy

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Thursday, July 25, 2002 11:44 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Dorset buttons- alternative ties..


Ummm...no, I didn't say that....<g> I'm not in a guild with a costume
director at all....I'm in the SCA, plus I'm a perennial gadfly in the
non-SCA period classes on Penny's website (I love historical clothing,
but don't have any access to groups other than the SCA).
--Sue, catching up on emails....

Betsy Marshall wrote:
> 
> At 8:54 AM -0600 7/24/02, Sue Clemenger wrote:
> (snippage)
> 
> Unfortunately our guild's costume director won't let us put them on
> our smocks/shirts because we are dressing more or less in the 1570s
> and they didn't come into common fashion in England until about 1610.
> 
> (I HATE having to tie my shirt cuffs. They ALWAYS come undone, and
> you have to keep tucking the ends back in all day or they get into
> your soup and things. I visited Plimoth Plantation a couple of years
> ago and took the opportunity to ask some of the ladies there what
> they did to keep their "points" tied. They smiled and said, oh, we
> just count on having to re-tie them several times a day! Argh!)
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: London recommendations was [h-cost] Glass aglets
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Date: Fri, 26 Jul 2002 09:30:12 -0500 (CDT)
Status: RO


On Fri, 26 Jul 2002, [iso-8859-1] Debbie Lough wrote:

> In London there's Klein's haberdashery shop, and Foyles book shop.

The clerks at Foyle's have an international reputation for being aloof and
unhelpful, though I'll grant they may have changed in the last decade (but
I doubt it). Last time I was there, the books were filed by publisher.  
Don't waste your time there unless you know exactly what you want.  The
rest of Charing Cross Road has much more to offer. Does anyone know if Ian
Shipley's bookstore is still in business? He had wonderful used art books
and knew a lot about what was available. And there's Zwemmer's, which
specialized in art and related topics. Both are on the stretch of Charing
Cross between Leicester Square and Trafalger Square, or maybe slightly
north of Leicester Square, I forget -- look them up first. At the end of
the walk, stop at St. Martin-in-the-Fields at Trafalger Square and have
lunch in the crypt by the Brass Rubbing Centre, which has a lovely gift
shop. (Or did. All my info is 10 years old. Can someone please confirm
these places are still operating?) Then walk across the street and spend
the rest of the day at the National Gallery and National Portrait Gallery.
You can check your bags of books at the cloakroom.

Early on, while you come by Leicester Square as you walk down Charing
Cross Road, stop by the half-price ticket booth and choose from one of the
many many plays available that evening. A Time Out magazine will give you
capsule reviews, and a board outside the booth will tell you what's
available for that night. (Londoners, is this still the case?) Then, when
the museums close, grab a quick pub dinner and walk a few blocks to the
theater district, where you can check your bags of books at the cloakroom
before settling in for a London play. Do this on a weekday if you can.
Some of the bookstores may even be open late, to help you fill that time.

Elsewhere in London: In Knightsbridge, off Brompton Road halfway between
Harrod's and the V&A, is a side street called Beauchamp Place. It used to
have a Reject China Shop (yum) and a tiny specialty bookstore called
Heraldry Today. I got my books on brass rubbings there, and at St.
George's Gallery Books, another specialty shop with new and used stuff
(but I forget where they're located, I think near the British Library?).
St. George's was bought by Zwemmer's a few years ago, but last I heard was
still operating. Does anyone know?

Your very first book purchase in London should be an A-to-Z street map.
You can get a small one for inner London, or a big one to cover the
suburbs. It marks practically every crack in the street, it's so detailed.

--Robin

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From h-costume-admin@indra.com  Fri Jul 26 11:08:38 2002
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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: Manessische Liederhandschrift, was Re: [h-cost] Medievalcross-dressing?
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Date: Fri, 26 Jul 2002 07:55:19 -0700
Status: RO

Ingrid,

	I believe it has all the pictures, at least it has 137 full page (about
standard size paper) illustrations, and they are fairly sharp.  In fact they
may be better than the facsimile that came out about 15 -20 years ago
because the aging of the print media and bleed through from the original has
been cleaned up.  I bought one of those facsimile copies for a friend when I
was in Germany at the time (300 DM.  What a fool I was not to have found the
money for one for myself, but there were other things then!).
	The biggest problem in ordering from Germany is the hideous cost of postage
and handling. It's normal to pay as much for that as for the book!  If you
have any friends there that you could have the book sent to and then
trans-shipped to you, it might be worth it (that may only work if your
friends have access to the APO (military) postal system though.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Ingrid G. Storro
Sent: Friday, July 26, 2002 2:09 AM
To: h-costume@indra.com
Subject: RE: Manessische Liederhandschrift, was Re: [h-cost]
Medievalcross-dressing?


On Thu, 25 Jul 2002, Wanda Pease wrote:
> My new copy of the Mannesse is not in English, but it is a new printing in
8
> x 12 size, nice color, and only cost me $30.  Try www.amazon.de.com . You
> can always use bablefish for some quick and dirty translation of a
paragraph
> or two.

Hi! Does this have all the illustrations and in colour? How good is the
picture quality? If it's good I'll be placing an order today, thanks
for the tip. :) An English translation would definitely also be
interesting, but for me it would depend on the price since I can read
German fairly well, if slow. :)

Ingrid

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From: kat@grendal.rain.com
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Subject: [h-cost] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
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Date: Fri, 26 Jul 2002 08:05:14 -0700
Status: RO

The thing I find fascinating about this shirt is the way the sleeves 
are inset. The sleeve itself is a rectangle. The hole it goes into is a 
rectangle with a little triangle going up into the rectangle making a 
self gusset. I've made a couple of these now and they work great!

The only way to see this is to get under the arm (and I found a 
photograph of it in a blackwork book, fortunately) because it didn't 
show up in any of the many photographs I took of it at the V&A. 
(There is a band cuff, heavily embroidered like the collar, with a 
small frill beyond that.)

However, I'd be willing to bet that Nicole is more interested in the 
early 17th C Italian Chemise they have (the one which is also 
pictured as a drawing only in Cut my Cote.)

>  --- Sue Clemenger <mooncat@in-tch.com> wrote: > The boy's shirt
>  that's dated
> to 1540s, with the blue knotwork columbine
> > pattern on the collar and cuffs?
> 
> No, I don't mean this one, it's a boy's one after all and before my
> period of interest. I have VERY close-up photos of it, took themonce
> in the V&A years ago before they took it out of display when they made
> the new british galleries.
> 
> I've got a closeup of the
> > neckline/collar area from an old library book (actually clear
> > enough, even after enlarging, to graph the embroidery design), and I
> > don't recall seeing buttonholes in the collar (or eyelet holes). The
> > fabric
> 
> You are right, there are none, because the blue ties are sewn onto the
> stand-up collar. That's the point though, the type of collar and the
> period. I have a piccie uploaded somewhere on my sites...
> http://www.kipar.demon.co.uk/elizabethan/boyshirt1540s.jpg Here you
> are, I have an even bigger close-up at home.
> 
> > was solid.  I'd wondered if maybe it was pinned closed, or if it'd
> > had ties and they'd worn out.....
> 
> Ties are on there.
> 
> > --Sue, who also seems to recall the cuffs of that thing actually
> > being gathered into a sort of ruffle with a narrow band of some sort
> > of trim or braid or embroidery....
> 
> I have a close-up of the cuffs too. they are gathered into a band,
> just like any old shirt, but then there's a small ruffle which is
> gathered into the band too.
> 
> Nicole

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: Rose Amberwulf <roscelin@attbi.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] Glass aglets for sale
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Date: Fri, 26 Jul 2002 08:50:21 -0700
Status: RO

May I ask what are aglets?

Roscelin

Drea Leed wrote:

>Hey guys!  I am back from London!  And have shed my hundred-spams-a-day
>(for a while at least), so I can get back on the list.
>
>I don't know if this has been posted in my absence, but a woman is making glass aglets for Elizabethan dress:
>http://www.canyonkeep.com/costume.htm
>
>It looks very similar to the original item (pic at 
>http://www.dnaco.net/~aleed/corsets/pics/aglet.gif)
>
>Expensive, but very pretty.  I need to get some to wear with a black
>velvet gown with silver embroidery.  Of course, then I'll have to /make/
>the black velvet gown with silver embroidery...
>
>Drea
>


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
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Date: Fri, 26 Jul 2002 17:22:58 +0100 (BST)
Status: RO

 --- kat@grendal.rain.com wrote: > 
> The only way to see this is to get under the arm (and I found a 
> photograph of it in a blackwork book, fortunately) because it didn't 
> show up in any of the many photographs I took of it at the V&A. 
> (There is a band cuff, heavily embroidered like the collar, with a 
> small frill beyond that.)

Would you care to share the piccie at all, if possible? I AM interested,
because of the development I am interested in everything +- 100 years before
and after, often the actual garment of the period in queston becomes more
logical when seeing what was before and sometimes even after.

> However, I'd be willing to bet that Nicole is more interested in the 
> early 17th C Italian Chemise they have (the one which is also 
> pictured as a drawing only in Cut my Cote.)

Yeeeesss... but they have now on display yet another one!

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] shirt ties/aiglets
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Date: Fri, 26 Jul 2002 11:36:45 -0500
Status: RO

Since we're on the subject...:-)

When looking at pictures in Patterns of Fashion, it seems that lacing
eyelets are rather small (I think somewhere the measurement 1/8" was used).
However, the aiglets I am using on my ties are much larger (approx 1/4" at
widest point) which require a hole at least 3/8" wide if not bigger. And I
know that portraits of nobles show larger aiglets as well. Are those larger
aiglets just for show? How did they finish off a tie/lace so that it didn't
fray away?

And just what is cotton/linen tape that some of you are using for shirt
ties, and where do I get some? I tried using cotton crochet string as ties
on the latest shirt I made, and it looked really good, just like the
portraits, but I ended up having to cut them off to get my husband out of it
because they knotted up so badly.

**********************
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
**********************


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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] Glass aglets for sale
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Date: Fri, 26 Jul 2002 12:38:47 -0400 (EDT)
Status: RO

They are the tips attached to the ends of laces so you can get them
through lacing holes or grommets.  

Drea


On Fri, 26 Jul 2002, Rose Amberwulf wrote:

> May I ask what are aglets?
> 
> Roscelin
> 
> Drea Leed wrote:
> 
> >Hey guys!  I am back from London!  And have shed my hundred-spams-a-day
> >(for a while at least), so I can get back on the list.
> >
> >I don't know if this has been posted in my absence, but a woman is making glass aglets for Elizabethan dress:
> >http://www.canyonkeep.com/costume.htm
> >
> >It looks very similar to the original item (pic at 
> >http://www.dnaco.net/~aleed/corsets/pics/aglet.gif)
> >
> >Expensive, but very pretty.  I need to get some to wear with a black
> >velvet gown with silver embroidery.  Of course, then I'll have to /make/
> >the black velvet gown with silver embroidery...
> >
> >Drea
> >
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] shirt ties/aiglets
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Date: Fri, 26 Jul 2002 12:54:09 -0400 (EDT)
Status: RO



On Fri, 26 Jul 2002, Rebecca Schmitt wrote:

> Since we're on the subject...:-)
> 
> When looking at pictures in Patterns of Fashion, it seems that lacing
> eyelets are rather small (I think somewhere the measurement 1/8" was used).
> However, the aiglets I am using on my ties are much larger (approx 1/4" at
> widest point) which require a hole at least 3/8" wide if not bigger. And I
> know that portraits of nobles show larger aiglets as well. Are those larger
> aiglets just for show? How did they finish off a tie/lace so that it didn't
> fray away?

They had aglets of many sizes, but the ones I've seen are on the whole
narrower than the usual "bolo points" you get from craft stores.
 Aglets were used for decoration as well.  In fact,
http://costume.dm.net/images/audley.jpg is a good example of aglets used
for decoration as well as fastening.

Enameled cloissonee (I know I murdered that spelling) barrel beads make
great decorative aglets.  If you want small points, use brass bugle beads
(example at http://costume.dm.net/wardrobe/dublet/dubdetail1.jpg) to tip
your laces.  both are available from jewelry and bead supply stores. I
know some people that make smaller aglet points, but unfortunately don't
have their contact info to hand.

I get my linen lacing tape from Wooded Hamlet (http://www.woodedhamlet.com)
It's great stuff!


Drea

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Subject: Re: [h-cost] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
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Date: Fri, 26 Jul 2002 11:08:56 -0700
Status: RO

From:           	N Kipar <nicolas_fouquet@yahoo.com>
Subject:        	Re: [h-cost] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
To:             	h-costume@indra.com
Send reply to:  	h-costume@indra.com
Date sent:      	Fri, 26 Jul 2002 17:22:58 +0100 (BST)

>  --- kat@grendal.rain.com wrote: > 
> > The only way to see this is to get under the arm (and I found a
> > photograph of it in a blackwork book, fortunately) because it didn't
> > show up in any of the many photographs I took of it at the V&A.
> > (There is a band cuff, heavily embroidered like the collar, with a
> > small frill beyond that.)
> 
> Would you care to share the piccie at all, if possible? I AM
> interested, because of the development I am interested in everything
> +- 100 years before and after, often the actual garment of the period
> in queston becomes more logical when seeing what was before and
> sometimes even after.

That is so true. However, the files (when I scan the slide to become 
a jpg) end up too big to send. I don't have a website (or time to 
build one if I had access to one, at least not for the next 3 weeks.)

Also, I don't want to run afoul of the V&A. I made promises about 
my pictures when I took them (although that was for the textile 
room), and I don't want to make it so that they don't trust me to 
come take pictures again some day. (Too far in the future at this 
point, damn the economy.)

> > However, I'd be willing to bet that Nicole is more interested in the
> > early 17th C Italian Chemise they have (the one which is also
> > pictured as a drawing only in Cut my Cote.)
> 
> Yeeeesss... but they have now on display yet another one!

I wish they had had that one on display when I was there. However, 
I was thrilled to get the boy's shirt photographed. Shoot, I didn't 
even realize they had it *there* until someone mentioned it on this 
list recently. I then looked up my Cut My Cote. I had thought it was 
from the Ontario Museum that sponsored the booklet.)

Nicole, have you considered writing to the V&A and getting an 
appointment to see that chemise. You can't take pictures of it, but 
you could draw the embroideries and get an even better idea of the 
actual stitching. (At least you live on the right continent for getting 
there before I do.)

I got such a kick out of the museums. The V&A will let you not 
only photograph in the textile section, but use flash. However, 
during your appointment you're not allowed to use any sort of 
photography (unless you are Janet Arnold, who I suspect had to 
pay them for the privilege.) And no tripods.

In the US it's the opposite. If you are allowed to use a camera at 
all, you cannot use flash but you can get permission (pretty easily, 
from what I've experienced) to use a tripod (except on holidays and 
weekends.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Subject: [h-cost] Robbon ties
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Date: Fri, 26 Jul 2002 13:04:39 -0500
Status: RO

--- kat@grendal.rain.com wrote: > 
> The only way to see this is to get under the arm (and I found a 
> photograph of it in a blackwork book, fortunately) b

Would you care to share the piccie at all, if possible? 
<snip>
nicole
>>>>>>>>>>>>>>>>>>>
Me too!  Or reference the book this was in?  Perhaps a sketch of the pattern layout?  It sounds like something I would like to try.

The ribbon ties in the pictures Nicole posted reminded me of the ribbons you see when tieing the points on the outside of the doublet, etc. was popular.  If you had lots of ties laying around for this, I could see where having a few extras for the shirt would be no big deal and they would always be handy so this method makes a little more sense.

Catherine


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Ribbon ties
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Date: Fri, 26 Jul 2002 19:22:53 +0100 (BST)
Status: RO

 --- Catherine Kinsey <Ckinsey@kumc.edu> wrote: > 
> Me too!  Or reference the book this was in?  Perhaps a sketch of the pattern
> layout?  It sounds like something I would like to try.

Yep, I agree, a sketch is all I need too. *S*

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] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
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Date: Fri, 26 Jul 2002 19:31:50 +0100 (BST)
Status: RO

 --- kat@grendal.rain.com wrote: > 
> That is so true. However, the files (when I scan the slide to become 
> a jpg) end up too big to send. I don't have a website (or time to 
> build one if I had access to one, at least not for the next 3 weeks.)

Would a quick sketch perhaps do? Not now, not when you're busy, I know the
problem, just eventually perhaps.

> Also, I don't want to run afoul of the V&A. I made promises about 
> my pictures when I took them (although that was for the textile 
> room), and I don't want to make it so that they don't trust me to 
> come take pictures again some day. (Too far in the future at this 
> point, damn the economy.)

I don't need photos, thanks, but I took LOTS of photos in the V&A myself, I
have 
quite a few of the shirt and yes, I have them all on a web site, in fact on
several web sites. I do not agree with not showing photos of the extant
garments and I do have permission to show even the V&A's own photos (postcards)
anyway. I asked nicely, and lo and behold, I got the permission. A sketch would
be super, it's just the contsruction of the rectangled sleeve I'm interested in
but i do understand when you don't have time! What's the book BTW, I might even
have it. :-)

> Nicole, have you considered writing to the V&A and getting an 
> appointment to see that chemise.

The chemise is on display, no? Which one do you mean now? I am getting confused
*L*
Yes, and I talked to Susan North when I last met her, she said to drop a line
and take a look at whatever I want to (their great coat is first on the
list!!!) but shooo, I didn't have time yet, have to do it in winter though I'll
see her next on the late night view on 7th August.

 You can't take pictures of it, but 
> you could draw the embroideries and get an even better idea of the 
> actual stitching. (At least you live on the right continent for getting 
> there before I do.)

The embroidered one other one? No problem, that one is displayed and so well
that one can see just about everything, I have about 5 drawings of it (not the
emb roideries because shifts were not embroidered anymore in the period I
re-enact so I didn't bother) but my drawings are awful ;-)

> I got such a kick out of the museums. The V&A will let you not 
> only photograph in the textile section, but use flash. However, 

The flash is severely, severly frowned upon, I never ever photograph ANY
textiles whatsoever with flash. *S* 
but yes, they don't spank your hide when you do use it.

> during your appointment you're not allowed to use any sort of 
> photography (unless you are Janet Arnold, who I suspect had to 
> pay them for the privilege.) And no tripods.

You are allowed, if it is for the proper kind of research, but the permission
is dificult to get, I am willing to try it though, because I do need
illustrations of some actual garments in my PhD. Well, one can hope and try.

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: Fri, 26 Jul 2002 11:31:08 -0700 (PDT)
Status: RO

Thanks to those who gave input on the strange
stitching/seams on the Magdalene by van der Weyden I
posted about earlier... incidentally, I searched the
archives for a solid hour to find any previous
discussion on that subject before I posted, but didn't
come across it under headings with '15th' or 'van der
Weyden'. <sigh>.. I was trying not to revisit an
oft-trod topic.

As for the hard-to-find Dieric Bouts image, I'd be
happy to scan it and send it privately, Robin. I'm
hoping that fair-use covers such a one-off sharing of
an image... Unless you or others object, I'm willing.

Tasha/Marcele

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Date: Fri, 26 Jul 2002 12:02:10 -0700
Status: RO

Could someone be so kind as to explain to me how I can look at the 
archives? Thanks!

Roscelin

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From h-costume-admin@indra.com  Fri Jul 26 15:30:26 2002
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Subject: Re: [h-cost] Re: 15th century female dress
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Date: Fri, 26 Jul 2002 14:18:19 -0500 (CDT)
Status: RO


On Fri, 26 Jul 2002, Tasha Kelly wrote:

> Thanks to those who gave input on the strange stitching/seams on the
> Magdalene by van der Weyden I posted about earlier... incidentally, I
> searched the archives for a solid hour to find any previous discussion
> on that subject before I posted, but didn't come across it under
> headings with '15th' or 'van der Weyden'. <sigh>.. I was trying not to
> revisit an oft-trod topic.

Not to worry. Eric used to have a full-text search capability on the
archives, but now that it's only author and subject line, you kind of have
to know where to look. Besides, the population of the list does change,
and it's nice to have fresh ideas on favorite topics after a while.

(And I bet you had fun reading the archives anyway ;-)

I'm a post packrat, and I just located in my own files some posts from one
of the discussions we had about this. It was two and a half years ago, so
we were due for a re-hash. ;-)  Try the subject line "van der Weden
sleeves" from January 2000. You'd have never found that on a search
because of the misspelling, alas.

> As for the hard-to-find Dieric Bouts image, I'd be happy to scan it
> and send it privately, Robin. I'm hoping that fair-use covers such a
> one-off sharing of an image... Unless you or others object, I'm
> willing.

I think that's legit -- as long as neither of us is reproducing it for
distribution or posting it on a Web page. Scholars shuffle Xeroxes around
among each other for consultation all the time, and the courts generally
find that acceptable ;-) Please do send it along privately if you can.
Thanks.

--Robin

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From h-costume-admin@indra.com  Fri Jul 26 15:41:28 2002
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Date: Fri, 26 Jul 2002 14:29:08 -0500 (CDT)
Status: RO


On Fri, 26 Jul 2002, Rose Amberwulf wrote:

> Could someone be so kind as to explain to me how I can look at the 
> archives? Thanks!

==================CLIP AND SAVE!================

Eric Praetzel's searchable archive is located at:
	http://sca.uwaterloo.ca/~fashion/archives

Eric made some changes to the search method a few months ago that speed
the search but reduce your ability to search. You can no longer search by
keyword in text, just by the poster's name and subject line ... not much
use for many of the sorts of questions I ask. But it's a start, and if you
know that one of the listmembers is an expert on some topic, you can
always search on his/her name and then follow subject lines once you find
useful threads. 

Be aware that when Eric tidied up the files to eliminate the abundance of
extra email headers, some of the text was lost from some postings; I have
found a few lines missing here and there from my old posts. Eventually I
realized that when a text line happened to include a colon after the first
word on that line, the software assumed that line was a header and wiped
it. If you find some odd breaks in a posting, that may be the cause.

Franchesca Havas used to keep older archives available for ftp, but
the bookmark I had for her site is not working. Clues are welcome.

--Robin





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From h-costume-admin@indra.com  Fri Jul 26 15:48:26 2002
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Date: Fri, 26 Jul 2002 14:36:04 -0500 (CDT)
Status: RO


I wrote:

> Franchesca Havas used to keep older archives available for ftp, but
> the bookmark I had for her site is not working. Clues are welcome.

Here they are -- zipped by year for 1993, 1994, 1995, and 1996:
	http://www.io.com/~ches/costume/links.html

--Robin

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Subject: Re: London recommendations was [h-cost] Glass aglets
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Date: Fri, 26 Jul 2002 20:43:25 +0100 (BST)
Status: RO

 --- Robin Netherton <robin@shell.nightowl.net> wrote: > 

> Your very first book purchase in London should be an A-to-Z street map.
> You can get a small one for inner London, or a big one to cover the
> suburbs. It marks practically every crack in the street, it's so detailed.

I wouldn't buy a map personally, but the A-Z book. have one here, lemme
check... 
London A-Z
4.95 pounds, has a most useful lil tube map on the back. Could it be that 10
years ago this was a map and now it's a paperback book?
Oh, and if you intend to travel a bit by tube a day then buy a day travel
card!!! Ends up cheaper and easier most of the time than single tickets.

Nicole - who loves the museums and hates London, sorry.

=====
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: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: London recommendations was [h-cost] Glass aglets
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Date: Fri, 26 Jul 2002 14:49:04 -0500 (CDT)
Status: RO


On Fri, 26 Jul 2002, [iso-8859-1] N Kipar wrote:

> > Your very first book purchase in London should be an A-to-Z street map.
> > You can get a small one for inner London, or a big one to cover the
> > suburbs. It marks practically every crack in the street, it's so detailed.
> 
> I wouldn't buy a map personally, but the A-Z book. ... Could it be that 10
> years ago this was a map and now it's a paperback book?

No, I meant the book!

I have several copies of the big one, but for touristing around town I
remember using a much smaller pocket version that just covered inner
London and had good color-coding that made the map easier to handle.

> Oh, and if you intend to travel a bit by tube a day then buy a day travel
> card!!! Ends up cheaper and easier most of the time than single tickets.

Amen to that. And you don't have to think about how many tickets, how much
money, etc.

--Robin, who sorely needs another long stretch in London and won't see it
for a while

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Subject: [h-cost] Off Topic: But fun and artsy
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Date: Fri, 26 Jul 2002 16:03:28 -0400
Status: RO

Try this website:
http://www.zefrank.com/byokal/kal.html

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





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To: h-costume@indra.com, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Re: 15th century female dress
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Date: Fri, 26 Jul 2002 13:31:33 -0700
Status: RO


>
>Not to worry. Eric used to have a full-text search capability on the
>archives, but now that it's only author and subject line, you kind of have
>to know where to look.

Does anyone else hate this as much as I do?  I've spent countless hours
trying to find the right title to search under.  Eric said he did this
because it made the searhing faster, which I suppose it does if you know
the exact title, but I for one found it far more convenient to be able to
search by content.

If enough people agree with me, maybe we can find a solution to the problem.  

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From: "Angela F. Lazear-  Cabbage Rose" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Re: Searching the archives
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Date: Fri, 26 Jul 2002 13:36:06 -0700
Status: RO

I think that the only real way to find things reliably is to broaden the
search capabilities to include context if necessary. It is so often the case
that subject lines are NOT changed to reflect changes in topic and valuable
information is thus lost forever.  Is it possible to have a choice? A field
for a "fast" search by author or title and a "slower" search through all the
messages themselves for text references?  That way the user could decide how
long they wanted to spend locating any given set of messages.

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
----- Original Message -----
From: "Margo Anderson" <margo@margospatterns.com>
To: <h-costume@indra.com>; <h-costume@indra.com>
Sent: Friday, July 26, 2002 1:31 PM
Subject: Re: [h-cost] Re: 15th century female dress


>
> >
> >Not to worry. Eric used to have a full-text search capability on the
> >archives, but now that it's only author and subject line, you kind of
have
> >to know where to look.
>
> Does anyone else hate this as much as I do?  I've spent countless hours
> trying to find the right title to search under.  Eric said he did this
> because it made the searhing faster, which I suppose it does if you know
> the exact title, but I for one found it far more convenient to be able to
> search by content.
>
> If enough people agree with me, maybe we can find a solution to the
problem.
>
> 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  Fri Jul 26 17:17:04 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Fri, 26 Jul 2002 16:04:22 -0500 (CDT)
Status: RO


On Fri, 26 Jul 2002, Margo Anderson wrote:

> >Not to worry. Eric used to have a full-text search capability on the
> >archives, but now that it's only author and subject line, you kind of have
> >to know where to look.
> 
> Does anyone else hate this as much as I do?  I've spent countless hours
> trying to find the right title to search under.

Yes. The full-text search was invaluable, particularly if I want to find
references to specific books, garments, finds, authors, etc.

I'm also distressed over the occasional loss and garbling of text that
happened during Eric's (otherwise useful!) cleanup process.

> If enough people agree with me, maybe we can find a solution to the
> problem.

The best solution would be to get all the archives on a single site with
proper search capabilities, like other lists' archives. Is there anyone in
the h-cost population with the web space for this? And anyone with the
expertise to set up a standard full-text search capability?

And finally, does anyone have the original archives of posts after 1996?
(Ches has the earlier ones.) I would guess Eric would share, but I don't
know if he has the original versions of the posts before he cleaned them
up.

--Robin


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From h-costume-admin@indra.com  Fri Jul 26 17:22:28 2002
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Subject: Re: [h-cost] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
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Date: Fri, 26 Jul 2002 14:17:28 -0700
Status: RO


>  --- kat@grendal.rain.com wrote: > 
> > That is so true. However, the files (when I scan the slide to become
> > a jpg) end up too big to send. I don't have a website (or time to
> > build one if I had access to one, at least not for the next 3
> > weeks.)
> 
> Would a quick sketch perhaps do? Not now, not when you're busy, I know
> the problem, just eventually perhaps.

I have a sketch somewhere in my other computer (the one I use for 
writing which has all my fancy Adobe programs in it.)
 
> I don't need photos, thanks, but I took LOTS of photos in the V&A
> myself, I have quite a few of the shirt and yes, I have them all on a
> web site, in fact on several web sites. I do not agree with not
> showing photos of the extant garments and I do have permission to show
> even the V&A's own photos (postcards) anyway. I asked nicely, and lo
> and behold, I got the permission. A sketch would be super, it's just
> the contsruction of the rectangled sleeve I'm interested in but i do
> understand when you don't have time! What's the book BTW, I might even
> have it. :-)

Either Pascoe or Gostelow. (I have others, but I know it's not in 
them.)
 
> The chemise is on display, no? Which one do you mean now? I am getting
> confused *L* Yes, and I talked to Susan North when I last met her, she
> said to drop a line and take a look at whatever I want to (their great
> coat is first on the list!!!) but shooo, I didn't have time yet, have
> to do it in winter though I'll see her next on the late night view on
> 7th August.

While I'd be more interested in the 1540's one, I was thinking of the 
17th C chemise.

> The embroidered one other one? No problem, that one is displayed and
> so well that one can see just about everything, I have about 5
> drawings of it (not the emb roideries because shifts were not
> embroidered anymore in the period I re-enact so I didn't bother) but
> my drawings are awful ;-)

How odd. The Italian 17th C one is supposedly embroidered. at 
least along the seams. That's the one I was thinking of. I wish it 
had been on display when I was there.
 
> The flash is severely, severly frowned upon, I never ever photograph
> ANY textiles whatsoever with flash. *S* but yes, they don't spank your
> hide when you do use it.

Actually, they told me that the flash is better than having "adequate 
lighting" for looking at it. It is such short duration (fraction of a 
second) that it does less damage than 5 minutes of regular 
lighting. They specifically *told* me to use the flash when I wrote to 
them. (In fact, at the MOL I wasn't using a flash but they came up 
and told me to *start* using one to get better pictures.) And the 
glass helps to cut down on the UV exposure (which may be why 
they don't let you use it during the appointments: no glass between 
your camera and the item.)

> > during your appointment you're not allowed to use any sort of 
> > photography (unless you are Janet Arnold, who I suspect had to pay
> > them for the privilege.) And no tripods.
> 
> You are allowed, if it is for the proper kind of research, but the
> permission is dificult to get, I am willing to try it though, because
> I do need illustrations of some actual garments in my PhD. Well, one
> can hope and try.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: V&As 1540s Boys Shirt, was, re: Ribbon ties,
To: h-costume@indra.com
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Date: Fri, 26 Jul 2002 22:26:54 +0100 (BST)
Status: RO

 --- kat@grendal.rain.com wrote: > 

> Either Pascoe or Gostelow. (I have others, but I know it's not in 
> them.)

Thanks, I'll check my incentory.
 
> How odd. The Italian 17th C one is supposedly embroidered. at 
> least along the seams. That's the one I was thinking of. I wish it 
> had been on display when I was there.

believe me, I am really confused now, with all the chemise, or not chemise,
this is the question. I'll have a good look again in August!

> Actually, they told me that the flash is better than having "adequate 
> lighting" for looking at it. It is such short duration (fraction of a 
> second) that it does less damage than 5 minutes of regular 
> lighting. They specifically *told* me to use the flash when I wrote to 
> them. (In fact, at the MOL I wasn't using a flash but they came up 
> and told me to *start* using one to get better pictures.) And the 
> glass helps to cut down on the UV exposure (which may be why 
> they don't let you use it during the appointments: no glass between 
> your camera and the item.)

HOW STRANGE! I was told exactly the opposite, not to use a flash by any means.
This is why I use either extra light sensitive film or digital cameras. Weird!
Maybe different people have different opinions on that? Anyway, the pix with
light sensitive film turn out very well, and so do the digicam ones, admittedly
it was my former company's one, over 700 quid, and one I miss dearly, such a
work of state of the art technology *SIGH* Nevermind.

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>
To: <h-costume@indra.com>
Subject: RE: [h-cost] shirt ties/aiglets
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Date: Fri, 26 Jul 2002 14:16:16 -0700
Status: RO

**beads make great decorative aglets.  If you want small 
**points, use brass bugle beads (example at
*http://costume.dm.net/wardrobe/dublet/dubdetail1.jpg) to tip 
**your laces.  

This is a great idea-I was contemplating Greenberg and Hammers lacing
tipper tool-$250 - yikes!  I was figuring I could make up 250 laces with
tips and sell them for a $ apiece, but this idea is much more appealing!

Saragrace (who hates repetitive tasks of any kind)

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] shirt ties/aiglets
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Date: Fri, 26 Jul 2002 12:59:01 -0700
Status: RO


>I tried using cotton crochet string as ties
>on the latest shirt I made, and it looked really good, just like the
>portraits, but I ended up having to cut them off to get my husband out of it
>because they knotted up so badly.

I braid my cotton crochet string into ties, and it doesn't do that.  And 
they look all nice and handmade that way.


Kayta

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Date: Fri, 26 Jul 2002 17:08:38 -0500
Status: RO

.  If you want small points, use brass bugle beads
> (example at http://costume.dm.net/wardrobe/dublet/dubdetail1.jpg) to tip
> your laces.
> Drea
>

Drea, how did you attach those beads? Is the fabric from the laces somehow
threaded into them?

**********************
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
**********************


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From h-costume-admin@indra.com  Fri Jul 26 20:35:25 2002
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Date: Fri, 26 Jul 2002 20:22:24 -0400
Status: RO

Recently was looking for polished cotton (100% cotton, not poly-cotton
blends) -- it appears to be very hard to find.  Hancock and Walmart near me
have the blends, but I really don't like those.

Anyone know of a source?

-- Mara
Kevin + Mara Riley

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From h-costume-admin@indra.com  Fri Jul 26 21:28:35 2002
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Subject: [h-cost] Nottingham Costume Museum (UK) in danger of closing
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Date: Fri, 26 Jul 2002 19:10:31 -0500 (CDT)
Status: RO


This post appeared on the Living History (UK) costume forum
<http://www.livinghistory.co.uk/costumes/forum/index.html>. I didn't ask
permission to repost, but given the time-sensitive aspect and the public
nature of the plea, I don't think the author will mind. I do not know the
poster's name, other than "Dawn." The address she gives is the Nottingham
local paper; I wish I knew who might have more authority. I don't know
what the fax number leads to. In any case, though, words from around the
world about the importance of collections like this might do some good.
(And how many costumers who visit England even know about this museum?
Perhaps their numbers would be higher with a little publicity.)


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

[Subject] URGENT - Help keep museum open

[Posted by] Dawn

[Date] Fri Jul 26 2002 12:59:49

We received today a piece of extraordinarily bad news from Jeremy W.  
Farrell, M.A., A.M.A., Keeper of Costumes and Textiles of the City of
Nottingham Museum of Costumes and Textiles.

>From previous listings, many of you may have picked up on the on-going
trend in the United Kingdom to close down significant costume collections
and to put their holdings into stores. This has already happened at
Wygston (Leicester), Northampton, Cheltenham, and is rumored to be in the
works at Warwick as well. All of these collections were unique in their
own right, were staffed by genial, cooperative and highly motivated
keepers and curators. The keeper at the Snowshill Collection has had her
time cut back, and as some of you may know, her time prior to the cutback
was two days a week. This of coure, makes the Snowshill Collection
increasingly difficult to access.

In any event, there is a proposal on the table to shut down the Nottingham
Museum of Costume and Textiles, and the Georgian and Stuart buildings in
which the collection is housed would be sold so as to support heritage
sites. The collection would be boxed and would go into storage somewhere
outside of the city. From our experience "outside of the city" frequently
means all but inaccessible unless one has a car and an ordinance survey
map.  The collection at Leicester was put into an industrial estate at
Barrow-on-Soar. (See if you can find that sucker on a map. We had to walk
five bloody miles from the train station..in the rain.)

The Nottingham Collection comprises 22,000 items dating from the 17th
century, and is famous worldwide for its lace collection. Like many of the
museums noted above, this collection is located in the center of the city,
and therefore is readily accessible to all those arriving by bus or rail.  
One of its features is that it has a significant number of period rooms
that are complete in every respect, in terms of artifacts, properly posed,
attired and accoutered figures, and are totally breath-taking. This is
unlike the V and A that has a costume gallery and a furniture gallery, but
has never seen fit to blend the two together to tell the complete story of
an epoch.

One of our very real concerns is that costumers will be invariably
funnelled into London and Bath, where the institutions in those locales
have never been able to deliver the degree of accessiblity and personal
contact that the smaller collections have been able to deliver.

In any event, we have been asked by our friends and colleagues in Britain,
to attempt, as a last ditch effort to make an impact on the powers that
be, to reconsider this move. Many of you, regretably, will never have the
opportunity to use the collections in Britain, as a result of time, family
and fiscal constraints. Nonetheless, if you are on this list, you, I'm
sure, must sense a feeling of loss every time something like this happens.

If you have a fax, you can send your heartfelt thoughts and chagrin to
0115 964 4032. If you wish to email, the address is
letterspoems@nottinghameveningpost.co.uk [Please include your home
address.] There is little point in providing a mailing address, since the
deadline for the public consultation process ends on the 31st of July,
2002. As the Board of the Museum points out, there is a national trend to
close costume and textile museums, and to put their collections into
store.


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In a message dated 7/26/02 8:24:10 PM Eastern Daylight Time, lindo@radix.net 
writes:


> Anyone know of a source?
> 

Have you checked the home decorating sections of the above?  I believe that 
Hancock used to carry a 100% cotton there, but haven't looked for a while.  
Also, any luck in the quilting section--I think there used to be a 90" wide 
100% cotton designed for quilt backs at one time.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 7/26/02 8:24:10 PM Eastern Daylight Time, lindo@radix.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Anyone know of a source?<BR>
</BLOCKQUOTE><BR>
<BR>
Have you checked the home decorating sections of the above?&nbsp; I believe that Hancock used to carry a 100% cotton there, but haven't looked for a while.&nbsp; Also, any luck in the quilting section--I think there used to be a 90" wide 100% cotton designed for quilt backs at one time.<BR>
Ann Wass</FONT></HTML>

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Date: Fri, 26 Jul 2002 18:47:15 -0700
Status: RO

Thank you, Robin. I had the pleasure of being able to read anything that 
had to do with the 14th century.

Roscelin

Robin Netherton wrote:

>On Fri, 26 Jul 2002, 
>==================CLIP AND SAVE!================
>
>Eric Praetzel's searchable archive is located at:
>	http://sca.uwaterloo.ca/~fashion/archives
>
>Eric made some changes to the search method a few months ago that speed
>the search but reduce your ability to search. You can no longer search by
>keyword in text, just by the poster's name and subject line ... not much
>use for many of the sorts of questions I ask. But it's a start, and if you
>know that one of the listmembers is an expert on some topic, you can
>always search on his/her name and then follow subject lines once you find
>useful threads. 
>
>Be aware that when Eric tidied up the files to eliminate the abundance of
>extra email headers, some of the text was lost from some postings; I have
>found a few lines missing here and there from my old posts. Eventually I
>realized that when a text line happened to include a colon after the first
>word on that line, the software assumed that line was a header and wiped
>it. If you find some odd breaks in a posting, that may be the cause.
>
>Franchesca Havas used to keep older archives available for ftp, but
>the bookmark I had for her site is not working. Clues are welcome.
>
>--Robin
>
>
>
>
>


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Date: Fri, 26 Jul 2002 18:48:33 -0700
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Thank you once again.  I haven't had the chance to go through that site 
yet, but plan to tomorrow.

Roscelin

Robin Netherton wrote:

>I wrote:
>Franchesca Havas used to keep older archives available for ftp, but
>the bookmark I had for her site is not working. Clues are welcome.
>
>
>Here they are -- zipped by year for 1993, 1994, 1995, and 1996:
>	http://www.io.com/~ches/costume/links.html
>
>--Robin
>
>


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<html>
<head>
</head>
<body>
Thank you once again. &nbsp;I haven't had the chance to go through that site yet,
but plan to tomorrow.<br>
<br>
Roscelin<br>
<br>
Robin Netherton wrote:<br>
<blockquote type="cite" cite="mid:Pine.LNX.4.10.10207261434430.3428-100000@shell.nightowl.net">
  <pre wrap="">I wrote:<br>Franchesca Havas used to keep older archives available for ftp, but<br>the bookmark I had for her site is not working. Clues are welcome.<br></pre>
  <pre wrap=""><!----><br>Here they are -- zipped by year for 1993, 1994, 1995, and 1996:<br>	<a class="moz-txt-link-freetext" href="http://www.io.com/~ches/costume/links.html">http://www.io.com/~ches/costume/links.html</a><br><br>--Robin<br><br><br></pre>
  </blockquote>
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  </body>
  </html>

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Subject: RE: [h-cost] Polished cotton source?
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Date: Fri, 26 Jul 2002 21:58:10 -0400
Status: RO

Try looking here.  They carry 100% polished cotton in five or six colors,
45" wide.  No website or on-line ordering, but they will send swatches and
do mail order.

Needle and Thread
2215 Fairfield Road
Gettysburg, PA  17325
717-334-4011
needleandthread@hotmail.com


Recently was looking for polished cotton (100% cotton, not poly-cotton
blends)...Anyone know of a source?

-- Mara

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Date: Fri, 26 Jul 2002 21:36:05 -0500 (CDT)
Status: RO


I'm having problems, and since they're costuming difficulties, naturally
I come here first. To begin, a wee bit of context: I'm talking about
costming for a youngish (nearly 30) male, in the SCA (so a wide variety of
times and places are acceptable), with an Italian Ren persona (though he's
decided the really short cote hardies are too "young")

He has decided that he is tired of being a 98-pound weakling and
has started a food-and-weight regime which has resulted in his growing out
of all of his nice garb!

This isn't a total tragedy, because his tastes were changing anyway, but I
am in a dilemma:

I don't dare put time, effort and nice fabric into making really spiff new
garb because he's just going to keep growing in awkward places like the
bicep, back and neck.

The styles that are easy to make (ie: layered t-tunic) tend not to look
well on his frame (extremely triangular, becoming more so), and certainly
don't show it off.  Also, I'm not very enthusiastic about embroidery,
store-bought ribbon trim or band weaving, and it's difficult to make
t-tunics look spiff without at least one of the above.  Yes, I could hire
embroidery or weaving out to someone who *does* do it, but that would
involve LETTING SOMEBODY ELSE DO IT, which is nearly intolerable.

Now for the questions:
Does anybody have experience in making fitted (or somewhat fitted)
clothing for people with the expectation that they will change shape?
I'm thinking in terms of the extra-large seam allowences and hidden tucks
people use for growing children, but I'm not sure how these techniques
will work with things like a two-part sleeve.

Does anybody have ideas of what styles will look good on his frame?  He's
been looking at Elizabethan lately, though he remains unconvinced.
Thoughts? Ideas? Suggestions? Anybody?

Any help at all will be greatly appreciated!

Emma

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Date: Fri, 26 Jul 2002 22:55:12 -0600
Status: RO

Cotehardies....those lovely fitted ones....My mind keeps veering towards
a less-than-extreme Burgundian--definitely a triangular shape there. 
Plus, they're not too difficult to make, are more fabric-dependent for
glitz factor than trim or embroidery dependent.  And depending on the
time/place for the particular style of cotehardie (if the Burgundian
doesn't interest him), they do range in length--some more modest, and
some, uhm, less so....
Elizabethans (or Tudor) are a bit more labor intensive, so I'd probably
tend to want to wait a while until his size/shape/tastes stabilize....
--Sue, always a fan of a good looking guy in tights....<g>

Emma Elizabeth Lehman wrote:
> 
> I'm having problems, and since they're costuming difficulties, naturally
> I come here first. To begin, a wee bit of context: I'm talking about
> costming for a youngish (nearly 30) male, in the SCA (so a wide variety of
> times and places are acceptable), with an Italian Ren persona (though he's
> decided the really short cote hardies are too "young")
> 
> He has decided that he is tired of being a 98-pound weakling and
> has started a food-and-weight regime which has resulted in his growing out
> of all of his nice garb!
> 
> This isn't a total tragedy, because his tastes were changing anyway, but I
> am in a dilemma:
> 
> I don't dare put time, effort and nice fabric into making really spiff new
> garb because he's just going to keep growing in awkward places like the
> bicep, back and neck.
> 
> The styles that are easy to make (ie: layered t-tunic) tend not to look
> well on his frame (extremely triangular, becoming more so), and certainly
> don't show it off.  Also, I'm not very enthusiastic about embroidery,
> store-bought ribbon trim or band weaving, and it's difficult to make
> t-tunics look spiff without at least one of the above.  Yes, I could hire
> embroidery or weaving out to someone who *does* do it, but that would
> involve LETTING SOMEBODY ELSE DO IT, which is nearly intolerable.
> 
> Now for the questions:
> Does anybody have experience in making fitted (or somewhat fitted)
> clothing for people with the expectation that they will change shape?
> I'm thinking in terms of the extra-large seam allowences and hidden tucks
> people use for growing children, but I'm not sure how these techniques
> will work with things like a two-part sleeve.
> 
> Does anybody have ideas of what styles will look good on his frame?  He's
> been looking at Elizabethan lately, though he remains unconvinced.
> Thoughts? Ideas? Suggestions? Anybody?
> 
> Any help at all will be greatly appreciated!
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Date: Sat, 27 Jul 2002 01:08:15 EDT
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Mara -- Try G Street's decorating store in Rockville -- next door tot he main 
store. Or try Calico Corners on Rockville Pike. They might have some.

Kathleen

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Mara -- Try G Street's decorating store in Rockville -- next door tot he main store. Or try Calico Corners on Rockville Pike. They might have some.<BR>
<BR>
Kathleen</FONT></HTML>

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Subject: [h-cost] SCA KWCS
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Date: Sat, 27 Jul 2002 00:43:59 -0500
Status: RO

Can someone please email me privately about KWCS?  I'm looking for
information the bid procedure (well, the bid procedure in general for
various Known World level events).

Thanks,
--Charlene
perronnelle@earthlink.net

-- 
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and what you don't.  --Anatole France
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Subject: [h-cost] JEster costume
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Date: Sat, 27 Jul 2002 08:59:48 +0100
Status: RO

OK, sorry for all the problems - pictures of the Jester costume are now, 
hopefully, accessible to all at www.montgomerie.demon.co.uk/Costume

I'd be interested in any views on whether it's male/female, and date. 
It was described to me as being among "Great-Gran's things" - she was 
born in 1877, and had only one male child - not sure of my grandfather's 
birth date, but my father was born in 1929, so we can guess roughly.  My 
father didn't say anything about remembering it, so we can assume it 
wasn't worn later than 1939.


Jean
-- 
Jean Waddie
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Nottingham Costume Museum (UK) in danger of closing
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Date: Sat, 27 Jul 2002 10:06:38 +0100 (BST)
Status: RO

 --- Robin Netherton <robin@shell.nightowl.net> wrote: > 
> This post appeared on the Living History (UK) costume forum
> <http://www.livinghistory.co.uk/costumes/forum/index.html>. I didn't ask
> permission to repost, but given the time-sensitive aspect and the public
> nature of the plea, I don't think the author will mind.

They certainly won't mind because this information has been going round on
pretty much all of the costume/re-enactment related lists I am on. I already
wrote my email to complain and raise awareness.

 I do not know the
> poster's name, other than "Dawn." 

It is Dawn Woods from Ages of Elegance costumes.

The address she gives is the Nottingham
> local paper; I wish I knew who might have more authority. I don't know
> what the fax number leads to. In any case, though, words from around the
> world about the importance of collections like this might do some good.
> (And how many costumers who visit England even know about this museum?
> Perhaps their numbers would be higher with a little publicity.)

I am guilty too, have never been there, though I knew about the collection.
Will organise a trip to the museum hopefully soon, but it has to be after the
re-enactment season there is no way I can drive all the way up to Nottingham
before that. Better make sure we photograph and draw the collection before it
is inaccessible!

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: Sat, 27 Jul 2002 06:46:16 +0000
Status: RO

Tudor would look good on him, as well as elizabethan.

I am thinking that if you make the clothing with detatchable 
sleeves, then you only have to rework the sleeves. The chemises 
are fairly forgiving and can be made overlarge to be grown into.

The same goes for italian renn for men.

How long do you think it will take for him to finish bulking up? 
You may just have to bite the bullet and make him interin garb 
with store bought trim [although IIRC Pillaged Village has some 
good trims that aren't too modern looking.]
margali

the quote starts here:

> Does anybody have ideas of what styles will look good on his frame?  He's
> been looking at Elizabethan lately, though he remains unconvinced.
> Thoughts? Ideas? Suggestions? Anybody?
> 
> Any help at all will be greatly appreciated!
> 
> Emma
> 



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Date: Sat, 27 Jul 2002 09:46:13 -0600
Status: RO

*snort* Isn't electronic communication *fun* some times???
--Sue, not offended or worried or anything, just glad it's properly
attributed (it's really hard to keep track of the he-saids, she-saids in
a thread like this!)

Betsy Marshall wrote:
> 
> umm- that's sorta my fault- I left in the bit I was responding to,
> and put my remarks at the bottom, which seem to have disappeared...
> sigh. Betsy
> 
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of Sue Clemenger
> Sent: Thursday, July 25, 2002 11:44 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Dorset buttons- alternative ties..
> 
> Ummm...no, I didn't say that....<g> I'm not in a guild with a costume
> director at all....I'm in the SCA, plus I'm a perennial gadfly in the
> non-SCA period classes on Penny's website (I love historical clothing,
> but don't have any access to groups other than the SCA).
> --Sue, catching up on emails....
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Date: Sat, 27 Jul 2002 09:48:04 -0600
Status: RO

Wanda, do you have more information available about the Macejiwski
bible? or books that have German statuary in them? My sources are all
pretty solidly English-focused, and I can *always* expand my library!
<g>
--Sue

Wanda Pease wrote:
> 
> Lots of buttons depicted in German Statuary of this time period.  Also check
> out the Macejiwski (?) Bible (alt title:  Old Testament Miniatures).  It was
> done a bit earlier, but shows many of the same clothing styles.
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Date: Sat, 27 Jul 2002 08:59:43 -0700
Status: RO


>  (And how many costumers who
> visit England even know about this museum? Perhaps their numbers would
> be higher with a little publicity.)

It's a great museum. I made a special trip to Nottingham just to go 
there because (in addition to many dresses which are well past the 
time I'm interested in) they have a wonderful collection of 
handmade lace (better than the Lace Museum in the same town!) 
In spite of saying that their collection starts at the 17th century, 
there were some lace pieces from the 16th Century (and a couple 
of embroidered things as well.)

I just wish that they had allowed photography when I was there! I 
had planned to go back some time for an appointment.

> From our experience
> "outside of the city" frequently means all but inaccessible unless one
> has a car and an ordinance survey map.  The collection at Leicester
> was put into an industrial estate at Barrow-on-Soar. (See if you can
> find that sucker on a map. We had to walk five bloody miles from the
> train station..in the rain.)

It's a pity that they don't "store" it with some of the museums 
which are continuing (such as the V&A). Perhaps there just isn't 
room. But then, this may explain it too:
> One of our very real concerns is that costumers will be invariably
> funnelled into London and Bath, where the institutions in those
> locales have never been able to deliver the degree of accessiblity and
> personal contact that the smaller collections have been able to
> deliver.


June M. Russell, MD
<kat@grendal.rain.com>
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Date: Sat, 27 Jul 2002 09:59:48 -0600
Status: RO

Some further bits.....
On the gowns where it's obvious that there are buttons running at least
part way down the front of the garment, do you think they run all the
way down, or just partly?
Also, I'm guessing that the buttons might be made like those cloth ones
in the MoL book, maybe? Teddy, didn't you make a bunch of these a while
ago? How hard were they to do?

I've been trying to think of possible cuts to account for the underarm
fullness on these garments....About the closest (visually) that I've
been able to find in my own library (meager for the mid-middle ages), is
the article Heather did on the St. Louis shirt in _Tournaments
Illuminated_ relatively recently.  The sleeves do seem to have a bit of
the same full above/narrow below look that the gowns in the Codex do....
I've seen one version of this style (in Hunnisett's pre-1500 book), and
she achieves it using this perfectly enormous gusset under the arm,
which I may try in cheap fabric, just for the heck of it, but I'd rather
go for a more periodly-plausible cut than one that's
theatrically-plausible, if you get the distinction I'm so clumsily
trying to make!

--Sue

Robin Netherton wrote:
> <snipped>

> You have to do some hunting, but it's possible to find buttons around 1300
> and before, typically on collar and/or wrist. The Manesse Codex is early
> 14th century, so certainly not the earliest use. I'm not sure what the
> archaeological record says, but there might be something about dating in
> "Dress Accessories," which has lots of buttons.
> 
> You can see another of those standing collar thingies, but without the
> buttons, on image 136.

> Buttons were one option, but lacing/sewing seems to have been another. At
> least one 13th-century written source (The Romance of the Rose) describes
> someone sewing up his sleeves as part of his morning routine. I presume
> this means tightening up the forearm area. The Codex shows a lot of those
> sleeves -- loose in the shoulders and upper arms (no true set-in sleeves
> or close fitting yet), but pulled tight on the forearms, often with some
> of the upper-arm fabric hanging loosely over the top of the fitted area.
> I've found this a very comfortable and practical cut -- the closeness in
> the forearm keeps your sleeves out of the way, but the looseness over the
> elbow allows freedom of movement. When you bend your arm, it takes up the
> slack. You'll see that in some of the Codex images -- drape over the elbow
> in some positions, and none in others.
> 
> ==========================================================
> Robin Netherton // Editor at Large
> robin@nightowl.net
> voice: (314) 439-1222 // fax: (314) 439-1333
> Life is just a bowl of queries.
> 
> _______________________________________________
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Subject: Re: [h-cost] Plait braiding solution for trim
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Date: Sat, 27 Jul 2002 10:17:34 -0600
Status: RO

Try this link:
http://www.vertetsable.com/simpletrims.htm
Laurellen shows you how to do all kinds of stuff, including multi-strand
braiding....She's a great lady, and very practical (about tools and
techniques and such), as well as very knowledgable.
Also, for your documenting, you could probably do pretty well by using
the extant fingerloop braids, and the early bobbin laces, which mostly
used a plaited technique.
--Sue, catching up on old emails....

Colleen McDonald wrote:
> 
> <<Is there a way you can figure it out, between analyzing the piece you have
> and looking in a bobbin lace book?>>
> 
> Possibly, and I know someone who knows how.  I requested the book recommendations because I will need to document all of this within an inch of its life for a competition.
> 
> Best regards,
> 
> Colleen
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Date: Sat, 27 Jul 2002 09:19:56 -0700
Status: RO

I tried to send a message to the email address given in the article, 
but it came back saying there was no such address. Any clues, 
Robin?


June M. Russell, MD
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Subject: RE: [h-cost] JEster costume
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Date: Sat, 27 Jul 2002 11:15:13 -0500
Status: RO

Jean--

I have just finished reading a master's thesis on 4 fancy dress balls
held in Canada in 1874, 1895, 1896 and 1897. The author goes into great
detail on the costumes worn. Some were made by dressmakers or tailors,
others by costume rental companies in New York, Toronto and Montreal.
NONE of the women wore pants of any sort, certainly not short ones.

I think your jester costume dates from the 20th century. You might find
it illustrated in a pattern book or fancy dress costume book from
1900-1930.

This source was used by the author: Fancy Dress Described, or What to
Wear at Fancy Balls, by Ardern Holt, published in London by Debenham and
Freebody, 1896.
Also look for "The Art of Choosing Fancy Dress" in Everywoman's
Encyclopedia from 1906.

In England, look for old Weldon's pattern catalogs. Also, Sophia Murphy
has written a book, The Duchess of Devonshire's Ball, published by
Sidgwick and Jackson in 1984.

Let me know if you find a good date for it.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Jean Waddie
Sent: Saturday, July 27, 2002 3:00 AM
To: h-costume@indra.com
Subject: [h-cost] JEster costume

OK, sorry for all the problems - pictures of the Jester costume are now,

hopefully, accessible to all at www.montgomerie.demon.co.uk/Costume

I'd be interested in any views on whether it's male/female, and date. 
It was described to me as being among "Great-Gran's things" - she was 
born in 1877, and had only one male child - not sure of my grandfather's

birth date, but my father was born in 1929, so we can guess roughly.  My

father didn't say anything about remembering it, so we can assume it 
wasn't worn later than 1939.


Jean
-- 
Jean Waddie
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Can any member kindly help me to unsubcribe to h-costume,  All the e-mail
addresses referred to on the home page return themessages sent to the,  Also
I am not listed in the Yahoo Groups list of groups as being amember in the
first place and yet messages pour in ;  trying to click No E-Mails makes no
difference.
    Ifeel sure a few simple click will do the trick but what are they and
where. Can you help  David

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On Fri, 26 Jul 2002, [iso-8859-1] Debbie Lough wrote:

>> In London there's Klein's haberdashery shop, and Foyles book shop.

>The clerks at Foyle's have an international reputation for being aloof and
>unhelpful, though I'll grant they may have changed in the last decade (but
>I doubt it). Last time I was there, the books were filed by publisher. 
>Don't waste your time there unless you know exactly what you want. 

Robin's experience of Foyle's is clearly out of date.

I've been going to Foyles every couple of months for around the last seven years, and the books have always been filed by subject.  The costume and craft books are on the first floor (hundreds of them), and the military history books (incl. uniforms) are on the second floor.  I managed to find several out of prints at sums drastically cheaper than anywhere else in Britain (let alone London), simply by browsing through the shelves.

The staff used to be unhelpful, because they were on commission, so everything had to be bought through the departments staff (ie, if you wanted things from different sections you had to buy them seperately, and a staff member not from a particular section wouldn't know what you were talking about).  That has now changed completely - no more commission, and new management might have helped.

That said, many of the other book shops on Charing Cross Road are also fantastic.

Debbie.




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<BLOCKQUOTE style="BORDER-LEFT: #1010ff 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: 5px">
<P><BR><BR><BR>On Fri, 26 Jul 2002, [iso-8859-1] Debbie Lough wrote:<BR><BR>&gt;&gt; In London there's Klein's haberdashery shop, and Foyles book shop.<BR><BR>&gt;The clerks at Foyle's have an international reputation for being aloof and<BR>&gt;unhelpful, though I'll grant they may have changed in the last decade (but<BR>&gt;I doubt it). Last time I was there, the books were filed by publisher. <BR>&gt;Don't waste your time there unless you know exactly what you want. </P>
<P>Robin's experience of Foyle's is clearly out of date.</P>
<P>I've been going to Foyles every couple of months for around the last seven years, and the books have always been filed by subject.&nbsp; The costume and craft books are on the first floor (hundreds of them), and the military history books (incl. uniforms) are on the second floor.&nbsp; I managed to find several out of prints at sums drastically cheaper than anywhere else in Britain (let alone London), simply by browsing through the shelves.</P>
<P>The staff used to be unhelpful, because they were on commission, so everything had to be bought through the departments staff (ie, if you wanted things from different sections you had to buy them seperately, and a staff member not from a particular section wouldn't know what you were talking about).&nbsp; That has now changed completely - no more commission, and new management might have helped.</P>
<P>That said, many of the other book shops on Charing Cross Road are also fantastic.</P>
<P>Debbie.</P></BLOCKQUOTE><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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 I had the same problem as some others when I tried to e-mail the letters page of the Nottingham Evening Post.  It got bounced.
However, you can write to them by going to the newspapers wesite at www.thisisnottingham.co.uk
Then mouse over 'news' in the menu at the top of the screen, and then 'letters'.  Click on 'click here', and it brings up a pro-forma type submissions page.
I've already written to them about the potential closure, and it seemed to work fine.
Debbie.
 




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<P>&nbsp;I had the same problem as some others when I tried to e-mail the letters page of the Nottingham Evening Post.&nbsp; It got bounced.
<P>However, you can write to them by going to the newspapers wesite at <A href="http://www.thisisnottingham.co.uk">www.thisisnottingham.co.uk</A>
<P>Then mouse over 'news' in the menu at the top of the screen, and then 'letters'.&nbsp; Click on 'click here', and it brings up a pro-forma type submissions page.
<P>I've already written to them about the potential closure, and it seemed to work fine.
<P>Debbie.
<P>&nbsp;</P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Date: Sat, 27 Jul 2002 13:50:57 -0500
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I'm with you David. I can not, for the love of me, drop this group. I have
tried everything they said.  It comes back invalid.  I am going on vacation
and need to check into my e-mails for business. I am so inundated by these
messages that it, like swimming thru thick muck to the shore.
----- Original Message -----
From: "david.batterham" <>
To: <h-costume@net.indra.com>
Sent: Friday, July 26, 2002 11:22 AM
Subject: [h-cost] Unsubscribing


> Can any member kindly help me to unsubcribe to h-costume,  All the e-mail
> addresses referred to on the home page return themessages sent to the,
Also
> I am not listed in the Yahoo Groups list of groups as being amember in the
> first place and yet messages pour in ;  trying to click No E-Mails makes
no
> difference.
>     Ifeel sure a few simple click will do the trick but what are they and
> where. Can you help  David
>
> _______________________________________________
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The URL for unsubb-ing is:

h-costume mailing list
h-costume@mail.indra.com
http://mail.indra.com/mailman/listinfo/h-costume


> I'm with you David. I can not, for the love of me, drop this group.

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From h-costume-admin@indra.com  Sat Jul 27 15:23:29 2002
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Date: Sat, 27 Jul 2002 15:10:03 -0400
Status: RO

Go HERE:
http://mail.indra.com/mailman/listinfo/h-costume

The box for unsubbing from the list is in the very last
paragraph/option on this page under "h-costume Subscribers".
Go to this part:
'To change your subscription (set options like digest and delivery modes,
get a reminder of your password, or unsubscribe from h-costume),
enter your subscription email address:'

....type your e-mail address into the box & click 'Edit Options'.
One of the options is unsubscribe.
That should do it.

Good luck to you.
Deb R.


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From h-costume-admin@indra.com  Sat Jul 27 15:28:25 2002
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Date: Sat, 27 Jul 2002 12:15:06 -0700
Status: RO

You need to write to Liz when she gets back and get a password. Then it will
recognize you as a member and let you into the unsubscribe portion.

angela

----- Original Message -----
From: "david.batterham" <david.batterham@virgin.net>
To: <h-costume@net.indra.com>
Sent: Friday, July 26, 2002 9:22 AM
Subject: [h-cost] Unsubscribing


> Can any member kindly help me to unsubcribe to h-costume,  All the e-mail
> addresses referred to on the home page return themessages sent to the,
Also
> I am not listed in the Yahoo Groups list of groups as being amember in the
> first place and yet messages pour in ;  trying to click No E-Mails makes
no
> difference.
>     Ifeel sure a few simple click will do the trick but what are they and
> where. Can you help  David
>
> _______________________________________________
> 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 Jul 27 15:36:13 2002
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Date: Sat, 27 Jul 2002 15:23:15 -0400
Status: RO

BTW, for collector of antique fashion /costume books,
magazines, etc., I recommend David Batterham.
>From him, I was able to procure a complete, bound set
of the French fashion magazine "Les Modes",
after about 7 years of looking for even one loose copy...

He is the man with the goods if you are looking for antique French costume
books.

Deb R.


> I am a bookseller specialising in fashion magazines l800-l970 (mostly
> French). Anyone interested in receiving occasional catalogues please let me
> know  or check out current stock on
> Abebooks.Com>STORES>Batterham>Browse>catalog>fashion

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From h-costume-admin@indra.com  Sat Jul 27 15:47:14 2002
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Date: Sat, 27 Jul 2002 20:34:50 +0100 (BST)
Status: RO

 --- BH Macchia <bhmacchia@sbcglobal.net> wrote: > 

> > I am not listed in the Yahoo Groups list of groups as being amember in the
> > first place and yet messages pour in ;  trying to click No E-Mails makes
> no
> > difference.
> >     Ifeel sure a few simple click will do the trick but what are they and
> > where. Can you help  David

This is not a Yahoogroup in the first place, therefore it won't work to click
anything on yahoo, naturally. Please do bear this in mind and follow the
instructions the others have given to you. 

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: Fri, 26 Jul 2002 20:37:07 +0100
Status: RO

I want to unsubscribe from h-cosume

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From h-costume-admin@indra.com  Sat Jul 27 16:06:14 2002
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Date: Sat, 27 Jul 2002 14:54:08 -0500 (CDT)
Status: RO


On Sat, 27 Jul 2002 kat@grendal.rain.com wrote:

> I tried to send a message to the email address given in the article, 
> but it came back saying there was no such address. Any clues, 
> Robin?

Nope. You know what I know. Perhaps a web search for the newspaper would
turn up a site with contact information? Or another post to the UK living
history board, asking for a better address?

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Early use of buttons???
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Date: Sat, 27 Jul 2002 15:07:39 -0500 (CDT)
Status: RO


On Sat, 27 Jul 2002, Sue Clemenger wrote:

> Wanda, do you have more information available about the Macejiwski
> bible?

I'm not Wanda, but I can help here.

There's a brilliant, oversize facsimile edition called "Old Testament
Miniatures." I bet you can get it ILL. I found my copy used for about $60,
but every other copy I've seen used has been over $100.

The manuscript itself is at the Pierpont Morgan Library in NYC. It's
historically interesting for many reasons, not least because it includes
handwritten glosses (from various owners over several centuries) in Hebrew
and Arabic (Persian) in addition to the original Latin text!

The clothing illustrations are extremely useful, because there are
hundreds of figures, mostly dressed realistically, showing many views of
the same set of garments.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Early use of buttons???
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Date: Sat, 27 Jul 2002 15:21:44 -0500 (CDT)
Status: RO


On Sat, 27 Jul 2002, Sue Clemenger wrote:

> On the gowns where it's obvious that there are buttons running at
> least part way down the front of the garment, do you think they run
> all the way down, or just partly?

I can't recall ever seeing a reliable example of buttons going all the way
down the front of a woman's dress. Perhaps it was done, but if so, it must
have been pretty rare. Yet many secondary sources (of the Herbert Norris
type) show this as an acceptable variant. I would be most happy to see
legitimate examples, if any exist.

For the pre-1350 looser styles, you might find buttons just a few inches
down the center front neck opening. For women's fitted overgowns of the
last half of the century, you may see buttons down to the hipline or so.
Men's short cotehardies of this period do seem to button all the way to
the hem, but that's still about the same length of buttoned opening you
need on a woman's full gown.

Similarly, in earlier (and lower-class) styles, you may see just a few
inches of buttons at the wrist, but in later styles, when the entire
sleeve was fitted, you'll see buttons running up past the elbow.

Based on illustrations, it seems that buttons down the center front were
used on overgowns, but not on undergowns, which makes sense from a
practical standpoint. (Early in my costuming career, I made the mistake of
making a buttoned undergown. Never again.) I see more buttons in English
images of the late 14th century as compared with French, but they're
certainly visible in both areas.

> Also, I'm guessing that the buttons might be made like those cloth
> ones in the MoL book, maybe? Teddy, didn't you make a bunch of these a
> while ago? How hard were they to do?

The London finds include both cloth and metal buttons, but they're written
up in different books. I don't think we know what garments the metal
buttons were attached to. Some of the surviving garments have had cloth
buttons attached, including the one surviving example of a sleeve. Given
that buttons down the front of a gown are sometimes depicted as jeweled or
otherwise decorated, it's likely they were materials other than cloth, at
least sometimes. I wouldn't rule out the possibility of wood, bone, ivory,
or the like, though I know of none that have survived.

--Robin

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Date: Sat, 27 Jul 2002 15:24:12 -0500 (CDT)
Status: RO


On Sat, 27 Jul 2002, Kim Baird wrote:

> This source was used by the author: Fancy Dress Described, or What to
> Wear at Fancy Balls, by Ardern Holt, published in London by Debenham and
> Freebody, 1896.

This is the book I mentioned a few weeks ago when we were discussing
Victorian fancy dress. It was originally published in the 1870s and went
into many editions. I don't know if it was updated in content during that
time, so it may not reflect 1896 fashions as much as those of 20 years
earlier.

--Robin


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Date: Sat, 27 Jul 2002 15:26:54 -0500 (CDT)
Status: RO


On Sat, 27 Jul 2002, [iso-8859-1] Debbie Lough wrote:

> Robin's experience of Foyle's is clearly out of date.
> 
> I've been going to Foyles every couple of months for around the last
> seven years, and the books have always been filed by subject... The
> staff used to be unhelpful, because they were on commission, so
> everything had to be bought through the departments staff (ie, if you
> wanted things from different sections you had to buy them seperately,
> and a staff member not from a particular section wouldn't know what
> you were talking about).  That has now changed completely - no more
> commission, and new management might have helped.

This is great to hear.

Can you tell me if Zwemmer's or Ian Shipley are still on Charing Cross
Road? They were the two best art bookstores I found, but that was some
years ago.

--Robin


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Date: Sat, 27 Jul 2002 14:33:24 -0700
Status: RO

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My experience was much the same as Robin's, but at least as long ago.  I'm
happy that someone finally decided to come into the 20th Century (as opposed
to the 19th which is where they still were in the 80's!)

So!  Do they have a website?

Regina Romsey
  -----Original Message-----
  From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Debbie Lough
  Sent: Saturday, July 27, 2002 10:14 AM
  To: h-costume@indra.com
  Subject: [h-cost] Re: h-costume digest, Vol 1 #1112 - 12 msgs





    On Fri, 26 Jul 2002, [iso-8859-1] Debbie Lough wrote:

    >> In London there's Klein's haberdashery shop, and Foyles book shop.

    >The clerks at Foyle's have an international reputation for being aloof
and
    >unhelpful, though I'll grant they may have changed in the last decade
(but
    >I doubt it). Last time I was there, the books were filed by publisher.
    >Don't waste your time there unless you know exactly what you want.

    Robin's experience of Foyle's is clearly out of date.

    I've been going to Foyles every couple of months for around the last
seven years, and the books have always been filed by subject.  The costume
and craft books are on the first floor (hundreds of them), and the military
history books (incl. uniforms) are on the second floor.  I managed to find
several out of prints at sums drastically cheaper than anywhere else in
Britain (let alone London), simply by browsing through the shelves.

    The staff used to be unhelpful, because they were on commission, so
everything had to be bought through the departments staff (ie, if you wanted
things from different sections you had to buy them seperately, and a staff
member not from a particular section wouldn't know what you were talking
about).  That has now changed completely - no more commission, and new
management might have helped.

    That said, many of the other book shops on Charing Cross Road are also
fantastic.

    Debbie.






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<BODY>
<DIV><SPAN class=3D057492521-27072002><FONT face=3DArial color=3D#0000ff =
size=3D2>My=20
experience was much the same as Robin's, but at least as long ago.&nbsp; =
I'm=20
happy that someone finally decided to come into the 20th Century (as =
opposed to=20
the 19th which is where they still were in the =
80's!)</FONT></SPAN></DIV>
<DIV><SPAN class=3D057492521-27072002><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D057492521-27072002><FONT face=3DArial color=3D#0000ff =

size=3D2>So!&nbsp; Do they have a website?</FONT></SPAN></DIV>
<DIV><SPAN class=3D057492521-27072002><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D057492521-27072002><FONT face=3DArial color=3D#0000ff =
size=3D2>Regina=20
Romsey</FONT></SPAN></DIV>
<BLOCKQUOTE>
  <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT =
face=3DTahoma=20
  size=3D2>-----Original Message-----<BR><B>From:</B> =
h-costume-admin@indra.com=20
  [mailto:h-costume-admin@indra.com]<B>On Behalf Of </B>Debbie=20
  Lough<BR><B>Sent:</B> Saturday, July 27, 2002 10:14 AM<BR><B>To:</B>=20
  h-costume@indra.com<BR><B>Subject:</B> [h-cost] Re: h-costume digest, =
Vol 1=20
  #1112 - 12 msgs<BR><BR></FONT></DIV>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px =
solid">
    <P><BR><BR><BR>On Fri, 26 Jul 2002, [iso-8859-1] Debbie Lough=20
    wrote:<BR><BR>&gt;&gt; In London there's Klein's haberdashery shop, =
and=20
    Foyles book shop.<BR><BR>&gt;The clerks at Foyle's have an =
international=20
    reputation for being aloof and<BR>&gt;unhelpful, though I'll grant =
they may=20
    have changed in the last decade (but<BR>&gt;I doubt it). Last time I =
was=20
    there, the books were filed by publisher. <BR>&gt;Don't waste your =
time=20
    there unless you know exactly what you want. </P>
    <P>Robin's experience of Foyle's is clearly out of date.</P>
    <P>I've been going to Foyles every couple of months for around the =
last=20
    seven years, and the books have always been filed by subject.&nbsp; =
The=20
    costume and craft books are on the first floor (hundreds of them), =
and the=20
    military history books (incl. uniforms) are on the second =
floor.&nbsp; I=20
    managed to find several out of prints at sums drastically cheaper =
than=20
    anywhere else in Britain (let alone London), simply by browsing =
through the=20
    shelves.</P>
    <P>The staff used to be unhelpful, because they were on commission, =
so=20
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you wanted=20
    things from different sections you had to buy them seperately, and a =
staff=20
    member not from a particular section wouldn't know what you were =
talking=20
    about).&nbsp; That has now changed completely - no more commission, =
and new=20
    management might have helped.</P>
    <P>That said, many of the other book shops on Charing Cross Road are =
also=20
    fantastic.</P>
    <P>Debbie.</P></BLOCKQUOTE>
  <P>
  <P><BR>
  <HR SIZE=3D1>
  <A=20
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href=3D"http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/m=
ail_storage.html"><B><FONT=20
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Subject: Re: [h-cost] Re: 15th century female dress
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 "from Margo Anderson at Jul 26, 2002 01:31:33 pm"
To: h-costume@indra.com
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Date: Sat, 27 Jul 2002 17:13:18 -0700 (PDT)
Status: RO

I think Monarch software might work -- it's used for searching text 
archives of email lists, if someone could pull all the archives over to
a server that had it installed.

.heather.

> 
> >
> >Not to worry. Eric used to have a full-text search capability on the
> >archives, but now that it's only author and subject line, you kind of have
> >to know where to look.
> 
> Does anyone else hate this as much as I do?  I've spent countless hours
> trying to find the right title to search under.  Eric said he did this
> because it made the searhing faster, which I suppose it does if you know
> the exact title, but I for one found it far more convenient to be able to
> search by content.
> 
> If enough people agree with me, maybe we can find a solution to the problem.  
> 
> 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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Date: Sat, 27 Jul 2002 18:12:08 -0700
Status: RO


> Can you tell me if Zwemmer's or Ian Shipley are still on Charing Cross
> Road? They were the two best art bookstores I found, but that was some
> years ago.

They were in 1999 when I was there. I made the sales people very 
happy. (Zwemmers was where I got my copy of _Details of Dress_ 
when it hadn't quite come out over here yet.)

Felicity J. Warnes is still in Enfield (which is close enough that it is 
on part of the London Underground system). She has a mail and by 
appointment only place. I just got a catalog from her today. She 
has "Books & Ephemera on: Costume, Fashion, Lace, 
Embroidery, Textiles, Social History." I you are interested, her 
email address is felicity@fjwarnes.u-net.com and telephone (with 
answerphone) at 020 8367 1661. She is a very nice lady who even 
takes you back to the tube station (although she usually has you 
take a cab to her place.) I made her *very* happy with my orders 
when I was last there. (Of course, she made *me* happy by having 
books that I had been looking for and some I didn't realise existed 
until I saw them.


June M. Russell, MD
<kat@grendal.rain.com>
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Date: Sat, 27 Jul 2002 19:34:40 -0600
Status: RO

I take it, from all the discussion, that it'd be worth it for me and my
travelling companion to visit this place? <weg>
--Sue
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Date: Sat, 27 Jul 2002 20:53:47 -0500 (CDT)
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On Sat, 27 Jul 2002, Sue Clemenger wrote:

> I take it, from all the discussion, that it'd be worth it for me and my
> travelling companion to visit this place? <weg>

If you're already on Charing Cross Road, it should be one of your stops.
But only one. It's a general-interest bookstore, and you don't want to
focus on that to the exclusion of the art bookstores and (especially!) the
used bookstores.

--Robin

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Date: Sun, 28 Jul 2002 03:12:52 -0700
Status: RO

Carolyn Kayta Barrows wrote:

> Yes.  Make friends with your local reference librarian. 

Through a friend, I've been speaking to a gentleman who has entered his 
projects in an A&S competition.  He has been kind enough to give me a 
few author names and a title of a book that was translated.  I believe 
it originally was written in the 1500's.  Luckily I had the book end my 
personal library.

> The Coptic Egyptians were printing dye-resist on fabric by the 5th or 
> 6th century AD, if I remember correctly.  Europeans were block 
> printing on fabric before they were block printing on paper, and 
> printing with movable type came after that.

Movable type?  I'm still trying to define all the words so I can 
understand the reading material.  I'm trying to find info concerning the 
14th-15th centuries.

> I think wood blocks are traditional, but much the same effect can be 
> achieved using a linoleum block, which is much easier to carve (it is 
> softer and has no grain to get in the way). 

Another friend is going to give me a lesson in carving linoleum, when I 
have gotten that down then I'm going to try wood.  I've been told that 
basswood and pear wood is supposed to be the best woods to use.

> Yes.  Look up a book about linoleum printing, and it will tell you 
> more than I could.  Small pieces of linoleum printing can be done on a 
> kitchen table.  Big art supply stores (not Aaron Brothers) have all 
> the parts you will need, and maybe even the book to show you how to do 
> it. 

Luckily here in Portland we have some great art supply stores.  I may 
have to go and check them out tomorrow.

> Davenport's book of costume has two pictures of block-printed fabric 
> on page 228, Ill's #634 and #635.  #634 is German (Metropolitan 
> Museum), 12th-14thC, with a green background printed on natural linen, 
> leaving the pattern un-printed.  The notes under this example say 
> printed fabric starts to appear in the Rheinland at the end of the 
> 12th century "in imitation of Italian brocades, often using silver and 
> gold".  #635 has three German examples (V and A), 14th-15thC, and the 
> notes say the upper right one is "Rhenish: eagles, fruit and leaves in 
> dark purple".  The background is printed, leaving the pattern 
> un-printed.  There appears to be a main body print, and a smaller 
> border print to this one. 

Thank you for the info.  I'm waiting for a copy of the Davenport through 
the ILL.  I can't wait to check this book our since so many you have 
mentioned it in your posts.

> No sizes are given for any of these pieces.  One can't tell how much 
> pattern is on each block, or if several blocks were used in 
> combination.  And there's no way to tell what the fabric was 
> ultimately used for, nor where any original stitching or selvedges 
> might be.  But one of my Britanicas (the 1911, I think) shows an 
> SCA-period church vestment of block-printed fabric.
>
> Eventually, if not sooner, I will block-print myself a dress for SCA 
> use, and will enlighten all the 'authentic-er-than-thou' folks about 
> fabric printing.  (Printed playing cards appear in the 15thcentury, as 
> do printed embroidery-pattern books.) 

I would love to see one of thos printed embroidery pattern books. 
 Embroidery is another one of my passions.  I have a period embroidery 
frame, that I need to learn how to set up.

Thank you again for the info.  It is greatly appreciated.

Roscelin


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To: h-costume@indra.com
Subject: Re: [h-cost] Re: 15th century female dress
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Date: Sun, 28 Jul 2002 12:57:03 +0200 (CEST)
Status: RO

On Fri, 26 Jul 2002, Margo Anderson wrote:
> >Not to worry. Eric used to have a full-text search capability on the
> >archives, but now that it's only author and subject line, you kind of have
> >to know where to look.
> 
> Does anyone else hate this as much as I do? 
<snip>
> If enough people agree with me, maybe we can find a solution to the problem.  

I agree. And (depending on how he's programmed it now), it should be 
possible to program a choice of searching by author/subject or content - 
that way speed of search can be preserved for when you know the subject, 
and the more time-consuming search can be used only when you need it. :)

Ingrid

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Subject: RE: [h-cost] Nottingham Costume Museum (UK) in danger of closing
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Date: Sun, 28 Jul 2002 01:06:14 -0400
Status: RO

A Google search turned up the following:

http://www.users.zetnet.co.uk/brabner/oidfauk/notmus.htm

http://www.knittingtogether.org.uk/nottinghamMuseumCostume.htm

Good Luck to all,

Linda


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Robin Netherton
Sent: Saturday, July 27, 2002 2:54 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Nottingham Costume Museum (UK) in danger of
closing


On Sat, 27 Jul 2002 kat@grendal.rain.com wrote:

> I tried to send a message to the email address given in the article, 
> but it came back saying there was no such address. Any clues, 
> Robin?

Nope. You know what I know. Perhaps a web search for the newspaper would
turn up a site with contact information? Or another post to the UK
living
history board, asking for a better address?

--Robin

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Fabric printing research
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Date: Sun, 28 Jul 2002 07:41:09 -0700
Status: RO


>>Europeans were block printing on fabric before they were block printing 
>>on paper, and printing with movable type came after that.
>
>Movable type?

Sorry if I confused you.  First came block printing on fabric, then block 
printing on paper, then printing with movable type on paper.  I have seen 
no evidence of printing with movable type on fabric in any period.

>Another friend is going to give me a lesson in carving linoleum, when I 
>have gotten that down then I'm going to try wood.  I've been told that 
>basswood and pear wood is supposed to be the best woods to use.

Victorian wood engravings were done on really hard wood and, as I recall, 
were done on the end grain, to minimize the effect of grain lines in 
printing and grain difficulties in carving.  End grain is with the fibres 
sticking straight up, like they do at the end of a board.

>Thank you for the info.  I'm waiting for a copy of the Davenport through 
>the ILL.  I can't wait to check this book our since so many you have 
>mentioned it in your posts.

The pictures of the printed textiles in Davenport are especially clear, for 
Davenport, but textile design books are likely to have clearer pictures.  I 
have a few of these in my own library:

The Pleasures of Pattern, Wm. Justema, 1968, 1982(ISBN 0-442-24531-9): 
p.38, "BOOKPAPER. German, 16th century."; p.69, 
"WALLPAPER.  1509.  Discovered at Christ's Church College, Cambridge."  Two 
examples on paper, but similar to those on textiles.

Design on Fabrics, Meda Parker Johnson and Glen Kaufman, 1967, LoC 
#66-22689:  p. 10, "Resist block print on cotton, India, 14th-15th 
century.  Found in Fostat, Egypt." (Cooper Union Museum), "Resist block 
print on wood, (picture looks like on cloth - misprint?) India, 15th 
century." (Metropolitan Museum); p. 15, "Block print, silver pigment on 
linen, Germany, 12th-14th century (similar to one in Davenport).", "Block 
print, black pigment on linen, Germany, 13th century.", "Resist block print 
on linen, Germany, 17th century."  (all three examples from The Cooper 
Union Museum); p. 20 "Block prints on linen, noboyka, Russia, 16th-18th 
century." (Brooklyn Museum); p. 46, "Block print, resist on cotton, India, 
12th 14th century." (Metropolitan Museum).

Block Printing on Textiles, Janet Erickson, 1961, LoC #61-7021:  p. 34 
"Egypto-Arabic carved wooden block" (Metropolitan Museum) - no date given, 
and the block is not square, but shaped to fit the pattern;  p. 139, 
"German block print for ecclesiastical embroidery, 15th Century" 
(Metropolitan Museum);  p. 144, "Egypto-Arabic textile print, 13th-16th 
Centuries (Mamluk Period)" (Metropolitan Museum); p. 147, "Egypto-Arabic 
stamped and gilded textile, 10th Century" (Metropolitan Museum) - p. 144 
and p. 147 examples may be the date bracket on the p. 34 example; p. 
154-155, "Russian textile, 17th Century" (Cooper Union Museum) - really 
similar to one of the pieces on p. 20 previous book, but different museum 
and dates.  This is the book I will refer to whenever I get around to doing 
my own fabric printed SCA dress.

The Thames and Hudson Manual of Textile Printing,Joyce Storey, 1974, LoC 
#85-50861:  p.10, "Resist print in blue from about the fifth century.The 
scene represents the Nativity, with the Angel in attendance on the 
Virgin.  Found at the burial-grounds at Akhmin, Upper Egypt." (no museum 
given); p. 28, "Rhenish block print in black non natural linen; about 
thirteenth century.".  This book also has a lot of information on 18th 
century and Victorian fabric printing, including illustrations showing a 
woman textile printer and woman textile printing factory worker.  There are 
several colour pictures of historical examples of printed textiles, from 
various periods.

Kayta

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Date: Sun, 28 Jul 2002 09:17:51 -0600
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Art bookstores??? <blink, blink> Used bookstores??? <sue does her best
to sound innocuous and innocent> Are these all up and down Charing Cross
Rd, or clustered somewhere? Hmmmm........
--Sue, who doesn't think she's actually ever even *seen* an art
bookstore, but who's beginning to suspect it's a durn good thing she's
taking another piece of (empty) luggage..... 

Robin Netherton wrote:
> 
> On Sat, 27 Jul 2002, Sue Clemenger wrote:
> 
> > I take it, from all the discussion, that it'd be worth it for me and my
> > travelling companion to visit this place? <weg>
> 
> If you're already on Charing Cross Road, it should be one of your stops.
> But only one. It's a general-interest bookstore, and you don't want to
> focus on that to the exclusion of the art bookstores and (especially!) the
> used bookstores.
> 
> --Robin
> 
> _______________________________________________
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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Sun, 28 Jul 2002 11:18:37 -0500 (CDT)
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On Sun, 28 Jul 2002, Sue Clemenger wrote:

> Art bookstores??? <blink, blink> Used bookstores??? <sue does her best
> to sound innocuous and innocent> Are these all up and down Charing
> Cross Rd, or clustered somewhere? Hmmmm........

See my earlier post about the walk between Leicester Square and Trafalgar
Square. You'll be at Trafalgar Square anyway for the National Gallery and
National Portrait Gallery. (Um, you *will*, won't you?) Charing Cross Road
extends north from there. When I was there, there were bookstores all the
way up -- not every doorway, but a good lot of them. They vary in size,
specialty, quality, etc. If you stick your head in one and don't see
anything promising, move on to the next -- there may be one or two things
in there you want if you spend an hour digging, but the hour will be
better spent in a bookstore more in tune with your interest.

Off the east side of Charing Cross Road are a couple of small (tiny!)
streets -- St. Martin's Court and Cecil Court -- that were lined with
ephemera shops (old magazines, engravings, etc.). If this is your thing,
you will spend forever here. If it's not your thing, move along or you'll
lose your whole day.

In addition to Foyle's, look for Waterstone's -- these are the two major
general-interest bookstores. Zwemmer's is the leading art bookstore. The
used bookstores vary in nature, but I had very good luck at Ian Shipley's;
someone else posting on this thread assured me it's still there.
Everything else I say may be wrong, as I have not been on that stretch of
road for about 10 years.

> --Sue, who doesn't think she's actually ever even *seen* an art
> bookstore, but who's beginning to suspect it's a durn good thing she's
> taking another piece of (empty) luggage.....

I generally pack one suitcase inside another and return with both full.
When you come back, be sure to spread the book weight evenly among your
cases, so you don't go over the weight limit. And check at each store
about shipping -- at stores that are accustomed to shipping, you may find
it worth the cost just to reduce your labor in lugging the stuff all over.

Bear in mind that you could spend several weeks in London, packing your
days full, without repeating yourself. You are planning what, three days?
You will not have time for more than a few high points, and you will
promise yourself a return trip.

That said ... my first trip to England, I spent two weeks solid in London.
That was in about 1985. Since then, on each trip, I have spent much more
time out of London than in it, with the possible exception of the three
weeks I spent in Harrow (a distant London suburb) while my husband was
doing Naval Reserve duty north of London. He took the tube north to the
base every day, and I took the tube south into the city. We spent an
additional week road-tripping around part of the country. That was our
honeymoon :-)

A personal note: I have found that the more cities I try to see on one
trip, the less I get out of any one city; traveling is exhausting, and
getting settled into new digs takes time out of each day. I get a
better-quality experience by staying a few nights in one hotel or B&B as a
base, and traveling out from there on day trips. I have more than once cut
off a loop of my planned itinerary so I can extend a stay in some
particularly pleasant area. (As a result, I know the Cotswalds pretty
well, but I have never made it to York.)

OBCostume: For one road trip, with a costume-minded friend, I took
Margaret Scott's book on 14th and 15th-century dress and plotted the
locations of all the effigies she showed. Then I planned our driving route
to see as many as possible. Where there's a gothic effigy, there's a
church worth seeing, maybe with some brasses in it too or even an
altarpiece. Some of the towns were tiny and way off the train lines, and
the residents were stunned to see tourists, particularly when they found
we'd come All The Way From The States to see *their* little church.
Invariably we'd get, "Oh, but that's the *old* church. You want the *new*
church up the road, it's really beautiful!" The new church was usually
Victorian. No, thank you, we'll poke through the moldering old medieval
one, thanks.

--Robin, who desperately needs to travel again

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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] JEster costume
References: <jAtGrRB0LlQ9Iwhn@montgomerie.demon.co.uk>
 <000001c23588$c9f02c60$6401a8c0@kimathlon>
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Date: Sun, 28 Jul 2002 18:27:09 +0100
Status: RO

Kim Baird <kbaird@cableone.net> wrote
>Jean--
>
>I have just finished reading a master's thesis on 4 fancy dress balls
>held in Canada in 1874, 1895, 1896 and 1897. The author goes into great
>detail on the costumes worn. Some were made by dressmakers or tailors,
>others by costume rental companies in New York, Toronto and Montreal.
>NONE of the women wore pants of any sort, certainly not short ones.
>
>I think your jester costume dates from the 20th century. You might find
>it illustrated in a pattern book or fancy dress costume book from
>1900-1930.
>
Do you say this because I suggested it was female, and it has short 
pants, or do other features suggest a later date?  I know little enough 
about any clothes of this era, let alone fancy dress!  I will look for 
the books you suggest, but I won't get to the art library until next 
weekend.

Jean

>This source was used by the author: Fancy Dress Described, or What to
>Wear at Fancy Balls, by Ardern Holt, published in London by Debenham and
>Freebody, 1896.
>Also look for "The Art of Choosing Fancy Dress" in Everywoman's
>Encyclopedia from 1906.
>
>In England, look for old Weldon's pattern catalogs. Also, Sophia Murphy
>has written a book, The Duchess of Devonshire's Ball, published by
>Sidgwick and Jackson in 1984.
>
>Let me know if you find a good date for it.
>
>Kim
>
>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Jean Waddie
>Sent: Saturday, July 27, 2002 3:00 AM
>To: h-costume@indra.com
>Subject: [h-cost] JEster costume
>
>OK, sorry for all the problems - pictures of the Jester costume are now,
>
>hopefully, accessible to all at www.montgomerie.demon.co.uk/Costume
>
>I'd be interested in any views on whether it's male/female, and date.
>It was described to me as being among "Great-Gran's things" - she was
>born in 1877, and had only one male child - not sure of my grandfather's
>
>birth date, but my father was born in 1929, so we can guess roughly.  My
>
>father didn't say anything about remembering it, so we can assume it
>wasn't worn later than 1939.
>
>
>Jean

-- 
Jean Waddie
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From h-costume-admin@indra.com  Sun Jul 28 15:13:57 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
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Subject: [h-cost] UK online supplier for millinery wire?
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Date: Sun, 28 Jul 2002 19:32:25 +0100 (BST)
Status: RO

I'm looking for the white bound millinery wire. does anyone know where to get
it in the UK, preferrably online? You know how much I dislike shopping.... :-)

Thanks
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: Sun, 28 Jul 2002 13:17:58 -0600
Status: RO

Dunno about the UK, but I could bring some with me when I come your way
next August, if you don't need it before then....
--Sue

N Kipar wrote:
> 
> I'm looking for the white bound millinery wire. does anyone know where to get
> it in the UK, preferrably online? You know how much I dislike shopping.... :-)
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From h-costume-admin@indra.com  Sun Jul 28 15:45:04 2002
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Date: Sun, 28 Jul 2002 12:33:43 -0700 (PDT)
Status: RO


I know sergers aren't period, but I do a lot of modern and more theatrical
sewing, and I know a lot of you do, too... so I thought I'd ask here...

I'm hoping to buy a serger in the next month or so -- probably
something in the $500-900 range.  I've never shopped for one before,
and I'm wondering if anyone here can recommend a buyers guide (say
from Threads or something?) or wants to tell me what they love/hate
about sergers they have used.  

Thanks for all the advice.  I can't wait to enter the great wide world
of knits.

.heather.

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Date: Sun, 28 Jul 2002 12:39:44 -0700 (PDT)
Status: RO

and, most importantly, this list isn't a Yahoo Group at all, so 
going to yahoo won't help you to unsubscribe!


> You need to write to Liz when she gets back and get a password. Then it will
> recognize you as a member and let you into the unsubscribe portion.
> 
> angela
> 
> ----- Original Message -----
> From: "david.batterham" <david.batterham@virgin.net>
> To: <h-costume@net.indra.com>
> Sent: Friday, July 26, 2002 9:22 AM
> Subject: [h-cost] Unsubscribing
> 
> 
> > Can any member kindly help me to unsubcribe to h-costume,  All the e-mail
> > addresses referred to on the home page return themessages sent to the,
> Also
> > I am not listed in the Yahoo Groups list of groups as being amember in the
> > first place and yet messages pour in ;  trying to click No E-Mails makes
> no
> > difference.
> >     Ifeel sure a few simple click will do the trick but what are they and
> > where. Can you help  David
> >
> > _______________________________________________
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From h-costume-admin@indra.com  Sun Jul 28 16:45:49 2002
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Subject: [h-cost] Underarm fullness (WAS:) Early use of buttons???
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Date: Sun, 28 Jul 2002 10:33:41 -0700
Status: RO

At 9:59 AM -0600 7/27/02, Sue Clemenger wrote:
>I've been trying to think of possible cuts to account for the underarm
>fullness on these garments....About the closest (visually) that I've
>been able to find in my own library (meager for the mid-middle ages), is
>the article Heather did on the St. Louis shirt in _Tournaments
>Illuminated_ relatively recently.  The sleeves do seem to have a bit of
>the same full above/narrow below look that the gowns in the Codex do....
>I've seen one version of this style (in Hunnisett's pre-1500 book), and
>she achieves it using this perfectly enormous gusset under the arm,
>which I may try in cheap fabric, just for the heck of it, but I'd rather
>go for a more periodly-plausible cut than one that's
>theatrically-plausible, if you get the distinction I'm so clumsily
>trying to make!

The leading theory on this in the "Heather Rose Jones school of 
thought" <big grin -- I'm her apprentice> seems to be that the 
fullness comes from the body of the garment -- which is cut wider 
than one might expect. Most recommendations I see for T-tunics 
suggest you cut the body of the garment about twice the circumference 
of the body of the person. Try adding another foot or so on each 
side, beyond that. In a lightweight fabric, this won't add too much 
to the bulk around the waist if it's belted, but it will provide the 
extra width you're seeing in the top. (I'm sure she'll correct me if 
I have this wrong.)

You may find that you actually don't need an underarm gusset at all 
-- I think we are all in the habit of putting them in, probably 
because we're so used to them in 17th-century and 19th-century 
shirts, but we've been looking around a little, and they may not be 
nearly as universal in earlier tunics (or shirts or smocks), 
especially not in under-tunics.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From h-costume-admin@indra.com  Sun Jul 28 16:50:09 2002
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Subject: Re: [h-cost] Nottingham Costume Museum (UK) in danger of closing
From: Agnes G <countess11@mac.com>
To: <h-costume@indra.com>
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Date: Sun, 28 Jul 2002 13:37:29 -0700
Status: RO

If you go to this site you will get the Nottingham city plan for the museums
and a form to fill out giving your feedback to the museum instead of the
newspaper - perhaps it is good to give the feedback to the newspaper just
for the press but they may never get the info to the museum unless  you send
it directly.

http://www.nottinghamcity.gov.uk/whatson/museums/forwardplan.asp



> From: "Linda Rice" <vmaa2@cox.net>
> Reply-To: h-costume@indra.com
> Date: Sun, 28 Jul 2002 01:06:14 -0400
> To: <h-costume@indra.com>
> Subject: RE: [h-cost] Nottingham Costume Museum (UK) in danger of closing
> 
> A Google search turned up the following:
> 
> http://www.users.zetnet.co.uk/brabner/oidfauk/notmus.htm
> 
> http://www.knittingtogether.org.uk/nottinghamMuseumCostume.htm
> 
> Good Luck to all,
> 
> Linda
> 
> 
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
> Behalf Of Robin Netherton
> Sent: Saturday, July 27, 2002 2:54 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] Nottingham Costume Museum (UK) in danger of
> closing
> 
> 
> On Sat, 27 Jul 2002 kat@grendal.rain.com wrote:
> 
>> I tried to send a message to the email address given in the article,
>> but it came back saying there was no such address. Any clues,
>> Robin?
> 
> Nope. You know what I know. Perhaps a web search for the newspaper would
> turn up a site with contact information? Or another post to the UK
> living
> history board, asking for a better address?
> 
> --Robin
> 
> _______________________________________________
> 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  Sun Jul 28 17:19:06 2002
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Subject: Re: [h-cost] OT: sergers, anyone?
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Date: Sun, 28 Jul 2002 17:02:11 EDT
Status: RO

I have a Pfaff Hobbylock 788 and have been very happy with it.  But I 
understand that Pfaffs today are not what they used to be.  I have had my 
Bernina sewing machine for almost 2 years and am very happy with the product 
and the service.  If I needed another serger, I think I would go with a 
Bernina.  I think it is very important, too, for you to find a local dealer 
that stands behind his/her product.  It is about a half hour drive to the 
store where I bought my Bernina, but I think the people who work there and 
service the machines are great.  
Ann Wass
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From h-costume-admin@indra.com  Sun Jul 28 17:35:09 2002
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Date: Sun, 28 Jul 2002 17:22:55 -0400
Status: RO

I'm very happy with my Babylock. I haven't used it for a lot of 
things yet, but it's been invaluable already! I REALLY love the 
air-assisted threading for the non-needle threads, and its use of 
regular sewing machine needles is a nice plus.

-Amanda
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From h-costume-admin@indra.com  Sun Jul 28 18:25:07 2002
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To: h-costume@indra.com
From: Sheryl Nance-Durst <sherylnd@sound.net>
Subject: Re: [h-cost] vintage clothing exhibit
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Date: Sun, 28 Jul 2002 17:12:43 -0500
Status: RO

Wonderful! Thank you for the pictures.

Sheryl Nance-Durst


At 08:19 AM 7/25/02 -0700, you wrote:


>there was a very lovely vintage clothing exhibit - primarly lingerie
>dresses -- at Costume College 2002.  I got so excited by it and took so
>many photos that I didn't manage to get many of people!  oops.
>
>I haven't really sorted through this album, so there are some near duplicates
>and they aren't in any sensible order but if you'd like to see the preview-
>"Way too many pictures of Vintage dresses and accessories" please
>check out:
>
>http://www.wonderland.com/~alice/galleries/costumecollege2002/
>
>.heather.
>
>
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From h-costume-admin@indra.com  Sun Jul 28 18:57:10 2002
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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] OT: sergers, anyone?
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Date: Sun, 28 Jul 2002 15:33:48 -0700
Status: RO

I have a 14 year old Jaguar by White-it is great.  I know Threads just
had an article on basic sewing machines.  I searched their website and
didn't see any serger comparisons, but if you write them they might just
be able to point you to a comparison article.
http://www.taunton.com/threads/index.asp

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Heather Meadows
**Sent: Sunday, July 28, 2002 12:34 PM
**To: h-costume@indra.com
**Subject: [h-cost] OT: sergers, anyone?
**
**
**
**I know sergers aren't period, but I do a lot of modern and 
**more theatrical sewing, and I know a lot of you do, too... so 
**I thought I'd ask here...
**
**I'm hoping to buy a serger in the next month or so -- 
**probably something in the $500-900 range.  I've never shopped 
**for one before, and I'm wondering if anyone here can 
**recommend a buyers guide (say from Threads or something?) or 
**wants to tell me what they love/hate about sergers they have used.  
**
**Thanks for all the advice.  I can't wait to enter the great 
**wide world of knits.
**
**.heather.
**
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Date: Sun, 28 Jul 2002 15:41:58 -0700
Status: RO

One more thing-consider a used machine.  People buy sewing machines and
use them like motorcycles-what the heck does that mean?  They sit around
and don't get used much and then they trade up.  I bought my Viking #1
from a guy who bought it for his wife.  She never used it, so what does
he do?  He buys her the newest high end model.  I got mine at a
significant discount.  Most sewing machine dealers aren't going to sell
you a bad machine-so it is a pretty safe bet.   Also, take a class.
Lots of community colleges offer serger classes.  It really helps you
learn how to use and take care of your machine-lots of people get
frustrated with the threading and tension, it really isn't that hard-but
it sure helps to have someone look over your shoulder to help figure out
what is going on.

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Heather Meadows
**Sent: Sunday, July 28, 2002 12:34 PM
**To: h-costume@indra.com
**Subject: [h-cost] OT: sergers, anyone?
**
**
**
**I know sergers aren't period, but I do a lot of modern and 
**more theatrical sewing, and I know a lot of you do, too... so 
**I thought I'd ask here...
**
**I'm hoping to buy a serger in the next month or so -- 
**probably something in the $500-900 range.  I've never shopped 
**for one before, and I'm wondering if anyone here can 
**recommend a buyers guide (say from Threads or something?) or 
**wants to tell me what they love/hate about sergers they have used.  
**
**Thanks for all the advice.  I can't wait to enter the great 
**wide world of knits.
**
**.heather.
**
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Subject: [h-cost] Curios about this picture-odd dress for portrait?
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Date: Sun, 28 Jul 2002 15:54:17 -0700
Status: RO

http://www.geocities.com/marilee-cody/fitzroy.jpg

This is a miniature of Henry Fitzroy, Duke of Richmond, bastard son of
Henry the VIII.  I am curios about his attire.  Doesn't it seem very
casual?  Or because it is a miniature-were they more intimate??  To me
it looks like he is in his underwear!!

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: shirt ties again (was Re: [h-cost] Curios about this picture-odd dress
 for portrait?
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Date: Sun, 28 Jul 2002 16:16:30 -0700
Status: RO


>To me
>it looks like he is in his underwear!!

Looks like he just got out of bed, nightcap, nightshirt, and all.  Also, 
notice the ties on both sides of the collar, so they must be the sewn-on kind.


Kayta

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Subject: Re: [h-cost] Underarm fullness (WAS:) Early use of buttons???
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Date: Sun, 28 Jul 2002 17:00:46 -0700
Status: RO

At 10:33 AM -0700 7/28/02, Chris Laning wrote:
>At 9:59 AM -0600 7/27/02, Sue Clemenger wrote:
>>I've been trying to think of possible cuts to account for the underarm
>>fullness on these garments....About the closest (visually) that I've
>>been able to find in my own library (meager for the mid-middle ages), is
>>the article Heather did on the St. Louis shirt in _Tournaments
>>Illuminated_ relatively recently.  The sleeves do seem to have a bit of
>>the same full above/narrow below look that the gowns in the Codex do....
>>I've seen one version of this style (in Hunnisett's pre-1500 book), and
>>she achieves it using this perfectly enormous gusset under the arm,
>>which I may try in cheap fabric, just for the heck of it, but I'd rather
>>go for a more periodly-plausible cut than one that's
>>theatrically-plausible, if you get the distinction I'm so clumsily
>>trying to make!
>
>The leading theory on this in the "Heather Rose Jones school of 
>thought" <big grin -- I'm her apprentice> seems to be that the 
>fullness comes from the body of the garment -- which is cut wider 
>than one might expect. Most recommendations I see for T-tunics 
>suggest you cut the body of the garment about twice the 
>circumference of the body of the person. Try adding another foot or 
>so on each side, beyond that. In a lightweight fabric, this won't 
>add too much to the bulk around the waist if it's belted, but it 
>will provide the extra width you're seeing in the top. (I'm sure 
>she'll correct me if I have this wrong.)

I _think_ the question was about fullness in the sleeve itself, 
rather than fullness in the sides of the body of the garment.  (If 
I'm wrong, than my other response is irrelevant.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Sun, 28 Jul 2002 16:59:00 -0700
Status: RO

At 9:59 AM -0600 7/27/02, Sue Clemenger wrote:

>I've been trying to think of possible cuts to account for the underarm
>fullness on these garments....About the closest (visually) that I've
>been able to find in my own library (meager for the mid-middle ages), is
>the article Heather did on the St. Louis shirt in _Tournaments
>Illuminated_ relatively recently.  The sleeves do seem to have a bit of
>the same full above/narrow below look that the gowns in the Codex do....
>I've seen one version of this style (in Hunnisett's pre-1500 book), and
>she achieves it using this perfectly enormous gusset under the arm,
>which I may try in cheap fabric, just for the heck of it, but I'd rather
>go for a more periodly-plausible cut than one that's
>theatrically-plausible, if you get the distinction I'm so clumsily
>trying to make!

Most of the time that I've seen sleeves that are relatively full on 
the upper arm and relatively narrow on the lower arm, the shaping is 
in the sleeves, rather than via gussets (although in terms of 
topology, the difference between a wide upper sleeve, and a straight 
sleeve gusset with a wide gusset, can sometimes be negligible).  The 
sleeves on the St. Louis shirt (as I have interpreted it) are 
relatively typical of the cut that appears around the 12-13th century 
for albs (and I would tend to interpret the shirt as a variety of 
alb).  They are basically a modified trapezoid with the wide end 
against the body -- but if you take the same shape and re-draw the 
cutting lines, you could get the same effect with a relatively 
straight main sleeve piece and a large square gusset, and in 
paintings, you only get the overall effect.  However, I don't recall 
ever seeing a garment with gussets large enough to mimic the same 
effect as the trapezoidal-cut sleeves.  I'd have to check the 
Hunnisett interpretation, but I don't remember (off the top of my 
head) encountering any surviving garments with something I'd term a 
"perfectly enormous gusset".  Instead, large amounts of fabric in the 
upper arm seem to be generated by the main sleeve pieces.

For another example of the type of sleeve I'm talking about, consider 
the Kragelund tunic (via Marc Carlson's site 
<http://www.personal.utulsa.edu/~marc-carlson/cloth/kraglund.html>), 
where the sleeve is pieced, but there is no separate gusset as such.

Heather

-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Sun, 28 Jul 2002 18:06:36 -0700 (PDT)
Status: RO

<HTML><P>He was a dying man when that portrait was painted.&nbsp; It's possible he's in his nightshirt.&nbsp; (He died at the age of 17, and I think he'd had tuberculosis for some time.)</P>
<P>Betsy Perry</P>
<HR>

<BLOCKQUOTE TYPE="CITE">http://www.geocities.com/marilee-cody/fitzroy.jpg<BR><BR>This is a miniature of Henry Fitzroy, Duke of Richmond, bastard son of<BR>Henry the VIII. I am curios about his attire. Doesn't it seem very<BR>casual? Or because it is a miniature-were they more intimate?? To me<BR>it looks like he is in his underwear!!<BR><BR>_______________________________________________<BR>h-costume mailing list<BR>h-costume@mail.indra.com<BR>http://mail.indra.com/mailman/listinfo/h-costume<BR><BR></BLOCKQUOTE>
<HR></HTML>
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From: "Megan M." <mmchugh@starpower.net>
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Subject: RE: [h-cost] OT: sergers, anyone?
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Date: Sun, 28 Jul 2002 21:34:46 -0400
Status: RO

Also check out places like Sears.  I'm not kidding.  About 5 or 6 years ago
when I was looking for a serger, I could not in any way shape or form afford
what the Berninas cost, and Sears had two types.  I bought the higher-end
one, and have been very happy with it.  It is a 4 thread serger, and the
only thing I wish it did was the cover stitch.  But for an extra grand I'm
still living without a cover stitch.  Since much of my sewing is on natural
fibers, I don't really need it that much anyway.  BTW, I do not know who
makes the ones badged as Kenmores these days.
-Megan


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Subject: [h-cost] Lucas De Heere Allegory of the Tudor Sucession-color source?
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Date: Sun, 28 Jul 2002 19:17:35 -0700
Status: RO

I could have sworn one of my books has a color plate of this painting,
but can't remember where.  And as I recally Elizabeth is entering from
the left!

http://www.english.uiuc.edu/klein/420/tudrline.jpg

Anybody else?

Also, why is it that Lucas De Heere doesn't show up anywhere in the art
site searches?  Am I spelling it incorrectly?

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From h-costume-admin@indra.com  Sun Jul 28 22:46:01 2002
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From: "Saragrace knauf" <saragrace@earthlink.net>
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Subject: [h-cost] RE: Lucas De Heere Allegory of the Tudor Sucession-color source-clarification
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Date: Sun, 28 Jul 2002 19:23:54 -0700
Status: RO

I answered part of my own question.  There must be two of them.

Here is one that I am NOT looking for.

http://web.nwe.ufl.edu/~lhager/variousandsundry/postcards/pcimages/pctud
orsucession.jpg

The one I am looking for has Elizabeth entering from the right, and she
is wearing what looks like a brown and cream colored gown and robe with
the same/similar pattern all over the gown, bodice and robe and sleeves.

**-----Original Message-----
**From: Saragrace knauf [mailto:saragrace@earthlink.net] 
**Sent: Sunday, July 28, 2002 7:18 PM
**To: 'h-costume@indra.com'
**Subject: Lucas De Heere Allegory of the Tudor Sucession-color source?
**
**
**I could have sworn one of my books has a color plate of this 
**painting, but can't remember where.  And as I recally 
**Elizabeth is entering from the left!
**
**http://www.english.uiuc.edu/klein/420/tudrline.jpg
**
**Anybody else?
**
**Also, why is it that Lucas De Heere doesn't show up anywhere 
**in the art site searches?  Am I spelling it incorrectly?
**

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Date: Sun, 28 Jul 2002 20:45:55 -0700
Status: RO


> http://www.geocities.com/marilee-cody/fitzroy.jpg
> 
> This is a miniature of Henry Fitzroy, Duke of Richmond, bastard son of
> Henry the VIII.  I am curios about his attire.  Doesn't it seem very
> casual?  Or because it is a miniature-were they more intimate??  To me
> it looks like he is in his underwear!!

It was not unusual during this time period to be painted in your shirt 
or the like. It had symbolism that I've never quite understood. This 
was probably along the lines of a masque costume, from what I've 
read, reeking of symbolism.


June M. Russell, MD
<kat@grendal.rain.com>
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Date: Mon, 29 Jul 2002 00:23:50 EDT
Status: RO

I adore my Benette  344A  from Bernina. It was the high end version--my 
husband and sister went in together  and got it for me one christmas about 10 
years ago. I think that they paid a little over $1000 for it tho. It's been 
worth its weight in gold, though:)
Albra/Kathryn
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] RE: Lucas De Heere Allegory of the Tudor Sucession-color
 source-clarification
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Date: Sun, 28 Jul 2002 21:59:03 -0700
Status: RO


>The one I am looking for has Elizabeth entering from the right, and she
>is wearing what looks like a brown and cream colored gown and robe with
>the same/similar pattern all over the gown, bodice and robe and sleeves.

Entering from the left, and on the right is someone sitting on a blackwork 
shirt?


Kayta

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Subject: Re: [h-cost] Early use of buttons???
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Date: Mon, 29 Jul 2002 01:53:27 -0400
Status: RO

Hi, All. This discussion seems to have taken a left or right turn somewhere.
I thought that it was discussing buttons on undergarments, specifically
shirts and chemises or smocks. There is ample evidence for cloth and other
composition buttons going back into the medieval period. I was given to
understand, though, that there was little evidence for buttons on men's
undershirts (shirts, or singlets, another term) until close to the 18th cent.
I am curious as to the source for the information about the Dorset style
buttons in use after 1610. There is only one illo of a button-maker, and that
not very clear, that I know of that shows what might be buttons with holes
through them (the kind we are familiar with, with two or four holes
perforating the disc body). All of the rest, including all known (to me, at
least) and those from archaeological contexts, are of various materials and
have shanks. The rest are cloth, and are some form of ball or disc sewn onto
the fabric directly, or made of a wooden core. If anyone has any info on
other button types in use in the 16th through to the 3rd Quarter 17th cent.,
please share your sources. Thanks, Mike T.



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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: shirt ties again (was Re: [h-cost] Curios about this picture-odd dress for portrait?
To: h-costume@indra.com
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Date: Mon, 29 Jul 2002 08:45:02 +0100 (BST)
Status: RO

 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: > 
> >To me
> >it looks like he is in his underwear!!
> 
> Looks like he just got out of bed, nightcap, nightshirt, and all.  Also, 
> notice the ties on both sides of the collar, so they must be the sewn-on
> kind.

Yep, I noticed the ties too :-)
It supports my theory, after looking at shirts, stand-up collars of the early
type (before +/- 1660) have sewn on ones.

Nicole - melting in my office, a 17th c. building beside canterbury's oldest
church & cemetery, so no air con...

=====
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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Early use of buttons???
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Date: Mon, 29 Jul 2002 09:02:18 +0100 (BST)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > 
> understand, though, that there was little evidence for buttons on men's
> undershirts (shirts, or singlets, another term) until close to the 18th cent.

That is, if you count the late 1680s and 1690s close, which I guess, yes, they
are, and the use of ribbons did not go out of use either, even in 1710.

> I am curious as to the source for the information about the Dorset style
> buttons in use after 1610.

Who said that? I must have not read some of the posts in this thread. They were
certainly in use at the dates mentioned above, the portraits I have show them
clearly, I am convinced they cannot be anything else.

 There is only one illo of a button-maker, and that
> not very clear, that I know of that shows what might be buttons with holes
> through them (the kind we are familiar with, with two or four holes
> perforating the disc body). 

I have never ever seen any reference to the modern type of hole-buttons, only
the shanked ones, pray tell, from when is this illo and where could I find it?
It would be mightily interesting.

Nicole


=====
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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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Thread-Topic: [h-cost] shirt ties/aiglets
From: "freyalyn" <freyalyn@ivillage.com>
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Subject: Re: [h-cost] shirt ties/aiglets
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Does anyone else use a lucet for ties? If you make a cord from almost
any sort of thread with a lucet, it come out round and non-stretchy, and
from what I can gather, pretty authentic. Doesn't take long to do, just
as well, as I'm about to make my corset laces from it.

Freyalyn



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<-----Original Message----->
> 
> From: Carolyn Kayta Barrows
> Sent: 7/26/2002 9:01:01 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] shirt ties/aiglets
> 
> 
> >I tried using cotton crochet string as ties
> >on the latest shirt I made, and it looked really good, just like the
> >portraits, but I ended up having to cut them off to get my husband
out of it
> >because they knotted up so badly.
> 
> I braid my cotton crochet string into ties, and it doesn't do that.
And 
> they look all nice and handmade that way.
> 
> 
> Kayta
> 
> //// \\\
> ////-@@\\\
> (((( 7 )))
> ((( ))))
> ) ((((((
> /----\ /---\))
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Does anyone else use a lucet for ties?  If you make a cord from almost any sort of thread with a lucet, it come out round and non-stretchy, and from what I can gather, pretty authentic.  Doesn't take long to do, just as well, as I'm about to make my corset laces from it.<br>
<br>
Freyalyn<br>
<br>

</BODY></HTML>
<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

</font><br><br><-----Original Message-----><br>
>  <br>
> From: Carolyn Kayta Barrows<br>
> Sent: 7/26/2002 9:01:01 PM<br>
> To: h-costume@indra.com<br>
> Subject: Re: [h-cost] shirt ties/aiglets<br>
> <br>
> <br>
> >I tried using cotton crochet string as ties<br>
> >on the latest shirt I made, and it looked really good, just like the<br>
> >portraits, but I ended up having to cut them off to get my husband out of it<br>
> >because they knotted up so badly.<br>
> <br>
> I braid my cotton crochet string into ties, and it doesn't do that.  And <br>
> they look all nice and handmade that way.<br>
> <br>
> <br>
> Kayta<br>
> <br>
>     //// \\\<br>
>    ////-@@\\\<br>
>   ((((   7 )))<br>
>    (((   ))))<br>
>       )   ((((((<br>
> /----\   /---\))<br>
> <br>
> _______________________________________________<br>
> h-costume mailing list<br>
> h-costume@mail.indra.com<br>
> http://mail.indra.com/mailman/listinfo/h-costume<br>
> <br>

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Subject: Re: [h-cost] shirt ties/aiglets
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Date: Mon, 29 Jul 2002 18:47:16 +1000
Status: RO

I've used lucet cord for my corset lace - works really well. There is a
little stretch in it, which can come in helpful for clothing as any stress
on it will stretch a little rather than break. A friend also uses it for her
children's shoe laces, and I'm thinking of it too as she's found that it
doesn't untie accidentally as much as ribbons.

Glenda.
----- Original Message -----
From: "freyalyn" <freyalyn@ivillage.com>
To: <h-costume@indra.com>
Sent: Monday, July 29, 2002 6:38 PM
Subject: Re: [h-cost] shirt ties/aiglets


> Does anyone else use a lucet for ties? If you make a cord from almost
> any sort of thread with a lucet, it come out round and non-stretchy, and
> from what I can gather, pretty authentic. Doesn't take long to do, just
> as well, as I'm about to make my corset laces from it.
>
> Freyalyn
>
>
>
> _______________________________________________________________
> Sign up for FREE iVillage newsletters <http://s.ivillage.com/rd/16705> .
> >From health and pregnancy to shopping and relationships, iVillage
> has the scoop on what matters most to you.
>
> <-----Original Message----->
> >
> > From: Carolyn Kayta Barrows
> > Sent: 7/26/2002 9:01:01 PM
> > To: h-costume@indra.com
> > Subject: Re: [h-cost] shirt ties/aiglets
> >
> >
> > >I tried using cotton crochet string as ties
> > >on the latest shirt I made, and it looked really good, just like the
> > >portraits, but I ended up having to cut them off to get my husband
> out of it
> > >because they knotted up so badly.
> >
> > I braid my cotton crochet string into ties, and it doesn't do that.
> And
> > they look all nice and handmade that way.
> >
> >
> > Kayta
> >
> > //// \\\
> > ////-@@\\\
> > (((( 7 )))
> > ((( ))))
> > ) ((((((
> > /----\ /---\))
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>

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Subject: Re: London recommendations was [h-cost] Glass aglets
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Date: Mon, 29 Jul 2002 10:15:11 +0100
Status: RO



Kate Bunting
Library, University of Derby

>>>  --- Sue Clemenger <mooncat@in-tch.com> wrote: > You got to go to London??? How cool!!
> I'll be there (for the very first time) in just over a month (eeek! I
> have way, way too much to do!). 
> I wish we had more time in London, but I'm also going to (lessee if I
> can remember)...[snip]

> Shrewsbury (cathedral and other stuff), 
The abbey church at Shrewsbury (as in the Brother Cadfael stories) is not actually a cathedral, but a parish church which once belonged to the pre-Reformation Benedictine community. There is now a visitor centre nearby for fans of the novels. There's also a castle in the town with a military museum (including some uniforms) and lots of picturesque houses. I remember a good bookshop too, but forget its name.
When I was there last year I saw road signs to a visitor centre on the site of the Battle of Shrewsbury (1403?), but it was not yet open and the road was a dead end! Maybe it is open this year.


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Subject: Kirby Hall, was Re: [h-cost] Re: h-costume digest, Vol 1 #1107
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Date: Mon, 29 Jul 2002 10:22:57 +0100
Status: RO



Kate Bunting
Library, University of Derby

>>> nicolas_fouquet@yahoo.com 07/26/02 11:41am >>> wrote:
 We are so few people in our group at Kirby
that I might not be able to leave the encampment to go to the trader's market.

Will you be at Kirby as Kirke's Lambs, Nicole? I shall be there with the Generalls Musick, but without the dancers this year. Apparently we have only two official "concert" times each day, so may have a bit more leisure for wandering about than we have had in previous years.

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Kirby Hall, was Re: [h-cost] Re: h-costume digest, Vol 1 #1107 - 14 msgs
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Date: Mon, 29 Jul 2002 10:29:17 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > 
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> nicolas_fouquet@yahoo.com 07/26/02 11:41am >>> wrote:
>  We are so few people in our group at Kirby
> that I might not be able to leave the encampment to go to the trader's
> market.
> 
> Will you be at Kirby as Kirke's Lambs, Nicole? I shall be there with the
> Generalls Musick, but without the dancers this year. Apparently we have only
> two official "concert" times each day, so may have a bit more leisure for
> wandering about than we have had in previous years.

Yes, we'll be there as 'us' so to speak. I think we'll be in teh living history
area behind the house in the woods (???) don't ask me...
What a shame, I would love to see the dancrs and the musicians together one
day.

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] OT and On T  Moulin Rouge & Green Fairy
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Date: Mon, 29 Jul 2002 10:45:23 +0100
Status: RO

>> Don't you have regular TB vacines there ? With the test ?

>Do you have any idea how that comes across?

To me it is a simple question Do you have the test/vacine there or not ?

Obviously you are reading something else into it. I might think that you
don't have TB vacine because it is not necessary TB being eliminated there
(like rabies in dogs in the UK, wheras in France all dogs are required (I
believe) to be vacinated) If you think I'm suggesting your country is so
backward that it dosen't bother, I think you are being over sensitive, but
sorry if somehow you interpreted a straight question thus.

Incidentially the Green fairy bottle is still buyable in France now 45% OH
(ah sun & wine & bread) humph sad to be back

Mel


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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re:  [h-cost] Nottingham Costume Museum (UK) in danger of closing
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Date: Mon, 29 Jul 2002 10:36:26 +0000 (GMT)
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>  (And how many costumers who visit England even know about this
> museum? Perhaps their numbers would be higher with a little
> publicity.) 

I had some of my stuff on display there a few years back...<thinks> 
.... Erm more like about 9 years back.  They were kind enough to 
put on a display to publicise the 3rd British Costume Convention 
being in Nottinham that year.



Teddy
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From: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] Early use of buttons???
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Date: Mon, 29 Jul 2002 10:54:45 +0000 (GMT)
Status: RO

 
> Some further bits.....

> On the gowns where it's obvious that there are buttons running at
> least part way down the front of the garment, do you think they run
> all the way down, or just partly? Also, I'm guessing that the
> buttons might be made like those cloth ones in the MoL book,
> maybe? Teddy, didn't you make a bunch of these a while ago? How
> hard were they to do? 

I did and they're very easy and fairly quick to make, you can use 
offcuts of the garment and they look really good too.

Working the buttonholes, on the other hand, is another matter 
entirely....

Teddy
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> >The clerks at Foyle's have an international reputation for being
> >aloof and unhelpful, though I'll grant they may have changed in the
> >last decade (but I doubt it). Last time I was there, the books were
> >filed by publisher. Don't waste your time there unless you know
> >exactly what you want. 
> 
> Robin's experience of Foyle's is clearly out of date.
> 
> I've been going to Foyles every couple of months for around the
> last seven years, and the books have always been filed by subject. 
> The costume and craft books are on the first floor (hundreds of
> them), and the military history books (incl. uniforms) are on the
> second floor. I managed to find several out of prints at sums
> drastically cheaper than anywhere else in Britain (let alone
> London), simply by browsing through the shelves. 
> 
> The staff used to be unhelpful, because they were on commission,
> so everything had to be bought through the departments staff (ie,
> if you wanted things from different sections you had to buy them
> seperately, and a staff member not from a particular section
> wouldn't know what you were talking about).  That has now changed
> completely - no more commission, and new management might have
> helped. 

Thanks Debbie!

I've avoided Foyles for *years* (as well as advising others to) 
because they were so terrible.  They were so bad, infact, that they 
were used as *the* example of how not to organise book 
collections when I was doing my Librarianship degree at a London 
polytechnicin the late 1980's.



Teddy
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Thread-Topic: Kirby Hall, 
From: "freyalyn" <freyalyn@ivillage.com>
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When is the event at Kirby Hall, and where is it??

Freyalyn



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<-----Original Message----->
> 
> From: Kate M Bunting
> Sent: 7/29/2002 6:24:57 PM
> To: h-costume@indra.com
> Subject: Kirby Hall, was Re: [h-cost] Re: h-costume digest, Vol 1
#1107- 14 msgs
> 
> 
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> nicolas_fouquet@yahoo.com 07/26/02 11:41am >>> wrote:
> We are so few people in our group at Kirby
> that I might not be able to leave the encampment to go to the trader's
market.
> 
> Will you be at Kirby as Kirke's Lambs, Nicole? I shall be there with
the Generalls Musick, but 
> without the dancers this year. Apparently we have only two official
"concert" times each day, so may 
> have a bit more leisure for wandering about than we have had in
previous years.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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When is the event at Kirby Hall, and where is it??<br>
<br>
Freyalyn<br>
<br>

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<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

</font><br><br><-----Original Message-----><br>
>  <br>
> From: Kate M Bunting<br>
> Sent: 7/29/2002 6:24:57 PM<br>
> To: h-costume@indra.com<br>
> Subject: Kirby Hall, was Re: [h-cost] Re: h-costume digest, Vol 1 #1107- 14 msgs<br>
> <br>
> <br>
> <br>
> Kate Bunting<br>
> Library, University of Derby<br>
> <br>
> >>> nicolas_fouquet@yahoo.com 07/26/02 11:41am >>> wrote:<br>
>  We are so few people in our group at Kirby<br>
> that I might not be able to leave the encampment to go to the trader's market.<br>
> <br>
> Will you be at Kirby as Kirke's Lambs, Nicole? I shall be there with the Generalls Musick, but <br>
> without the dancers this year. Apparently we have only two official "concert" times each day, so may <br>
> have a bit more leisure for wandering about than we have had in previous years.<br>
> <br>
> _______________________________________________<br>
> h-costume mailing list<br>
> h-costume@mail.indra.com<br>
> http://mail.indra.com/mailman/listinfo/h-costume<br>
> <br>

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Date: Mon, 29 Jul 2002 11:14:44 +0000 (GMT)
Status: RO


> Now for the questions: Does anybody have experience in making
> fitted (or somewhat fitted) clothing for people with the
> expectation that they will change shape? I'm thinking in terms of
> the extra-large seam allowences and hidden tucks people use for
> growing children, but I'm not sure how these techniques will work
> with things like a two-part sleeve. 
> 
> Does anybody have ideas of what styles will look good on his
> frame? He's been looking at Elizabethan lately, though he remains
> unconvinced. Thoughts? Ideas? Suggestions? Anybody? 
> 
> Any help at all will be greatly appreciated! 
> 

Hi Emma,

Speaking as someonw who plays an Italian Ren persona and who 
has gained over 50 pounds over the last six years or so... the *only* 
garments that have remained wearable over the weight gain have 
been my houpellandes.

They come in varyinglengths from hip length to floor length and are 
full int he body and belted in at the waist (or sometimes the hip, 
depending on period).  Make them as close to a full-circle in the 
body as your fabric allows and he will have plenty of fabric in them.  
You just have to make sure that they are generous in the size of the 
armhole so that it doesn't get too tight as he gets bigger around the 
shoulders.

It might be better to stick with the collarless styles too, in case his 
neck expands - high and round at the front, V at the back so they're 
easy to pull on ove rhte head - alternatively, a front opening with a 
vobacked stand-collar, and a centre-back seam that goes down the 
collar and the centre back of the garnet, and can be let out if his 
neck increases drastically in size.

An alternative to the houpellande that should work in the same way 
is the cloak tabbard.  I made one last week (one evening in a hurry 
when i realized I hadn't anythign suitable to wear for an event) using 
a half circle (two quarter circles) for the back and a quarter circle 
for the front.  I left the top six inches or so of the seam joining the 
back two quarters open to form the back V ov the neck-opening, 
and cut a narrow "U" out of the point of the front quarter which 
spread open to form the high round front neckline.  I cut the linings 
to match and sewed the front lining face to face around the entire 
front quarter, leaving just a small gap to turn it through, did the 
same with the back half cirlce.  Once turned through and pressed, I 
latter stitched the front to the back at the shoulders (about seven 
inches either side of the neck opening) and that's it.  It's worn with 
the front part belted in at the waist and the back part hanging like a 
cloak..  Verly quick and simple, looks impressive (and will look even 
more so if I ever getaround to edging it with fur guiards/borders)

Hope this helps

Teddy
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Date: Mon, 29 Jul 2002 12:31:32 +0100
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Kate Bunting
Library, University of Derby

>>> freyalyn@ivillage.com 07/29/02 11:08am >>>
When is the event at Kirby Hall, and where is it??

Freyalyn

August 10-11th - officially History in Action, at Kirby Hall near Corby.



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Date: Mon, 29 Jul 2002 06:41:28 -0600
Status: RO

Thanks for the correction! (I knew that, really I did....<g>) That's
exactly where we're headed in Shrewsbury, though! <g>
Also, a very dear friend's persona "lives" in Shrewsbury in the 12th c.
(we're all SCA members), and I very much want to buy her something
Shrewsbury-ish! ;-)
--sue

Kate M Bunting wrote:
> 

> > Shrewsbury (cathedral and other stuff),
> The abbey church at Shrewsbury (as in the Brother Cadfael stories) is not actually a cathedral, but a parish church which once belonged to the pre-Reformation Benedictine community. There is now a visitor centre nearby for fans of the novels. There's also a castle in the town with a military museum (including some uniforms) and lots of picturesque houses. I remember a good bookshop too, but forget its name.
> When I was there last year I saw road signs to a visitor centre on the site of the Battle of Shrewsbury (1403?), but it was not yet open and the road was a dead end! Maybe it is open this year.
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Date: Mon, 29 Jul 2002 06:44:56 -0600
Status: RO

Actually, Mike, I think it's 2 different, fairly simultaneous
discussions.  The first one was one on Dorset buttons (started by
Nicole?), while the second one (this one) was started by me (Sue),
asking for input on what I was seeing in the Manesse Codex--there are a
lot of tight lower sleeves in there, but I'd assumed it was a little
early for buttons until I found a couple of the pix clearly depicting
buttons, so I was asking for independent verification from the list
members! ;-)
--sue

leigh tartaglio wrote:
> 
> Hi, All. This discussion seems to have taken a left or right turn somewhere.
> I thought that it was discussing buttons on undergarments, specifically
> shirts and chemises or smocks. There is ample evidence for cloth and other
> composition buttons going back into the medieval period. I was given to
> understand, though, that there was little evidence for buttons on men's
> undershirts (shirts, or singlets, another term) until close to the 18th cent.
> I am curious as to the source for the information about the Dorset style
> buttons in use after 1610. There is only one illo of a button-maker, and that
> not very clear, that I know of that shows what might be buttons with holes
> through them (the kind we are familiar with, with two or four holes
> perforating the disc body). All of the rest, including all known (to me, at
> least) and those from archaeological contexts, are of various materials and
> have shanks. The rest are cloth, and are some form of ball or disc sewn onto
> the fabric directly, or made of a wooden core. If anyone has any info on
> other button types in use in the 16th through to the 3rd Quarter 17th cent.,
> please share your sources. Thanks, Mike T.
>
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Date: Mon, 29 Jul 2002 06:49:41 -0600
Status: RO

I've used lucet cording for laces, as opposed to ties.  They work pretty
good for lacing up bodices and corsets and such.  They have the
advantage over finger-loop braids of being able to be made to any length
you want, although the finger-loop braids are sure pretty.....
--Sue, apologizing in advance for not clipping this post, but the way
Freyalyn's got her email set up, the reply looks blank from my end
except for my *own* writing--what is that? html?
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Subject: [h-cost] OT: Dual-Power Singers?
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Date: Mon, 29 Jul 2002 10:11:10 EDT
Status: RO

Hello everyone,

One of my aunts was in the Peace Corps in Brazil in the 60's.  We were 
talking the other day, and she recalls seeing modern (for that time) Singer 
sewing machines in Brazil that were electric/treadle.  You could plug it in 
and use the electric motor, or you could unplug it, flip a couple things 
around, and use the treadle.  You could even switch power sources in the 
middle of a project if the power went out (a daily occurance in her part of 
Brazil).  She wrote to Singer after getting back to the US and was told they 
were only sold in third-world countries and were not available under any 
circumstances in the US.

Anyone else ever hear of something like this?  I hate to doubt her, but, 
well, this _is_ the aunt who had open-skull surgery to remove a growth from 
her pituitary gland, and you can't get to that without hitting brain tissue.  
There's plenty of places in the US where electrical service is iffy (one 
cousin used to live in a part of Wyoming that was pretty much wind power 
only), and this sounds practical.

Leah
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Subject: RE: [h-cost] shirt ties/aiglets
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Date: Mon, 29 Jul 2002 07:05:14 -0700
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I do-plus I have a great friend who does all the fancy ones with beads,
picots and multiple colors.  Its funny though I am fascinated by the
square shape I get and the stretchiness!!

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of freyalyn
Sent: Monday, July 29, 2002 1:38 AM
To: h-costume@indra.com
Subject: Re: [h-cost] shirt ties/aiglets


Does anyone else use a lucet for ties? If you make a cord from almost
any sort of thread with a lucet, it come out round and non-stretchy, and
from what I can gather, pretty authentic. Doesn't take long to do, just
as well, as I'm about to make my corset laces from it.

Freyalyn


_______________________________________________________________
Sign up for FREE iVillage  <http://s.ivillage.com/rd/16705> newsletters.
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has the scoop on what matters most to you. 

<-----Original Message----->
> 
> From: Carolyn Kayta Barrows
> Sent: 7/26/2002 9:01:01 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] shirt ties/aiglets
> 
> 
> >I tried using cotton crochet string as ties
> >on the latest shirt I made, and it looked really good, just like the
> >portraits, but I ended up having to cut them off to get my husband
out of it
> >because they knotted up so badly.
> 
> I braid my cotton crochet string into ties, and it doesn't do that.
And 
> they look all nice and handmade that way.
> 
> 
> Kayta
> 
> //// \\\
> ////-@@\\\
> (((( 7 )))
> ((( ))))
> ) ((((((
> /----\ /---\))
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 



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<BODY>
<DIV><SPAN class=3D180130414-29072002><FONT face=3DBatang =
color=3D#800000 size=3D2>I=20
do-plus I have a great friend who does all the fancy ones with beads, =
picots and=20
multiple colors.&nbsp; Its funny though I am fascinated by the square =
shape I=20
get and the stretchiness!!</FONT></SPAN></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #800000 2px =
solid; 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>freyalyn<BR><B>Sent:</B> Monday, July 29, 2002 1:38 =
AM<BR><B>To:</B>=20
  h-costume@indra.com<BR><B>Subject:</B> Re: [h-cost] shirt=20
  ties/aiglets<BR><BR></FONT></DIV>Does anyone else use a lucet for =
ties? If you=20
  make a cord from almost any sort of thread with a lucet, it come out =
round and=20
  non-stretchy, and from what I can gather, pretty authentic. Doesn't =
take long=20
  to do, just as well, as I'm about to make my corset laces from=20
  it.<BR><BR>Freyalyn<BR><BR><BR><FONT style=3D"FONT-SIZE: 13px"=20
  face=3D"Arial, Helvetica, sans-serif"=20
  =
size=3D2>_______________________________________________________________<=
BR>Sign=20
  up for <A href=3D"http://s.ivillage.com/rd/16705">FREE iVillage=20
  newsletters</A>.<BR>From health and pregnancy to shopping and =
relationships,=20
  iVillage<BR>has the scoop on what matters most to you.=20
  </FONT><BR><BR>&lt;-----Original Message-----&gt;<BR>&gt; <BR>&gt; =
From:=20
  Carolyn Kayta Barrows<BR>&gt; Sent: 7/26/2002 9:01:01 PM<BR>&gt; To:=20
  h-costume@indra.com<BR>&gt; Subject: Re: [h-cost] shirt =
ties/aiglets<BR>&gt;=20
  <BR>&gt; <BR>&gt; &gt;I tried using cotton crochet string as =
ties<BR>&gt;=20
  &gt;on the latest shirt I made, and it looked really good, just like=20
  the<BR>&gt; &gt;portraits, but I ended up having to cut them off to =
get my=20
  husband out of it<BR>&gt; &gt;because they knotted up so =
badly.<BR>&gt;=20
  <BR>&gt; I braid my cotton crochet string into ties, and it doesn't do =
that.=20
  And <BR>&gt; they look all nice and handmade that way.<BR>&gt; =
<BR>&gt;=20
  <BR>&gt; Kayta<BR>&gt; <BR>&gt; //// \\\<BR>&gt; ////-@@\\\<BR>&gt; =
(((( 7=20
  )))<BR>&gt; ((( ))))<BR>&gt; ) ((((((<BR>&gt; /----\ /---\))<BR>&gt; =
<BR>&gt;=20
  _______________________________________________<BR>&gt; h-costume =
mailing=20
  list<BR>&gt; h-costume@mail.indra.com<BR>&gt;=20
  http://mail.indra.com/mailman/listinfo/h-costume<BR>&gt;=20
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Date: Mon, 29 Jul 2002 07:14:15 -0700
Status: RO

I am sure I have confused everyone now-I am even a little confused.  I
think this image is reversed-it is the one I am looking for:
http://www.english.uiuc.edu/klein/420/tudrline.jpg  Alison Weir has it
on the front of her "Henry VIII -The King and his Court".  On the book
cover Elizabeth is entering from the left (the viewer's) left.  I don't
see anyone sitting on a shirt though, but I know my image is cut off a
bit.


**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Carolyn Kayta Barrows
**Sent: Sunday, July 28, 2002 9:59 PM
**To: h-costume@indra.com
**Subject: Re: [h-cost] RE: Lucas De Heere Allegory of the 
**Tudor Sucession-color source-clarification
**
**
**
**>The one I am looking for has Elizabeth entering from the 
**right, and she 
**>is wearing what looks like a brown and cream colored gown 
**and robe with 
**>the same/similar pattern all over the gown, bodice and robe and 
**>sleeves.
**
**Entering from the left, and on the right is someone sitting 
**on a blackwork 
**shirt?
**
**
**Kayta
**
**    //// \\\
**   ////-@@\\\
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**
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Subject: RE: [h-cost] OT: Dual-Power Singers?
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Date: Mon, 29 Jul 2002 09:25:33 -0500
Status: RO

Leah--

I believe your aunt's story. I know Bernina still makes treadle machines
for sale in "developing" nations. Of course, they are purely mechanical,
not computerized machines.

I have a Singer treadle from 1927. It works just fine for basic straight
stitching. I always think I could use it to sew during a power outage,
but the problem would be lighting. If you sit in the window, with
daylight, it's not too bad. Otherwise, you need extra light, and of
course the treadle doesn't have those handy little bulbs above the
needle.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of LLWatts@aol.com
Sent: Monday, July 29, 2002 9:11 AM
To: h-costume@indra.com
Subject: [h-cost] OT: Dual-Power Singers?

Hello everyone,

One of my aunts was in the Peace Corps in Brazil in the 60's.  We were 
talking the other day, and she recalls seeing modern (for that time)
Singer 
sewing machines in Brazil that were electric/treadle.  You could plug it
in 
and use the electric motor, or you could unplug it, flip a couple things

around, and use the treadle.  You could even switch power sources in the

middle of a project if the power went out (a daily occurance in her part
of 
Brazil).  She wrote to Singer after getting back to the US and was told
they 
were only sold in third-world countries and were not available under any

circumstances in the US.

Anyone else ever hear of something like this?  I hate to doubt her, but,

well, this _is_ the aunt who had open-skull surgery to remove a growth
from 
her pituitary gland, and you can't get to that without hitting brain
tissue.  
There's plenty of places in the US where electrical service is iffy (one

cousin used to live in a part of Wyoming that was pretty much wind power

only), and this sounds practical.

Leah
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From h-costume-admin@indra.com  Mon Jul 29 10:39:07 2002
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From: "Saragrace knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] OT: Dual-Power Singers?
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Date: Mon, 29 Jul 2002 07:16:43 -0700
Status: RO

I've never heard of it, but there are folks out there that collect
sewing machines.  I bet there is even a history on them lurking around.
I can't believe that you wouldn't be able to confirm it with Singer.

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of LLWatts@aol.com
**Sent: Monday, July 29, 2002 7:11 AM
**To: h-costume@indra.com
**Subject: [h-cost] OT: Dual-Power Singers?
**
**
**Hello everyone,
**
**One of my aunts was in the Peace Corps in Brazil in the 60's. 
** We were 
**talking the other day, and she recalls seeing modern (for 
**that time) Singer 
**sewing machines in Brazil that were electric/treadle.  You 
**could plug it in 
**and use the electric motor, or you could unplug it, flip a 
**couple things 
**around, and use the treadle.  You could even switch power 
**sources in the 
**middle of a project if the power went out (a daily occurance 
**in her part of 
**Brazil).  She wrote to Singer after getting back to the US 
**and was told they 
**were only sold in third-world countries and were not 
**available under any 
**circumstances in the US.
**
**Anyone else ever hear of something like this?  I hate to 
**doubt her, but, 
**well, this _is_ the aunt who had open-skull surgery to remove 
**a growth from 
**her pituitary gland, and you can't get to that without 
**hitting brain tissue.  
**There's plenty of places in the US where electrical service 
**is iffy (one 
**cousin used to live in a part of Wyoming that was pretty much 
**wind power 
**only), and this sounds practical.
**
**Leah
**_______________________________________________
**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 Jul 29 10:57:04 2002
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From: Tasha Kelly <demontsegur@yahoo.com>
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Subject: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Mon, 29 Jul 2002 07:44:18 -0700 (PDT)
Status: RO

Sue wrote:
I've used lucet cording for laces, as opposed to ties.
 They work pretty good for lacing up bodices and
corsets and such.  They have the advantage over
finger-loop braids of being able to be made to any
length
you want, although the finger-loop braids are sure
pretty.....

I respond:
Indeed, when made with some gleaming silk floss, for
instance, fingerloop braids can be mesmerizingly
gorgeous. My personal favorites are the Lace Baston,
which is the same as a basic round lace of five bows,
except that your five bows are linked, or 'departed'.
This causes a length-wise stripe effect of the two
colors you use. Another favorite is a round lace of
eight bows, which is exceedingly simple to make, and
produces a gorgeous spiral stripe effect. The only
challenge with that one is the width of your bow
floss/cording -- eight of them together can produce a
too-thick cord, if you're not careful.

I've managed to make finished laces that are about 2
to 2.5 feet long (perfect for my purposes of
spiral-lacing a close-fitting kirtle) by tying a knot
mid-way along the laces and then tying that area down
and working out from the center. Later, I undo the
knot and carefully tie another one on the edge of the
finished section, leaving the un-braided section free.
I then continue the braid out from the center going in
the other direction. This method isn't perfect,
because try as I might, there is always a small
portion of slightly loose twists where the two areas
meet in the middle, but it's hardly noticeable and
definitely disguised when in use as a lace. If you've
got a willing partner, you can make a very long,
uninterrupted fingerloop braid with their help beating
down the loops as you make each move. 

As for lucet cording, can someone give me the quick
'yes/no' on whether or not it's period pre-1600, and
especially during the 14th century-on?

Thanks,
Tasha/Marcele

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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Subject: RE: [h-cost] Fashion Magazines
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Date: Mon, 29 Jul 2002 10:59:28 -0300
Status: RO

I'm afraid that I'm the one who got David Batterham into his h-costume
predicament and I fear he will no longer be speaking to me if he can't find
the secret of, "Stop, Little Pot!  Stop!"

I recently "discovered" Mr. Batterham and was so very delighted with the
bound issues of "Der Bazar" I bought from him, I encouraged him to introduce
himself to the costume lists. I agree with Deb R. - he is a wonderful
source.

 Martha



	BTW, for collector of antique fashion /costume books,
	magazines, etc., I recommend David Batterham.
	From him, I was able to procure a complete, bound set
	of the French fashion magazine "Les Modes",
	after about 7 years of looking for even one loose copy...

	He is the man with the goods if you are looking for antique French costume
	books.

Deb R.



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Subject: [h-cost] Gleaming silk floss and fingloop braid question: length of fingerloop braids
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Date: Mon, 29 Jul 2002 07:50:17 -0700
Status: RO


**Indeed, when made with some gleaming silk floss, for
**instance, fingerloop braids can be mesmerizingly
**gorgeous.
Where do you get shiny silk floss?  Everything I have seen at the fiber
stores is flat finish.  Great colors, but no shine.

**My personal favorites are the Lace Baston,
**which is the same as a basic round lace of five bows,
**except that your five bows are linked, or 'departed'.
**This causes a length-wise stripe effect of the two
**colors you use. Another favorite is a round lace of
**eight bows, which is exceedingly simple to make, and
**produces a gorgeous spiral stripe effect. The only
**challenge with that one is the width of your bow
**floss/cording -- eight of them together can produce a
**too-thick cord, if you're not careful.

I don't think I am familiar with what you are talking about here-is this
simple chain stitch "crocheting" with your fingers?  Is there a resource
I could look at to understand it?

**As for lucet cording, can someone give me the quick
**'yes/no' on whether or not it's period pre-1600, and
**especially during the 14th century-on?

I don't have any good references.  The directions that came with mine
indicated it had been around for a long time.  I will have to defer to
someone else who knows more than I.

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Subject: Re: [h-cost] shirt ties/aiglets
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Date: Mon, 29 Jul 2002 08:32:08 -0700
Status: RO


> Does anyone else use a lucet for ties? If you make a cord from almost
> any sort of thread with a lucet, it come out round and non-stretchy,
> and from what I can gather, pretty authentic. Doesn't take long to do,
> just as well, as I'm about to make my corset laces from it.

Aside from books stating "lucet was done during the 
Renaissance", I've found no evidence for lucetting in the 16th 
century anywhere. I've seen evidence for it in Viking times and in 
Victorian times, but none in between. If you have such evidence, I 
would *love* to see it as I really like lucetted cord. It is easy to 
make in long quantities and much easier to set up than fingerloop 
braid.



June M. Russell, MD
<kat@grendal.rain.com>
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: RE: [h-cost] RE: Lucas De Heere Allegory of the Tudor Sucession-color source-clarification-left right
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Date: Mon, 29 Jul 2002 11:59:52 -0400
Status: RO

Could you be thinking of this portrait "Elizabeth and the three 
goddesses": http://www.tudor-portraits.com/Elizabeth_67.jpg

and this is a detail of the color version of the De Heere "Succession 
of Kings" portrait: http://www.tudor-portraits.com/Elizabeth_2.jpg

Similar paintings, definately.  The "Three Goddesses" portrait was 
painted by and unknown artist and could be a copy of the de Heere 
portrait.  

Google is your friend... :)

Sarah
http://www.elizabethanlady.com


> I am sure I have confused everyone now-I am even a little confused.  I
> think this image is reversed-it is the one I am looking for:
> http://www.english.uiuc.edu/klein/420/tudrline.jpg  Alison Weir has it
> on the front of her "Henry VIII -The King and his Court".  On the book
> cover Elizabeth is entering from the left (the viewer's) left.  I 
don't
> see anyone sitting on a shirt though, but I know my image is cut off a
> bit.
> 
> 
> **-----Original Message-----
> **From: h-costume-admin@indra.com 
> **[mailto:h-costume-admin@indra.com] On Behalf Of Carolyn Kayta 
Barrows
> **Sent: Sunday, July 28, 2002 9:59 PM
> **To: h-costume@indra.com
> **Subject: Re: [h-cost] RE: Lucas De Heere Allegory of the 
> **Tudor Sucession-color source-clarification
> **
> **
> **
> **>The one I am looking for has Elizabeth entering from the 
> **right, and she 
> **>is wearing what looks like a brown and cream colored gown 
> **and robe with 
> **>the same/similar pattern all over the gown, bodice and robe and 
> **>sleeves.
> **
> **Entering from the left, and on the right is someone sitting 
> **on a blackwork 
> **shirt?
> **
> **
> **Kayta
> **
> **    //// \\\
> **   ////-@@\\\
> **  ((((   7 )))
> **   (((  <> ))))
> **      )   ((((((
> **/----\   /---\))
> **
> **_______________________________________________
> **h-costume mailing list
> **h-costume@mail.indra.com 
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> **
> 
> _______________________________________________
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> 
> 

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." 
-Carl 
Sagab
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Subject: Re: [h-cost] shirt ties/aiglets
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Date: Mon, 29 Jul 2002 17:00:02 +0100
Status: RO



Kate Bunting
Library, University of Derby

>>> kat@grendal.rain.com 07/29/02 04:32pm >>>

Aside from books stating "lucet was done during the 
>Renaissance", I've found no evidence for lucetting in the 16th 
>century anywhere. I've seen evidence for it in Viking times and in 
>Victorian times, but none in between. If you have such evidence, I 
>would *love* to see it as I really like lucetted cord. It is easy to 
>make in long quantities and much easier to set up than fingerloop 
>braid.

Lucets are widely used over here by 17th cent. reenactors, but I don't know on what authority other than the claims of the lucet manufacturer.
I too would like to know more about fingerloop braid. I was shown how to make cord on the fingers with 2 strands; the result is stretchier than lucet cord.

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Date: Mon, 29 Jul 2002 17:04:33 +0100 (BST)
Status: RO

Am working myself on recreating an Indian stamped
fabric technique called varak-ka-kaam.
Its a method of stamping the fabric with preped
linseed oil or resin and then burnishing goldleaf over
the 'glue'.I couldn't get my hands on 24ct goldleaf
and had to do with 23.5ct for the example I wish to
exhibit at the Drachenwald A&S University this
November.So keep me posted as to your efforts.

Do please,please,please remember to carve the Lino in
the direction AWAY from you!!!Its a great temptation
to do 'just this tiny piece' and angle it in your
direction.DON'T.Those cutting tools are very sharp and
at art school we had endless bloody stab wounds and
tips of fingers that went awol.

The lino is a bit 'soft' for my liking and not
anywhere as study as the Indian blocks I have in my
collection as examples or the jelutung we used at
school to carve.Mind you its a good bit easier to work
into too which can be a blessing.Backing it once
you've cut your design,with a piece of wood gives you
much more heft and is more stable to use in my
experience.
Best of luck,

Marcus/Mangal

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Subject: Re: [h-cost] Gleaming silk floss and fingloop braid question: length of 
 fingerloop braids
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Date: Mon, 29 Jul 2002 18:02:27 +0200
Status: RO

Dear Saragrace
Excuse me for interrupting here, are you looking for shining silk floss?
You have a wonderfull place in USA where you can get so many beautifull
colours, i think it is the largest colour range i have ever seen:
http://www.eternasilk.com/cgi-bin/ETSstore.cgi?user_action=list&category=Stranded&start=200

I use this for embroidery.
I didnt catch the topic but were you talking about making fly fringe?
Yesterday i got a catalog from a large needlework shop in York and they have
some newly invented threads with mixed highlighted colours. It is not
periodically correct, but i think you could make some gorgeous fly fringe
with these threads, They call these new threads for silk "Organzine" for
lace making, Marabout is another and one is called Eylash and one is called
Plumetes. They have them in 9 different colour mixes. I really would like to
try to make some fly fringes with these, although i have no clou how to do
it, but i guess i could mix some bobbin lace with attached fringes made with
finger loops.
I am almost melting, we have 30 celsius in Copenhagen today!
Best greetings

Bjarne

Saragrace knauf wrote:

> **Indeed, when made with some gleaming silk floss, for
> **instance, fingerloop braids can be mesmerizingly
> **gorgeous.
> Where do you get shiny silk floss?  Everything I have seen at the fiber
> stores is flat finish.  Great colors, but no shine.
>
> **My personal favorites are the Lace Baston,
> **which is the same as a basic round lace of five bows,
> **except that your five bows are linked, or 'departed'.
> **This causes a length-wise stripe effect of the two
> **colors you use. Another favorite is a round lace of
> **eight bows, which is exceedingly simple to make, and
> **produces a gorgeous spiral stripe effect. The only
> **challenge with that one is the width of your bow
> **floss/cording -- eight of them together can produce a
> **too-thick cord, if you're not careful.
>
> I don't think I am familiar with what you are talking about here-is this
> simple chain stitch "crocheting" with your fingers?  Is there a resource
> I could look at to understand it?
>
> **As for lucet cording, can someone give me the quick
> **'yes/no' on whether or not it's period pre-1600, and
> **especially during the 14th century-on?
>
> I don't have any good references.  The directions that came with mine
> indicated it had been around for a long time.  I will have to defer to
> someone else who knows more than I.
>
> _______________________________________________
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From: "Sarah Lorraine" <sarah@elizabethanlady.com>
To: h-costume@indra.com
Subject: RE: [h-cost] RE: Lucas De Heere Allegory of the Tudor Sucession-color source-clarification-left right
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Date: Mon, 29 Jul 2002 12:17:20 -0400
Status: RO

Actually, I discovered another site: 
http://www.famu.edu/acad/colleges/cas/histpol/eidahl/Spring/EUH3501Engla
nd/Images/ElizabethI4.jpg (again, color detail, not full portrait) of 
the "Three Goddesses" and it tentatively attributes it to Hans Eworth.  
I believe the "Succession of Kings" portrait was also once attributed 
to Eworth, as well.  

I love Google.  :)

Sarah
http://www.elizabethanlady.com

> Could you be thinking of this portrait "Elizabeth and the three 
> goddesses": http://www.tudor-portraits.com/Elizabeth_67.jpg
> 
> and this is a detail of the color version of the De Heere "Succession 
> of Kings" portrait: http://www.tudor-portraits.com/Elizabeth_2.jpg
> 
> Similar paintings, definately.  The "Three Goddesses" portrait was 
> painted by and unknown artist and could be a copy of the de Heere 
> portrait.  
> 
> Google is your friend... :)
> 
> Sarah
> http://www.elizabethanlady.com
> 
> 
> > I am sure I have confused everyone now-I am even a little 
confused.  I
> > think this image is reversed-it is the one I am looking for:
> > http://www.english.uiuc.edu/klein/420/tudrline.jpg  Alison Weir has 
it
> > on the front of her "Henry VIII -The King and his Court".  On the 
book
> > cover Elizabeth is entering from the left (the viewer's) left.  I 
> don't
> > see anyone sitting on a shirt though, but I know my image is cut 
off a
> > bit.
> > 
> > 
> > **-----Original Message-----
> > **From: h-costume-admin@indra.com 
> > **[mailto:h-costume-admin@indra.com] On Behalf Of Carolyn Kayta 
> Barrows
> > **Sent: Sunday, July 28, 2002 9:59 PM
> > **To: h-costume@indra.com
> > **Subject: Re: [h-cost] RE: Lucas De Heere Allegory of the 
> > **Tudor Sucession-color source-clarification
> > **
> > **
> > **
> > **>The one I am looking for has Elizabeth entering from the 
> > **right, and she 
> > **>is wearing what looks like a brown and cream colored gown 
> > **and robe with 
> > **>the same/similar pattern all over the gown, bodice and robe and 
> > **>sleeves.
> > **
> > **Entering from the left, and on the right is someone sitting 
> > **on a blackwork 
> > **shirt?
> > **
> > **
> > **Kayta
> > **
> > **    //// \\\
> > **   ////-@@\\\
> > **  ((((   7 )))
> > **   (((  <> ))))
> > **      )   ((((((
> > **/----\   /---\))
> > **
> > **_______________________________________________
> > **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
> > 
> > 
> 
> -- 
> Sarah
> http://www.elizabethanlady.com
> "Absence of evidence, isn't necessarily evidence of absence." 
> -Carl 
> Sagab
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

-- 
Sarah
http://www.elizabethanlady.com
"Absence of evidence, isn't necessarily evidence of absence." 
-Carl 
Sagab
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Subject: Re: [h-cost] Early use of buttons???
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Date: Mon, 29 Jul 2002 09:15:13 -0700
Status: RO

>
>>  Some further bits.....
>
>>  On the gowns where it's obvious that there are buttons running at
>>  least part way down the front of the garment, do you think they run
>>  all the way down, or just partly? Also, I'm guessing that the
>>  buttons might be made like those cloth ones in the MoL book,
>>  maybe? Teddy, didn't you make a bunch of these a while ago? How
>  > hard were they to do?

I've lost track of whether we're talking about "buttons all the way 
down" at some particular period.  I have a sketch I made from an 
early 16th c. tapestry entitled "the Three Fates" at the V&A, which 
shows a loose, but relatively fitted woman's overgown with buttons 
all the way down the front (or at least all the way down to where the 
hem puddles).  (The sleeves of this garment are relatively loose, but 
the sleeves of the garment _under_ it are tight and buttoned on the 
part that shows.)

Heather
-- 
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Heather Rose Jones
hrjones@socrates.berkeley.edu
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Mon, 29 Jul 2002 09:22:32 -0700
Status: RO

At 7:44 AM -0700 7/29/02, Tasha Kelly wrote:

>I've managed to make finished laces that are about 2
>to 2.5 feet long (perfect for my purposes of
>spiral-lacing a close-fitting kirtle) by tying a knot
>mid-way along the laces and then tying that area down
>and working out from the center. Later, I undo the
>knot and carefully tie another one on the edge of the
>finished section, leaving the un-braided section free.
>I then continue the braid out from the center going in
>the other direction. This method isn't perfect,
>because try as I might, there is always a small
>portion of slightly loose twists where the two areas
>meet in the middle, but it's hardly noticeable and
>definitely disguised when in use as a lace.


Interesting technique!


>  If you've
>got a willing partner, you can make a very long,
>uninterrupted fingerloop braid with their help beating
>down the loops as you make each move.

My somewhat limited experience has been that, with a partner to do 
the beating, you can not only get a much longer braid, but the 
tightness of the braid is _much_ more even (and tight).  Even doing 
fairly short braids by myself, there's noticeable unevenness in the 
tension.  My favorite beaters tend to be heavy metallic 
letter-openers.  Enough "heft" to beat solidly without a lot of 
effort, and just the right "sharp but blunt" edge.

Heather
-- 
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Heather Rose Jones
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] shirt ties/aiglets
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Date: Mon, 29 Jul 2002 09:48:31 -0700
Status: RO

At 8:32 AM -0700 7/29/02, kat@grendal.rain.com wrote:
>  > Does anyone else use a lucet for ties? If you make a cord from almost
>>  any sort of thread with a lucet, it come out round and non-stretchy,
>>  and from what I can gather, pretty authentic. Doesn't take long to do,
>>  just as well, as I'm about to make my corset laces from it.
>
>Aside from books stating "lucet was done during the
>Renaissance", I've found no evidence for lucetting in the 16th
>century anywhere. I've seen evidence for it in Viking times and in
>Victorian times, but none in between. If you have such evidence, I
>would *love* to see it as I really like lucetted cord. It is easy to
>make in long quantities and much easier to set up than fingerloop
>braid.

I'm going to point out something that usually gets me accused of 
causing trouble -- I've seen evidence from Viking times of implements 
made from naturally-shaped pieces of bone with wear patterns that are 
not inconsistent with use as a lucet, but I've never seen direct 
evidence that they _were_ used as lucets.  (And given the significant 
amounts of surviving cordage we have, it seems relevant that nobody 
has been able to point to any surviving medieval cordage that is 
clearly lucet-work.)  It is a common claim that lucet-cording dates 
back to Viking times, but from where I stand, the jury seems to be 
still very much out.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Re: Gleaming silk floss and fingloop braid question
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Date: Mon, 29 Jul 2002 10:00:30 -0700 (PDT)
Status: RO

From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Date: Mon, 29 Jul 2002 07:50:17 -0700
Organization: PII
Subject: [h-cost] Gleaming silk floss and fingloop
braid question: 
length of fingerloop braids
Reply-To: h-costume@mail.indra.com

Saragrace wrote:
Where do you get shiny silk floss?  Everything I have
seen at the fiber stores is flat finish.  Great
colors, but no shine.

I respond:
I'm not an expert on the spinning/twisting of fiber,
so bear with my explanation... I have stumbled across
two general varieties of silk floss -- one that seems
more filament-like, meaning that it appears to be made
from straight strands of silk (untwisted), has a more
muted shine, and also tends to fray easier when
rubbing against something (like another piece of
floss). An example of this would be Soie Crystale. The
other kind is often called "perl" or "pearl" (can't
remember which -- I'm at work and have no access to
all my goodies!). I've heard it refered to as
"buttonhole twist" also. It appears to be fine threads
of silk tightly twisted and then twisted around each
other again, so that you can easily see the twist in
the finished floss. It looks like a very tiny rope, up
close. A brand or type that I buy is called Trebizond,
and it comes in small, thread-sized spools. It's very
shiny, but in a luscious way, not a tacky sort of way.


Trebizond is wonderful for fingerloop braiding, as
it's slippery, and will not suffer from excessive
fraying as you move the loops around and they rub
against each other (by necessity). It's also great for
decorative top-stitching on clothing. I have yet to
use it for embroidery, but I suspect the width I've
been using might be a tad too fat for embroidery..
However, other kinds of "pearl/perl" silk floss is
probably wonderful for that. I've only ever used Soie
Crystale and Soie D'Alger in my limited embroidery
experience.

Saragrace wrote:
I don't think I am familiar with what you are talking
about here-is this simple chain stitch "crocheting"
with your fingers?  Is there a resource I could look
at to understand it?

I respond:
It's definitely not like crocheting. The principle
idea is that you work with a combination of
thread/floss loops -- each loop is held taut by a
finger (or for advanced braiding, more than one loop
per finger, or even two sets of hands!). One end is
tied down to a stationary object, or you can use your
own big toe, for instance. Then you move in a
prescribed sequence to exchange loops (or bowes as
they are also called) from finger to finger. The
pattern is repeated as many times as necessary to make
a strand of your liking. 

A great and easy-to-follow source for instruction and
period sources is the Compleat Anachronist #108,
called Fingerloop Braids. It's available here:
http://www.sca.org/ca/issues.html

I took a beginner's class (about 45 minutes of
instruction) earlier this year and have since gone
through most of the braids in the CA mentioned above
and have begun using them practically in my clothing
and most recently, as a medallion cord for a friend.
I've also begun teaching a beginner's class and will
continue to do so as much as possible, because they're
easy and fun to learn, and oh-so useful. 

Tasha/Marcele




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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Mon, 29 Jul 2002 09:26:24 -0700
Status: RO

Tasha Kelly writes, in a message sent 07:44 AM 7/29/02 -0700:
>Sue wrote:
>I've used lucet cording for laces, as opposed to ties.
>  They work pretty good for lacing up bodices and
>corsets and such.  They have the advantage over
>finger-loop braids of being able to be made to any
>length
>you want, although the finger-loop braids are sure
>pretty.....
>
>I respond:
>Indeed, when made with some gleaming silk floss, for
>instance, fingerloop braids can be mesmerizingly
>gorgeous. My personal favorites are the Lace Baston,
>which is the same as a basic round lace of five bows,
>except that your five bows are linked, or 'departed'.
>This causes a length-wise stripe effect of the two
>colors you use. Another favorite is a round lace of
>eight bows, which is exceedingly simple to make, and
>produces a gorgeous spiral stripe effect. The only
>challenge with that one is the width of your bow
>floss/cording -- eight of them together can produce a
>too-thick cord, if you're not careful.

I never encountered either finger-loop braiding nor lucet braid till a few 
years ago, so I always use a 4-strand round braid I learned at summer 
camp.  It stays tied just fine.  It can be made of any colour, fibre, or 
thickness, and can be worked right on the garment instead of having to be 
sewn on separately.  Done in two colours, it can be made to spiral or to 
have a lengthwise stripe, and I can change the direction of spiral at any 
point.  Done in four colours it has a Harlequin effect (different periods 
and uses want different colour patterns).  Since it is hand-held it can be 
made seriously long and, if I butterfly the working threads, I can make 
pieces several feet long for necklaces or for piping.

Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] RE: Lucas De Heere Allegory of the Tudor Sucession-color
 source-clarification-left right
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Date: Mon, 29 Jul 2002 09:16:00 -0700
Status: RO


>I am sure I have confused everyone now-I am even a little confused.  I
>think this image is reversed-it is the one I am looking for:
>http://www.english.uiuc.edu/klein/420/tudrline.jpg  Alison Weir has it
>on the front of her "Henry VIII -The King and his Court".  On the book
>cover Elizabeth is entering from the left (the viewer's) left.  I don't
>see anyone sitting on a shirt though, but I know my image is cut off a
>bit.

With the one where someone is sitting on a shirt, Elizabeth enters from the 
left, and three goddesses, including Venus, are sitting at the left.  No 
Henry VIII, just females.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Stamping fabric/warning
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Date: Mon, 29 Jul 2002 09:40:03 -0700
Status: RO


>The lino is a bit 'soft' for my liking and not
>anywhere as sturdy as the Indian blocks I have in my
>collection as examples or the jelutung we used at
>school to carve.Mind you its a good bit easier to work
>into too which can be a blessing.Backing it once
>you've cut your design,with a piece of wood gives you
>much more heft and is more stable to use in my
>experience.

Linoleum blocks used to be available, which were Linoleum mounted on top of 
a block of wood.  They were exactly as tall as a piece of type used in 
printing presses, so you could print with them using one of those.  I don't 
know if you can still get them, or if they are still made now that printing 
presses are all in museums.

Also, there is a new printing block material, and some modern 
block-printers are using it.  It's called Resingrave, invented by someone 
in California, and I only know about it because I read the information in 
the back of a block-print illustrated children's book I bought.  I have no 
idea where to get it.  I sometimes see a block-printer at craft shows, and 
could ask her next time I see her.  (I probably should talk to her about 
technique anyway.)


Kayta

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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] Gleaming silk floss and fingloop braid question: length
 of fingerloop braids
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Date: Mon, 29 Jul 2002 07:09:12 -1000 (HST)
Status: RO

> I don't think I am familiar with what you are talking about here-is this
> simple chain stitch "crocheting" with your fingers?  Is there a resource
> I could look at to understand it?

Here are a few references:

-The MoL textiles and clothing book has a description and some directions
for one or two patterns.

-If you're SCA, Compleat Anachronist #108 is on fingerloop braiding.

-http://www.et-tu.com/soper-lane/pages/sunday.htm  One of the pages on
their site talks about fingerloop braiding and you can order a pamphlet
from them about it.

-http://www.duke.edu/~scg3/fingerloop.html  From Phiala's String page,
which has all kinds of other nifty things too.

-Noemi Speiser has written several books and articles.

annora

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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Gleaming silk floss and fingloop braid question: length of  fingerloop braids
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Date: Mon, 29 Jul 2002 10:19:31 -0700
Status: RO

Thank you for the silk source Bjarne-

I am not sure I caught the conversation well either-I am not sure if
they were talking about fringe or fingerloop braiding (heck for all I
know they might be made using the same techniques!)  We'll just have to
wait and see!

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Leif Drews
**Sent: Monday, July 29, 2002 9:02 AM
**To: h-costume@indra.com
**Subject: Re: [h-cost] Gleaming silk floss and fingloop braid 
**question: length of fingerloop braids
**
**
**Dear Saragrace
**Excuse me for interrupting here, are you looking for shining 
**silk floss? You have a wonderfull place in USA where you can 
**get so many beautifull colours, i think it is the largest 
**colour range i have ever seen: 
**http://www.eternasilk.com/cgi-bin/ETSstore.cgi?user_action=lis
t&category=Stranded&start=200
**
**I use this for embroidery.
**I didnt catch the topic but were you talking about making fly 
**fringe? Yesterday i got a catalog from a large needlework 
**shop in York and they have some newly invented threads with 
**mixed highlighted colours. It is not periodically correct, 
**but i think you could make some gorgeous fly fringe with 
**these threads, They call these new threads for silk 
**"Organzine" for lace making, Marabout is another and one is 
**called Eylash and one is called Plumetes. They have them in 9 
**different colour mixes. I really would like to try to make 
**some fly fringes with these, although i have no clou how to 
**do it, but i guess i could mix some bobbin lace with attached 
**fringes made with finger loops. I am almost melting, we have 
**30 celsius in Copenhagen today! Best greetings
**
**Bjarne
**
**Saragrace knauf wrote:
**
**> **Indeed, when made with some gleaming silk floss, for **instance, 
**> fingerloop braids can be mesmerizingly **gorgeous.
**> Where do you get shiny silk floss?  Everything I have seen 
**at the fiber
**> stores is flat finish.  Great colors, but no shine.
**>
**> **My personal favorites are the Lace Baston,
**> **which is the same as a basic round lace of five bows, 
****except that 
**> your five bows are linked, or 'departed'. **This causes a 
**length-wise 
**> stripe effect of the two **colors you use. Another favorite 
**is a round 
**> lace of **eight bows, which is exceedingly simple to make, and
**> **produces a gorgeous spiral stripe effect. The only
**> **challenge with that one is the width of your bow
**> **floss/cording -- eight of them together can produce a
**> **too-thick cord, if you're not careful.
**>
**> I don't think I am familiar with what you are talking about here-is 
**> this simple chain stitch "crocheting" with your fingers?  
**Is there a 
**> resource I could look at to understand it?
**>
**> **As for lucet cording, can someone give me the quick **'yes/no' on 
**> whether or not it's period pre-1600, and **especially 
**during the 14th 
**> century-on?
**>
**> I don't have any good references.  The directions that came 
**with mine 
**> indicated it had been around for a long time.  I will have 
**to defer to 
**> someone else who knows more than I.
**>
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From: "Saragrace knauf" <saragrace@earthlink.net>
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Subject: [h-cost] Tudor Allegory Paintings: Lucas De Heere Allegory of the Tudor Sucession-color source-clarification-left right
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Date: Mon, 29 Jul 2002 10:17:05 -0700
Status: RO

I think Sarah has cleared it up.  The "Three Goddesses" picture is very
interesting and it is the one I think Kayta is referring to when she is
talking about the black work shirt.

The second picture Sarah has pointed to is the one I was interested in.
http://www.tudor-portraits.com/Elizabeth_2.jpg   Someone's image is
reversed.  Not sure if it is the one on the book I referred to earlier.


I too used google to try and find it, but did not have the same success
you had.  I kept coming up with the version where she is in a white
dress or a non colored version of the one I was interested in.  

Thank you for finding it for me.  

Saragrace

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To: h-costume@indra.com
Subject: Re: [h-cost] Tudor Allegory Paintings: Lucas De Heere Allegory of the Tudor Sucession-color source-clarification-left right
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Date: Mon, 29 Jul 2002 13:42:40 -0400
Status: RO

Glad to have cleared it up a little!  The coolest thing would be to 
find full images of both pictures, but so far, google has not been 
helpful with that.  I haven't tried looking under "Hans Eworth", which 
might lead somewhere.  Just so long as you know you're not going 
crazy... ;)

Sarah
http://www.elizabethanlady.com

> I think Sarah has cleared it up.  The "Three Goddesses" picture is 
very
> interesting and it is the one I think Kayta is referring to when she 
is
> talking about the black work shirt.
> 
> The second picture Sarah has pointed to is the one I was interested 
in.
> http://www.tudor-portraits.com/Elizabeth_2.jpg   Someone's image is
> reversed.  Not sure if it is the one on the book I referred to 
earlier.
> 
> 
> I too used google to try and find it, but did not have the same 
success
> you had.  I kept coming up with the version where she is in a white
> dress or a non colored version of the one I was interested in.  
> 
> Thank you for finding it for me.  
> 
> Saragrace

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Date: Mon, 29 Jul 2002 11:13:22 -0700
Status: RO


>  I too would like to know more about fingerloop braid. I
> was shown how to make cord on the fingers with 2 strands; the result
> is stretchier than lucet cord.

Fingerloop braid is easy to document. There is a late 15th Century 
manuscript and a 17th C manuscript, as well as extant bits and 
pieces. Noemi Speicer wrote a book on it (self published) as well 
as some other forms of braiding. Unfortunately, I don't have handy 
the info on these books and manuscripts so that I can give them to 
you right now.

There was also a pamphlet on fingerloop braiding which has drawn 
from these sources which is actually *very* good done by the SCA 
as a Compleat Anachronist. I'm sure there are folks on this list who 
can give you more information about the specifics of ordering these.


June M. Russell, MD
<kat@grendal.rain.com>
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Date: Mon, 29 Jul 2002 13:48:35 -0400
Status: RO

---------- Original Message ----------------------------------
From: Carolyn Kayta Barrows <kayta@frys.com>
Reply-To: h-costume@indra.com
Date:  Mon, 29 Jul 2002 09:40:03 -0700

<snip>
>
>Linoleum blocks used to be available, which were Linoleum mounted on top of 
>a block of wood.  They were exactly as tall as a piece of type used in 
>printing presses, so you could print with them using one of those.  I don't 
>know if you can still get them, or if they are still made now that printing 
>presses are all in museums.

I found lino blocks at a school-supply store this past weekend. If you can't get them at an art supply store, you might try there. They had a complete selection of supplies - handles, blades, brayers, and ink. After this fabric printing discussion, I was pretty happy to find them. I'm ready to experiment!

Melanie
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Date: Mon, 29 Jul 2002 10:33:36 -0700
Status: RO

Thank you I will look all your suggestions and sources up!

Sg

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From h-costume-admin@indra.com  Mon Jul 29 14:41:27 2002
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Subject: Re: [h-cost] OT: sergers, anyone?
In-Reply-To: <000701c23687$fc164d00$6501a8c0@Home> "from Saragrace knauf at Jul
 28, 2002 03:41:58 pm"
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Date: Mon, 29 Jul 2002 11:33:01 -0700 (PDT)
Status: RO

heh. tha't's exactly how I bought MY viking #1. 

My community college offers serger classes, but not until next July, and I'm
not waiting that long, so I'll have to get familiar with it on my own.

.heather.


> One more thing-consider a used machine.  People buy sewing machines and
> use them like motorcycles-what the heck does that mean?  They sit around
> and don't get used much and then they trade up.  I bought my Viking #1
> from a guy who bought it for his wife.  She never used it, so what does
> he do?  He buys her the newest high end model.  I got mine at a
> significant discount.  Most sewing machine dealers aren't going to sell
> you a bad machine-so it is a pretty safe bet.   Also, take a class.
> Lots of community colleges offer serger classes.  It really helps you
> learn how to use and take care of your machine-lots of people get
> frustrated with the threading and tension, it really isn't that hard-but
> it sure helps to have someone look over your shoulder to help figure out
> what is going on.
> 
> **-----Original Message-----
> **From: h-costume-admin@indra.com 
> **[mailto:h-costume-admin@indra.com] On Behalf Of Heather Meadows
> **Sent: Sunday, July 28, 2002 12:34 PM
> **To: h-costume@indra.com
> **Subject: [h-cost] OT: sergers, anyone?
> **
> **
> **
> **I know sergers aren't period, but I do a lot of modern and 
> **more theatrical sewing, and I know a lot of you do, too... so 
> **I thought I'd ask here...
> **
> **I'm hoping to buy a serger in the next month or so -- 
> **probably something in the $500-900 range.  I've never shopped 
> **for one before, and I'm wondering if anyone here can 
> **recommend a buyers guide (say from Threads or something?) or 
> **wants to tell me what they love/hate about sergers they have used.  
> **
> **Thanks for all the advice.  I can't wait to enter the great 
> **wide world of knits.
> **
> **.heather.
> **
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From: Shea Young <younganne@usa.net>
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Subject: Re: [Re: [h-cost] Re: 15th century female dress]
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Date: Mon, 29 Jul 2002 13:20:30 -0700
Status: RO

I prefer searching by content.

Shea

Margo Anderson <margo@margospatterns.com> wrote:
>... Eric said he did thisbecause it made the searhing faster, which I suppose
it does if you know the exact title, but I for one found it far more
convenient to be able to search by content.
> 
> If enough people agree with me, maybe we can find a solution to the problem.
 


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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Underarm fullness (WAS:) Early use of buttons???
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Date: Mon, 29 Jul 2002 18:35:04 +0100
Status: RO

Chris Laning <claning@igc.org> wrote
>At 9:59 AM -0600 7/27/02, Sue Clemenger wrote:
>>I've been trying to think of possible cuts to account for the underarm
>>fullness on these garments....About the closest (visually) that I've
>>been able to find in my own library (meager for the mid-middle ages), is
>>the article Heather did on the St. Louis shirt in _Tournaments
>>Illuminated_ relatively recently.  The sleeves do seem to have a bit of
>>the same full above/narrow below look that the gowns in the Codex do....
>>I've seen one version of this style (in Hunnisett's pre-1500 book), and
>>she achieves it using this perfectly enormous gusset under the arm,
>>which I may try in cheap fabric, just for the heck of it, but I'd rather
>>go for a more periodly-plausible cut than one that's
>>theatrically-plausible, if you get the distinction I'm so clumsily
>>trying to make!
>
>The leading theory on this in the "Heather Rose Jones school of 
>thought" <big grin -- I'm her apprentice> seems to be that the fullness 
>comes from the body of the garment -- which is cut wider than one might 
>expect. Most recommendations I see for T-tunics suggest you cut the 
>body of the garment about twice the circumference of the body of the 
>person. Try adding another foot or so on each side, beyond that. In a 
>lightweight fabric, this won't add too much to the bulk around the 
>waist if it's belted, but it will provide the extra width you're seeing 
>in the top. (I'm sure she'll correct me if I have this wrong.)
>
Have I been making t-tunics and dresses wrong all this time?  I cut them 
to roughly my own size, plus enough to move in.  Certainly not twice my 
size! If you make the body so big, how do you avoid the top of the 
sleeve being somewhere near your elbow?

Actually, this query is semi-serious - I shall be wanting to make a 
loose-fit 13th century dress over the winter, and I'm looking for ideas 
on just this point.

Jean

-- 
Jean Waddie
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Mon, 29 Jul 2002 17:06:06 -0500 (CDT)
Status: RO


> At 7:44 AM -0700 7/29/02, Tasha Kelly wrote:
> 
> >I've managed to make finished laces that are about 2
> >to 2.5 feet long (perfect for my purposes of
> >spiral-lacing a close-fitting kirtle) by tying a knot
> >mid-way along the laces and then tying that area down
> >and working out from the center. Later, I undo the
> >knot and carefully tie another one on the edge of the
> >finished section, leaving the un-braided section free.
> >I then continue the braid out from the center going in
> >the other direction.

This brings to mind a process that might have a similar effect. The person
who taught me how to fingerloop-braid taught me to set up by making a
series of long loops, secured at the far end around a small section of
thread. (The knots in each loop were at the ends around the fingers.) He
then tied that small anchor thread to something solid -- e.g. a chair leg
or post -- to provide something steady to hold it during the looping
process. I suggested to him at the time that instead of using a small
length as a holder, he might use another set of complete loops. Then,
after making the braid down one side as usual, he could turn it all around
and make the braid down the other side. This would in effect create two
maximum-length fingerlooped cords locked together at the unknotted ends.

But if I've figured out what you've written above, I think your method
would be superior. If I follow you, you're saying you make the loops twice
as long as you'd normally be able to work with, lay them all out in a long
bunch, knot the middle, and then work from the knot to one end, then turn
it around, un-knot, and work the unworked part to the other end?
Theoretically that could produce an almost invisible connection, though
some looping methods might work better with this than others.

In any case, I never got to try the double-length hooked-together
approach. I made only a couple of fingerloop braids, and then too long a
period of time passed before I needed one, and I forget the method my
friend taught me ;-)  I will have to learn it again someday. (My friend,
BTW, is Steve Bloch; I think he teaches this a lot in the SCA.)

One thing I did try, with success, was to loop the cord threads not over
an anchor thread, but through the large eye of a lacing needle. I then
secured the threaded needle by sticking it into a dense chair cushion, at
an angle, and pulled against it as I worked. This produced a cord that
grew directly from the needle eye -- essentially a lacing cord with its
own aiglet. I had wondered for a long time about some portraits (mostly
Italian) that showed a needle hanging off the end of a lady's bodice
lacing -- you could see the lacing cord go into the needle eye, but there
wasn't an extra bit hanging off the other side. But if you build the cord
directly onto the needle, it produces that effect. The disadvantage is you
can't do a double-length this way. The short length, though, was plenty
for a short Italian bodice lacing I needed. And I never lose my needle :-)

Heather added:

> My somewhat limited experience has been that, with a partner to do the
> beating, you can not only get a much longer braid, but the tightness
> of the braid is _much_ more even (and tight).  Even doing fairly short
> braids by myself, there's noticeable unevenness in the tension.  My
> favorite beaters tend to be heavy metallic letter-openers.  Enough
> "heft" to beat solidly without a lot of effort, and just the right
> "sharp but blunt" edge.

My favorite tool for similar jobs is a bookbinder's bone folder. This is a
piece of bone about 8-10 inches long, fairly flat, with one pointed end
and one rounded one, and slightly convex faces joining in somewhat
bladelike edges. You use it to score paper for folding and to press neat
folds into place. I got mine when I learned hand-done bookbinding.  (That
was back when you could still get folders of real bone. These days, I
think, they're plastic.) I don't do any bookbinding anymore, but boy is
this thing handy for turning dags and collars and linings -- the round end
for rounded dags and straight turned edges, the pointed end to push out
corners and angles. I glide it along the seam from the inside while
ironing on the outside. I bet it would make a nice cord beater, too.

--Robin


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To: h-costume@indra.com, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Underarm fullness (WAS:) Early use of buttons???
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Date: Mon, 29 Jul 2002 15:52:54 -0700
Status: RO


>Have I been making t-tunics and dresses wrong all this time?  I cut them 
>to roughly my own size, plus enough to move in.  Certainly not twice my 
>size! If you make the body so big, how do you avoid the top of the 
>sleeve being somewhere near your elbow?

And on those of us who are on the larger side, it would be impossible.
Twice around my body plus twelve inches on either side would result in a
body piece that was twelve inches *wider* than my wrist to wrist measurement.

Is there a mistake somewhere?

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
In-Reply-To: <4.3.1.2.20020729091743.00dcd100@mail.frys.com> "from Carolyn Kayta
 Barrows at Jul 29, 2002 09:26:24 am"
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Date: Mon, 29 Jul 2002 16:03:35 -0700 (PDT)
Status: RO

can someone describe finger loop braiding?  I've never seen it and I'd
love to see some photos.

thanks!

.heather.

> Tasha Kelly writes, in a message sent 07:44 AM 7/29/02 -0700:
> >Sue wrote:
> >I've used lucet cording for laces, as opposed to ties.
> >  They work pretty good for lacing up bodices and
> >corsets and such.  They have the advantage over
> >finger-loop braids of being able to be made to any
> >length
> >you want, although the finger-loop braids are sure
> >pretty.....
> >
> >I respond:
> >Indeed, when made with some gleaming silk floss, for
> >instance, fingerloop braids can be mesmerizingly
> >gorgeous. My personal favorites are the Lace Baston,
> >which is the same as a basic round lace of five bows,
> >except that your five bows are linked, or 'departed'.
> >This causes a length-wise stripe effect of the two
> >colors you use. Another favorite is a round lace of
> >eight bows, which is exceedingly simple to make, and
> >produces a gorgeous spiral stripe effect. The only
> >challenge with that one is the width of your bow
> >floss/cording -- eight of them together can produce a
> >too-thick cord, if you're not careful.
> 
> I never encountered either finger-loop braiding nor lucet braid till a few 
> years ago, so I always use a 4-strand round braid I learned at summer 
> camp.  It stays tied just fine.  It can be made of any colour, fibre, or 
> thickness, and can be worked right on the garment instead of having to be 
> sewn on separately.  Done in two colours, it can be made to spiral or to 
> have a lengthwise stripe, and I can change the direction of spiral at any 
> point.  Done in four colours it has a Harlequin effect (different periods 
> and uses want different colour patterns).  Since it is hand-held it can be 
> made seriously long and, if I butterfly the working threads, I can make 
> pieces several feet long for necklaces or for piping.
> 
> Kayta
> 
>     //// \\\
>    ////-@@\\\
>   ((((   7 )))
>    (((  <> ))))
>       )   ((((((
> /----\   /---\))
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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To: h-costume@indra.com
Subject: Re: [h-cost] Tudor Allegory Paintings: Lucas De Heere Allegory of the Tudor Sucession-color source-clarification-left right
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Date: Mon, 29 Jul 2002 16:22:34 -0700
Status: RO

This is going to be a silly questions to most, so bear with me.  Is the 
woman who is holding Elizabeth's hand supposed to be representing one of 
the Goddesses (?)  If not how is her clothes explained?  I take this is 
a good example of being allegorical?

Roscelin

Saragrace knauf wrote:

>I think Sarah has cleared it up.  The "Three Goddesses" picture is very
>interesting and it is the one I think Kayta is referring to when she is
>talking about the black work shirt.
>
>The second picture Sarah has pointed to is the one I was interested in.
>http://www.tudor-portraits.com/Elizabeth_2.jpg   Someone's image is
>reversed.  Not sure if it is the one on the book I referred to earlier.
>
>
>I too used google to try and find it, but did not have the same success
>you had.  I kept coming up with the version where she is in a white
>dress or a non colored version of the one I was interested in.  
>
>Thank you for finding it for me.  
>
>Saragrace
>
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From h-costume-admin@indra.com  Mon Jul 29 20:37:57 2002
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From: "chiara" <chiara@io.com>
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Subject: [h-cost] 70's disco costume question
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Date: Mon, 29 Jul 2002 19:23:24 -0500
Status: RO

Hey, it's historic...anyway...

I have a question about how the female disco performers were able to keep
they private area between their legs from looking like something vulgar. I
mean, today we can see the same thing used for sci-fi shows, for example, 7
of 9, you can see a flat area. Grant it having no seam in that area helps
immensely but how is the smoothness achieved?

Sincerely,
Chiara

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From h-costume-admin@indra.com  Mon Jul 29 21:12:58 2002
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Subject: RE: [h-cost] OT: Dual-Power Singers?
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Date: Mon, 29 Jul 2002 21:09:06 -0400
Status: RO

All the old Singers are like that.  The treadles, I mean.  If they have the
large fly wheel you can treadle them, and many had a motor bolted onto the
back that has a belt to turn the wheel for you.  No electricity?  Pull the
belt off the groove in the handwheel, add your treadle belt, and sew away.
Singer made treadles up until the late 50s, I believe, although the latest
one I own was made in the early 50s.  My earliest one is a 1911.  Go to flea
markets and get yourself something that has the motor running a belt to the
handwheel, and you are set.  Or, I have a repro head here made in China in
the 70s.  Still good construction to it, I must admit, and  you can even
drop the feed dogs on that one.  It is a repro model 15 sphinx decal
machine.  I think they are still made there, but I cannot vouch for current
construction quality.
-Megan


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Subject: [h-cost] Nottingham Museum may close -
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Date: Mon, 29 Jul 2002 20:06:18 -0500
Status: RO

Greetings,

I have found out through the grapevine that the Nottingham Museum of 
Costumes and Textiles might be closed.  I'm going to write them about it...

Cheers,
Danielle

The following is forwarded from another list:

The proposal that is being considered by the Nottingham
city council to close the museum is found at
www.nottinghamcity.gov.uk/museums/forwardplan you can
fill in a form there, or write to any of the following:

John Jackson, Chief Executive, Nottingham City Council,
The Guildhall, South Sherwood Street, Nottingham NG1 48T
or
Michael Williams, Director of Leisure and Community
Services, Brian Ashley, Assistant Director, Libraries,
Information and Museums, Hilary Wade, Museums Service
Manager, all at 14 Hounds Gate, Nottingham, NG1 7BD

The Nottingham Evening Post is also asking for your views
at
letters&poems@nottinghameveningpost.co.uk (and please
include your home address).

The proposal would put most of the costume and textile
collections in storage, outside the city center, with some
displays in the heritage sites, but the museum itself
would close, the row of buildings (Georgian, medieval and
Stuart) would be sold. The scattered collections would be
more difficult to access, being further from the rail link
(this museum is in walking distance of the train station
-- the others require a car). Nottingham would lose a
popular museum, with over 1 million visitors, though
without the volume of some of the other museums. It is
for specialists, and so is not quite the draw some others
might be. The 6 period rooms with displays of clothing in
context would be destroyed. 

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Date: Mon, 29 Jul 2002 15:20:12 -1000 (HST)
Status: RO

> I prefer searching by content.
>
> Margo Anderson <margo@margospatterns.com> wrote:
> >... Eric said he did thisbecause it made the searhing faster, which I suppose
> it does if you know the exact title, but I for one found it far more
> convenient to be able to search by content.
> >
> > If enough people agree with me, maybe we can find a solution to the problem.

	I would also like to be able to search by content.  For example,
recently someone asked about buttons with holes, not shanks.  A year or so
ago on this (or maybe the SCA garb?) list, someone gave a link to a site
with a picture and a tiny bit of information about a medieval flat button
with holes in it.  IIRC, I thought it was credible information at the
time--a site linked to some museum or archaeological dig or something like
that, although I may be misremembering.  I think it was 15th century
English or French but that is very possibly wrong too.  Anyway, tried
searching through the archive titles under "button" but couldn't find it.

annora

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Date: Mon, 29 Jul 2002 21:46:04 EDT
Status: RO


--part1_a4.29a1c0b6.2a7749dc_boundary
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   > > I've never heard of it, but there are folks out there that collect
> > sewing machines.  I bet there is even a history on them lurking around.
> > I can't believe that you wouldn't be able to confirm it with Singer.
> 

I didn't have much luck on the Singer website, but that's probably just 
products for the US market.  I'll see if I can narrow down the dates a bit 
and e-mail them.

Leah

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>&nbsp;&nbsp; &gt; <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I've never heard of it, but there are folks out there that collect<BR>
&gt; sewing machines.&nbsp; I bet there is even a history on them lurking around.<BR>
&gt; I can't believe that you wouldn't be able to confirm it with Singer.<BR>
</BLOCKQUOTE><BR>
<BR>
I didn't have much luck on the Singer website, but that's probably just products for the US market.&nbsp; I'll see if I can narrow down the dates a bit and e-mail them.<BR>
<BR>
Leah</FONT></HTML>

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Date: Mon, 29 Jul 2002 19:26:22 -0700 (PDT)
Status: RO

Robin wrote:
> Theoretically that could produce an almost invisible
> connection, though
> some looping methods might work better with this
> than others.

Yes, your described method is almost exactly the same,
except for the particular way the loops are secured in
the middle. The end result sounds exactly the same. I
think if I had a second person to beat down the floss
at the very beginning of the second braid coming out
of the center, I could eliminate the mild looseness at
that point... Hhhmmm...

> (My friend,
> BTW, is Steve Bloch; I think he teaches this a lot
> in the SCA.)

Something else in common (besides love of historical
clothing)... He also taught me. Great teacher.

-Tasha/Marcele

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Subject: Re: [h-cost] 70's disco costume question
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Date: Mon, 29 Jul 2002 19:57:31 -0700
Status: RO

At 07:23 PM 07/29/2002 -0500, chiara wrote:
>Hey, it's historic...anyway...
>
>I have a question about how the female disco performers were able to keep
>they private area between their legs from looking like something vulgar. I
>mean, today we can see the same thing used for sci-fi shows, for example, 7
>of 9, you can see a flat area. Grant it having no seam in that area helps
>immensely but how is the smoothness achieved?


I know!  I know!  

I worked as a dresser on a production called "Hotter and Hotter" (that
should give you an idea) at a casino showroom.  Most of the costumes were
G-string styles, and, it being 1979, there was an obligatory Disco number.

First, all dancers, male and female, wear an underwear version of a
G-string under their costumes.  the female version was a triangle, about 4"
at the wide end and 6"-8" long, and had flesh colored elastic straps that
went around the hips, like a modern thong.  They were usually made of
cotton, and most of the girls had them in silly novelty prints.  

Over the underwear G-string went the costume G-string, which might be made
of flimsy looking fabric like satin, but it was made like most theatrical
costumes, flatlined with sturdy fabric, either knit or woven depending on
the need.  Some of them seemed to have been interlined with an additional
layer of something cushiony, like a thin fleece.  

Given the several layers of fabric and a careful, customized fit, the
crotches of these outfits  looked nice and smooth.

I've also heard that acrobats and circus performers used to (and may still)
wear a small pad in the G-string to avoid the "camel toe" problem under the
knitted tights that used to be the standard costume.   Okay, I got this
from a novel, but it seemed to be very well researched on other matters so
I wouldn't rule it out.  For those interested, the book is "Spangle" by
Gary Jennings, and I highly recommend it.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Mon, 29 Jul 2002 20:23:12 -0700
Status: RO

This reminded me of some neighbors I had in San Diego.  They were the
costumers for a local Drag show.  We used to go see the shows all the
time (They were the best Drag shows I have ever seen and I've seen 'em
from Sydney to San Francisco, to Boston.)  One night a buddy of mine
asked during the 'Q&A' session "Where they put it?"  The guy was great
(He was dressed like Diana Ross at the time).  He just said "Away honey,
Away!"

Ah the old Navy days......

Sg

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Subject: [h-cost] http://www.bridgeman.co.uk  Great Place to look at art and artifacts
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Date: Mon, 29 Jul 2002 20:30:33 -0700
Status: RO

In my quest for an image these last few days I came across this site.
You have to register to get permission to view the site, but they let me
in, so ......

They have paintings etc. but also artifacts like QE buskins, and Henry
VIII's stirrups etc.  Very cool.

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Date: Tue, 30 Jul 2002 00:37:37 -0400
Status: RO

Hi. There has even been the conjecture that the cords were pushed through the fabric with the aid of a bodkin at the cuffs, and the cord left in place with no buttonholes at all. Not having the opportunity to see many original pieces, or looking carefully at that detail when I did, I can't say how proper this is. On the smock on display at the MoL during the London Bodies exhibit, I don't remember there even being a tie at the wrists. Perhaps shirts were made so
that they were wide enough to admit a hand passing through. The Gustav Adolf shirt seems to be like this, but I have only seen it in photos. (Livrustkammarenmuseet, Sweden dated around 1627)


> Out of curiosity (and having some spare time because our library housekeeping system is down) I looked up some links from Drea's site giving instructions for Elizabethan smocks. All use drawstrings except one which says "attach ribbons or tapes for ties".
> Drawstrings have been discussed at length on this list, and the consensus seems to be that they were not usual before the 18th century, but they're still commonly seen in readymade reenactors' garments. I bought a linen shift this spring which has them. It's very big, so I may cut off the ends of the sleeves to make cuffs. I'm charmed by the idea of a separate ribbon threaded through buttonholes; so much more practical for washing than having dangling tapes.
>
> Kate Bunting
> Library, University of Derby
>
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Date: Tue, 30 Jul 2002 00:47:15 -0400
Status: RO

Hi. I only have the copy printed in 1953, which only has eighteen plates. If the
new one has more illos, I am interested. Could you post the info, please?  Mike
T.



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Date: Tue, 30 Jul 2002 01:04:28 -0400
Status: RO

Hi, All. Tasha, it may be incorrect, at it is not my primary period of interest,
but I believe the Jorvik Viking  museum shows a tool that is conjectured to be a
lucet tool in it's collection. If this is correct, lucetting goes back to this
point, and so is possibly applicable to later periods, providing the practice
didn't die out and re-emerge later, which is always possible. I have done some
finger-loop braiding, but not having original textile fragments to compare, it
would be hard for me to say whether something was fingerloop braided or
lucetted, although a person doing both a lot would probably know better.  Mike
T.



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Subject: Re: [h-cost] Early use of buttons???
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Date: Tue, 30 Jul 2002 01:27:34 -0400
Status: RO

Hi, Nicole. The illo is one of a series of craftsmen showing their trades, and was
pointed out to me by someone else on the list. Agreed, I don't believe that it
shows buttons with holes in them, but that was the conjecture of our conversation
at the time.  I am searching for the illo, as I thought it was in one book, but is
not. I think Stuart Peachey may have used it in one of his monographs on Clothing
in the 17th Cent., as the illo is about 1640, IIRC.



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Date: Tue, 30 Jul 2002 01:31:29 -0400
Status: RO

Ah, got it, Sue!! Sorry if I sounded a little confused. BTW, Nicole, which illos
show the Dorset-type bottons? Hopefully they are early enough for most of my area
of interest, although we are doing some earlier colonial stuff too. Thanks, Mike T.




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Subject: Re: [h-cost] Early use of buttons???
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Date: Tue, 30 Jul 2002 08:02:06 +0100 (BST)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > Ah, got it, Sue!! Sorry if I
sounded a little confused. BTW, Nicole, which
> illos
> show the Dorset-type bottons? Hopefully they are early enough for most of my
> area
> of interest, although we are doing some earlier colonial stuff too. Thanks,
> Mike T.

Several in my picture folders, sorry i don't have time to go through it and
note down the painters' names. Though there is the exhibition catalogue of
Kupecky (Kupetzky) that I mentioned earlier, this painter shows lots of buttons
of this type in his portraits from the 1690s onwards.

Nicole

=====
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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] Early use of buttons???
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Date: Tue, 30 Jul 2002 08:23:45 +0100 (BST)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > Hi, Nicole. The illo is one of
a series of craftsmen showing their trades,
> and was
> pointed out to me by someone else on the list. Agreed, I don't believe that
> it
> shows buttons with holes in them, but that was the conjecture of our
> conversation
> at the time.  I am searching for the illo, as I thought it was in one book,
> but is
> not. I think Stuart Peachey may have used it in one of his monographs on
> Clothing
> in the 17th Cent., as the illo is about 1640, IIRC.

I might have the Peachy one somewhere buried, but I can't remmeber this image,
will have a look, someday.... :-0

Nicole

=====
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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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 08:31:40 +0100 (BST)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > Hi, All. Tasha, it may be
incorrect, at it is not my primary period of
> interest,
> but I believe the Jorvik Viking  museum shows a tool that is conjectured to
> be a
> lucet tool in it's collection. If this is correct, lucetting goes back to
> this
> point, and so is possibly applicable to later periods, providing the practice
> didn't die out and re-emerge later, which is always possible. I have done
> some
> finger-loop braiding, but not having original textile fragments to compare,
> it
> would be hard for me to say whether something was fingerloop braided or
> lucetted, although a person doing both a lot would probably know better. 
> Mike
> T.

I'm just a bit dubious about its use in the 17th c., and agree here with
(Kayta? Kat? Kate? Sorry gals, it was one of you but I am bad with names) that
I haven't come across a reference, nor a lucet, nor an image of it or the
lucetting nor a lucet cord. I'd be happy to know if there is something that I
missed, because it would be SO convenient to use the lucet.

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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Thread-Topic: Authenticity of Lucets
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>From my sources, I understand lucets to have been used to make ties and
laces for all sorts of things from the Tenth century right up until the
Nineteenth century. It was one of those crafts that disappeared without
trace as soon as industrialisation started to produce cords and laces
quickly and cheaply. _As far as I'm aware_, it's period for everything.

Freyalyn, pretty certain but prepared to listen to a good argument.....



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>From my sources, I understand lucets to have been used to make ties and laces for all sorts of things from the Tenth century right up until the Nineteenth century.  It was one of those crafts that disappeared without trace as soon as industrialisation started to produce cords and laces quickly and cheaply.  _As far as I'm aware_, it's period for everything.<br>
<br>
Freyalyn, pretty certain but prepared to listen to a good argument.....<br>
<br>

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Subject: Re: [h-cost] Tudor Allegory Paintings: Lucas De Heere Allegory of the
 Tudor Sucession-color source-clarification-left right
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Date: Tue, 30 Jul 2002 01:33:33 -0700
Status: RO


>This is going to be a silly questions to most, so bear with me.  Is the 
>woman who is holding Elizabeth's hand supposed to be representing one of 
>the Goddesses (?)  If not how is her clothes explained?  I take this is a 
>good example of being allegorical?

Elizabeth leads in Peace, in the 'person' of the relevant goddess, while 
Mary leads in War, in the 'person' of Mars.


Kayta

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] http://www.bridgeman.co.uk  Great Place to look at art and artifacts
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Date: Tue, 30 Jul 2002 09:52:41 +0100 (BST)
Status: RO

 --- Saragrace knauf <saragrace@earthlink.net> wrote: > In my quest for an
image these last few days I came across this site.
> You have to register to get permission to view the site, but they let me
> in, so ......
> 
> They have paintings etc. but also artifacts like QE buskins, and Henry
> VIII's stirrups etc.  Very cool.

Uhm... saragrace, there are three ways of registering, when I went for the
'academic research' one I was directed to a different site and I just couldn't
get them to show me pictures. Am I dumb? *G*
probably, and too hot. :-)

Nicole

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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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Thread-Topic: [h-cost] 70's disco costume question
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I assumed the original question related to the female anatomy, ie Seven
of Nine. I always assumed the lack of texture/no visible crease was
achieved by total depilation and firm fabric knickers!

Freyalyn, who is watching the diving/swimming in the Commonwealth Games
on telly at the moment, and is amazed by the complete lack of all except
head hair and eyebrows on both male and female competitors. I mean, I
sort of knew it before, but I've _really_ noticed it this time. No hair.
Anywhere!



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<-----Original Message----->
> 
> From: Saragrace knauf
> Sent: 7/30/2002 4:25:12 AM
> To: h-costume@indra.com
> Subject: RE: [h-cost] 70's disco costume question
> 
> This reminded me of some neighbors I had in San Diego. They were the
> costumers for a local Drag show. We used to go see the shows all the
> time (They were the best Drag shows I have ever seen and I've seen 'em
> from Sydney to San Francisco, to Boston.) One night a buddy of mine
> asked during the 'Q&A' session "Where they put it?" The guy was great
> (He was dressed like Diana Ross at the time). He just said "Away
honey,
> Away!"
> 
> Ah the old Navy days......
> 
> Sg
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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I assumed the original question related to the female anatomy, ie Seven of Nine.  I always assumed the lack of texture/no visible crease was achieved by total depilation and firm fabric knickers!<br>
<br>
Freyalyn, who is watching the diving/swimming in the Commonwealth Games on telly at the moment, and is amazed by the complete lack of all except head hair and eyebrows on both male and female competitors.  I mean, I sort of knew it before, but I've _really_ noticed it this time.  No hair.  Anywhere!<br>
<br>

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<BR><font face="Arial, Helvetica, sans-serif" size="2" style="font-size:13.5px">_______________________________________________________________<BR>Sign up for <A HREF="http://s.ivillage.com/rd/16705">FREE iVillage newsletters</A>.<BR>From health and pregnancy to shopping and relationships, iVillage<BR>has the scoop on what matters most to you.

</font><br><br><-----Original Message-----><br>
>  <br>
> From: Saragrace knauf<br>
> Sent: 7/30/2002 4:25:12 AM<br>
> To: h-costume@indra.com<br>
> Subject: RE: [h-cost] 70's disco costume question<br>
> <br>
> This reminded me of some neighbors I had in San Diego.  They were the<br>
> costumers for a local Drag show.  We used to go see the shows all the<br>
> time (They were the best Drag shows I have ever seen and I've seen 'em<br>
> from Sydney to San Francisco, to Boston.)  One night a buddy of mine<br>
> asked during the 'Q&A' session "Where they put it?"  The guy was great<br>
> (He was dressed like Diana Ross at the time).  He just said "Away honey,<br>
> Away!"<br>
> <br>
> Ah the old Navy days......<br>
> <br>
> Sg<br>
> <br>
> _______________________________________________<br>
> h-costume mailing list<br>
> h-costume@mail.indra.com<br>
> http://mail.indra.com/mailman/listinfo/h-costume<br>
> <br>

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Subject: RE: [h-cost] 70's disco costume question
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Date: Tue, 30 Jul 2002 10:11:34 +0100 (BST)
Status: RO

 --- freyalyn <freyalyn@ivillage.com> wrote: > 
> Freyalyn, who is watching the diving/swimming in the Commonwealth Games
> on telly at the moment, and is amazed by the complete lack of all except
> head hair and eyebrows on both male and female competitors. I mean, I
> sort of knew it before, but I've _really_ noticed it this time. No hair.
> Anywhere!

*snigger* Well... when I was 17 I had a boyfriend who was an Olympic silver
medallist in butterfly swimming. I can vouch for that NO hair before
competitions, but hell when it grows back and gets stubbly and so much chlorine
embedded in the skin that no matter how much showering, when it got warm the
scent of chlorine from his skin permeated everything (but oh my that body
*dares a dreamy sigh*)
Obligatory costume content:
Trying to make costumes (coats) for athletic swimmers is a royal pain because
of their highly developed lateral muscles in the back, in fact, you just can't
make them look 'period' at least not the snug fitting wide skirted coats of the
period I'm doing.

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: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] 70's disco costume question
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> Hey, it's historic...anyway...
> 
> I have a question about how the female disco performers were able
> to keep they private area between their legs from looking like
> something vulgar. I mean, today we can see the same thing used for
> sci-fi shows, for example, 7 of 9, you can see a flat area. Grant
> it having no seam in that area helps immensely but how is the
> smoothness achieved? 

Tight lycra, I would assume.  If you get the heavier stuff that used to 
be referred to as "stretch satin" it does one hell of a job at 
smoothing and holding in.


Teddy
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Subject: Re: [h-cost] Authenticity of Lucets
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Date: Tue, 30 Jul 2002 10:43:12 +0000 (GMT)
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> From my sources, I understand lucets to have been used to make ties
> and laces for all sorts of things from the Tenth century right up
> until the Nineteenth century. It was one of those crafts that
> disappeared without trace as soon as industrialisation started to
> produce cords and laces quickly and cheaply. _As far as I'm aware_,
> it's period for everything.
> 
> Freyalyn, pretty certain but prepared to listen to a good
> argument.....

But, Freyalyn, what *are* your sources?  Share them with us so we 
can see/read them for ourselves as it doesn't seem like anyone 
else on-list can point to a picture, a period-written description, or a 
surviving piece of cord can be positively identified as lucet.

Even the finds of the Viking era tools are only *conjectured* to be 
for lucet cord.

Teddy



Teddy
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>I'm looking for the white bound millinery wire. does anyone know where to get
>it in the UK, preferrably online? You know how much I dislike shopping.... :-)

>Thanks
>Nicole

Have you tried MacCulloch and Wallis (London)?  You can't buy online (website not set up for it), but they do mail order via a catalogue.  

Debbie (apologising if somebody else has already answered this, because she has a backlog of digests and is reading them in order!!!)




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<BLOCKQUOTE style="BORDER-LEFT: #1010ff 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: 5px">
<P><BR><BR>&gt;I'm looking for the white bound millinery wire. does anyone know where to get<BR>&gt;it in the UK, preferrably online? You know how much I dislike shopping.... :-)<BR><BR>&gt;Thanks<BR>&gt;Nicole<BR><BR>Have you tried MacCulloch and Wallis (London)?&nbsp; You can't buy online (website not set up for it), but they do mail order via a catalogue.&nbsp; </P>
<P>Debbie (apologising if somebody else has already answered this, because she has a backlog of digests and is reading them in order!!!)</P></BLOCKQUOTE><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Date: Tue, 30 Jul 2002 06:20:19 -0400
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Then there are those like my uhusband who have alopecia totalis - 
absolutely no hair anywhere - not even eyelashes and nose hairs...

The navy makes then exercise, and my husband was a swimmer in 
high school, so he opted to swim every day...so he smells like 
chlorine too ;-)
[but he never has to worry about stubble growing back, but he 
really deos miss his nose hairs and eyelashes ;-(]

margali

the quote starts here:

> 
> *snigger* Well... when I was 17 I had a boyfriend who was an Olympic silver
> medallist in butterfly swimming. I can vouch for that NO hair before
> competitions, but hell when it grows back and gets stubbly and so much chlorine
> embedded in the skin that no matter how much showering, when it got warm the
> scent of chlorine from his skin permeated everything (but oh my that body
> *dares a dreamy sigh*)
> 



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 For anyone interested, full info for visitors to History in Action at Kirby Hall can be found on English Heritage's website (www.english-heritage.org.uk).  To get to the right page, click on 'places to visit and events' at the top, then 'special events' at the side, then 'history in action' at the side.
As Nicole's already mentioned, to attend as a participant you have to be a paid up member of an invited group, as they'll be checking membership cards at the gates.
Debbie.
  




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<P> For anyone interested, full info for visitors&nbsp;to History in Action at Kirby Hall can be found on English Heritage's website (<A href="http://www.english-heritage.org.uk">www.english-heritage.org.uk</A>).&nbsp; To get to the right page, click on 'places to visit and events' at the top, then 'special events' at the side, then 'history in action' at the side.
<P>As Nicole's already mentioned, to attend as a participant you have to be a paid up member of an invited group, as they'll be checking membership cards at the gates.
<P>Debbie.
<P>&nbsp; </P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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Date: Tue, 30 Jul 2002 11:29:25 +0100 (BST)
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 --- Debbie Lough <debbie_lough@yahoo.co.uk> wrote: > 

> Have you tried MacCulloch and Wallis (London)?  You can't buy online (website
> not set up for it), but they do mail order via a catalogue.  
> 
> Debbie (apologising if somebody else has already answered this, because she
> has a backlog of digests and is reading them in order!!!)

Thanks ever so much Debbie, but the problem is I am not sure what it is called
that I want (I know what it looks like though :-), it just says 'wires' on
their page. Gosh I wish they realised it is the 21st century and did online
shopping!

BTW Debbie, are you going to ahve some buttons for Kirby and how do I find you
just in case I can't make it out of our encampment during the day?

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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Thread-Topic: [h-cost] Authenticity of Lucets
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Teddy, you're quite right, I'll have to go home and check but I think I
may find it harder that I thought. It's something I've "known" for so
long I've forgotten where I've known it from.

And again, like so many textile things in archaeology, who's going to
keep a grotty old wooden tool when it's worn out - it's the sort of
thing that gets chucked in the fire rather than the midden.

I'm coming to to Kirby Hall - a long drive and expensive day out, but I
deserve it.

Freyalyn 

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Teddy, you're quite right, I'll have to go home and check but I think I may find it harder that I thought.  It's something I've "known" for so long I've forgotten where I've known it from.<br>
<br>
And again, like so many textile things in archaeology, who's going to keep a grotty old wooden tool when it's worn out - it's the sort of thing that gets chucked in the fire rather than the midden.<br>
<br>
I'm coming to to Kirby Hall - a long drive and expensive day out, but I deserve it.<br>
<br>
Freyalyn
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>Can you tell me if Zwemmer's or Ian Shipley are still on Charing Cross
>Road? They were the two best art bookstores I found, but that was some
>years ago.

>--Robin


As far as I know they are - although I haven't been to either in quite a while.  I'm more likely to hit Foyles, because I can do the costume/crafts/art sections while my boyfriend does military history!

Just realized, though, I forgot to mention R.D. Franks - the specialist fashion bookshop!  They do all sorts of books, magazines, catalogues, etc, on virtually all areas of fashion, costume and textiles (modern and historic).  They even sell tailoring supplies!  They're at Kent House, Market Place, off Oxford Street.

Debbie.





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<P>&nbsp;<BR><BR>&gt;Can you tell me if Zwemmer's or Ian Shipley are still on Charing Cross<BR>&gt;Road? They were the two best art bookstores I found, but that was some<BR>&gt;years ago.<BR><BR>&gt;--Robin<BR><BR><BR>As far as I know they are - although I haven't been to either in quite a while.&nbsp; I'm more likely to hit Foyles, because I can do the costume/crafts/art sections while my boyfriend does&nbsp;military history!</P>
<P>Just realized, though, I forgot to mention R.D. Franks - the specialist fashion bookshop!&nbsp; They do all sorts of books, magazines, catalogues, etc, on virtually all areas of fashion, costume and textiles (modern and historic).&nbsp;&nbsp;They even sell tailoring supplies!&nbsp; They're at Kent House, Market Place, off Oxford Street.</P>
<P>Debbie.<BR></P><p><p><br><hr size=1><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><b><font face="Arial" size="2">Get a bigger mailbox -- choose a size that fits your needs.</font></b></a><br><br><a href="http://uk.yahoo.com/mail/tagline_xtra/?http://uk.docs.yahoo.com/mail_storage.html"><font face="Arial" size="2">http://uk.docs.yahoo.com/mail_storage.html</font></a>
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On Tue, 30 Jul 2002, [iso-8859-1] Debbie Lough wrote:

> Just realized, though, I forgot to mention R.D. Franks - the
> specialist fashion bookshop!  They do all sorts of books, magazines,
> catalogues, etc, on virtually all areas of fashion, costume and
> textiles (modern and historic).  They even sell tailoring supplies!  
> They're at Kent House, Market Place, off Oxford Street.

Oh, God, yes! I forgot, because I bought very little when I went there --
at that time I already owned most of the published material on medieval
clothing. (Most of what I buy now is art books.) But for anyone who isn't
already stocked up, and especially for people in later periods, Franks is
indispensible.

--Robin

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Date: Tue, 30 Jul 2002 09:36:26 -0400
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Any chance they have a website?

Apollonia
----- Original Message ----- 
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Tuesday, July 30, 2002 9:28 AM
Subject: Re: [h-cost] Re: h-costume digest, Vol 1 #1117 - 14 msgs


> 
> On Tue, 30 Jul 2002, [iso-8859-1] Debbie Lough wrote:
> 
> > Just realized, though, I forgot to mention R.D. Franks - the
> > specialist fashion bookshop!  They do all sorts of books, magazines,
> > catalogues, etc, on virtually all areas of fashion, costume and
> > textiles (modern and historic).  They even sell tailoring supplies!  
> > They're at Kent House, Market Place, off Oxford Street.
> 
> Oh, God, yes! I forgot, because I bought very little when I went there --
> at that time I already owned most of the published material on medieval
> clothing. (Most of what I buy now is art books.) But for anyone who isn't
> already stocked up, and especially for people in later periods, Franks is
> indispensible.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] http://www.bridgeman.co.uk  Great Place to look at art and artifacts
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Date: Tue, 30 Jul 2002 07:57:28 -0700
Status: RO

I don't remember exactly how I registered-did you end up with a
password?   I know before I registered it would not let me add items to
a portfolio to view and the number of items on a like search
dramatically increased after I registered.  (Their cataloging could use
some serious help).

I am a little baffled by the site.  If it doesn't cost anything, why the
registration?  And it wouldn't appear that they sell the images.  I
wrote them an email to ask those questions, but have not heard back from
them.  Do you know where they are physically located?


**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of N Kipar
**Sent: Tuesday, July 30, 2002 1:53 AM
**To: h-costume@indra.com
**Subject: Re: [h-cost] http://www.bridgeman.co.uk Great Place 
**to look at art and artifacts
**
**
** --- Saragrace knauf <saragrace@earthlink.net> wrote: > In my 
**quest for an image these last few days I came across this site.
**> You have to register to get permission to view the site, 
**but they let 
**> me in, so ......
**> 
**> They have paintings etc. but also artifacts like QE 
**buskins, and Henry 
**> VIII's stirrups etc.  Very cool.
**
**Uhm... saragrace, there are three ways of registering, when I 
**went for the 'academic research' one I was directed to a 
**different site and I just couldn't get them to show me 
**pictures. Am I dumb? *G* probably, and too hot. :-)
**
**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] http://www.bridgeman.co.uk  Great Place to look at art and 
 artifacts
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Date: Tue, 30 Jul 2002 08:21:59 -0700
Status: RO

I can't even get the page to load, in either Netscape or Explorer.  I just
get a blank window.  Any hints?

Fran

Saragrace knauf wrote:

> I don't remember exactly how I registered-did you end up with a
> password?   I know before I registered it would not let me add items to
> a portfolio to view and the number of items on a like search
> dramatically increased after I registered.  (Their cataloging could use
> some serious help).
>
> I am a little baffled by the site.  If it doesn't cost anything, why the
> registration?  And it wouldn't appear that they sell the images.  I
> wrote them an email to ask those questions, but have not heard back from
> them.  Do you know where they are physically located?
>
> **
> **
> ** --- Saragrace knauf <saragrace@earthlink.net> wrote: > In my
> **quest for an image these last few days I came across this site.
> **> You have to register to get permission to view the site,
> **but they let
> **> me in, so ......
> **>
> **> They have paintings etc. but also artifacts like QE
> **buskins, and Henry
> **> VIII's stirrups etc.  Very cool.
> **
> **Uhm... saragrace, there are three ways of registering, when I
> **went for the 'academic research' one I was directed to a
> **different site and I just couldn't get them to show me
> **pictures. Am I dumb? *G* probably, and too hot. :-)
> **
> **Nicole
> **
>

---------------------------------------------
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From h-costume-admin@indra.com  Tue Jul 30 12:15:07 2002
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Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 09:07:58 -0700
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> Hi, All. Tasha, it may be incorrect, at it is not my primary period of
> interest, but I believe the Jorvik Viking  museum shows a tool that is
> conjectured to be a lucet tool in it's collection. If this is correct,
> lucetting goes back to this point, and so is possibly applicable to
> later periods, providing the practice didn't die out and re-emerge
> later, which is always possible.

This is apparently what it did: die out shortly after the Viking period 
(if the devices *are* lucets as we suppose, although they don't look 
like modern or Victorian lucets.) They started up again in the 
Victorian period (when so many "lost" crafts were started up again 
or devised anew and said to be "recovered" from the past.)

 I have done some finger-loop
> braiding, but not having original textile fragments to compare, it
> would be hard for me to say whether something was fingerloop braided
> or lucetted, although a person doing both a lot would probably know
> better. 

The structure of a lucet cord and a fingerloop braid cord is *very* 
different. Any competent textile archeologist should be able to tell 
the difference, especially if there is any raveled end. You see, there 
is only one (usually) thread coming off each end of a lucetted cord, 
but there is always a whole lot of them on each end of a fingerloop 
braid.

Now, telling the difference between a fingerloop braid and a braided 
cord would be much more difficult, because there are similarities in 
the braid structure but major differences in the way it is produced.


June M. Russell, MD
<kat@grendal.rain.com>
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Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 12:20:05 -0500
Status: RO

>
>> Hi, All. Tasha, it may be incorrect, at it is not my primary period of>> interest, but I believe the Jorvik Viking  museum shows a tool that is>> conjectured to be a lucet tool in it's collection. If this is correct,>> lucetting goes back to this point, and so is possibly applicable to>> later periods, providing the practice didn't die out and re-emerge>> later, which is always possible.
>
>This is apparently what it did: die out shortly after the Viking period >(if the devices *are* lucets as we suppose, although they don't look >like modern or Victorian lucets.) They started up again in the 
>Victorian period (when so many "lost" crafts were started up again 
>or devised anew and said to be "recovered" from the past.)
>
> 


I'd have to go back and dig out photo copies to confirm this, but I beleive that George Digby in Elizabethan embroideries mentions the lucet cords.  It's in the chapter on the sweetbags.  He mentions there is a manuscript of some sort with instructions of how to do lucet cord.  The manuscript is located in the V &A, and I thought dated to the 16th century, but it's been a while since I looked over the reference.

Alex
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From h-costume-admin@indra.com  Tue Jul 30 14:23:54 2002
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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] http://www.bridgeman.co.uk  Great Place to look at art and  artifacts
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Date: Tue, 30 Jul 2002 11:01:57 -0700
Status: RO

It worked for me, but I may have a cookie that is telling it to remember
my userid.

Try this and if it doesn't work do a search on them in your search
engine.  Google brings them up right away.

http://www.bridgeman.co.uk/public/home.jhtml

A question for you-why do you have both netscape and explorer-is there
something you get from one and not the other??

Sg-always wanting to make sure she doesn't miss anything!

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Lavolta Press
**Sent: Tuesday, July 30, 2002 8:22 AM
**To: h-costume@indra.com
**Subject: Re: [h-cost] http://www.bridgeman.co.uk Great Place 
**to look at art and artifacts
**
**
**I can't even get the page to load, in either Netscape or 
**Explorer.  I just get a blank window.  Any hints?
**
**Fran
**
**Saragrace knauf wrote:
**
**> I don't remember exactly how I registered-did you end up with a
**> password?   I know before I registered it would not let me 
**add items to
**> a portfolio to view and the number of items on a like search 
**> dramatically increased after I registered.  (Their cataloging could 
**> use some serious help).
**>
**> I am a little baffled by the site.  If it doesn't cost 
**anything, why 
**> the registration?  And it wouldn't appear that they sell 
**the images.  
**> I wrote them an email to ask those questions, but have not 
**heard back 
**> from them.  Do you know where they are physically located?
**>
**> **
**> **
**> ** --- Saragrace knauf <saragrace@earthlink.net> wrote: > In my 
**> **quest for an image these last few days I came across this 
**site. **> 
**> You have to register to get permission to view the site, **but they 
**> let **> me in, so ......
**> **>
**> **> They have paintings etc. but also artifacts like QE
**> **buskins, and Henry
**> **> VIII's stirrups etc.  Very cool.
**> **
**> **Uhm... saragrace, there are three ways of registering, when I
**> **went for the 'academic research' one I was directed to a
**> **different site and I just couldn't get them to show me
**> **pictures. Am I dumb? *G* probably, and too hot. :-)
**> **
**> **Nicole
**> **
**>
**
**---------------------------------------------
**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 Jul 30 16:05:41 2002
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Date: Tue, 30 Jul 2002 12:58:01 -0700
Status: RO


> I'd have to go back and dig out photo copies to confirm this, but I
> beleive that George Digby in Elizabethan embroideries mentions the
> lucet cords.  It's in the chapter on the sweetbags.  He mentions there
> is a manuscript of some sort with instructions of how to do lucet
> cord.  The manuscript is located in the V &A, and I thought dated to
> the 16th century, but it's been a while since I looked over the
> reference.

According to my copy of Digby's Elizabethan Embroidery, the 
sweetbag drawstrings are "plaited (often multi-colored) silk 
drawstrings with tassels and fringes...) (Page 69.) He goes on to 
say that one way of working them was on the "lucette" but 
presents no evidence that it was done this way.

Again, he presents no evidence for it other than passing on what 
others have told him. I suspect he got the information about 
"plaited" from a real source (because that is evidently what was 
used in the period according to the manuscripts of the time), but 
then translated it to "lucette" because that was a form he knew 
about (even though there is no evidence from the period that that's 
how they did it.) Unfortunately, unlike other sections, he does not 
quote his source for the information.


June M. Russell, MD
<kat@grendal.rain.com>
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Authenticity of Lucets
References: <02c101c237ba$df3e6c10$0cc9a8c0@mail2world.com>
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Date: Tue, 30 Jul 2002 19:58:52 +0100
Status: RO

freyalyn <freyalyn@ivillage.com> wrote
>Teddy, you're quite right, I'll have to go home and check but I think I may
>find it harder that I thought. It's something I've "known" for so long I've
>forgotten where I've known it from.
>
>And again, like so many textile things in archaeology, who's going to keep
>a grotty old wooden tool when it's worn out - it's the sort of thing that gets
>chucked in the fire rather than the midden.
>
>I'm coming to to Kirby Hall - a long drive and expensive day out, but I
>deserve it.
>
>Freyalyn

You most certainly do!  Come and chat to us at the Normans - someone is 
bound to be doing lucet :-) (tho I'll probably be tablet weaving, since 
I've promised my hubby lots for his hood and tunic)

Jean

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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 21:00:10 +0100
Status: RO

Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote
>At 7:44 AM -0700 7/29/02, Tasha Kelly wrote:
>
>>I've managed to make finished laces that are about 2
>>to 2.5 feet long (perfect for my purposes of
>>spiral-lacing a close-fitting kirtle) by tying a knot
>>mid-way along the laces and then tying that area down
>>and working out from the center. Later, I undo the
>>knot and carefully tie another one on the edge of the
>>finished section, leaving the un-braided section free.
>>I then continue the braid out from the center going in
>>the other direction. This method isn't perfect,
>>because try as I might, there is always a small
>>portion of slightly loose twists where the two areas
>>meet in the middle, but it's hardly noticeable and
>>definitely disguised when in use as a lace.
>
>
>Interesting technique!
>
>
>>  If you've
>>got a willing partner, you can make a very long,
>>uninterrupted fingerloop braid with their help beating
>>down the loops as you make each move.
>
>My somewhat limited experience has been that, with a partner to do the 
>beating, you can not only get a much longer braid, but the tightness of 
>the braid is _much_ more even (and tight).  Even doing fairly short 
>braids by myself, there's noticeable unevenness in the tension.  My 
>favorite beaters tend to be heavy metallic letter-openers.  Enough 
>"heft" to beat solidly without a lot of effort, and just the right 
>"sharp but blunt" edge.
>
>Heather

I remember reading (and I think it was in that "Compleat Anachronist") 
that the tension is one of the ways they can tell a piece of cord is 
fingerloop - the technique means it is unavoidable to have different 
tension along the length of it, as it gets closer to your fingers.  I 
can manage reasonably even along about 2-2.5 feet, but there's 
definitely a difference (Also, I drop loops more often as it gets 
shorter and the tiny differences in length I started with get more and 
more exaggerated!)

Jean
-- 
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: OT browsers, answer to saragrace RE: [h-cost] http://www.bridgeman.co.uk
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Date: Tue, 30 Jul 2002 21:21:43 +0100 (BST)
Status: RO

 --- Saragrace knauf <saragrace@earthlink.net>
> A question for you-why do you have both netscape and explorer-is there
> something you get from one and not the other??

Absolutely! I am a sworn Netscape fan since 1996, I absolutely hate all
Microsoft products and just use them when I have to, like at work. I have
Explorer only for those sites that are stupid enough not to code for netscape
as well, and if I can help it i just won't visit those sites. being a web
developer myself I see red when people don't programme their sites for both
major browsers at least.
netscape has a much better 'save as' treatment and the best is it doesn't open
plugins like pdf files in the browser window but in the actual plugin/software.
I prefer its bookmark (favourites for IE) treatment and it doesn't cache
everything in such a mad way as Explorer does, nor does it give the ugly dotted
lines around images that have links when clicking them.
Granted though, Explorer is better for disability issues, one can change the
font size and it is more stable in regard to badly coded pages. A style sheet
doesn't work on a page? bad for netscape, Explorer though just ignores it. I
always compare netscape and Explorer like the thoroughbred racing horse
(Netscape) to the sturdy working horse (Explorer)

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: OT browsers, answer to saragrace RE: [h-cost] http://www.bridgeman.co.uk
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Date: Tue, 30 Jul 2002 14:16:27 -0700
Status: RO

Thank you for that very good explanation.  I will have to give Netscape
a whirl.  I must admit my only experience with it has been when folks
email me and say their links don't work.  They are usually Netscape
users.  I don't know if it is Netscape or the language in the MS
hyperlink that makes it not work.  

BTW I like your analogy, I can definitely relate to horses.

Sg

(Back to costumes before we get in trouble!)

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Subject: Re: [h-cost] Authenticity of Lucets
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Date: Tue, 30 Jul 2002 09:29:22 -0700
Status: RO

At 4:18 AM -0700 7/30/02, freyalyn wrote:
>Teddy, you're quite right, I'll have to go home and check but I 
>think I may find it harder that I thought. It's something I've 
>"known" for so long I've forgotten where I've known it from.
>
>And again, like so many textile things in archaeology, who's going 
>to keep a grotty old wooden tool when it's worn out - it's the sort 
>of thing that gets chucked in the fire rather than the midden.

On the other hand, we _do_ have direct evidence for other textile 
techniques that became obsolete (or extremely rare and localized). 
Even if we didn't have the enormous good luck of the surviving 
fingerloop-braiding manuals, we have a lot of surviving cordage whose 
structure clearly indicates that method of construction, as well as 
at least one medieval painting showing the technique in progress. 
Art showing various handwork techniques is not uncommon.  A large 
variety of handwork tools survive from burials or casual survivals in 
archaeological sites.  A variety of techniques are known only from 
chance survivals of the work itself.  The context for "doubt based on 
the absence of evidence" is that _if_ lucet-work were as common and 
as widespread as the claims for it indicate, a complete lack of 
surviving examples of the work, or representations of the work, calls 
almost for conspiracy rather than simple apathy.

On the other side, there are handwork techniques that we know _only_ 
from one or two highly localized chance survivals -- techniques that 
wouldn't have been recoverable by logical reasoning or argumentation. 
But conversely, one can argue logically for the plausibility of 
techniques that we can be extremely certain of the start-dates for 
(crochet being a good example).  What you end up with is a vast gap 
between techniques -- no matter how unexpected -- for which we have 
direct evidence of historic use; and techniques -- no matter how 
logical and plausible -- for which we have no direct evidence of 
historic use.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Tue, 30 Jul 2002 09:34:59 -0700
Status: RO

At 5:06 PM -0500 7/29/02, Robin Netherton wrote:
>  > At 7:44 AM -0700 7/29/02, Tasha Kelly wrote:
>>
>>  >I've managed to make finished laces that are about 2
>>  >to 2.5 feet long (perfect for my purposes of
>>  >spiral-lacing a close-fitting kirtle) by tying a knot
>>  >mid-way along the laces and then tying that area down
>>  >and working out from the center. Later, I undo the
>>  >knot and carefully tie another one on the edge of the
>>  >finished section, leaving the un-braided section free.
>>  >I then continue the braid out from the center going in
>  > >the other direction.

<snip>

>But if I've figured out what you've written above, I think your method
>would be superior. If I follow you, you're saying you make the loops twice
>as long as you'd normally be able to work with, lay them all out in a long
>bunch, knot the middle, and then work from the knot to one end, then turn
>it around, un-knot, and work the unworked part to the other end?
>Theoretically that could produce an almost invisible connection, though
>some looping methods might work better with this than others.

Just working from a thought-experiment, I wonder if it would work to 
knot it with a slip-knot through which you put a stick-like-object 
(which can then be fastened to your anchor).  Naturally, you're 
working from the direction that does _not_ loosen the slip-knot. 
This would avoid having to try to undo any sort of ordinary knot 
after spending a long time putting tension on it!

Heather
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To: h-costume@indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 09:42:22 -0700
Status: RO

At 1:04 AM -0400 7/30/02, leigh tartaglio wrote:
>Hi, All. Tasha, it may be incorrect, at it is not my primary period 
>of interest,
>but I believe the Jorvik Viking  museum shows a tool that is 
>conjectured to be a
>lucet tool in it's collection. If this is correct, lucetting goes back to this
>point, and so is possibly applicable to later periods, providing the practice
>didn't die out and re-emerge later, which is always possible. I have done some
>finger-loop braiding, but not having original textile fragments to compare, it
>would be hard for me to say whether something was fingerloop braided or
>lucetted, although a person doing both a lot would probably know better.  Mike
>T.

This is one of the class of objects that I was referring to that you 
_could_ do lucet work on, but that _could_ have other original 
purposes as well.  Considering that you could, theoretically, do 
lucet-work on the thumb and forefinger of your off hand, I'm hesitant 
to conclude that the ability to use an object as a lucet is 
equivalent to proof that the object was originally intended as a 
lucet.  I've read discussions of the Viking-era "possible lucets" 
(e.g. in MacGregor's "Bone, Antler, Ivory & Horn"), and all the ones 
I've seen boil down to, "Well, you _could_ use it as a lucet, I 
suppose." occasionally with the addition of some relatively 
unwarranted certainty that that's what it must be, then.

(I _did_ mention previously that my opinions on this topic tend to 
get me in trouble.)

Heather
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Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 16:56:34 -0700
Status: RO


> At 5:06 PM -0500 7/29/02, Robin Netherton wrote:
> >  > At 7:44 AM -0700 7/29/02, Tasha Kelly wrote:
> >>
> >>  >I've managed to make finished laces that are about 2
> >>  >to 2.5 feet long (perfect for my purposes of
> >>  >spiral-lacing a close-fitting kirtle) by tying a knot
> >>  >mid-way along the laces and then tying that area down
> >>  >and working out from the center. Later, I undo the
> >>  >knot and carefully tie another one on the edge of the
> >>  >finished section, leaving the un-braided section free.
> >>  >I then continue the braid out from the center going in
> >  > >the other direction.
> 
> <snip>
> 
> >But if I've figured out what you've written above, I think your
> >method would be superior. If I follow you, you're saying you make the
> >loops twice as long as you'd normally be able to work with, lay them
> >all out in a long bunch, knot the middle, and then work from the knot
> >to one end, then turn it around, un-knot, and work the unworked part
> >to the other end? Theoretically that could produce an almost
> >invisible connection, though some looping methods might work better
> >with this than others.
> 
> Just working from a thought-experiment, I wonder if it would work to
> knot it with a slip-knot through which you put a stick-like-object
> (which can then be fastened to your anchor).  Naturally, you're
> working from the direction that does _not_ loosen the slip-knot. This
> would avoid having to try to undo any sort of ordinary knot after
> spending a long time putting tension on it!
> Heather

To do extra long fingerloop braid I don't put a knot in it but rather 
clip it at the center. Then I work first one side, then the other. It 
seems to work fairly well (although the center sometimes has an 
odd look to it, probably because it isn't quite the same pattern, but 
rather the reverse.)



Kat Russell
<kat@grendal.rain.com>
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Subject: Re: [h-cost] http://www.bridgeman.co.uk  Great Place to look at art and artifacts
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Date: Tue, 30 Jul 2002 18:49:54 -0700
Status: RO

----- Original Message -----
From: "Saragrace knauf" <saragrace@earthlink.net>
Subject: RE: [h-cost] http://www.bridgeman.co.uk Great Place to look at art
and artifacts


<snip>
> I am a little baffled by the site.  If it doesn't cost anything, why the
> registration?  And it wouldn't appear that they sell the images.  I
> wrote them an email to ask those questions, but have not heard back from
> them.  Do you know where they are physically located?

Not sure where they're physically located, but the Bridgeman is part of the
Grove Dictionary of Art, which is a research database sold to libraries.  (I
know because we subscribe to it at the library I work at!)  So that's where
they make their money.

- Kendra



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Subject: Re: [h-cost] shirt ties/aiglets
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Date: Tue, 30 Jul 2002 23:37:10 -0400
Status: RO

Hi, All. You can get the brass or tin-plated aglet ends from a variety of sources
(my wife has them in her shop), and a method of manufacture is described in the
Compleat Anachronist pamphlet for making your own. Most of the originals found in
the MoL book are narrower and longer than the common tin cones. If you have
someone handy around the place, you can modify a pair of small pliers to have a
smooth semi circular face on each of the two faces of the plier jaws, and this
can be used to crimp down the point on the end of a cord by applying even
pressure and crimping evenly, not crushing. Either add some glue, or use a small
nail (diamond shaped point) to punch a pair of holes up at the wider end of the
aglet. This splits the metal and provides barbs on the inside which help hold the
point on the end of the cord. You could also drill holes and put stitches through
(also seen in the MoL aglet ends). Regarding lucetting, I'm not sure if it is
right, but fingerloop braiding produces a similar patterned cord. I use it done
in wool and fulled to provide a springy cord for the waistband of my
netherbreeches (almost as elastic as modern ones), and for a number of other
applications. Since I only know a few fingerloop style cord patterns, and those
I've worked in silk buttonhole gimp, I haven't made enough to use it as
frequently as lucet cord. BTW, can't lucetting be done on one's fingers? A little
more difficult than twisting a tool around, perhaps, but possible, yes?  Mike T.


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Date: Wed, 31 Jul 2002 00:40:15 -0400
Status: RO

Hi, All. Nicole, I found that illo of the tradesmen, and my copy is too small to
show any detail, if in fact there was any. There was someone on this list some time
back that thought that they had seen holes in the buttons, so perhaps they have a
better copy. If anyone remembers who that might have been, please speak up.  Mike
T.



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From: "Kendra Van Cleave" <kendrav@attbi.com>
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Subject: [h-cost] FO:  1836-7 evening dress
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Date: Tue, 30 Jul 2002 22:42:13 -0700
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This is a multi-part message in MIME format.

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I keep forgetting to post this, but I've actually got a finished object! =
 (This is impressive because lately I'm really good at starting =
projects, but not so good at finishing them).  It's an attempt to =
reproduce the 1836-7 evening dress from _Costume in Detail_.

http://demode.tweedlebop.com/1836.html

- Kendra


------=_NextPart_000_000B_01C2381A.591552B0
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2716.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I keep forgetting to post this, but =
I've actually=20
got a finished object!&nbsp; (This is impressive because lately I'm =
really good=20
at starting projects, but not so good at finishing them).&nbsp; =
</FONT><FONT=20
face=3DArial size=3D2>It's an attempt to reproduce the 1836-7 evening =
dress from=20
_Costume in Detail_.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://demode.tweedlebop.com/1836.html">http://demode.tweedlebop.=
com/1836.html</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>- Kendra</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_000B_01C2381A.591552B0--


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] FO:  1836-7 evening dress
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Date: Wed, 31 Jul 2002 08:04:53 +0100 (BST)
Status: RO

 --- Kendra Van Cleave <kendrav@attbi.com> wrote: > I keep forgetting to post
this, but I've actually got a finished object! 
> (This is impressive because lately I'm really good at starting projects, but
> not so good at finishing them).  It's an attempt to reproduce the 1836-7
> evening dress from _Costume in Detail_.
> 
> http://demode.tweedlebop.com/1836.html
> 
> - Kendra
> 
What a lovely dress and beautiful fabric! You look stunning in it. This isn't a
period I normally like but I can see when someone looks gorgeous and you do in
that dress.

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] Early use of buttons???
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Date: Tue, 30 Jul 2002 22:36:38 -0700
Status: RO

At 9:02 AM +0100 7/29/02, N Kipar wrote:
>  --- leigh tartaglio <mikes@dandy.net> wrote: >
>
>>  I am curious as to the source for the information about the Dorset style
>>  buttons in use after 1610.
>
>Who said that? I must have not read some of the posts in this 
>thread. They were
>certainly in use at the dates mentioned above, the portraits I have show them
>clearly, I am convinced they cannot be anything else.

That was probably me -- I mentioned them because I hate ties at shirt 
cuffs, and the costume director for my guild won't let us use buttons 
on our cuffs because they don't become common there till at least 40 
years after the time we're portraying (Elizabethan England, 1570s).

I have to report, though, that the 1610 date seems to be something I 
either made up ;), or heard from another costumer. I thought I'd seen 
it in Nancy Nehring's _50 Heirloom Buttons to Make_ (Taunton Press, 
1996, ISBN 1-56158-146-1). However it turns out she doesn't give a 
specific date either for these or for the "sea urchin" dome-shaped 
buttons (also called "grindles") that were made around the same time. 
If there was ever an article in Piecework Magazine about these 
buttons, it might have been that I saw it there, but other than that, 
I can't imagine where else I might have seen it.

She does mention a source some of you Brits might be able to locate: 
a booklet called "Dorset Buttons -- Fact File" by Marion Howitt. ( 
["Swanston," Russell Ave., Swanage, Dorset, BH192EB] is what she 
gives for publishing information in her bibliography, if that makes 
any sense to you).
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Tue, 30 Jul 2002 22:43:24 -0700
Status: RO

At 3:52 PM -0700 7/29/02, Margo Anderson wrote:
>  >Have I been making t-tunics and dresses wrong all this time?  I cut them
>>to roughly my own size, plus enough to move in.  Certainly not twice my
>>size! If you make the body so big, how do you avoid the top of the
>>sleeve being somewhere near your elbow?
>
>And on those of us who are on the larger side, it would be impossible.
>Twice around my body plus twelve inches on either side would result in a
>body piece that was twelve inches *wider* than my wrist to wrist measurement.
>
>Is there a mistake somewhere?

Er, yes. (This seems to be my day for admitting mistakes!) I meant 
twice the WIDTH of one's body, not the circumference. Jean's "roughly 
my own size, plus enough to move in" is what I was thinking of.

<blushing>
-- 
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O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Tue, 30 Jul 2002 23:21:46 -0700
Status: RO

At 1:04 AM -0400 7/30/02, Mike T. wrote:
>Hi, All. Tasha, it may be incorrect, at it is not my primary period 
>of interest,
>but I believe the Jorvik Viking  museum shows a tool that is 
>conjectured to be a
>lucet tool in it's collection. If this is correct, lucetting goes back to this
>point, and so is possibly applicable to later periods, providing the practice
>didn't die out and re-emerge later, which is always possible. I have done some
>finger-loop braiding, but not having original textile fragments to compare, it
>would be hard for me to say whether something was fingerloop braided or
>lucetted, although a person doing both a lot would probably know better.

Lucet cord's structure is pretty distinctive, and at least in its 
simple form (i.e. the easy kind made with 2 loops) it's fairly easy 
to recognize. It's basically a knitted tube composed of only 2 knit 
stitches -- although of course it's not made on knitting needles, and 
could well have been independently invented.

Like other knitting, it can be stretchy or firm depending on what 
it's made of. There are also, as people have mentioned, lots of fancy 
versions, but I believe they also share the basic knitted structure, 
though it may be harder to recognize.

Fingerloop braids, on the other hand, are actually braided 
structures, and usually look it. Some of the simple round or square 
fingerloop braids look a lot like any other 8-, 12- or 16-stranded 
round braid; their advantage is that they're a lot faster to work. 
There's an almost infinite variety of more complex fingerloops braids 
too (flat, round, square, rectangular, patterned...).

I have a feeling that costumers and re-enactors may have latched onto 
(pun intended) lucet braid as a standard technique years ago (when we 
didn't know as much as we do now), as a plausible, sturdy, and 
generally useful way to make lacings. I've had a number of people 
tell me they love making lucet braid because it's one of the few 
things they can do without looking at it constantly, while walking 
around, et cetera. I believe it's only within the last five to ten 
years, as people have paid attention to reconstructing and 
popularizing the techniques, that we've become aware of just how much 
of the ordinary, taken-for-granted cord and lacing in European 
costume was actually fingerloop-braided.

At 9:00 PM +0100 7/30/02, Jean Waddie wrote:
>I remember reading (and I think it was in that "Compleat 
>Anachronist") that the tension is one of the ways they can tell a 
>piece of cord is fingerloop - the technique means it is unavoidable 
>to have different tension along the length of it, as it gets closer 
>to your fingers.  I can manage reasonably even along about 2-2.5 
>feet, but there's definitely a difference (Also, I drop loops more 
>often as it gets shorter and the tiny differences in length I 
>started with get more and more exaggerated!)

Hmmmm. Well, I can testify -- as a sometime other half of Heather's 
fingerloop-with-beating team -- that as far as I can tell, you get 
very little variation in tension if you have one person braiding 
while the person at the other end beats it down tight. I think we've 
produced a couple of six-foot-or-so braids, which means we started 
out with about eight feet of thread between us. (Better think of 
something interesting to talk about, though, 'cause it takes awhile.)

Speaking of fingerloop braiding, Noemi Spieser has, as the 
frontispiece in her self-published book, a very nice black-and-white 
enlargement of a detail of a rather obscure 1465 painting of the 
Virgin Mary from Aragon, painted by Nicolás Zahortiga. It shows the 
Virgin and Child on a high, gold throne, surrounded at the base by a 
host of female saints employed in various domestic tasks 
(embroidering, winding yarn onto a bobbin, etc.) Two in the 
foreground are clearly making a fingerloop braid; one saint has the 
loops on her fingers while the other holds a beater. (The saints' 
names are helpfully written on their haloes, but I can't read them, 
since the scan that I have of it isn't very good.)

The problems with short loops and uneven ends, OTOH, are right on.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] English Civil war patterns from UK Merchant Venturers
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Date: Wed, 31 Jul 2002 09:23:45 +0100 (BST)
Status: RO

Has anyone tried their patterns yet? I was amazed to find them, because I have
never seen the patternson Clive's stall until now, maybe he only sells them
online? They look blooming good those drawings and I am going to order quite a
few, cross your fingers they are good ones and not the usual modern idea of how
to make a period garment. They are cheao too, only Ł2.50 per pattern!

http://www.themerchantventurer.co.uk/

Go to the scroll down bit on the top right and go to 'patterns' and hit
'search', then you're right in the ladies or mens' pattens.

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] Sausage curls & ringlets
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Date: Wed, 31 Jul 2002 18:29:54 +0930
Status: RO

<html><div style='background-color:'><DIV>Hello</DIV>
<DIV>Can anyone please tell me how to make sausage curls and ringlets? Every time I try them I end up with very loose curls or very frizzy hair.</DIV>
<DIV>Rebecca.</DIV></div><br clear=all><hr>Chat with friends online, try MSN Messenger: <a href='http://g.msn.com/1HM1ENAU/c144??PS=47575'>Click Here</a><br></html>
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Date: Wed, 31 Jul 2002 09:52:18 +0100
Status: RO

I've often seen these on sale at SK events. When I gave up battling I made myself a civilian man's suit from a pattern borrowed from a friend, but which looks like the 1635 doublet and the cloakbag breeches shown here. I did alter the doublet slightly and put in a waist seam like the 1640 one; even though the "look" is high-waisted,  I needed to lengthen the waist to fit my proportions. (Unfortunately I don't get to wear the suit much, since I discovered afterwards that cross-dressing is frowned on in SK living history circles, even though I'm not curvaceous enough to look silly in men's clothes.)

I've not much experience of other historical patterns for comparison; the bodice pattern I've used several times was copied from a book in the library here, based on the 1630s bodice in the V&A.



Kate Bunting
Library, University of Derby

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] English Civil war patterns from UK Merchant Venturers
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Date: Wed, 31 Jul 2002 10:00:09 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > I've often seen these on
sale at SK events. When I gave up battling I made
> myself a civilian man's suit from a pattern borrowed from a friend, but which
> looks like the 1635 doublet and the cloakbag breeches shown here. I did alter
> the doublet slightly and put in a waist seam like the 1640 one; even though
> the "look" is high-waisted,  I needed to lengthen the waist to fit my
> proportions. 

Thanks Kate, I wouldn't want nor think I could use them 'just so', I don't
believe in commercial patterns most of the time (no no Margo, I have yours, and
I love them, honest, just need to wait another 10 years or so to be actually
able to make something fom it but I do wiat with baited breath for the male
pattern set!) and would always expect to make a mockup first. It looks good
enough for a starting point though.

Thanks,
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] Sausage curls & ringlets
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Date: Wed, 31 Jul 2002 10:03:17 +0100 (BST)
Status: RO

 --- Rebecca Anderson <lady_adele@hotmail.com> wrote: 

<html><div style='background-color:'><DIV>Hello</DIV>
<DIV>Can anyone please tell me how to make sausage curls and ringlets? Every
time I try them I end up with very loose curls or very frizzy hair.

First of all, Rebecca, please, please don't use HTML email but text. Thanks!
Anyway, I don't have to make ringlets myself because I wear wigs, but my
friends do it like that: they use the soft foamy curlers that have the bendable
wire inside, dampen the strands of hair to be curled, and spray the bejeezus
out of them with some very strong setting lotion. Then they wrap the strand of
hair tightly around the curlers and bend those together to stay in place. They
usually do that overnight. One friend though has such extra straight hair taht
whatever she is doing, it always hangs out straight after a couple of hours.
Did this make sense?

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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Thread-Topic: [h-cost] Authenticity of Lucets
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Date: Wed, 31 Jul 2002 01:50:09 -0700
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This is a multi-part message in MIME format.

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> You most certainly do! Come and chat to us at the Normans - someone is
> bound to be doing lucet :-) (tho I'll probably be tablet weaving,
since 
> I've promised my hubby lots for his hood and tunic)
> 
> Jean
> 

I shall try and track you down, Jean - I'm really looking forward to it.

Freyalyn 

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<HTML>
<BODY>
<br>
> You most certainly do!  Come and chat to us at the Normans - someone is <br>
> bound to be doing lucet :-) (tho I'll probably be tablet weaving, since <br>
> I've promised my hubby lots for his hood and tunic)<br>
> <br>
> Jean<br>
> <br>
<br>
I shall try and track you down, Jean - I'm really looking forward to it.<br>
<br>
Freyalyn
</BODY></HTML>
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Subject: Re: [h-cost] Sausage curls & ringlets
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Rebecca,

I have been making ringlets for the past 10 years.  It is my daughter's
favorite hairstyle's and I can make all kinds of hairstyles out of them.  On
my "A Brush with History: Vintage Hairstyles" website under the ringlets
section I try to give some hints.
http://www.costumegallery.com/Hairstyles/Longhair/Women/menu.htm  I have
taken photos of step-by-step on how to create them to make a website, put
just have not had the time to make the site.

Here are some of the styles I have done on my daughter's hair:
http://www.costumegallery.com/Hairstyles/Longhair/Children/katcurl.jpg
Before:
http://www.costumegallery.com/Hairstyles/Longhair/Children/kat3.jpg
After:
http://www.costumegallery.com/Hairstyles/Longhair/Children/kat2.jpg
Ponytail ringlets:

Here are some hints:
1. Roll the ringlet in the direction of the flow of your hair.  This is
**THE** most important thing to do when making ringlets.  If you don't the
curl will unwind.  Remember your hair growth direction can change all over
your head, especially if you have cow licks or a double crown.  Cow licks
can occur all over your head and you don't realize it.  That is why it is
best to have someone else make the ringlets.  They can see the hair growth
directions.

2.  Dirty hair is the best to make any hairstyle.  All the Miss America
contestants have dirty hair when one parade on TV at Atlanta City.

3. Naturally curly hair is a perfect to make ringlets with.  My daughter has
curly hair and ringlets will stay in place for a week.  Straight hair, like
mine, will only hold ringlets for a day at best and that is when sprayed
down with a strong hairspray like Vavoom.

4. Best things to make ringlets with... small ringlets: pencils... medium
ringlets: dowels

5. Hair length:  shoulder length to shoulder blade length make great
ringlets.  Any longer hair, the ringlets start to look like dreadlocks and
they are likely to unwind near the scalp.

6. Good things products to use when making ringlets VO5 setting gel or Dep
styling gel.

I could go on forever... ringlets is my specialty.  My daughter's hair is
what got me interested in historic hairstyles. We look at historic styles
for inspiration to create new styles.  When you have great hair to work with
and one that will hold any style for days, it is an honor and joy to work
with it.  My daughter was named after my mother-in-law who was a hair
dresser.  My daughter has inherited her grandmother's talent.  Her greatest
pleasure is to style people's and Barbies' hair.  AND she is only 10 years
old.

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



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charset=3Dwindows-1252">
<META content=3D"MSHTML 5.50.4912.300" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>Rebecca,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I have been making ringlets for the past 10 years.&nbsp; It is my=20
daughter's favorite hairstyle's and I can make all kinds of hairstyles =
out of=20
them.&nbsp; On my "A Brush with History: Vintage Hairstyles" website =
under the=20
ringlets section I try to give some hints.&nbsp; <A=20
href=3D"http://www.costumegallery.com/Hairstyles/Longhair/Women/menu.htm"=
>http://www.costumegallery.com/Hairstyles/Longhair/Women/menu.htm</A>&nbs=
p;=20
I have taken photos of step-by-step on how to create them to make a =
website, put=20
just have not had the time to make the site.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>Here are some of the styles I have done on my daughter's =
hair:</DIV>
<DIV><A=20
href=3D"http://www.costumegallery.com/Hairstyles/Longhair/Children/katcur=
l.jpg">http://www.costumegallery.com/Hairstyles/Longhair/Children/katcurl=
.jpg</A></DIV>
<DIV>Before:</DIV>
<DIV><A=20
href=3D"http://www.costumegallery.com/Hairstyles/Longhair/Children/kat3.j=
pg">http://www.costumegallery.com/Hairstyles/Longhair/Children/kat3.jpg</=
A></DIV>
<DIV>After:</DIV>
<DIV><A=20
href=3D"http://www.costumegallery.com/Hairstyles/Longhair/Children/kat2.j=
pg">http://www.costumegallery.com/Hairstyles/Longhair/Children/kat2.jpg</=
A></DIV>
<DIV>Ponytail ringlets:</DIV>
<DIV>&nbsp;</DIV>
<DIV>Here are some hints:</DIV>
<DIV>1. Roll the ringlet in the direction of the flow of your =
hair.&nbsp; This=20
is **THE** most important thing to do when making ringlets.&nbsp; If you =
don't=20
the&nbsp;curl will unwind.&nbsp; Remember your hair growth =
direction&nbsp;can=20
change&nbsp;all over your head, especially if you have cow licks or a=20
double&nbsp;crown.&nbsp; Cow licks can&nbsp;occur all over your head and =
you=20
don't realize it.&nbsp; That is why it is best to have someone else make =
the=20
ringlets.&nbsp; They can see the hair growth directions.</DIV>
<DIV>&nbsp;</DIV>
<DIV>2.&nbsp; Dirty hair is the best to make any hairstyle.&nbsp; All =
the Miss=20
America contestants have&nbsp;dirty hair when one parade on TV at =
Atlanta=20
City.</DIV>
<DIV>&nbsp;</DIV>
<DIV>3. Naturally curly hair is a&nbsp;perfect&nbsp;to make ringlets =
with.&nbsp;=20
My daughter has curly hair and ringlets will stay in place for a =
week.&nbsp;=20
Straight hair, like mine, will only hold ringlets for a day at best and =
that is=20
when sprayed down with a strong hairspray like Vavoom.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>4. Best things to make ringlets with... small ringlets: pencils... =
medium=20
ringlets: dowels</DIV>
<DIV>&nbsp;</DIV>
<DIV>5. Hair length:&nbsp; shoulder length to shoulder blade length make =
great=20
ringlets.&nbsp; Any longer hair, the ringlets start to look like =
dreadlocks and=20
they are likely to unwind near the scalp.</DIV>
<DIV>&nbsp;</DIV>
<DIV>6. Good things products to use when making ringlets VO5 setting gel =
or Dep=20
styling gel.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>I could go on forever... ringlets is my specialty.&nbsp; My =
daughter's hair=20
is what got me interested in historic hairstyles.&nbsp;We look at =
historic=20
styles for inspiration to create new&nbsp;styles. &nbsp;When you have =
great hair=20
to work with and one that will hold any style for days, it is an honor =
and=20
joy&nbsp;to work with it.&nbsp; My daughter was named after my =
mother-in-law who=20
was a hair dresser.&nbsp; My daughter has inherited&nbsp;her=20
grandmother's&nbsp;talent.&nbsp; Her greatest pleasure is to style =
people's and=20
Barbies'&nbsp;hair.&nbsp; AND she is only 10 years old.</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>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: =
0px">&nbsp;</BLOCKQUOTE></BODY></HTML>

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References: <000e01c23855$058e4260$befc8218@hopperflop2>
Subject: Re: [h-cost] FO:  1836-7 evening dress
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Kendra,

I love your gown.  It is beautiful and you did a great job on it.  I also
like your presentation and layout of your costume journal.

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



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<DIV>Kendra,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I love your gown.&nbsp; It is beautiful and you did a great job on=20
it.&nbsp; I also like your presentation and layout of your costume=20
journal.</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: Teddy <teddy1@mdx.ac.uk>
Subject: Re: [h-cost] English Civil war patterns from UK Merchant
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> Has anyone tried their patterns yet? I was amazed to find them,
> because I have never seen the patternson Clive's stall until now,
> maybe he only sells them online? They look blooming good those
> drawings and I am going to order quite a few, cross your fingers
> they are good ones and not the usual modern idea of how to make a
> period garment. They are cheao too, only Ł2.50 per pattern! 

I've not looked at their patterns but bought stuff from their stalls at 
events - they like their documentation and keep it to hand in case 
someone like me starts asking questions about their sources 
forvarious items on the stall... which is quite a good sign.
 
<goes to look at website>

Ah, wait - 

I *have* several of those patterns - they work just fine, if you're fairly 
sure what you are doing,  but the instructions are minimal

I've got a lovely green wool suit made using the "Doublet 1620 - 25"
pattern.

The 1640 doublet came out a bit small - but I skipped making a 
fitting mock-up so that could be my problem rather than the pattern.

The casaque I made from their pattern is still in use as a winter 
coat (well, buttoned as a cloak at any rate - I'm too big around the 
upper arms for it to fit as a coat these days) and it must have been 
made in the early 1990s.



Teddy
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Date: Wed, 31 Jul 2002 11:40:24 +0000 (GMT)
Status: RO


> (Unfortunately I don't get to wear the suit much, since I
> discovered afterwards that cross-dressing is frowned on in SK
> living history circles, even though I'm not curvaceous enough to
> look silly in men's clothes.) 

Wear it anyway Kate and let them frown!





Teddy
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] English Civil war patterns from UK Merchant
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Date: Wed, 31 Jul 2002 11:50:17 +0100 (BST)
Status: RO

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

Thanks Teddy for taking the time to look at them and write a recommendation :-)
I ordered 9 patterns (that kept the shipping fee to Ł2.99 anymore and it
wouldhave gone up *L*), they are very sweet people, I bought so much glassware
from them that Clive bought me a drink at Hounslow :-)))

> I've not looked at their patterns but bought stuff from their stalls at 
> events - they like their documentation and keep it to hand in case 
> someone like me starts asking questions about their sources 
> forvarious items on the stall... which is quite a good sign.

Absolutely, they don't BS you, and their glassware is really superb, the best I
know of and I know pretty much all of the glassware traders here in the UK.

> I *have* several of those patterns - they work just fine, if you're fairly 
> sure what you are doing,  but the instructions are minimal

Supe, np problems here, because I usually neve have ANY instructions, using
Noragh waugh and making the technique up as I go along. Ninya told me that I
need not worry, because when I compained that she being a professional knew the
techniques so much better she said that there were no set 'techniques' in the
17th c. and I agree from what I have seen. She has handled many more extant
garments than I have.

> I've got a lovely green wool suit made using the "Doublet 1620 - 25"
> pattern.

Yep, I ordered that one, mainly coz I love it. :-)

> The 1640 doublet came out a bit small - but I skipped making a 
> fitting mock-up so that could be my problem rather than the pattern.

I shall not attempt ever to not make  a mock-up, ben is so muscular in the
shoulders and arms that nothing ever fits anyway.

> The casaque I made from their pattern is still in use as a winter 
> coat (well, buttoned as a cloak at any rate - I'm too big around the 
> upper arms for it to fit as a coat these days) and it must have been 
> made in the early 1990s.

I skipped the cassock because I'll use norah Waugh's one, but I did get the
female bodice patterns and all of the doublets.

If I make something of it I'll remember to send the info and pic to the Great
pattern review.

Nicole
Hmm.. jus a thought, should I send the info of the Noragh waugh coat too?

=====
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, 31 Jul 2002 06:09:13 -0700 (PDT)
Status: RO

Jean wrote:
> I remember reading (and I think it was in that
> "Compleat Anachronist") 
> that the tension is one of the ways they can tell a
> piece of cord is 
> fingerloop - the technique means it is unavoidable
> to have different 
> tension along the length of it, as it gets closer to
> your fingers.  I 
> can manage reasonably even along about 2-2.5 feet,
> but there's 
> definitely a difference (Also, I drop loops more
> often as it gets 
> shorter and the tiny differences in length I started
> with get more and 
> more exaggerated!)

There is also the issue of muscle strength and
concentration on spreading the bows, especially at the
beginning of the braid. If you are maxing out the
length of the loops for one person to manipulate alone
(probably approaching 2 feet), you need to tirelessly
extend your arms out in a "fly" movement (term from
the gym). It's not only important to move the loops
correctly from finger to finger for each step, but to
properly pull on them with steady tension and
spreading. If you don't have someone to beat it down,
you're entirely reliant on the spreading of the loops
after each movement. This can build some serious
muscle!

I find that if I pay careful attention to tension and
spreading the bows/loops, I get a rather
even-tensioned, consistent braid. My posterior
deltoids protest a bit, though. <smile>

Tasha

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Date: Wed, 31 Jul 2002 07:23:23 -0700 (PDT)
Status: RO

Greetings!

It's almost time for vacation. Since y'all have been
very chatty lately, I'm temporarily unsubbing so that
my mailbox doesn't max out while I'm gone.

Have a lovely couple of weeks. Don't talk about
anything *too* interesting! :-)

Oh, yes, for the obiligatory costume content...I'm
teaching 2 costuming classes at Pennsic this year: The
Borgia Gown and The Borgia Chemise. Hopefully when I
get my new computer (lightning through the phone
line---the insurance dude said they were going to cut
me a check for the more expensive one!!!) I'll be able
to put my class notes online.

kate

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Date: Wed, 31 Jul 2002 08:41:55 -0600
Status: RO

Oh, wow.  That looks so pretty.  And it looks very good on you, too. 
And I just love it when people do dress diaries...I really enjoy
watching the progress unfold.
--Sue, peeking into the 19th c. from the middle ages....

> Kendra Van Cleave wrote:
> 
> I keep forgetting to post this, but I've actually got a finished
> object!  (This is impressive because lately I'm really good at
> starting projects, but not so good at finishing them).  It's an
> attempt to reproduce the 1836-7 evening dress from _Costume in
> Detail_.
> 
> http://demode.tweedlebop.com/1836.html
> 
> - Kendra
>
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Date: Wed, 31 Jul 2002 09:05:09 -0700
Status: RO

Chris Laning wrote:
> I have a feeling that costumers and re-enactors may have latched onto
> (pun intended) lucet braid as a standard technique years ago (when we
> didn't know as much as we do now), as a plausible, sturdy, and
> generally useful way to make lacings.

I think you are correct, Chris. Shoot, when even our "experts" (like 
the 1963 George Wingfield Digby) say that it could be lucet, we 
just grabbed it and ran, not even thinking that there was no 
supporting evidence of it.

The whole textile archeology scene, from the amateurs (like me) to 
the professionals have gotten a whole lot better at this in the past 
20 years. Just think what a short time we've had such wonderful 
books as Janet Arnold's Patterns of Fashion as an example. Prior 
to that we pretty much had line drawings (both the bad kind like 
Brooks and Braun & Schneider, and the good ones like in 
Cunnington and Cunnington's and Nancy Bradfield who did 
drawings based on real clothing) and portraits. Now we have 
photographs so that we can draw our own conclusions or believe 
the conclusions of those telling us things. We have people who are 
genuinely interested in the textiles at an archeologic site rather 
than (flinch) throwing them away as detrius. Things have changed a 
lot, thank goodness!


Kat Russell
<kat@grendal.rain.com>
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Date: Wed, 31 Jul 2002 13:21:03 -0400
Status: RO

I am extremely hairstyle-challenged, which is complicated by the fact 
that I have fine, thick, waist length hair, which is not particularly 
curly, nor is it particularly straight.  Curls?  My hair sheds them 
faster than my cat can shed on expensive velvet.  Braids?  My hair 
laughs at attempts by mere mortals to braid it (except for the ladies 
at renaissance faires who are hair goddesses apparently).  Pretty much 
the only thing I can get to stay these days is a ponytail which will 
typically work it's way loose if given half a chance.

About the only way I've ever achieved satisfactory ringlets is either 
by setting my hair for approxamentally a day and a half in curlers, 
starting when wet and then letting them dry through the next 30 or so 
hours or by using these funny looking rubber curlers my sister bought 
back in the late-80's... They're the ones that are kind of goblet 
shaped and you wrap your hair around the "stem" of the "goblet" and 
then fold the "cup" over the coil to secure your hair and I can't 
remember the brand name.  I don't think they sell them anymore, but 
they work magic if left in over night (which makes sleeping a real pain 
in the neck, obviously).  

My sis, on the other hand, has waist length curly hair that will hang 
in ringlets if you simply wet your finger and twist.  And they will 
stay that way for days until she washes her hair (she also seems to 
have not inherrited my extremely oily hair and can actually go for 
longer than 24 hours without her hair getting crusty).  I always wanted 
curly hair... ::sigh::

Sarah
http://www.elizabethanlady.com
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] shirt ties/aiglets
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Date: Wed, 31 Jul 2002 20:23:56 +0100
Status: RO

OK, the details:

"Back issues of The Compleat Anachronist are available from The Office 
of the Registry, SCA Inc, PO Box 360789, Milpitas, CA 95036-0789".  No 
price is given for back issues, although it says 10 or more copies of 
one issue are available at a reduced rate.  The one you want is no. 108, 
"Fingerloop Braids" by Lois Swales and Zoe Kuhn Williams.

Let's see if I can describe it briefly without pictures.  It helps to 
start with a friend to move the loops for you, when you feel all tied 
up!

You need a minimum of 5 loops of yarn, all equal lengths and tied 
together at the open end.  I'd start with about 18 inches.  Tie the tied 
end to something solid.  Holding your hands with palms towards you, as 
if you were hugging a cushion to your chest, put a loop over each of 
fingers 3,4,5 (assuming your thumb is 1) of your left hand, and 3, 4 of 
your right.  Crook your fingers a bit so the loops don't slip off.  Now, 
each loop has two threads to it, top and bottom.  The patterning comes 
from whether you pick up the bottom or the top thread, and which order 
you pick them.

This is the very basic, plain version.  With finger 2 (and thumb, to 
help) of your right hand, reach through the loop on right 3 and pick up 
the loop from left 5, lifting it by the top thread.  Pull your hands 
apart, to "beat" the braid down, and bring them back in front of you 
again.  Now comes the tricky bit - you have loops on 2,3,4 right and 3, 
4 left.  You have to walk the loops down your right-hand fingers so they 
are on 3, 4, 5. Put the lower finger through the loop and then slip the 
higher finger out.  It's a knack, and this is where your friend comes 
in, to pick them up and put them back on your fingers when you drop 
them.

Now reach through the loop on left 3 to pick up the loop from right 5, 
pull apartand walk down your left hand.  Just keep picking up from your 
pinky to your opposite index finger, pull apart and walk the loops down.

Let me know how you get on!

Jean

Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote
>
>
>Kate Bunting
>Library, University of Derby
>
>>>> kat@grendal.rain.com 07/29/02 04:32pm >>>
>
>Aside from books stating "lucet was done during the
>>Renaissance", I've found no evidence for lucetting in the 16th
>>century anywhere. I've seen evidence for it in Viking times and in
>>Victorian times, but none in between. If you have such evidence, I
>>would *love* to see it as I really like lucetted cord. It is easy to
>>make in long quantities and much easier to set up than fingerloop
>>braid.
>
>Lucets are widely used over here by 17th cent. reenactors, but I don't 
>know on what authority other than the claims of the lucet manufacturer.
>I too would like to know more about fingerloop braid. I was shown how 
>to make cord on the fingers with 2 strands; the result is stretchier 
>than lucet cord.
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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-- 
Jean Waddie
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Subject: Re: [h-cost] Re: h-costume digest, Vol 1 #1128 - 12 msgs
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Date: Wed, 31 Jul 2002 20:32:09 +0100
Status: RO

Tasha McGann <demontsegur@yahoo.com> wrote
>Jean wrote:
>> I remember reading (and I think it was in that
>> "Compleat Anachronist")
>> that the tension is one of the ways they can tell a
>> piece of cord is
>> fingerloop - the technique means it is unavoidable
>> to have different
>> tension along the length of it, as it gets closer to
>> your fingers.  I
>> can manage reasonably even along about 2-2.5 feet,
>> but there's
>> definitely a difference (Also, I drop loops more
>> often as it gets
>> shorter and the tiny differences in length I started
>> with get more and
>> more exaggerated!)
>
>There is also the issue of muscle strength and
>concentration on spreading the bows, especially at the
>beginning of the braid. If you are maxing out the
>length of the loops for one person to manipulate alone
>(probably approaching 2 feet), you need to tirelessly
>extend your arms out in a "fly" movement (term from
>the gym). It's not only important to move the loops
>correctly from finger to finger for each step, but to
>properly pull on them with steady tension and
>spreading. If you don't have someone to beat it down,
>you're entirely reliant on the spreading of the loops
>after each movement. This can build some serious
>muscle!
>
>I find that if I pay careful attention to tension and
>spreading the bows/loops, I get a rather
>even-tensioned, consistent braid. My posterior
>deltoids protest a bit, though. <smile>
>
>Tasha
>
Hey!  Costuming as exercise, I like it!  However, I think I would have 
to find a way of jumping up and down at the same time, or my posterior 
something else will spread to make up for it :-)

Jean

-- 
Jean Waddie
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Wed, 31 Jul 2002 20:27:17 +0100
Status: RO

Chris Laning <claning@igc.org> wrote
>At 1:04 AM -0400 7/30/02, Mike T. wrote:
>>Hi, All. Tasha, it may be incorrect, at it is not my primary period of 
>>interest,
>>but I believe the Jorvik Viking  museum shows a tool that is 
>>conjectured to be a
>>lucet tool in it's collection. If this is correct, lucetting goes back to this
>>point, and so is possibly applicable to later periods, providing the practice
>>didn't die out and re-emerge later, which is always possible. I have done some
>>finger-loop braiding, but not having original textile fragments to compare, it
>>would be hard for me to say whether something was fingerloop braided or
>>lucetted, although a person doing both a lot would probably know better.
>
>Lucet cord's structure is pretty distinctive, and at least in its 
>simple form (i.e. the easy kind made with 2 loops) it's fairly easy to 
>recognize. It's basically a knitted tube composed of only 2 knit 
>stitches -- although of course it's not made on knitting needles, and 
>could well have been independently invented.
>
>Like other knitting, it can be stretchy or firm depending on what it's 
>made of. There are also, as people have mentioned, lots of fancy 
>versions, but I believe they also share the basic knitted structure, 
>though it may be harder to recognize.
>
>Fingerloop braids, on the other hand, are actually braided structures, 
>and usually look it. Some of the simple round or square fingerloop 
>braids look a lot like any other 8-, 12- or 16-stranded round braid; 
>their advantage is that they're a lot faster to work. There's an almost 
>infinite variety of more complex fingerloops braids too (flat, round, 
>square, rectangular, patterned...).
>
>I have a feeling that costumers and re-enactors may have latched onto 
>(pun intended) lucet braid as a standard technique years ago (when we 
>didn't know as much as we do now), as a plausible, sturdy, and 
>generally useful way to make lacings. I've had a number of people tell 
>me they love making lucet braid because it's one of the few things they 
>can do without looking at it constantly, while walking around, et 
>cetera. I believe it's only within the last five to ten years, as 
>people have paid attention to reconstructing and popularizing the 
>techniques, that we've become aware of just how much of the ordinary, 
>taken-for-granted cord and lacing in European costume was actually 
>fingerloop-braided.
>
>At 9:00 PM +0100 7/30/02, Jean Waddie wrote:
>>I remember reading (and I think it was in that "Compleat Anachronist") 
>>that the tension is one of the ways they can tell a piece of cord is 
>>fingerloop - the technique means it is unavoidable to have different 
>>tension along the length of it, as it gets closer to your fingers.  I 
>>can manage reasonably even along about 2-2.5 feet, but there's 
>>definitely a difference (Also, I drop loops more often as it gets 
>>shorter and the tiny differences in length I started with get more and 
>>more exaggerated!)
>
>Hmmmm. Well, I can testify -- as a sometime other half of Heather's 
>fingerloop-with-beating team -- that as far as I can tell, you get very 
>little variation in tension if you have one person braiding while the 
>person at the other end beats it down tight. I think we've produced a 
>couple of six-foot-or-so braids, which means we started out with about 
>eight feet of thread between us. (Better think of something interesting 
>to talk about, though, 'cause it takes awhile.)
>
This is, of course, the other problem - once you've started, you can't 
put it down.  Has anyone found a way of leaving it, hanging it up or 
pegging it on something?

Jean

>Speaking of fingerloop braiding, Noemi Spieser has, as the frontispiece 
>in her self-published book, a very nice black-and-white enlargement of 
>a detail of a rather obscure 1465 painting of the Virgin Mary from 
>Aragon, painted by Nicolás Zahortiga. It shows the Virgin and Child on 
>a high, gold throne, surrounded at the base by a host of female saints 
>employed in various domestic tasks (embroidering, winding yarn onto a 
>bobbin, etc.) Two in the foreground are clearly making a fingerloop 
>braid; one saint has the loops on her fingers while the other holds a 
>beater. (The saints' names are helpfully written on their haloes, but I 
>can't read them, since the scan that I have of it isn't very good.)
>
>The problems with short loops and uneven ends, OTOH, are right on.

-- 
Jean Waddie
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity of Lucets
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Date: Wed, 31 Jul 2002 12:44:02 -0700
Status: RO

You should write textbooks, if you don't already.  That whole blurt of 
esoteric scholarship was very clearly put.  I am visual and not verbally 
oriented (unless I have time to do major editing, like with e-mail), and I 
got every point on the first read.  Nicely done, lady.

Heather Rose Jones writes, in a message sent 09:29 AM 7/30/02 -0700:
>At 4:18 AM -0700 7/30/02, freyalyn wrote:
>>Teddy, you're quite right, I'll have to go home and check but I think I 
>>may find it harder that I thought. It's something I've "known" for so 
>>long I've forgotten where I've known it from.
>>
>>And again, like so many textile things in archaeology, who's going to 
>>keep a grotty old wooden tool when it's worn out - it's the sort of thing 
>>that gets chucked in the fire rather than the midden.
>
>On the other hand, we _do_ have direct evidence for other textile 
>techniques that became obsolete (or extremely rare and localized). Even if 
>we didn't have the enormous good luck of the surviving fingerloop-braiding 
>manuals, we have a lot of surviving cordage whose structure clearly 
>indicates that method of construction, as well as at least one medieval 
>painting showing the technique in progress. Art showing various handwork 
>techniques is not uncommon.  A large variety of handwork tools survive 
>from burials or casual survivals in archaeological sites.  A variety of 
>techniques are known only from chance survivals of the work itself.  The 
>context for "doubt based on the absence of evidence" is that _if_ 
>lucet-work were as common and as widespread as the claims for it indicate, 
>a complete lack of surviving examples of the work, or representations of 
>the work, calls almost for conspiracy rather than simple apathy.
>
>On the other side, there are handwork techniques that we know _only_ from 
>one or two highly localized chance survivals -- techniques that wouldn't 
>have been recoverable by logical reasoning or argumentation. But 
>conversely, one can argue logically for the plausibility of techniques 
>that we can be extremely certain of the start-dates for (crochet being a 
>good example).  What you end up with is a vast gap between techniques -- 
>no matter how unexpected -- for which we have direct evidence of historic 
>use; and techniques -- no matter how logical and plausible -- for which we 
>have no direct evidence of historic use.
>
>Heather
>--
>*****
>Heather Rose Jones
>hrjones@socrates.berkeley.edu
>*****
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Sausage curls & ringlets
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Date: Wed, 31 Jul 2002 12:45:43 -0700
Status: RO


>Can anyone please tell me how to make sausage curls and ringlets? Every 
>time I try them I end up with very loose curls or very frizzy hair.

Fake hair is period.  I have seen a photograph of a Victorian wig with them.


Kayta

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From: Barbara Wolff <bjwolff@facstaff.wisc.edu>
Subject: Re: [h-cost] Sausage curls & ringlets
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Date: Wed, 31 Jul 2002 15:06:52 -0600
Status: RO

May a confirmed lurker such as myself recommend a  perm? I believe 
they have been available (in one form or another, with varying 
results?) since the 1880s. I myself have fine, limp, shoulder-length 
hair that has been called to heel beautifully with a curly perm. 
Haven't tried sausage curls myself, but I have no doubt I could 
achieve them w/a curling iron...in permed hair, of course! Good luck ~

Barbara
-- 
Barbara Wolff
University Communications
University of Wisconsin-Madison
(608) 262-8292
bjwolff@facstaff.wisc.edu
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Subject: Re: [h-cost] Sausage curls & ringlets
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Date: Thu, 1 Aug 2002 09:48:40 +1200
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And just so you know everyone does have different needs;)
  2.  Dirty hair is the best to make any hairstyle.  All the Miss =
America contestants have dirty hair when one parade on TV at Atlanta =
City.
I find the opposite:) If my hair hasn't been washed it will not hold =
anything. The oils seem to counteract anything I put in my hair.
  5. Hair length:  shoulder length to shoulder blade length make great =
ringlets.  Any longer hair, the ringlets start to look like dreadlocks =
and they are likely to unwind near the scalp.
Again I respectfully disagree, my hair is nearly long enough to sit on =
and my ringlets are wonderful tight springy and full. All that hair =
curls so well that I have managed to have curls like a young Shirley =
Temple (you know close to the face and no longer than the base of the =
neck)

I use perm rods mostly and wear them over night. With minimal styling =
product, but with dampened hair. The best is just after it's been washed =
and partially dried. Not sopping wet or it will not dry even overnight =
or all day.

Otherwise pin curls, wrapping hair around a finger (or pencil for a =
tight curl) and pinning it to the head as a sausage shape, not flattened =
circle making sure the roll goes towards the hairline all the way around =
starting from the crown, you get lift from the scalp that way. Actually =
all curling methods should follow that pattern, it's the standard way to =
roll even hair rollers for body rather than curl. Unless of course you =
are after a pompadour where you roll towards the back of the head from =
the hairline

I used this for a show I was in as I needed to set my hair in the =
morning to get curls by night ("Hair in ringlets is a must, Real irish =
dancers have no bust"... a line I sang in the show so the curls were =
integral). This way I could walk around town without looking too odd. =
Just looked like Bubbles in the first episodes of AbFab. This way though =
I used some hairspray, nothing more though as I hate setting products in =
my hair. After having Brylcreme dust and matts put in my hair for =
various Xena stints 've become very fussy about keeping my hair product =
free. I lost several inches from that rough treatment and stress too of =
course;)

How you roll the hair makes a big difference too, if you twist it =
slightly you don't get ringlets but corkscrew curls.To get ringlets you =
need to make sure the hair is treated like a ribbon rather than a cord.

Umm.. I think
http://recital.tripod.com/costume/hannibal.htm shows curls achieved with =
the perm rod method (no perm solution) but not left on for as long as =
needed for actual ringlets.

michaela

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Dwindows-1252">
<META content=3D"MSHTML 6.00.2716.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>And just so you know everyone does have =
different=20
needs;)</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV>2.&nbsp; Dirty hair is the best to make any hairstyle.&nbsp; All =
the Miss=20
  America contestants have&nbsp;dirty hair when one parade on TV at =
Atlanta=20
  City.</DIV></BLOCKQUOTE>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>I find the opposite:) If my =
hair hasn't=20
been washed it will not hold anything. The oils seem to counteract =
anything I=20
put in my hair.</FONT></DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV>5. Hair length:&nbsp; shoulder length to shoulder blade length =
make great=20
  ringlets.&nbsp; Any longer hair, the ringlets start to look like =
dreadlocks=20
  and they are likely to unwind near the scalp.</DIV></BLOCKQUOTE>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>Again I respectfully =
disagree, my hair is=20
nearly long enough to sit on and my ringlets are wonderful tight springy =
and=20
full. All that hair curls so well that I have managed to have curls like =
a young=20
Shirley Temple (you know close to the face and no longer than the base =
of the=20
neck)</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>I use perm rods mostly and =
wear them over=20
night. With minimal styling product, but with dampened hair. The best is =
just=20
after it's been washed and partially dried. Not sopping wet or it will =
not dry=20
even overnight or all day.</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>Otherwise pin curls, wrapping =
hair around a=20
finger (or pencil for a tight curl)&nbsp;and pinning it to the head as a =
sausage=20
shape, not flattened circle making sure the roll goes towards the =
hairline all=20
the way around starting from the crown, you get lift from the scalp that =
way.=20
Actually all curling methods should follow that pattern, it's the =
standard way=20
to roll even hair rollers for body rather than curl. Unless of course =
you are=20
after a pompadour where you roll towards the back of the head from the=20
hairline</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>I used this for a show I was =
in as I needed=20
to set my hair in the morning to get curls by night ("Hair in ringlets =
is a=20
must, Real irish dancers have no bust"... a line I sang in the show so =
the curls=20
were integral). This way I could walk around town without looking too =
odd. Just=20
looked like Bubbles in the first episodes of AbFab. This way though I =
used some=20
hairspray, nothing more though as I hate setting products in my hair. =
After=20
having Brylcreme dust and matts put in my hair for various Xena stints =
've=20
become very fussy about keeping my hair product free. I lost several =
inches from=20
that rough treatment and stress too of course;)</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>How you roll the hair makes a =
big=20
difference too, if you twist it slightly you don't get ringlets but =
corkscrew=20
curls.To get ringlets you need to make sure the hair is treated like a =
ribbon=20
rather than a cord.</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>Umm.. I think</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2><A=20
href=3D"http://recital.tripod.com/costume/hannibal.htm">http://recital.tr=
ipod.com/costume/hannibal.htm</A>=20
shows curls achieved with the perm rod method (no perm solution) but not =
left on=20
for as long as needed for actual ringlets.</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial =
size=3D2>michaela</FONT></DIV></BODY></HTML>

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Date: Wed, 31 Jul 2002 18:27:45 -0400
Status: RO

I have long, fine, thick, straight hair. It laughs at perms. And haircuts.
It grows so fast that I would have to have it cut/colored every three weeks
in order to keep it styled. Therefore, most of the time I have what my
sister calls "hippie hair"--it's down to my waist, parted in the middle
(sometimes on the side) and it's own color of dark brown with lots of grey.
I color it red sometimes for fun. If I hate it, what the heck. It's hair,
it'll grow out.

Dianne
----- Original Message -----
From: "Barbara Wolff" <bjwolff@facstaff.wisc.edu>
To: <h-costume@indra.com>
Sent: Wednesday, July 31, 2002 5:06 PM
Subject: Re: [h-cost] Sausage curls & ringlets


> May a confirmed lurker such as myself recommend a  perm?

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From: Lynn Downward <lynnie1@pacbell.net>
Subject: Re: [h-cost] Re: shop and home economics
To: h-costume@indra.com
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Date: Wed, 31 Jul 2002 18:09:14 -0700
Status: RO

(Sorry for the delay in replying.  I was away and came home to over 1,000
emails.  I'm wading through as many as I can in three hour chunks of time
but can only get to the computer 2-3 times per week.)

I made a very simple apron with a bib for my first home ec project.  We
weren't allowed to use scissors so we had to tear the pieces.  It did,
however, teach us how important it was to use the grainlines.

For our second project we made a boat-necked pull-over shirt with inset
sleeves.  Mine was of a cotton fabric that I have recently seen in fabric
stores again.  I wore it until I grew 2" and it didn't fit anymore.

LynnD


----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Friday, July 19, 2002 11:04 PM
Subject: Re: [h-cost] Re: shop and home economics


> Did anyone make something in home ec that they could wear?  In my first
> class we made a jumper.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
>
>
>
>
>
> _______________________________________________
> h-costume mailing list
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Date: Wed, 31 Jul 2002 18:31:36 -0700
Status: RO


> >There is also the issue of muscle strength and
> >concentration on spreading the bows, especially at the
> >beginning of the braid. If you are maxing out the
> >length of the loops for one person to manipulate alone
> >(probably approaching 2 feet), you need to tirelessly
> >extend your arms out in a "fly" movement (term from
> >the gym). It's not only important to move the loops
> >correctly from finger to finger for each step, but to
> >properly pull on them with steady tension and
> >spreading. If you don't have someone to beat it down,
> >you're entirely reliant on the spreading of the loops
> >after each movement. This can build some serious
> >muscle!
> >I find that if I pay careful attention to tension and
> >spreading the bows/loops, I get a rather
> >even-tensioned, consistent braid. My posterior
> >deltoids protest a bit, though. <smile>
> >
> >Tasha
> >
> Hey!  Costuming as exercise, I like it!  However, I think I would have
> to find a way of jumping up and down at the same time, or my posterior
> something else will spread to make up for it :-)
> 
> Jean

I still remember watching Colleen/Cainder (as her beater) when she 
was doing a really long couple of pieces of fingerloop braid. 
However, it wasn't her deltoids she complained about after. Rather 
it was her leg muscles from the lunges when she would do the 
bow. We figured out that the rhythm which seemed to work best 
was to a Strauss waltz!


Kat Russell
<kat@grendal.rain.com>
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From h-costume-admin@indra.com  Wed Jul 31 21:40:37 2002
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Subject: Re: [h-cost] Re: shirt ties/aiglets; length of fingerloop braids
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Date: Wed, 31 Jul 2002 18:31:36 -0700
Status: RO


> >Hmmmm. Well, I can testify -- as a sometime other half of Heather's
> >fingerloop-with-beating team -- that as far as I can tell, you get
> >very little variation in tension if you have one person braiding
> >while the person at the other end beats it down tight. I think we've
> >produced a couple of six-foot-or-so braids, which means we started
> >out with about eight feet of thread between us. (Better think of
> >something interesting to talk about, though, 'cause it takes awhile.)
> >
> This is, of course, the other problem - once you've started, you can't
> put it down.  Has anyone found a way of leaving it, hanging it up or
> pegging it on something?
> 
> Jean


When I was first practicing on fingerloop braiding (before I got faster 
at it), I was in the car as a passenger on the way home from 
Estrella War (a 2 day drive for us, even driving through the first 
night). If we had a stop (which was required and couldn't be 
coordinated with my loops being finished), I carefully pinned them 
to a pillow, then made sure that I picked up the loops the same 
way I put them down. It seemed to work very well. Then later, when 
I started doing really long loops using fine silk thread and couldn't 
wait a minute longer, I did the same. It seemed to work fairly well. 
Of course, I couldn't leave them for very long (like overnight) but 
then, I have 3 very curious string loving cats. ;)


Kat Russell
<kat@grendal.rain.com>
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Subject: [h-cost] Wedding dress of the Progressive/Aesthetic period
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Date: Wed, 31 Jul 2002 18:30:52 -0700
Status: RO

Um, I posted a question with this same subject header about two weeks ago 
and, well, I never got any replies. Not even one that said "nope, sorry, 
doesn't ring any bells". I'm wondering if it never got posted. If that's 
what happened, or if it got missed somehow, I'll repost it, but I don't 
want to do that if it was seen but basically ignored.

So what do I do now?

By the way, has anyone had any progress with getting the Revolution In 
Fashion book from the Kyoto Costume Institute?

Julie


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Date: Tue, 30 Jul 2002 14:31:06 -0500
Status: RO


> 
> I believe your aunt's story. I know Bernina still makes treadle machines
> for sale in "developing" nations. Of course, they are purely mechanical,
> not computerized machines.

  Singer does still make treadle sewing machines.  They are offered in the Lohemann's catalog for non-electric living.  They are rather expensive.  My 1916 White was a quarter of the price and has a much nicer cabinet.  Singer probably is the best way to go however if you intend to use an antique.  Parts are far easier to come by.  (Luckily the Singer belts fit the white!).

Cheers,
Ron

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Wedding dress of the Progressive/Aesthetic period
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Date: Wed, 31 Jul 2002 20:47:33 -0500 (CDT)
Status: RO


On Wed, 31 Jul 2002 Kiloran@worldnet.att.net wrote:

> Um, I posted a question with this same subject header about two weeks
> ago and, well, I never got any replies. Not even one that said "nope,
> sorry, doesn't ring any bells". I'm wondering if it never got posted.
> If that's what happened, or if it got missed somehow, I'll repost it,
> but I don't want to do that if it was seen but basically ignored.

I saw it, but didn't answer because I had no answer. I wouldn't take the
lack of response personally. I don't generally post a "Sorry, I don't
know" message to questions that are outside my area, or I'd be filling
people's mailboxes every day with "Sorry, I don't know." I think people
would get heartily annoyed with me ;-) If people don't answer, you can bet
that the ones reading at the time just didn't know. And when that happens,
I don't think anyone minds if you try again some time later, when maybe
you get a different mix of readers.

I don't know what your specific question was, but I do know that all I
know about this fashion movement is what's in Stella Mary Newton's book.
Perhaps there will be leads for you in there, but I figure anyone
interested in the Aesthetic movement probably has the obvious sources
already!

(The period is recent enough that you might find some microfilmed or
archived fashion magazines in a good library. Or at a place like FIT if
you're in NYC.)

--Robin


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From h-costume-admin@indra.com  Wed Jul 31 22:33:15 2002
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Subject: RE: [h-cost] Wedding dress of the Progressive/Aesthetic period
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Date: Wed, 31 Jul 2002 22:21:34 -0300
Status: RO



By the way, has anyone had any progress with getting the Revolution In
Fashion book from the Kyoto Costume Institute?

Julie



Dear Julie

I ordered the Revolution in Fashion from Kyoto through their web site and
it's now sitting happily on my shelf.  I was especially pleased to see that
it's all in English, since my other two Kyoto books are mostly Japanese.  It
came to me via an expediter in California who billed me and accepted my
check.  What a lovely book!

Martha



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From h-costume-admin@indra.com  Wed Jul 31 22:50:14 2002
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Subject: [h-cost] Reform or Aesthetic Dress
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Date: Wed, 31 Jul 2002 19:37:47 -0700
Status: RO

Have you looked at the La Mode Bagatelle Aesthetic Reform Tea Gown Pattern?
I know some people have used it as a wedding dress.  It's based roughly on
garments in the V&A and other museums.



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From h-costume-admin@indra.com  Thu Aug  1 02:10:57 2002
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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: Manessische Liederhandschrift, was Re: [h-cost] Medieval cross-dressing?
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Date: Wed, 31 Jul 2002 23:06:11 -0700
Status: RO

The new one seems to have all the plates, 137 or so.  Info:  Codes Manesse:
Die Miniaturen der Grossen Heidelberger Liederhandschrift

Herausgegeben und erlaeutert von Ingo F. Walther unter Mitarbeit von Gisela
Siebert Insel

Sechste Auflage 2001 copyright Insel Verlag Frankfurt am Main 1988, Alle
Rechte vorbehalten, Druck: Aprinta, Wemding Printed in Germany.  I paid $30
for it when I picked it up from Master Terafan Gredragon while visiting him
in Stuttgart.

Try this link

http://www.amazon.de/exec/obidos/search-handle-form/ref=sr_sp_go_qs/302-5453
223-3768035

The book pictured is the one I have and it is hard bound, and full "book"
size.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of leigh tartaglio
Sent: Monday, July 29, 2002 9:47 PM
To: h-costume@indra.com
Subject: Re: Manessische Liederhandschrift, was Re: [h-cost] Medieval
cross-dressing?


Hi. I only have the copy printed in 1953, which only has eighteen plates. If
the
new one has more illos, I am interested. Could you post the info, please?
Mike
T.



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From h-costume-admin@indra.com  Thu Aug  1 02:12:24 2002
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: RE: [h-cost] OT: Dual-Power Singers?
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Date: Wed, 31 Jul 2002 23:03:53 -0700
Status: RO


>
>  Singer does still make treadle sewing machines.  They are offered in the
Lohemann's catalog for non-electric living.  They are rather expensive. 

If these are the ones that look just like an antique treadle machine, watch
out!  I was selling Singers at the time, about ten years ago, that the
replica" treadle models were being introduced.  My sales manager told me
that they were being made with the lowest quality parts and engineering, as
they were aimed at the "country decorating" crowd, with the expectation
that they would only occasionally be sewn on. 

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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