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Subject: [h-cost] Online Costume Ball 2002
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Date: Tue, 1 Oct 2002 07:17:49 -0400
Status: RO

YIPPEEE!!!!!!!!  The 5th Online Costume Ball is open!!!!!!!
www.onlinecostumeball.com  To get to this year's Ball click on 2002 from the
bottom menu. (I haven't added the link to the large image yet) The first 15
guests are up on the Ball.  I will add some more guests this evening.
Please make sure to read some of the costume notes or links to websites with
more information/construction notes about some of the costumes.

The first guest was awarded this position for being so creative... it is
h-costume's Kate Pinner's daughter bubble-wrap prom dress.  Make sure to
read the construction notes that Kate provided.  This is the only guest that
I have ever revealed their identity... but mother and daughter deserve some
recognition.  APPLAUSE!!!

There are a couple of other noteworthy things to not miss... There is a
secret about Queen Elizabeth (figure out that mystery) and the Star Wars
R2D2 is functional and is home-made.  Gosh, I want an operational R2D2.

I hope you all have fun with this year's Ball!!!!!!!

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


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From h-costume-admin@indra.com  Tue Oct  1 08:59:29 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Online Costume Ball 2002
To: h-costume@indra.com
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Date: Tue, 1 Oct 2002 13:59:22 +0100 (BST)
Status: RO

Uhm, Penny, I can't find it? There is no link to the 2002 one?

Nicole

 --- Penny Ladnier <penny@costumegallery.com> wrote: > YIPPEEE!!!!!!!!  The 5th
Online Costume Ball is open!!!!!!!
> www.onlinecostumeball.com  To get to this year's Ball click on 2002 from the
> bottom menu. (I haven't added the link to the large image yet) The first 15
> guests are up on the Ball.  I will add some more guests this evening.
> Please make sure to read some of the costume notes or links to websites with
> more information/construction notes about some of the costumes.
> 
> The first guest was awarded this position for being so creative... it is
> h-costume's Kate Pinner's daughter bubble-wrap prom dress.  Make sure to
> read the construction notes that Kate provided.  This is the only guest that
> I have ever revealed their identity... but mother and daughter deserve some
> recognition.  APPLAUSE!!!
> 
> There are a couple of other noteworthy things to not miss... There is a
> secret about Queen Elizabeth (figure out that mystery) and the Star Wars
> R2D2 is functional and is home-made.  Gosh, I want an operational R2D2.
> 
> I hope you all have fun with this year's Ball!!!!!!!
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
> 
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
> (http://www.plugit.com)]
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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

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From h-costume-admin@indra.com  Tue Oct  1 09:03:13 2002
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Subject: Re: [h-cost] Online Costume Ball 2002
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Date: Tue, 1 Oct 2002 14:03:16 +0100 (BST)
Status: RO

Oooops!! Sorry, he link was on the bottom, I tried finding it in the clickable
map. *SAG*

Nicole
 
--- Penny Ladnier <penny@costumegallery.com> wrote: > YIPPEEE!!!!!!!!  The 5th 


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

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From h-costume-admin@indra.com  Tue Oct  1 09:08:14 2002
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Subject: Re: [h-cost] Online Costume Ball 2002
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Date: Tue, 1 Oct 2002 09:08:05 -0400
Status: RO

I haven't had time to make the one for the clickable map yet.  Make your
confusion Nicole..... which one is not you on the Ball!

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

----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 01, 2002 9:03 AM
Subject: Re: [h-cost] Online Costume Ball 2002


> Oooops!! Sorry, he link was on the bottom, I tried finding it in the
clickable
> map. *SAG*
>
> Nicole
>
> --- Penny Ladnier <penny@costumegallery.com> wrote: > YIPPEEE!!!!!!!!  The
5th
>
>
> =====
> Nicole Kipar M.A.
> L'Age d'Or & Kirke's Lambs
> Civilian & Military  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
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>


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From h-costume-admin@indra.com  Tue Oct  1 09:34:24 2002
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Date: Tue, 1 Oct 2002 06:35:05 -0700 (PDT)
Status: RO

Thanks for the long post on travel lag and I'll
explain what I'm up to also.  The museum where I
volunteer has an educational kit they loan out to
schools on the history of the county they're in.  This
requires complete male and female outfits from the
1840s when the first settlers arrive in the county. 
We didn't get a  railroad anywhere near here until the
1850s.  The oldest photos the museum has provedence
for are from the 1850s (I do have Dressed for the
Photographer and love it, also Who Wore What as it
goes into the age lag).  Many of the towns in the
county weren't incorporated until the 1860-1870s,
although you can get some idea of the population
through checking the church histories as there were
churches wherever there were people around here and
the chuches are usually older than the towns.
     I know from my reading of diaries and other
contemporary writings that women tried to stay up to
date with the latest fashions but our county seems to
have pretty rough and out-of-touch until the railroad
came through.  The other two activities I need
clothing for are a work and play kit,work dress and
fancy dress, both male and female, and items to go
with the displays.  All the clothing needs to be sized
with extra large armscyes because the children are
supposed to be able to dress up in the items.  Usually
just putting out adult clothing works but the small
armscye of this timeframe and further along into the
century keeps getting ripped out so I need to figure
out adjustments for our seamstresses.
     Are there any really good books or sites dealing
with the 1840s out there? Pattern recommendations?  I
can alter but I can't draft and the museum doesn't
have any original clothing that old.  Our curator also
wants corsets and undergarments for the loan out kits
so the kids can see how much clothing women actually
used to wear to be appropriately dressed.  I have
someone willing to do the embroidery but I need
patterns for that era's embroidery too.
                             Cassandra (who onoce
promised herself to never have more than 3 quilts and
3 garments in process at any one time.  This list is
dangerous as I love following everyone else's projects
too.)



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Date: Tue, 1 Oct 2002 08:40:24 -0500 (CDT)
Status: RO


On Tue, 1 Oct 2002, Penny Ladnier wrote:

> The first guest was awarded this position for being so creative... it
> is h-costume's Kate Pinner's daughter bubble-wrap prom dress.  Make
> sure to read the construction notes that Kate provided.  This is the
> only guest that I have ever revealed their identity... but mother and
> daughter deserve some recognition.  APPLAUSE!!!

Golly, but that's a pretty dress! I couldn't have imagined how well that
would turn out.

> There are a couple of other noteworthy things to not miss... There is
> a secret about Queen Elizabeth (figure out that mystery)...

I'm guessing she is a he?

Now I want to know who everyone is. Don't be shy, folks. Tell us which are
yours. Who is the geisha?

Penny: This took a long time to load ... could it be the animation in the
back that slows it down so much?

--Robin

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Date: Tue, 1 Oct 2002 09:30:05 -0400
Status: RO


> Have you tried
>
> http://www.trimfabric.com/
>
Thank you (I think) for posting this link.  They do have some nice wools at
good prices.  Of course, I didn't need any wool particularly, and now I have
17 yards coming.....

Janet

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Subject: [h-cost] Online Ball access problem
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Date: Tue, 01 Oct 2002 09:18:06 -0500
Status: RO

Hi Penny,

It is impossible to access your 2002 costume ball with Netscape 6.2.... I am not sure 
about other Mozilla based programs.

I did access it fine with Internet Explorer... but since I do not use it because of how 
easy it is to pick up unwanted germs through it, I only attempt it when forced to... :D

Maybe it has something to do with the Java script "cookie" thing? In Netscape I disabled 
all cookies and it did not ask me for one when I entered the costume ball area, but then 
again it also did not allow me to access 2002 on the bottom menu either.. you click on it 
and nothing happens. Just thought I would pass this on.
-- 
Linda Thompson

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

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Subject: Re: [h-cost] Online Costume Ball 2002
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Date: Tue, 1 Oct 2002 15:21:39 +0100 (BST)
Status: RO

 --- Penny Ladnier <penny@costumegallery.com> wrote: > I haven't had time to
make the one for the clickable map yet.  Make your
> confusion Nicole..... which one is not you on the Ball!

Yes I know.. but as you know I am busier than hell, I've GOT to get this PhD
application out or I can forget about the funding from staff development. I
sent the piccie off though today! At last, hehe.

I loved the star wars entry, this chap really looks like thingami! (names..
names.... but you know, the long haired one).

Nicole

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

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Date: Tue, 1 Oct 2002 09:47:13 -0500
Status: RO

It works fine in Opera and Netscape 7.  (Even better, the stars don't 
flash in 7.)

-Magdalena 
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Date: Tue, 01 Oct 2002 08:54:21 -0600
Status: RO

Oooooh, dawgie! It's a darned good thing I don't have my credit card
handy, or I'd be much poorer in dollars, and much richer in wool stash!
--Sue, reminding herself, once again, that she's on a *BUDGET*, dang it!
(also wondering where in the heck the "ooh, dawgie" came from....;-P)

Janet Davis wrote:
> 
> > Have you tried
> >
> > http://www.trimfabric.com/
> >
> Thank you (I think) for posting this link.  They do have some nice wools at
> good prices.  Of course, I didn't need any wool particularly, and now I have
> 17 yards coming.....
> 
> Janet
> 
> _______________________________________________
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Date: Tue, 1 Oct 2002 17:14:25 +0200
Status: RO

Hi Carolann

Thanks for your input with the banyan. So if i have understanded this right,
it is a sort of winter wear like we use a coat.
Something i can use to take over my gentlemans suit.
It would be very nice trimmed with some kind of fur i think, and then made
up in silk taffeta lined with another quilted taffeta, wich i do myself.
Then i could be ready for the autumn next year.
Thanks for your informations

Bjarne


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 1 Oct 2002 17:20:49 +0200
Status: RO

Hi there.
Today was very expensive for my purse. Baught a weather station for Leif
(birthsday pressent) and
A DIGITAL CAMERA FOR ME!!!!!!!!!!!!!!!AAAAAAAAAArgh.
But i hate when i have to read a lot of stuff before i can do anything with
it.

Bjarne


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Subject: Re: [h-cost] Banyard
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Date: Tue, 1 Oct 2002 17:22:09 +0200
Status: RO

Dear Mara.

Yes, you are right, it is called a banyan.
Thanks for correkting me

Bjarne
----- Original Message -----
From: "Kevin & Mara Riley" <lindo@Radix.Net>
To: <h-costume@indra.com>
Sent: Monday, September 30, 2002 9:32 PM
Subject: Re: [h-cost] Banyard


> Could this be a 'Banyan', Bjarne?  They're a sort of 18th c. man's
> dressing gown.
>
> Cheers,
> Mara
>
>
> On Mon, 30 Sep 2002, Bjarne og Leif Drews wrote:
>
> > Hello.
> > Dont know if i spelled this name correct. It is a mans overgarment 18th.
> > century. Banyard
> > I heard there should be a cutting diagram in an old issue of "Costume"
(the
> > costume society, England)
> > Does anybody have this? Would you please tell me wich number it is so
that i
> > could look for it at the library?
> > I was looking at a portrait of James Boswell. He is wearing such a
garment
> > trimmed with fur.
> > I surely would like to make such an attire for my embroidered suit, if i
go
> > to Stockholm in the autumn, it would be lovely warm.
> > Thanks
> > Bjarne
> >
> >
> >
> > _______________________________________________
> > 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  Tue Oct  1 11:41:01 2002
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Subject: Re: [h-cost] RE: Banyans
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Date: Tue, 1 Oct 2002 10:35:17 -0500
Status: RO

I could be mistaken, but I was under the impression that a banyan was a
sort of dressing gown or casual 'at home' wear. I understood that a
matching turban/fez sort of cap was worn because the formal wig was not
worn with the banyan. In "The Guide to Historic Costume" by Karen
Baclawski the entry for 'banyan' cross references 'nightgown' and a
pertinent part of the 'nightgown' entry reads:

During the eighteenth century, nightgowns were referred to as 'banyans'
and it is difficult to make hard and fast distinctions between the two
terms. The word 'banyan' comes from India. Some banyans were made of
Indian cottons, others of Scotch plaids. 

Another part of the entry reads:

In the mid-seventeenth century, nightgowns were usually t-shaped or
kimono-like garments, with wide sleeves, made from woolen cloth or
imported silks. At this time, these informal garments became fashionable;
they were considered exotic and were often called 'Indian gowns'. They
were worn with a 'nightcap' in place of a more formal doublet or coat by
a man relaxing at home or receiving visitors. 

Hope this helps to clarify your design ideas!


Karen

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Date: Tue, 1 Oct 2002 11:47:02 EDT
Status: RO

In a message dated 9/30/02 9:45:38 PM Eastern Daylight Time, 
cschmitt@genteelarts.com writes:

<< and it is the gaudiest thing
 imaginable! >>

I know! Isn't it wild, these 18 & 19th century things? But if you think about 
it, they don't have the range of dyes and the flexibility of color we have 
today [although' they do have a huge range of colors] so things can't be as 
"matchy-matchy" as we do things today. You can see this also in interior 
design. There's also in the 1870s or so a theory of color involving contrast 
rather than harmony.

Me? I love dangerous color combinations.
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Date: Tue, 1 Oct 2002 11:53:35 EDT
Status: RO

In a message dated 10/1/02 11:23:45 AM Eastern Daylight Time, 
drewscph@post12.tele.dk writes:

<< Could this be a 'Banyan', Bjarne?  They're a sort of 18th c. man's
 > dressing gown. >>

I just wanted to point out that a Banyan is "Undress" as opposed to "Dress". 
This doesn't mean you only wear it in the privacy of your room. but at 
home.....to be seen by visitors, not necessarily hidden away. It's just 
depicted in portraits and other illustrations too much. It's not a bath robe, 
really. But you'd never wear it out.

Derived from Indian clothing....which sorta accounts for the bright colors.
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Date: Tue, 01 Oct 2002 17:10:37 +0100
Status: RO

AlbertCat wrote:

Kate Bunting
Library, University of Derby

>>>  There's also in the 1870s or so a theory of color involving contrast 
>rather than harmony.
>Me? I love dangerous color combinations

I love contrasting colours too, especially deep violet/blue with cream or lemon yellow.




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Date: Tue, 01 Oct 2002 12:15:57 -0400
Status: RO

At 05:14 PM 10/1/02 +0200, you wrote:
>Hi Carolann
>
>Thanks for your input with the banyan. So if i have understanded this right,
>it is a sort of winter wear like we use a coat.
>Something i can use to take over my gentlemans suit.
>It would be very nice trimmed with some kind of fur i think, and then made
>up in silk taffeta lined with another quilted taffeta, wich i do myself.
>Then i could be ready for the autumn next year.
>Thanks for your informations
>
>Bjarne
>
>
   A banyan is NOT a winter coat, and most are to light weight for this sort
of use.  A banyan is usually a robe like garment (though the one mentioned
earlier that Mr. Hutter made is quite like a coat).  Banyan's are used in
very informal occasions in place of the caot itself (over the small
clothes).  examples would be around the house, or outside if one is not
intending to conduct business.  

    Banyans are frequently worn with negligee caps, and are often seen in
portraits, particularly those of scholarly types.  Many look almost middle
eastern (...but it's turkish!).

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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Subject: Re: [h-cost] Regency & beyond
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Date: Tue, 1 Oct 2002 11:00:11 -0700
Status: RO


----- Original Message -----
From: "Kevin & Mara Riley" <lindo@radix.net>
To: <h-costume@indra.com>
Sent: Monday, September 30, 2002 11:57 AM
Subject: Re: [h-cost] Regency & beyond


> Past Patterns has an (American) mill worker's dress for the 1830s, too,
> as well as a dressier 1830s gown:
>
> http://www.pastpatterns.com/1830.html
>
> -- Mara

Thanks Mara.  You are always jumping in to help, theatrically speaking, and
I so appreciate it.  Kendra too. It would appear that ladies dressed pretty
well to work in factories and such. Not at all the equivalent of jeans and a
tee shirt we might see today.  The factory scenes are in 1813, so the shape
would be different but the level of dress would be the same. I think I'll
get my copy of the book and see what kind of factory it is supposed to be.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"O! Swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable."
W. Shakespeare


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Subject: [h-cost] Elizabeth Vernon Pic?
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Date: Tue, 1 Oct 2002 15:20:18 -0400 (EDT)
Status: RO

Dear List,

I recall that someone, a while back, posted a really great color close-up
of Elizabeth Vernon (the countess of Southhampton) in her pink stays,
during a discussion about jacobean jackets.  Does anyone recall the URL
that the pic was put up at?

Thanks,

Drea

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Date: Tue, 1 Oct 2002 21:37:41 +0200
Status: RO

Hello all you very helpfull people out there.
Thank You all so much for correkting me here.
(Blushing all over) I have really made a fool of myself have i not!!!
I was compleatly tricked because i thoaght when a garment was fur trimmed it
would be for outdoor wear.
But of cause you are right. It was very cold inside two, and i was tricked,
didnt think so much about that (used to central heating :-))
Another picture tricked me, from Dress in Eighteenth Century Europe. There
is a picture on page 126 and i thoaght they were banyan's but they are
Greatcoats.
Well such a Greatcoat, could that not have ben cut similar way? It looks as
if it is t-shaped. But i dont know.
Dont know much about mens wear besides from Jacket, waistcoat, Shirt and
Bretches, but i am still learning.
But there is a cut of a Greatcoat in "Cut of Men's Clothes"
Surely i could trim a Greatcoat with Fur two?
It is because i really would like to try to make something with Fur.
Still blushing..............

Bjarne


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Date: Tue, 1 Oct 2002 13:01:11 -0700 (PDT)
Status: RO

Penny,
    I was happily scrolling through the on-line ball
pics when I got to group 4 and kept getting the 404
error.  Are these not there then?  I tried using the
next arrow and when that didn't work I skipped to the
other groups and got the same error.  I haven't seen
Teddy yet :(
                      Cassandra (who hates being awake
in what is the middle of my night, graveyard shift
worker ;)  )

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Date: Tue, 1 Oct 2002 16:15:02 -0400
Status: RO

What may have happened is that the site was busy and got bogged down.  I
will check with my host.  They are supposed to be putting my sites on other
servers to handle the Halloween high visitation.  What speed of modem are
you using?

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

----- Original Message -----
From: "Cascio Michael" <rosenau5@yahoo.com>
To: <h-costume@net.indra.com>
Sent: Tuesday, October 01, 2002 4:01 PM
Subject: [h-cost] help Penny


> Penny,
>     I was happily scrolling through the on-line ball
> pics when I got to group 4 and kept getting the 404
> error.  Are these not there then?  I tried using the
> next arrow and when that didn't work I skipped to the
> other groups and got the same error.  I haven't seen
> Teddy yet :(
>                       Cassandra (who hates being awake
> in what is the middle of my night, graveyard shift
> worker ;)  )
>
> __________________________________________________
> Do you Yahoo!?
> New DSL Internet Access from SBC & Yahoo!
> http://sbc.yahoo.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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(http://www.plugit.com)]
>
>


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Date: Tue, 01 Oct 2002 13:32:52 -0700
Status: RO

Oh yes!  Five years ago,a woman friend was trying to convince me that she had
the "perfect" man for me to meet. Her most convincing statement was that he
owned Textiles in America and had a fabric stash almost as big as mine!  We
decided to marry after our third meeting and it would probably be a good idea
if we added another room to the house, or rented a warehouse for the combined
stash!

Shea

Kevin & Mara Riley <lindo@radix.net> wrote:
> It IS yummy -- the book is about an inch and a half thick and jam-packed
> with color plates of 18th c. textiles of all kinds, from upholstery to
> clothing to trim, along with definitions of various fabric types, and
> information about their history and usage.  I believe it was originally
> published by Wintherthur...  it's more or less THE bible of 18th c.
> fabric.  


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Subject: Re: [h-cost] Online Ball access problem
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Date: Tue, 1 Oct 2002 16:42:06 -0400
Status: RO

Linda,

Thank you for checking and letting me know about the problems and in which
browser.  My tech guys are checking into the problem in Netscape browsers.
I'll let you know when they get it fixed.

With the Ball the front page is set in images maps and they followed
coordinates, so the webpage needs to maximized for them to work correctly.
I refuse to use cookies on my websites.  The only place you will see them is
when students are logging into the classrooms.  Their only purpose are to
track who is going into the classrooms.

I'll be back with you in a while when the Netscape problem is fixed.

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


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Subject: machine quilted Regency (was Re: [h-cost] RE: Banyans
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Date: Tue, 01 Oct 2002 13:23:20 -0700
Status: RO


>The lining is machine quilted to a thin wool interlining with shocking pink
>thread.  The lapels, cuffs and pocket flaps are another (fifth) shade of
>green and are also machine quilted in shocking pink!

Just to check my time-line here, how are they machine quilted?  When were 
sewing machines invented?


Kayta

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Date: Tue, 01 Oct 2002 13:36:05 -0700
Status: RO


><< Could this be a 'Banyan', Bjarne?  They're a sort of 18th c. man's
>  > dressing gown. >>
>
>I just wanted to point out that a Banyan is "Undress" as opposed to "Dress".
>This doesn't mean you only wear it in the privacy of your room. but at
>home.....to be seen by visitors, not necessarily hidden away. It's just
>depicted in portraits and other illustrations too much. It's not a bath robe,
>really. But you'd never wear it out.

There was a semi-Regency event hereabouts, called the Cyprians' Ball and 
supposedly set in a brothel, and my friend and I wore banyans and caps to 
that, over trousers, shirts, and waistcoats.  It seemed appropriate, and 
neither of us has a proper period coat yet.

Kayta

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Date: Tue, 01 Oct 2002 13:40:05 -0700
Status: RO


>Thank You all so much for correkting me here.
>(Blushing all over) I have really made a fool of myself have i not!!!

No need to blush, and no need to think you have made a fool of 
yourself.  Every time I think that I know everything, life hits me on the 
head and tells me that I don't.  "Oops" happens to us all.  No problem.

Kayta

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Date: Tue, 1 Oct 2002 16:47:43 -0400
Status: RO

Yes, Robin... you are so bright!!!!!!  She is a he!  But it is not Teddy.
He hasn't sent a photo yet.  Does anyone have his personal email address, so
I can remind him?

I will give you a hint on the Geisha... she is on h-costume!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com
http://www.onlinecostumeball.com
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "h-costume" <h-costume@indra.com>
Sent: Tuesday, October 01, 2002 9:40 AM
Subject: Re: [h-cost] Online Costume Ball 2002


>
> On Tue, 1 Oct 2002, Penny Ladnier wrote:
>
> > The first guest was awarded this position for being so creative... it
> > is h-costume's Kate Pinner's daughter bubble-wrap prom dress.  Make
> > sure to read the construction notes that Kate provided.  This is the
> > only guest that I have ever revealed their identity... but mother and
> > daughter deserve some recognition.  APPLAUSE!!!
>
> Golly, but that's a pretty dress! I couldn't have imagined how well that
> would turn out.
>
> > There are a couple of other noteworthy things to not miss... There is
> > a secret about Queen Elizabeth (figure out that mystery)...
>
> I'm guessing she is a he?
>
> Now I want to know who everyone is. Don't be shy, folks. Tell us which are
> yours. Who is the geisha?
>
> Penny: This took a long time to load ... could it be the animation in the
> back that slows it down so much?
>
> --Robin



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Date: Tue, 01 Oct 2002 13:50:53 -0700
Status: RO





>I've ordered from them twice. Very satisfied both times.
>They've got the best price I've found on Venice lace.
>
>Sheryl Nance-Durst
>
>At 02:55 PM 9/30/02 -0400, you wrote:
>>Have you tried
>>
>>http://www.trimfabric.com/

http://www.cheaptrims.com

They have great prices on venice lace trims!!  You have to buy the whole 
roll/spool, but you get it for pennies on the dollar.  Appliques and other 
trims too.  Anything from 1/2" to full fabric widths and I've been thrilled 
with quality of everything I've ordered. (3 seperate times!!)
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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Date: Tue, 01 Oct 2002 16:26:58 -0500
Status: RO

Goody! Now we get to see lots more yummy pics of your stuff, right?!?
Read fast! <grin>

Sheryl Nance-Durst

At 05:20 PM 10/1/02 +0200, you wrote:
>Hi there.
>Today was very expensive for my purse. Baught a weather station for Leif
>(birthsday pressent) and
>A DIGITAL CAMERA FOR ME!!!!!!!!!!!!!!!AAAAAAAAAArgh.
>But i hate when i have to read a lot of stuff before i can do anything with
>it.
>
>Bjarne
>
>
>_______________________________________________
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Date: Tue, 01 Oct 2002 16:36:15 -0500
Status: RO


>Now I want to know who everyone is. Don't be shy, folks. Tell us which are
>yours. Who is the geisha?
--Robin


That would be me. Last year's Halloween costume. I learned how hard it
was to tie an obi by yourself!
I'm looking forward to this year - I'm doing an Ionic chiton with a small
hymation.

Sheryl Nance-Durst


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Date: Tue, 1 Oct 2002 23:40:20 +0200
Status: RO

Thanks Kayta

It was also the portrait of James Boswell. He is sitting outside with an owl
staring at him from a tree, wich made me wonder.

Bjarne

No need to blush, and no need to think you have made a fool of
yourself.  Every time I think that I know everything, life hits me on the
head and tells me that I don't.  "Oops" happens to us all.  No problem.

Kayta




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Subject: RE: machine quilted Regency (was Re: [h-cost] RE: Banyans
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Date: Tue, 1 Oct 2002 18:07:53 -0400
Status: RO

Machine quilted in a diamond pattern. The diamonds measure 1.25 inches from
top to bottom and 1.125 inches from side to side; 14 stitches/inch.

Howe is given credit for the first sewing machine in 1846, although there
are earlier examples that were not widely produced.  Sewing machines are
relatively common for home use by the mid-1850s.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com

>Just to check my time-line here, how are they machine quilted?  When were
sewing machines invented?




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Date: Tue, 01 Oct 2002 18:20:01 -0500
Status: RO

Robin Netherton wrote:
> 
> You folks are a really bad influence. I promised myself I'd get some work
> done tonight

Yeah, me too!

> First: Melanie posted a couple of images from King Rene, and added:
> 
> > Thanks actually go to Andra Keller, who made me free of her and her
> > husband's astonishing library and who pointed out all sorts of
> > fascinating tidbits about this time period, including this series of
> > images.
> 
> As an extra footnote here, I believe it was me who led Andra (and a bunch
> of other people) to these particular images, when I spoke about them in my
> lecture on the V-necked gown style at the SCA's KWCS in 2000.

My deepest apologies.  That was the one lecture I didn't get to at that
conference that I really wanted to attend.  And it is quite likely that
Andra mentioned the source and I forgot it.  I also don't remember your
previous post to the list, for whatever reason.  Again, I apologize.
 
> Melanie provided some. I don't have the tapestry she referred to

I threw her in under the Rene images here http://www.faucet.net/costume/shortsleeves.html
>From a skim of the text, this figure could be Nature (or a Virtue or
Vice, but almost certainly allegorical).  She appears in two tapestries.
 You can see the label fairly well on the second closeup--can anyone
confirm or deny the "Nature" allegation?  It's not clear to me what it
says, but it _could_ be Natura.

> Yes, that's the Archer's Festival by the Master van Frankfort, about 1493,
> in the Antwerp Musee des Beaux-arts.

Yay!  I'm not crazy!

> OK, now I have to add all this into the lecture...

Happy to provide grist for the ever-turning mill of your intellect.  ;)

Melanie Schuessler
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Pin-on sleeves and more
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Date: Tue, 1 Oct 2002 17:49:28 -0500 (CDT)
Status: RO


On Tue, 1 Oct 2002, Melanie Schuessler wrote:

> I threw her in under the Rene images here http://www.faucet.net/costume/shortsleeves.html
> From a skim of the text, this figure could be Nature (or a Virtue or
> Vice, but almost certainly allegorical).  She appears in two tapestries.
> You can see the label fairly well on the second closeup--can anyone
> confirm or deny the "Nature" allegation?  It's not clear to me what it
> says, but it _could_ be Natura.

That looks like what it says on the bottom one. These labels are *so* hard
to read even when they're clear.

Did you say these were 16th c.? They do look late 15th c. With tapestries,
the figures might actually represent a range of dates, as cartoons were
frequently re-used, and sometimes the figures recycled and rearranged into
different designs with no updating, or only certain details updated. Plus
it could take a *really* long time to finish a tapestry!

--Robin


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From h-costume-admin@indra.com  Tue Oct  1 19:23:32 2002
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To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@radix.net>
Subject: Re: [h-cost] Re: Textiles in America, was copies and rare
  books]
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Date: Tue, 01 Oct 2002 18:46:18 -0400
Status: RO

At 01:32 PM 10/1/2002 -0700, you wrote:
>Oh yes!  Five years ago,a woman friend was trying to convince me that she had
>the "perfect" man for me to meet. Her most convincing statement was that he
>owned Textiles in America and had a fabric stash almost as big as mine!  We
>decided to marry after our third meeting and it would probably be a good idea
>if we added another room to the house, or rented a warehouse for the combined
>stash!
>
>Shea

Shea, he IS the perfect man!

Mine is perfect in other ways... unfortunately when it comes to textiles,
he just wears whatever I tell him is appropriate ;)  Hey, at least he
tolerates that much of my insanity!

-- Mara
Kevin + Mara Riley

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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References: <001301c26982$023f8f20$4096fea9@CPQ21932199711>
Subject: Re: [h-cost] Banyan
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Date: Wed, 2 Oct 2002 00:31:16 +0100
Status: RO

Bjarne,

I don't think you should worry too much; I have managed to get my
hands on Elizabeth Ewing's 'Fur in Dress', and as far as I can see you
could stick fur on anything you possess and still be appropriately
garbed. From my perspective this is just as well, since I've been
buying fur on e-bay...

best wishes
Stevie

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Tuesday, October 01, 2002 8:37 PM
Subject: [h-cost] Banyan


> Hello all you very helpfull people out there.
> Thank You all so much for correkting me here.
> (Blushing all over) I have really made a fool of myself have i
not!!!
> I was compleatly tricked because i thoaght when a garment was fur
trimmed it
> would be for outdoor wear.
> But of cause you are right. It was very cold inside two, and i was
tricked,
> didnt think so much about that (used to central heating :-))
> Another picture tricked me, from Dress in Eighteenth Century Europe.
There
> is a picture on page 126 and i thoaght they were banyan's but they
are
> Greatcoats.
> Well such a Greatcoat, could that not have ben cut similar way? It
looks as
> if it is t-shaped. But i dont know.
> Dont know much about mens wear besides from Jacket, waistcoat, Shirt
and
> Bretches, but i am still learning.
> But there is a cut of a Greatcoat in "Cut of Men's Clothes"
> Surely i could trim a Greatcoat with Fur two?
> It is because i really would like to try to make something with Fur.
> Still blushing..............
>
> Bjarne
>
>
> _______________________________________________
> 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 Oct  1 19:58:21 2002
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Subject: [h-cost] Victorian clothing clearance
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Date: Tue, 1 Oct 2002 16:59:42 -0700 (PDT)
Status: RO

--0-908748184-1033516782=:16277
Content-Type: text/plain; charset=us-ascii


I received this today and thought it might be of interest to people in that area.
VICTORIAN INVENTORY FOR SALE [input]   [input]   [input]   [input]   [input]   [input]   [input]  

If you are a collector, or want to open your own complete Victorian Clothing and accessories shop, check this out!! We are downsizing to focus on wearable 20-70s clothing and accessories. This huge collection includes: over 475 pieces, most of which are 1 and 2 piece dresses( which also includes bustle gowns, fabulous whites, wedding gowns, lots of colors and prints); a fair amount of fancy white under things; loads of accessories, such as hats and bonnets, gloves, fans, 1860-1900 parasols, early laces , lovely purses, stockings, belts; shawls,boots and shoes. 7 Victorian dress forms and a beautiful large round brass Victorian rack included. The price ( $55,000 or best offer)is a good buy for a dealer ,even better for a collector! Most of this comes from a large 13 year collection, recently purchased. There is more than I have listed; of that, 80% is in very good to excellent shape; there are some others that need repair and /or restoration. Most have been cleaned, and this !
is! a non-smoking environment. You can see some of the items on line at http://www.catspajamas.com. Shipping is not an option. If you are interested, please email and we can set up an appointment.It is located in Northeastern Pennsylvania.Have a Purr~fect Day!!~Miss Kitty~~



---------------------------------
Do you Yahoo!?
New DSL Internet Access from SBC & Yahoo!
--0-908748184-1033516782=:16277
Content-Type: text/html; charset=us-ascii

<P>I received this today and thought it might be of interest to people in that area.
<P>
<TABLE cellSpacing=0 cellPadding=3 width="100%" border=0>
<TBODY>
<TR class=bge>
<TD vAlign=top noWrap align=right></TD>
<TD width="100%"><SMALL><FONT face=Verdana size=1>VICTORIAN INVENTORY FOR SALE</FONT></SMALL></TD></TR></TBODY></TABLE>
<TD vAlign=top bgColor=#eeeeee>
<FORM name=frmAddAddrs action=http://address.mail.yahoo.com/yab/us?v=YM&amp;cmode=1&amp;Lang=us method=post>
<TABLE cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY>
<TR vAlign=top>
<TD align=left bgColor=#eeeeee><FONT face=Arial size=-1><INPUT type=hidden value=YM name=v> <INPUT type=hidden value=a name=A> <INPUT type=hidden value=,, name=fn> <INPUT type=hidden value=,, name=ln> <INPUT type=hidden value=kitty@catspajamas.com,carolsmiscellania@yahoo.com, name=e> <INPUT type=hidden value=1 name=m> <INPUT type=hidden value=http://us.f130.mail.yahoo.com/ym/ShowLetter?MsgId=8217_2007275_105017_820_947_0_1225&amp;order=down&amp;inc=&amp;sort=date&amp;view=a&amp;head=a&amp;box=Inbox&amp;YY=23915 name=.done> </FONT></TD></TR></TBODY></TABLE></FORM></TD><BR>
<DIV id=message><PRE><TT>If you are a collector, or want to open your own complete Victorian 
Clothing and accessories shop, check this out!! We are downsizing to focus 
on wearable 20-70s clothing and accessories. This huge collection 
includes: over 475 pieces, most of which are 1 and 2 piece dresses( which 
also includes bustle gowns, fabulous whites, wedding gowns, lots of 
colors and prints); a fair amount of fancy white under things; loads of 
accessories, such as hats and bonnets, gloves, fans, 1860-1900 parasols, 
early laces , lovely purses, stockings, belts; shawls,boots and shoes. 7 
Victorian dress forms and a beautiful large round brass Victorian rack 
included. The price ( $55,000 or best offer)is a good buy for a dealer 
,even better for a collector! Most of this comes from a large 13 year 
collection, recently purchased. There is more than I have listed; of 
that, 80% is in very good to excellent shape; there are some others that 
need repair and /or restoration. Most have been cleaned, and this is!
 a non-smoking environment. You can see some of the items on line at 
<A target=_blank href="http://www.catspajamas.com/">http://www.catspajamas.com</A>. Shipping is not an option. If you are 
interested, please email and we can set up an appointment.It is located in 
Northeastern Pennsylvania.

Have a Purr~fect Day!!

~Miss Kitty~~</TT></PRE></DIV><p><br><hr size=1>Do you Yahoo!?<br>
New <a href="http://rd.yahoo.com/evt=1207/*http://sbc.yahoo.com/">DSL Internet Access</a> from SBC & Yahoo!</a>
--0-908748184-1033516782=:16277--
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Date: Tue, 01 Oct 2002 21:08:27 -0400
Status: RO



Robin:

I remember your mentioning the idea of a style for girl's gowns that laced
up the front in a post several months ago, I think. Do you think that the
aforementioned allegorical crewmember of King Rene's ship is wearing the
same thing, a variant, or something else altogether? To me it looks
different from what the young girls are wearing.

Speaking of which, I was looking through the Memling works on the site you
referred to and being amazed at the wonders of modern technology that
allowed me to do so when I found another one of them. Look at the youngest
girl, not the one that looks like Judy Garland.

http://www.kfki.hu/~arthp/art/m/memling/1early1/01prese1.jpg

Gail Finke


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Subject: [h-cost] Re: Banyans - pattern
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Date: Tue, 01 Oct 2002 21:56:50 -0400
Status: RO

Hello everyone:

This thread reminds me that I purchased a banyan pattern/leaflet at 
Deerfield Village this
summer, after seeing their small but splendid men's costume  exhibit, 
curated by Edward F.
Maeder of "An Elegant Art" fame. Granted the original was in Indian 
painted  cotton, but still...

I'm sorry I can't supply any more information - life is chaotic. We're 
crammed into an apartment
while we build an addition to our house and my costume files and books that 
aren't  in storage
cannot be found, not even for ready money, replaced by historic 
architecture and interiors files
and  books. I checked the Historic Deerfield site, but couldn't find any 
reference to the publication
or the exhibit, but maybe someone  more tenacious may have better luck

http://www.historic-deerfield.org

Sheridan Alder

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Need advice/suggestions for giornea pattern
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Date: Wed, 2 Oct 2002 12:32:14 +1000 (EST)
Status: RO

You're welcome, glad I could help. :)


Bella


 --- carol <ladynoire1013@yahoo.com> wrote: > 
> Thank you Bella for your help, the pictures were
> very helpful as was the definition you sent ....
> based on the information, I feel like I have a good
> idea of where to go from here
> Many thanks
> Carol
>  Bella wrote:--- carol wrote: > 
> > Greetings one and all .....
> > Can any one suggest a website with good pictures
> of
> > late 15th/early 16th century Italian clothing ? I
> > am particularly looking for good pictures of a
> > garment called a giornea, both front and back, so
> I
> > can get an idea of how to construct said garment. 
> > Or, if anyone has patterns or instructions, that
> > would most helpful ...
> > Thanks in advance
> > Carol
> 
> 
> According to the glossary from "Dress in Renaissance
> Italy, 1400-1500", a giornea (for a female, although
> there is also a male version) is:
> 
> "GIORNEA (F). An overdress, open in front and down
> the
> sides, to allow the textile of the cotta worn
> underneath to show through. The giornea is quite
> often
> longer at the back of the hem, offering a sweeping
> profile in movement. It may or may not have detached
> sleeves. It is a summer garment, worn more often in
> Florence than further north, where the pellanda,
> with
> open or closed long sleeves, is more suitable for
> most
> of the year. Sometimes, however, the giornea is
> lined
> with fur, in which case it may be worn during the
> cooler months. It appears to be a garment normally
> worn by the young. In a law of 1456, the giornea is
> associated with the cioppa, both being garments worn
> directly over the cotta. It was stated that women
> were
> allowed up to two silk overgarments -- to be worn at
> separate times -- one for winter, the other for
> summer. It could be a cioppa, or a giornea,
> whichever
> was preferred, with one cotta for wearing underneath
> (Polidori Calamandrei, p. 44)."
> 
> Vangelissta has kindly webbed the glossary, and you
> can find it here:
> 
> 
> 
> Lucrezia Tornabuoni wears one in this painting:
> 
> 
> 
> 
> Period Patterns #41 includes a pattern for one of
> these (they call it a tabard - first lady on the
> lower
> left):
> 
> 
> 
> There's also a Simplicity pattern that might be
> suitable:
> 
> 
> 
> 
> 
> 
> 
> =====
> Lady Bella Lucia da Verona
> Innilgard, Lochac
> 
> The Realm of Venus
> http://au.geocities.com/bella_lucia_da_verona
> Owner, Courtesan E-mail Group
> http://groups.yahoo.com/group/Courtesan
> 


=====
Lady Bella Lucia da Verona
Innilgard, Lochac

The Realm of Venus
http://au.geocities.com/bella_lucia_da_verona
Owner, Courtesan E-mail Group
http://groups.yahoo.com/group/Courtesan

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] help Penny
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Date: Wed, 2 Oct 2002 12:35:37 +1000 (EST)
Status: RO

 --- Penny Ladnier <penny@costumegallery.com> wrote: >
What may have happened is that the site was busy and
> got bogged down.  I
> will check with my host.  



I had the same occurence, but I since I had read there
were 15 entrants so far and that's the point at which 
it started to happen, I just put it down to pages that
haven't gone "live" yet.



Bella

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From h-costume-admin@indra.com  Tue Oct  1 22:45:54 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: pin-on sleeves etc.
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Date: Tue, 1 Oct 2002 21:11:41 -0500 (CDT)
Status: RO


On Tue, 1 Oct 2002, Gail & Scott Finke wrote:

> I remember your mentioning the idea of a style for girl's gowns that
> laced up the front in a post several months ago, I think. 

I don't recall, but I prattle on so much it could have been me as well as
anyone!

> Do you think that the aforementioned allegorical crewmember of King
> Rene's ship is wearing the same thing, a variant, or something else
> altogether? To me it looks different from what the young girls are
> wearing.

I think the Rene gowns are similar to the girls' examples I cited in that
the dresses seem to be cut so there will be a gap when they are fully
laced -- that is, they aren't meant to lace shut. But the Rene dresses are
clearly underdresses. Most of the other examples seem to be intended to be
top-layer formal dresses, worn either over another dress or just over a
placket; it's hard to tell. And the lacing is rather casual/functional on
the Rene examples, not formally/decoratively arranged.

Was there another difference that caught your eye?

In the example you just found (great catch!)

> http://www.kfki.hu/~arthp/art/m/memling/1early1/01prese1.jpg

it's obviously a top layer -- the neckline is furred.

I am inclined to think that the style is typical for girls because of
growth and figure issues, and atypical for grown women because of
inadequate bust support. That would explain the relative proportions of
appearances of the style on realistic figures in art (e.g. mostly girls).  
But allegorical figures and nubile saints can wear anything they want!

--Robin


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Date: Wed, 02 Oct 2002 02:20:25 +0000
Status: RO

Penny -

I'm also having the same problem (as of Tuesday evening). I've got a DSL 
connection.

Mary/Katerine

>What may have happened is that the site was busy and got bogged down.  I
>will check with my host.  They are supposed to be putting my sites on other
>servers to handle the Halloween high visitation.  What speed of modem are
>you using?
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com
>http://www.onlinecostumeball.com
>
>----- Original Message -----
>From: "Cascio Michael" <rosenau5@yahoo.com>
>To: <h-costume@net.indra.com>
>Sent: Tuesday, October 01, 2002 4:01 PM
>Subject: [h-cost] help Penny
>
>
> > Penny,
> >     I was happily scrolling through the on-line ball
> > pics when I got to group 4 and kept getting the 404
> > error.  Are these not there then?  I tried using the
> > next arrow and when that didn't work I skipped to the
> > other groups and got the same error.  I haven't seen
> > Teddy yet :(
> >                       Cassandra (who hates being awake
> > in what is the middle of my night, graveyard shift
> > worker ;)  )
> >
> > __________________________________________________
> > Do you Yahoo!?
> > New DSL Internet Access from SBC & Yahoo!
> > http://sbc.yahoo.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > [This E-mail was scanned for viruses by Plugit.com Virus Scanners
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> >
>
>
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Subject: Re: [h-cost] help Penny
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Date: Tue, 1 Oct 2002 23:16:18 -0400
Status: RO

Currently there are only 15 guests up.  I wrote that in my original message.
I guess a lot of people missed that.  I put the other groups links up so
that I didn't have to go back and add them to all the other webpages.  I
will be adding some more guests tonight.

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

----- Original Message -----
From: "Mary Temple" <noxcat@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 01, 2002 10:20 PM
Subject: Re: [h-cost] help Penny


> Penny -
>
> I'm also having the same problem (as of Tuesday evening). I've got a DSL
> connection.
>
> Mary/Katerine
>
> >What may have happened is that the site was busy and got bogged down.  I
> >will check with my host.  They are supposed to be putting my sites on
other
> >servers to handle the Halloween high visitation.  What speed of modem are
> >you using?
> >
> >Penny Ladnier
> >Owner, The Costume Gallery & Costume Classroom
> >http://www.costumegallery.com
> >http://www.costumeclassroom.com
> >http://www.onlinecostumeball.com
> >
> >----- Original Message -----
> >From: "Cascio Michael" <rosenau5@yahoo.com>
> >To: <h-costume@net.indra.com>
> >Sent: Tuesday, October 01, 2002 4:01 PM
> >Subject: [h-cost] help Penny
> >
> >
> > > Penny,
> > >     I was happily scrolling through the on-line ball
> > > pics when I got to group 4 and kept getting the 404
> > > error.  Are these not there then?  I tried using the
> > > next arrow and when that didn't work I skipped to the
> > > other groups and got the same error.  I haven't seen
> > > Teddy yet :(
> > >                       Cassandra (who hates being awake
> > > in what is the middle of my night, graveyard shift
> > > worker ;)  )
> > >
> > > __________________________________________________
> > > Do you Yahoo!?
> > > New DSL Internet Access from SBC & Yahoo!
> > > http://sbc.yahoo.com
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
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> >(http://www.plugit.com)]
> > >
> > >
> >
> >
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>
>
>
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Subject: [h-cost] source for late Medieval/Renaissance eyeglasses
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Date: Tue, 01 Oct 2002 23:18:43 -0500
Status: RO

Greetings

For whoever might be in need of late medieval or Renaissance spectacles:

http://www.renspecs.com/

I don't know the guy and I've never seen his product, but the style he's
got available right now is only $35 with lenses (lenses in standard
reading-glasses strengths, not necessarily to your prescription if you
have astigmatism, etc.).  More styles seem to be on the way.

Cheers,
Melanie Schuessler
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Subject: [h-cost] Ball Update
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Date: Wed, 2 Oct 2002 05:54:30 -0400
Status: RO

I added more guests to the Ball last night.  Some h-costumers are in this
addition.  I added from Guest 16-22.  For those who want to start where you
left off, start in group 4.

I wasn't trying to be mean to Nicole yesterday... I was trying to drop a
hint that the guest in the red gown from Germany was NOT Nicole.  I'm sorry
Nicole.

The star background is not what was bogging down the site yesterday... that
image is only about 1.5" X 1.5"... tiny, tiny.  My host did have a problem
yesterday for a couple of hours.  But another problem was that we had over
2,000 visitors on the site within one hour.  I clocked it.

I did make the guest images a little smaller today to load faster.  If you
are having problems seeing the images here are a couple of suggestions:

***For those on PCs, up your cache as high as possible.  Then refresh/reload
the site.
***Close all open windows and then go to the site.

PLEASE REMEMBER: Today's last Guest is #22.

Have Fun!

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


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Subject: Re: [h-cost] Ball Update
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Date: Wed, 2 Oct 2002 11:27:19 +0100 (BST)
Status: RO

 --- Penny Ladnier <penny@costumegallery.com> wrote: > 
> I wasn't trying to be mean to Nicole yesterday... I was trying to drop a
> hint that the guest in the red gown from Germany was NOT Nicole.  I'm sorry
> Nicole.

Oh I know, I didn't take it like that, please don't worry, but I DID need a
kick in the butt to send the piccies at long last :-)
It's nice to meet old familiar faces in many of the photos.

Nicole

=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  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: machine quilted Regency (was Re: [h-cost] RE: Banyans
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Date: Wed, 02 Oct 2002 00:14:54 -0700
Status: RO


>Machine quilted in a diamond pattern. The diamonds measure 1.25 inches from
>top to bottom and 1.125 inches from side to side; 14 stitches/inch.
>
>Howe is given credit for the first sewing machine in 1846, although there
>are earlier examples that were not widely produced.  Sewing machines are
>relatively common for home use by the mid-1850s.
>
> >Just to check my time-line here, how are they machine quilted?  When were
>sewing machines invented?

I guess what I meant to say is, how can a Regency garment, presumable made 
before 1820, be quilted by a machine invented in the 1840s?

Kayta

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Date: Wed, 2 Oct 2002 09:46:03 -0400 (EDT)
Status: RO

Speaking of Banyans...
There seem to be two styles in use in the 18th c.  One style is cut very
much like a man's coat, but probably without so much interlining/structure
(will need to go back and look at my books to verify that); the other is
cut more in a loosely fitting T-shape, and reflects the banyan's origin as
a cotton robe imported from the Orient; the examples I've seen of this
style (the one at Old Deefield Village and the one in _Fitting and
Proper_) are both in printed Indian cottons.

I think the one Bjarne is looking at is probably teh former type, cut more
like an 18th c. man's coat.  That's the style that I'm going to use for
that grey watered silk (or acetate, if we can't find the silk), as the
fabric lends itself well to the more structured style.

Cheers,
Mara


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Date: Wed, 2 Oct 2002 09:59:54 EDT
Status: RO


--part1_19d.9c442e4.2acc55da_boundary
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In a message dated 10/1/2002 11:55:20 AM Eastern Daylight Time, 
AlbertCat@aol.com writes:


> It's just 
> depicted in portraits and other illustrations too much. 

There is a quote that goes something like, "learned men are portrayed in 
gowns." So a scholar might choose to be painted in a banyan.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/1/2002 11:55:20 AM Eastern Daylight Time, AlbertCat@aol.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">It's just <BR>
depicted in portraits and other illustrations too much. </BLOCKQUOTE><BR>
<BR>
There is a quote that goes something like, "learned men are portrayed in gowns." So a scholar might choose to be painted in a banyan.<BR>
Ann Wass</FONT></HTML>

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Subject: Re: machine quilted Regency (was Re: [h-cost] RE: Banyans
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Date: Wed, 2 Oct 2002 10:03:54 EDT
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In a message dated 10/1/2002 4:46:52 PM Eastern Daylight Time, kayta@frys.com 
writes:


> The lining is machine quilted to a thin wool interlining with shocking pink
> >thread.  The lapels, cuffs and pocket flaps are another (fifth) shade of
> >green and are also machine quilted in shocking pink!
> 
> 

The description of the outer fabric, the brown print, sounds very like other 
garments I have seen from the 2nd quarter of the 19th century, which would 
make machine quilting possible.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/1/2002 4:46:52 PM Eastern Daylight Time, kayta@frys.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The lining is machine quilted to a thin wool interlining with shocking pink<BR>
&gt;thread.&nbsp; The lapels, cuffs and pocket flaps are another (fifth) shade of<BR>
&gt;green and are also machine quilted in shocking pink!<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
The description of the outer fabric, the brown print, sounds very like other garments I have seen from the 2nd quarter of the 19th century, which would make machine quilting possible.<BR>
Ann Wass</FONT></HTML>

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Subject: Re: [h-cost] Banyan  last time
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In a message dated 10/1/2002 5:40:55 PM Eastern Daylight Time, 
drewscph@post12.tele.dk writes:


> It was also the portrait of James Boswell. He is sitting outside with an owl
> staring at him from a tree, wich made me wonder.
> 
> 

I presume the owl is also a symbol of wisdom, to reinforce the gentleman's 
scholarly status.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/1/2002 5:40:55 PM Eastern Daylight Time, drewscph@post12.tele.dk writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">It was also the portrait of James Boswell. He is sitting outside with an owl<BR>
staring at him from a tree, wich made me wonder.<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
I presume the owl is also a symbol of wisdom, to reinforce the gentleman's scholarly status.<BR>
Ann Wass</FONT></HTML>

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Subject: Re: [h-cost] Banyan
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In a message dated 10/2/2002 9:49:24 AM Eastern Daylight Time, 
lindo@Radix.Net writes:


> the other is
> cut more in a loosely fitting T-shape, and reflects the banyan's origin as
> a cotton robe imported from the Orient; 

There is a diagram for this type in Diderot.  As to the more fitted, tailored 
one, I made one based on the photo of the circa-1820 one in the Brooklyn 
Museum shown on the cover of "For Men Only," the great catalogue from their 
costume exhibition years ago.  This one has a matching waistcoat.  I usually 
call this garment a morning gown, to distinguish it from the more T-shaped 
banyan, but am not sure if this distinction was actually made in the period.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/2/2002 9:49:24 AM 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">the other is<BR>
cut more in a loosely fitting T-shape, and reflects the banyan's origin as<BR>
a cotton robe imported from the Orient; </BLOCKQUOTE><BR>
<BR>
There is a diagram for this type in Diderot.&nbsp; As to the more fitted, tailored one, I made one based on the photo of the circa-1820 one in the Brooklyn Museum shown on the cover of "For Men Only," the great catalogue from their costume exhibition years ago.&nbsp; This one has a matching waistcoat.&nbsp; I usually call this garment a morning gown, to distinguish it from the more T-shaped banyan, but am not sure if this distinction was actually made in the period.<BR>
Ann Wass</FONT></HTML>

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Subject: [h-cost] The generation gap in fashion
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Date: Wed, 02 Oct 2002 10:17:13 -0400
Status: RO

I friend was lamenting yesterday on the styles of teenagers 
now-a-days. I mentioned that this has been going on for centuries as 
I remember reading a letter from a dad complaining about his childs 
method of dress from, I think, the 14th or 15th century.

Does anyone on this list know of that letter, have a copy of it or 
can point me to where it might be published?

Are there similar letters from other centuries? Somehow I don't think 
this was just a modern and Medieval thing.

Rhianwen
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From h-costume-admin@indra.com  Wed Oct  2 10:35:37 2002
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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] The generation gap in fashion
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Date: Wed, 2 Oct 2002 10:35:54 -0400 (EDT)
Status: RO

It's not precisely dress related...but when I was in Berlin, I got to see
a 3000(?) year old cuneiform tablet: a letter from a son to his father.
The son was studying at a school for scribes in a large city.  In this
clay "letter", he was complaining to his father that he didn't have
enough money for fashionable cloths and other student expenses, and would
dad please send a little extra.

I guess things really don't change...

Drea


On Wed, 2 Oct 2002, Linda Krecker-Schkred wrote:

> I friend was lamenting yesterday on the styles of teenagers
> now-a-days. I mentioned that this has been going on for centuries as
> I remember reading a letter from a dad complaining about his childs
> method of dress from, I think, the 14th or 15th century.
>
> Does anyone on this list know of that letter, have a copy of it or
> can point me to where it might be published?
>
> Are there similar letters from other centuries? Somehow I don't think
> this was just a modern and Medieval thing.
>
> Rhianwen
> _______________________________________________
> 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 Oct  2 10:44:47 2002
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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] The generation gap in fashion
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Date: Wed, 02 Oct 2002 10:44:10 -0400
Status: RO

That's so funny! Perfect! Things don't really change at all!

Rhianwen

At 10:35 AM -0400 10/2/02, Drea Leed wrote:
>It's not precisely dress related...but when I was in Berlin, I got to see
>a 3000(?) year old cuneiform tablet: a letter from a son to his father.
>The son was studying at a school for scribes in a large city.  In this
>clay "letter", he was complaining to his father that he didn't have
>enough money for fashionable cloths and other student expenses, and would
>dad please send a little extra.
>
>I guess things really don't change...
>
>Drea

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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] The generation gap in fashion
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Date: Wed, 2 Oct 2002 08:01:45 -0700
Status: RO

Again not precisely related, but reading in the "Dress in Ireland" I
guess there was a fashion for awhile of wearing your treaus (I know that
isn't spelled right, but I don't have my books with me)  really baggy
and folks were lamenting that fashion.  I also love the 'invention' by
'dandies' of wearing the liripipe hood with the face hole on top of the
head and the rest all piled up.  You know that had to draw similar
contempt!


Sg

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From h-costume-admin@indra.com  Wed Oct  2 11:06:37 2002
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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: RE: [h-cost] The generation gap in fashion
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Date: Wed, 02 Oct 2002 11:06:46 -0400
Status: RO

At 8:01 AM -0700 10/2/02, Saragrace knauf wrote:
>Again not precisely related, but reading in the "Dress in Ireland" I
>guess there was a fashion for awhile of wearing your treaus (I know that
>isn't spelled right, but I don't have my books with me)  really baggy
>and folks were lamenting that fashion.

That's similar to the 1920's fashion of really wide pants on the Ivy 
League set. Some of their trouser legs measured 22". I bet dads and 
mom's of that time didn't really like it at all. Now, my teenage 
daughter has a favorite pair of pants that I'd bet has legs wider 
than 22"

>I also love the 'invention' by
>'dandies' of wearing the liripipe hood with the face hole on top of the
>head and the rest all piled up.  You know that had to draw similar
>contempt!

Probably the thing that this letter I'm seeking complained about.

Rhianwen
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From h-costume-admin@indra.com  Wed Oct  2 11:11:51 2002
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Subject: Re: [h-cost] The generation gap in fashion
To: h-costume@indra.com
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Date: Wed, 2 Oct 2002 08:11:25 -0700 (PDT)
Status: RO

Those were called Oxford Bags, and I've seen photos of them where the legs
were at least twice that wide -- each leg was a full skirt, almost.

They are SO MUCH fun to see guys wearing when they are dancing.

.heather.


> 
> At 8:01 AM -0700 10/2/02, Saragrace knauf wrote:
> >Again not precisely related, but reading in the "Dress in Ireland" I
> >guess there was a fashion for awhile of wearing your treaus (I know that
> >isn't spelled right, but I don't have my books with me)  really baggy
> >and folks were lamenting that fashion.
> 
> That's similar to the 1920's fashion of really wide pants on the Ivy 
> League set. Some of their trouser legs measured 22". I bet dads and 
> mom's of that time didn't really like it at all. Now, my teenage 
> daughter has a favorite pair of pants that I'd bet has legs wider 
> than 22"
> 
> >I also love the 'invention' by
> >'dandies' of wearing the liripipe hood with the face hole on top of the
> >head and the rest all piled up.  You know that had to draw similar
> >contempt!
> 
> Probably the thing that this letter I'm seeking complained about.
> 
> Rhianwen
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Wed, 2 Oct 2002 09:24:53 -0700
Status: RO

And what about the Incroyables in revolutionary France?  I believe they were
primarily youths...

- Kendra


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Date: Wed, 2 Oct 2002 09:51:32 -0700
Status: RO

What are Incroyables??  Is that where all the national/peasant garb
became the rage?

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Date: Wed, 2 Oct 2002 09:57:43 -0700
Status: RO

Incroyables (Unbelievables) and Merveilleuses (Marvelouses) were (I believe)
young, well-off men and women who during the French Revolution took to
wearing very over-the-top fashions.  I think there may have been a political
connection with this, but I'm blanking on it -- anyone have Aileen Ribiero's
_Fashion in the French Revolution_ handy?

An example:
http://www.siue.edu/COSTUMES/images/PLATE75CX.JPG

- Kendra
----- Original Message -----
From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Sent: Wednesday, October 02, 2002 9:51 AM
Subject: RE: [h-cost] The generation gap in fashion


> What are Incroyables??  Is that where all the national/peasant garb
> became the rage?
>
> _______________________________________________
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Subject: [h-cost] Re: renspecs - rant
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Date: Wed, 02 Oct 2002 12:58:31 -0400
Status: RO

If your only desire is for specs for reading, yeah, maybe.... But, 
personally I find his webpage insulting to say the least (if you read 
his blurb about how awful and jarring it is to *have* to look at those 
of us with glasses).  And the only possible pair for use other than 
sedate activities (and I can't see any of them being practical for 
sewing either) not only doesn't look vaguely "period" but since they 
appear to tie to your face, which would put the glass right by your 
eyes, look like a funny looking mask with plastic circles, etc... his 
attempt at "selling" his product in that blurb is that much more insulting.

Sorry, but even if some of them do look authentic, he'll not be seeing 
my money any time in the near future.

-Elisabeth  (still surprised that that page bugs me as much as it 
does.... tempted to send off an e-mail to him about it, actually....)

>From: Melanie Schuessler <melanie@faucet.net>
>
>For whoever might be in need of late medieval or Renaissance spectacles:
>
>http://www.renspecs.com/
>
>I don't know the guy and I've never seen his product, but the style he's
>got available right now is only $35 with lenses (lenses in standard
>reading-glasses strengths, not necessarily to your prescription if you
>have astigmatism, etc.).  More styles seem to be on the way.
>  
>


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Subject: [h-cost] Places to visit/shop  in South Western China??
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Date: Wed, 2 Oct 2002 10:20:19 -0700
Status: RO

I am going to China for a few weeks off and on this fall.  Any
suggestions for textile/costume museums, historical places and places to
shop are appreciated.
I will be working in Daya Bay which is way out in the boonies on the
south western coast.  I am still trying to find out what bigger cities
are close by.  


Sg

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From h-costume-admin@indra.com  Wed Oct  2 13:34:48 2002
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From: "Brenna" <brenna@robewarriors.com>
To: <GPACG-general@yahoogroups.com>, <AnTirMerchants@yahoogroups.com>,
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Subject: [h-cost] Slightly OT - Fw: Bad checks...
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Date: Wed, 2 Oct 2002 10:41:20 -0700
Status: RO

Please forgive the cross-posts but this is important.  I found this on the
orycon-l list and have received permission from Lauryn to re-post it
elsewhere.  In her words - "Be my guest! the more people that know about her
the better for all of us."

I, myself, am posting this to the following groups -
GPACG-general(at)yahoogroups.com, AnTirMerchants(at)yahoogroups.com,
margospatterns(at)yahoogroups.com, steps(at)antir.sca.org (the Cathedral
Steps), h-costume(at)indra.com, and ICG-D(at)yahoogroups.com   All these
have either merchants or merchant contacts on them.  If you know of any
lists (or merchants not on these lists) that would be interested, please
forward.  If you need to contact Lauryn directly, please contact me offline
at brenna@robewarriors.com

Thank you for the bandwidth and keep your eyes open for this person.

Brenna Sharp
B Sharp Fabrics

----- Original Message -----
From: "Lauryn MacGregor | Little Toad Designs"
To: "Orycon Mailing List"
Sent: Tuesday, October 01, 2002 8:57 AM
Subject: [ORYCON-L] Bad checks...


> I recently vended at the Shrewsbury RenFaire and recieved a bad check.
> Aparently this woman and or women is passing bad checks professionaly
> and any vendors should be ware of her. The checks were for a business
> called Maiden, Mother,& Crone out fo Oakdale California. The signature
> on the check was Debbie Graziano. But there is no such person. The
> checks were issued to an addres in Southbeach Oregon and the account has
> not been good for at least three years. If any of the vendors on the
> list have a bad check from her you can contact -
> Dawn Bradely Berry
> Dreamlizard Pearls & Plunder
> P.O.Box 2251
> San MArcos, Cal 92079
> &07-761-4916
> 760-518-2411(cell)
>
> She is putting together a case against this woman. So far the evil scum
> has passed checks in three states all to crafters and artists. Most of
> us do this because we love our art, but we also live on a shoestring and
> can't afford to be burned like this.
>
>   Thanks for the rant space and look out for these people.
>
>     Lauryn
>


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Date: Wed, 2 Oct 2002 10:32:15 -0700
Status: RO

At 10:17 AM -0400 10/2/02, Linda Krecker-Schkred wrote:
>I friend was lamenting yesterday on the styles of teenagers 
>now-a-days. I mentioned that this has been going on for centuries as 
>I remember reading a letter from a dad complaining about his childs 
>method of dress from, I think, the 14th or 15th century.
>
>Does anyone on this list know of that letter, have a copy of it or 
>can point me to where it might be published?
>
>Are there similar letters from other centuries? Somehow I don't 
>think this was just a modern and Medieval thing.

If there _isn't_ a popular book out there with historic quotations of 
the 'perennial lament' genre, there certainly _ought_ to be.  I know 
one can find Roman-empire-era quotations along the lines of "taxes 
are outrageous, young people don't respect their elders, and the 
world is generally going to pot".

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Wed Oct  2 14:05:41 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: renspecs - rant
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Date: Wed, 2 Oct 2002 19:06:21 +0100 (BST)
Status: RO

I'm sorry, but maybe I can help your anger and make it a bit better, you
COMPLETELY misunderstood the chap. I am not affiliated but feel it is unfair to
him to not try and put what he said in perspective,and to not keep prospective
customers from the site. He did not say a word about people with glasses are
bad to look at on his main page, he talked about inauthentic glasses, and that
this is not nice to look at while wearing a nice costume. He in no way insults
spectacle-wearing people, he just says it doesn't look good wearing
anachronistic stuff while in costume, and we had this discussion gazillions of
time (so let's not gett into this again) and yes I fully agree, but as I said
phuleeze not again the modern spectacle yes or no discussion, it always ends in
flames (well, 99% of the time anyway).
BTW, your perception of him making ppl look ugly with those glasses isn't quite
right, because this is what spectacles looked like in certain periods. While I
agree it looks unusual it looks totally authentic. I know some people here who
have those, and it looks cool, because it looks right when they are in costume.
So, please, I hope your anger has died down, because he did not offend in the
way you believed he did,and I would hate to see a name possibly being blackened
(just in case, because these things can possibly happen) when he actually
didn't say any nasty things about spectacle-wearers.

Nicole - she with a threateningly strong sense of justice

 --- Liz / Cozit <cozit@comcast.net> wrote: > If your only desire is for specs
for reading, yeah, maybe.... But, 
> personally I find his webpage insulting to say the least (if you read 
> his blurb about how awful and jarring it is to *have* to look at those 
> of us with glasses).  And the only possible pair for use other than 
> sedate activities (and I can't see any of them being practical for 
> sewing either) not only doesn't look vaguely "period" but since they 
> appear to tie to your face, which would put the glass right by your 
> eyes, look like a funny looking mask with plastic circles, etc... his 
> attempt at "selling" his product in that blurb is that much more insulting.
> 
> Sorry, but even if some of them do look authentic, he'll not be seeing 
> my money any time in the near future.
> 
> -Elisabeth  (still surprised that that page bugs me as much as it 
> does.... tempted to send off an e-mail to him about it, actually....)
> 
> >From: Melanie Schuessler <melanie@faucet.net>
> >
> >For whoever might be in need of late medieval or Renaissance spectacles:
> >
> >http://www.renspecs.com/
> >
> >I don't know the guy and I've never seen his product, but the style he's
> >got available right now is only $35 with lenses (lenses in standard
> >reading-glasses strengths, not necessarily to your prescription if you
> >have astigmatism, etc.).  More styles seem to be on the way.
> >  
> >
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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

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Subject: [h-cost] Re: pin-on sleeves etc.
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Date: Wed, 02 Oct 2002 14:15:31 -0400
Status: RO


Robin:

The big difference seems to be that the gown the girls wear is indeed an
outer gown, with long sleeves etc., and that it has a wide gap under the
lacing. The one on the King Rene image was much more tightly laced and, of
course, had a front placket over it or as an integral part of it. I was
intruiged by your mention of a woman with this style dress but a placket
UNDER it (covering the chemise) but I accidentally deleted the letter.

I guess I'm just trying to get a handle on whether this was an actual dress
or just something in this one picture. The eternal question, huh?

Gail


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Subject: [h-cost] RE: machine quilted - not regency
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Date: Wed, 2 Oct 2002 15:22:30 -0400
Status: RO

I'm not sure how you thought this was a Regency garment, but as I stated in
my posts the original garment I'm studying and reproducing is
mid-nineteenth, 1855-1865. :-)

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com

<<I guess what I meant to say is, how can a Regency garment, presumable made
before 1820, be quilted by a machine invented in the 1840s?>>



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From h-costume-admin@indra.com  Wed Oct  2 15:34:32 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: pin-on sleeves etc.
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Date: Wed, 2 Oct 2002 14:39:37 -0500 (CDT)
Status: RO


On Wed, 2 Oct 2002, Gail & Scott Finke wrote:

> The big difference seems to be that the gown the girls wear is indeed
> an outer gown, with long sleeves etc., and that it has a wide gap
> under the lacing. The one on the King Rene image was much more tightly
> laced and, of course, had a front placket over it or as an integral
> part of it.

I'm not sure what you mean by "tightly laced." The gap on the Rene dresses
looks to me to be about the same as on the women and girls wearing the
gap-laced overgowns. You don't see the top portion of the gap because of
the placket over it. And with a good reproduction it's clear that the
placket is a separate rectangle of a different color (black, compared to
the navy of the dress), a little wider than the opening, and placed over
the opening. I would assume it's pinned into place over the wide-laced
gap.

> I was intruiged by your mention of a woman with this style dress but a
> placket UNDER it (covering the chemise) but I accidentally deleted the
> letter.

I'll send you a copy. I think the Magdalen is a good example, but all of
the dresses I mentioned showed a non-chemise fabric under the lacings.

> I guess I'm just trying to get a handle on whether this was an actual
> dress or just something in this one picture. The eternal question,
> huh?

I think there are enough examples of the wide-gapped dresses that we can
feel secure they existed. Who wore them, and in what circumstances, and
whether as overdresses or underdresses or both ... those are the
questions here, I think.

--Robin

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Subject: [h-cost] Incroyable
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Date: Wed, 02 Oct 2002 19:36:06 +0000
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Hello, I was looking at The Inroyable a few months ago. I think they were 
Royalist. Some wore their hair cut very ragged and wore a red ribbon around 
the neck. Rather macabre as this was symbolic of the victims of the 
guillotine.

regards
Joy

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Subject: Re: [h-cost] Incroyable
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Date: Wed, 2 Oct 2002 21:01:46 +0100 (BST)
Status: RO

 --- Joy Shillaker <joyshillaker@hotmail.com> wrote: > 
> 
> 
> Hello, I was looking at The Inroyable a few months ago. I think they were 
> Royalist. Some wore their hair cut very ragged and wore a red ribbon around 
> the neck. Rather macabre as this was symbolic of the victims of the 
> guillotine.
> 
> regards
> Joy

I am certain they were Republicans, they wore cockades on their hats as well.
Sheesh, but what do I know *L*

Nicole

=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  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 Oct  2 16:53:33 2002
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Subject: [h-cost] Great Art site
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Date: Wed, 02 Oct 2002 16:54:52 -0400
Status: RO

Looking for articles on gardening, i came across this gem:

http://www.bergerfoundation.ch/

Here's what they have to say:

T he principal purpose of World Art Treasures is to promulgate the 
discovery and love of art. Thanks to the 100,000 slides belonging to 
the Jacques-Edouard Berger Foundation, all of them devoted to art, 
and including the main civilizations, such as Egypt, China, Japan, 
India, Europe, its purpose is to offer a different approach to art 
through Internet. Taking advantage of the specificity of a 
multidimensional and multilevel network, it is an attempt to shed new 
light on art and a new way of contemplating it.

i did a look-see and found a lovely painting done in the late 1500 
with details and close-ups that would make re-creating the dresses 
easy. You could even identify the beads around the neck as glass 
(transparent) as opposed to pearls but only in the close-ups.

They have art from every period that I've seen represented on this 
list and a few that aren't.

Rhianwen
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Subject: RE: [h-cost] Great Art site
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Date: Wed, 2 Oct 2002 09:56:41 -0400
Status: RO

Whoa! This site even lets you make puzzles from the art! Too cool!
Thanks for sending this, it's wonderful.

Pax,

Linda

-----Original Message-----
 On Behalf Of Linda Krecker-Schkred
 Subject: [h-cost] Great Art site

http://www.bergerfoundation.ch/

Here's what they have to say:

The principal purpose of World Art Treasures is to promulgate the 
discovery and love of art. Thanks to the 100,000 slides belonging to 
the Jacques-Edouard Berger Foundation, all of them devoted to art, 
and including the main civilizations, such as Egypt, China, Japan, 
India, Europe, its purpose is to offer a different approach to art 
through Internet. Taking advantage of the specificity of a 
multidimensional and multilevel network, it is an attempt to shed new 
light on art and a new way of contemplating it.




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From h-costume-admin@indra.com  Wed Oct  2 19:19:47 2002
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: [h-cost] Re: renspecs - rant
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Date: Wed, 2 Oct 2002 11:14:07 -0700
Status: RO

At 12:58 PM -0400 10/2/02, Liz / Cozit wrote:
>If your only desire is for specs for reading, yeah, maybe.... But, 
>personally I find his webpage insulting to say the least (if you 
>read his blurb about how awful and jarring it is to *have* to look 
>at those of us with glasses).  And the only possible pair for use 
>other than sedate activities (and I can't see any of them being 
>practical for sewing either) not only doesn't look vaguely "period" 
>but since they appear to tie to your face, which would put the glass 
>right by your eyes, look like a funny looking mask with plastic 
>circles, etc... his attempt at "selling" his product in that blurb 
>is that much more insulting.

I agree that his "sales pitch" needs a bit of work in order to 
attract rather than repel.  He makes a good case for why _he_ wants 
everyone around him to be wearing his product, but he doesn't really 
address the question of why _they_ should want to be wearing his 
product.  Maybe he needs to farm out the writing of his ad copy.

On the other hand, I recognized most of the styles listed on the 
page, and he does appear to be making very close reproductions 
(within certain materials limitations) of artifacts that either 
survive or are represented in detail in artwork.  Most late-medieval 
and Renaissance spectacles _do_ "look like a funny looking mask with 
circles".  At the very most, the look like a pair of pince-nez 
designed by a carpenter. If one's goal is to wear spectacles 
appropriate to that era, there isn't much point in complaining that 
they look ugly by modern standards and aren't designed for lively 
activities.  They are, and they weren't.

I tried making my own late-medieval glasses once, but made the 
mistake of ordering lenses that were a bit too large to balance well. 
They _worked_, but I pretty much had to hold them in place while 
using them.  (I had a hard enough time convincing the optometrist 
that, yes, I wanted an extra pair of lenses _without_ a frame, and, 
no, the antique glasses frames you can find in antique shops aren't 
_quite_ old enough to be medieval styles.)  I may try it again at 
some point, although now I've got the added complication of wearing 
progressive bifocals, so getting the lenses aligned properly would be 
trickier.  Having well-made, historically-accurate frames available 
so I don't have to fumble around making my own would be a definite 
plus.

Heather
-- 
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Heather Rose Jones
hrjones@socrates.berkeley.edu
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From h-costume-admin@indra.com  Wed Oct  2 19:38:02 2002
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: renspecs - rant
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Date: Wed, 2 Oct 2002 18:42:59 -0500 (CDT)
Status: RO


Since most of the people responding on this thread are female, I am
wondering: Is there any documentation (visual or written) of women wearing
glasses in the Middle Ages or Renaissance? All the images I can think of
show clerics or scholars or the like -- all male. If women didn't wear
glasses, I wonder if this reflects a combination of vanity, expense, and
the idea that only people in certain specialized occupations (e.g. that
involve reading or close work) would need them.

Does anyone know when women would have begun wearing glasses as routinely
as men?

--Robin

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From h-costume-admin@indra.com  Wed Oct  2 19:55:35 2002
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Subject: [h-cost] Re: Christening bonnet pattern?
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Date: Wed, 2 Oct 2002 18:53:46 -0500
Status: RO

Sorry, I am way behind on my mail but just read your post.  I normally
lurk but I could not resist this.  Try

 http://www.marthapullen.com/

 look under books catagory

I have a lot of her books/pattterns and I think they are easy and
understandable, though I have not accually made any of her stuff yet,
not enought time.
She also has some of the most dreamy hearloom clothing for children and
also some for women.

I know that she has christening bonnet patterns in some of her books

  Christening Gown Ensemble
  Grandmother's Hope Chest (I have this one and it is beautiful)
   The Princess Collection
   Elegant Sewing for Baby
   Anna Garrin's Christening Gown

   She also has really adorable childrens clothing patterns.

 Also, I recieve her magizine and it is full color has about 6 main
 dress projects and other stuff - it is very nice. It has a center
 pull out with normally one full pattern and embroidery designs.

 I promice I don't work for her just enchanted with her heirloom work.

 Hope this helps,
 Jonica Kelley

 (returns to lurking)

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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Wed, 2 Oct 2002 16:41:57 -0700
Status: RO

At 7:06 PM +0100 10/2/02, N Kipar wrote:
>I'm sorry, but maybe I can help your anger and make it a bit better, you
>COMPLETELY misunderstood the chap. I am not affiliated but feel it 
>is unfair to
>him to not try and put what he said in perspective,and to not keep prospective
>customers from the site. He did not say a word about people with glasses are
>bad to look at on his main page, he talked about inauthentic glasses, and that

<snip in mid-sentence>

I don't know about Elizabeth, but the parts of the web site that 
struck me as "maybe not the best salesmanship" were passages like:

"Yet, to be frank, we all have to look at you. And in terms of your 
overall image, and how "transported in time" we're made to feel when 
we see you -- well, no offense, but sneakers or even modern jeans 
wouldn't be as disruptive as looking into your eyes through those 
Foster Grants."

It's an absolutely true statement -- no question there -- but it 
frames the product (if you'll excuse the pun) in terms of "buy my 
product for _my_ sake -- because I have to look at you -- rather than 
for _your_ sake (because you want to look good)".  He looks like he's 
go a great product (or will once the whole line is available), and it 
would be a shame if it failed to succeed because his sales pitch rubs 
people the wrong way.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] Re: renspecs
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Date: Wed, 02 Oct 2002 15:04:31 -1000 (HST)
Status: RO

> Since most of the people responding on this thread are female, I am
> wondering: Is there any documentation (visual or written) of women wearing
> glasses in the Middle Ages or Renaissance? All the images I can think of
> show clerics or scholars or the like -- all male.

	The title page of Johan Siebmacher's Schon Neues Modelbuch (1597)
has a picture of a woman wearing nose spectacles.  She's presumably
wearing them to help her see the needlework she's doing.  That's the only
one I can recall ever seeing.

annora

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Date: Thu, 3 Oct 2002 13:18:45 +1200
Status: RO

> Does anyone know when women would have begun wearing glasses as routinely
> as men?

While it's right out of period (middle ages-ren) I know that in Victorian
(England anyway.. and her colonies I suspect) women wearing glasses was
still looked on as a personality issue, not a need... only stong minded
feamles who read need to wear... actually I think they were talking about
dark glasses. I read that recently again so it may have been in Alison
Gernshiem's book... And there is a Punch cartoon of a woman in severe dress
with glasses. I wonder if the same feeling that it was a negative sign of
who the woman was before this era? Probably for differening reasons of
course. Like never make passes at girls who wear glasses after this era...

I do have a scan of a photo from the very late 19thC of a woman in round
Lennonesque dark glasses for a family portrait. It's from the book In True
Colonial Fashion about New Zealand fashion.

I hope this works, I just uploaded it to a liquid2k account...
This is a really bad service btw for uploading.. you have to use their
online manager which often doesn't actually work... but you can direct
link;)

OK, so it's not working at all.. I'll add it to my ihug account...
http://homepages.ihug.co.nz/~thebruce/1890sglassesitcf.JPG

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume






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Date: Wed, 02 Oct 2002 22:05:40 -0400
Status: RO

I don't always get it right when trying to explain what I mean either :-)

As Heather (I think) pointed out, the thing in the sales pitch that is 
objectionable was that he expresses the desire that we buy his product 
so that he (and others) don't have to look at us wearing glasses, no 
matter how "good" the rest of the outfit is (personally, I have a harder 
time with the sneakers thing than round or oval wire rim glasses).

Yes, most of the spectacles resemble some I've seen pictures of... but 
there's at least one that doesn't seem "right" to me... besides the 
leather mask one.  I'm sorry, I didn't mean to imply that all of them 
were a mask-like look.  It's just the leather one on the right that is 
just "wrong" (at least IMHO... and I don't see how it would work right 
either, since the lenses appear to be located such that they'd end up 
getting skin oils on them easily, and rub against eyelashes at the least 
in a noticable way.)

The other thing that bothered me about the whole sales pitch is that he 
is apparently unaware that the glasses he shows are completely 
impractical for anyone who is doing anything beyond sitting and 
watching/reading/writing.  Leaning over even to stitch, I'd be very 
likely to lose anything resembling those prop on nose glasses.  In 
period they were not meant to be used for activewear either.

I doubt (or at least hope) that he has a comprehension that an inability 
to see properly is just as handicapping as many other physical 
handicaps... we're just fortunate that in this modern age, it's one that 
can be mostly overcome by the technology available at a reasonable 
price.  If I knock my glasses off the table when I'm not wearing them 
(and I do occasionally read or stitch for short periods without them 
still), I often can *not* find them without assistance, or much raking 
of the ground with my hand.  Wearing something that sat on my nose, even 
with the fairly thick frames would be begging for trouble.  (Things need 
to be about a foot from my nose to be in focus... on a good day maybe I 
can manage an extra inch or two....)

Sigh... most folks just beg glasses wearers to wear contacts... which is 
out for me as well...

No offense meant... just very rubbed the wrong way by his sales pitch. 
 To be honest, I'd be unlikely to buy any of those glasses for the 
reasons I say above, beyond that bit of irritation that was not so 
graciously put.

-Elisabeth

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Date: Wed, 02 Oct 2002 22:10:12 -0400
Status: RO

Hi. This happens to be one of my areas of interest. I know it is sad that the
gentleman in question seems to need to "market" his product. There are only two
of his products that I would feel comfortable about supporting, historically.
These would be the bone frames (Trig Lane style) and the brass frames. As I
have noted before, these styles, although historically correct for the
"Renaissance" period, are not for corrective optometry as we know it now. For
costume purposes, these items fill a need. Since vision correction is not the
same today as it was 350+ years ago, the idea of trying to sell to the
myopic/hyperopic/presbyopic community is not the same. It would be nice to see
period frames, but if you see them in such frequency as are seen nowadays (both
in modern context and at reenactments), you would have a wrong idea of vision
correction as it was accomplished years back. I have seen American Civil War
events that had a 40% attendance of reenactors with glasses. I seriously doubt
that real combatants at that time were that poorly visioned, and at that great
a volume. Sorry that the page bugs you, but don't forget, the Web is, for all
of our wishes, not the perfect resource that we would wish. I don't think he is
trying to preach, but merely trying to change perceptions. This is good, but in
a limited way.  Mike T.



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From h-costume-admin@indra.com  Wed Oct  2 22:32:27 2002
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Subject: Re: [h-cost] The generation gap in fashion
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Date: Thu, 03 Oct 2002 02:33:27 +0000
Status: RO

I can't remember if he mentions clothes specifically, but Leon Batista 
Alberti did complain about children going to "Hell in a Handbasket" in some 
of his books. (He's from Renaissance Florence.)

Mary/Katerine

>I friend was lamenting yesterday on the styles of teenagers now-a-days. I 
>mentioned that this has been going on for centuries as I remember reading a 
>letter from a dad complaining about his childs method of dress from, I 
>think, the 14th or 15th century.
>
>Does anyone on this list know of that letter, have a copy of it or can 
>point me to where it might be published?
>
>Are there similar letters from other centuries? Somehow I don't think this 
>was just a modern and Medieval thing.
>
>Rhianwen
>_______________________________________________




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From h-costume-admin@indra.com  Wed Oct  2 23:05:30 2002
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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Wed, 02 Oct 2002 23:04:20 -0400
Status: RO

At 10:10 PM 10/2/02 -0400, you wrote:
>Hi. This happens to be one of my areas of interest. I know it is sad that the
>gentleman in question seems to need to "market" his product. There are only two
>of his products that I would feel comfortable about supporting, historically.
>These would be the bone frames (Trig Lane style) and the brass frames. As I
>have noted before, these styles, although historically correct for the
>"Renaissance" period, are not for corrective optometry as we know it now. For
>costume purposes, these items fill a need. Since vision correction is not the
>same today as it was 350+ years ago, the idea of trying to sell to the
>myopic/hyperopic/presbyopic community is not the same. It would be nice to see
>period frames, but if you see them in such frequency as are seen nowadays (both
>in modern context and at reenactments), you would have a wrong idea of vision
>correction as it was accomplished years back. I have seen American Civil War
>events that had a 40% attendance of reenactors with glasses. I seriously doubt
>that real combatants at that time were that poorly visioned, and at that great
>a volume. Sorry that the page bugs you, but don't forget, the Web is, for all
>of our wishes, not the perfect resource that we would wish. I don't think he is
>trying to preach, but merely trying to change perceptions. This is good, but in
>a limited way.  Mike T.
>
     Aren't most people who sell eyeglasses trying to change perceptions?  

        I do have an opinion on this subject, but I am going to keep it to
myself.  Nicole had tried to stop this from becoming a  should wear,
shouldn't wear debate as we have had those in the past on this very subject.
All that is acheived is anger and flames.

       This list has a diverse membership with very differing opinions on
even what is meant by HISTORIC COSTUMING, let alone the levels of required
authenticity.  It is important to remember that here.  Our venues and uses
of Historic costuming is just as varied, and that does affect, and should
affect the required authenticity.  (I feel somewhat hypocritical posting
that here, when I just complained about Hollywood's authenticity on another
list).

      I will give my opinion on the add though ;) !   I did not find it
offensive (maybe I would if I wore glasses) but I did find it poor
salesmanship (and I was a salesman for years before I was blessed with my
current employment).  Like many have said, it stressed far to much the
affect on others, rather than on the wearer.  He even made the suggestion at
the bottom that people should buy these for others!

        When I am working I try to maintain authenticity for other people.
That is because I am tasked with teaching.  When I am playing I try to be
authentic for myself.  The same pitch could have, and should have been made
in that mode.  

 Just a few comments from a semi-lurker,

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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Date: Wed, 2 Oct 2002 20:57:39 -0700 (PDT)
Status: RO

Heather Jones wrote:
> If there _isn't_ a popular book out there with historic quotations of 
> the 'perennial lament' genre, there certainly _ought_ to be.  I know 
> one can find Roman-empire-era quotations along the lines of "taxes 
> are outrageous, young people don't respect their elders, and the 
> world is generally going to pot".

My favorite is a translation of some of the graffiti from Hadrian's Wall.
"Oh Wall, it is a miracle you do not collapse under the weight of all
the stupid things people have written here."

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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: [h-cost] Question about source for real silk velvet
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Date: Wed, 02 Oct 2002 23:26:38 -0600
Status: RO

I'm looking to acquire a small amount (maybe the equivalent of a "fat
quarter," or, roughly, 18"x22") of real silk velvet, in black (it *does*
need to be black...it's for a heraldic thing).  I'm really *not*
interested in that weird so-called silk velvet that's actually
silk-background-but-rayon-pile, as it just looks rayon-y to me, and this
is for a medieval-style project (I want to make a seal bag).  Does
anybody know of a source for 100% silk velvet in black?
Thanks,
Sue (now returning you to your regularly-scheduled evenings/mornings)
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: renspecs - rant
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Date: Thu, 3 Oct 2002 15:21:07 +1000 (EST)
Status: RO

 --- Robin Netherton <robin@shell.nightowl.net> wrote:
> 
> Since most of the people responding on this thread
> are female, I am
> wondering: Is there any documentation (visual or
> written) of women wearing
> glasses in the Middle Ages or Renaissance?<snipped>


In "Sofonisba Anguissola: The First Great Woman Artist
of the Renaissance" by Ilya Sandra Perlingieri,
(Rizzoli, NY) on page 45, there is a monochrome plate
of a drawing by Anguissola circa 1545, entitled "Self
portrait with old woman", in which the "old woman"
wears spectacles on her nose - the type that perch
precariously on the nose, as seen in the renspecs web
site.


Bella





All the
> images I can think of
> show clerics or scholars or the like -- all male. If
> women didn't wear
> glasses, I wonder if this reflects a combination of
> vanity, expense, and
> the idea that only people in certain specialized
> occupations (e.g. that
> involve reading or close work) would need them.
> 
> Does anyone know when women would have begun wearing
> glasses as routinely
> as men?


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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: renspecs
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Date: Thu, 3 Oct 2002 15:23:11 +1000 (EST)
Status: RO

 --- annora <lisleong@k12.hi.us> wrote: 
> 	The title page of Johan Siebmacher's Schon Neues
> Modelbuch (1597)
> has a picture of a woman wearing nose spectacles. 
> She's presumably
> wearing them to help her see the needlework she's
> doing.  That's the only
> one I can recall ever seeing.

Do you happen to know the artist or nationality of the
artist by any chance? I'd love to see this portrait.


Bella

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Date: Thu, 03 Oct 2002 09:13:34 +0100
Status: RO

Elisabeth wrote:

>The other thing that bothered me about the whole sales pitch is that he 
>is apparently unaware that the glasses he shows are completely 
>impractical for anyone who is doing anything beyond sitting and 
>watching/reading/writing.  Leaning over even to stitch, I'd be very 
>likely to lose anything resembling those prop on nose glasses.  In 
>period they were not meant to be used for activewear either.

A wheelwright in our living history group wears specs like that, with ear loops, to work in, apparently without problems.
I wear contact lenses for my very short sight. I now use reading glasses, but can still manage without for LH purposes, though I think I may have to get some period ones soon.
Isn't there a Rembrandt portrait of an old lady reading with glasses?




Kate Bunting
Library, University of Derby


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: machine quilted Regency (was Re: [h-cost] RE: Banyans
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Date: Thu, 03 Oct 2002 02:07:59 -0700
Status: RO

AnnBWass@aol.com writes, in a message sent 10:03 AM 10/2/02 -0400:
>In a message dated 10/1/2002 4:46:52 PM Eastern Daylight Time, 
>kayta@frys.com writes:
>
>
>>The lining is machine quilted to a thin wool interlining with shocking pink
>> >thread.  The lapels, cuffs and pocket flaps are another (fifth) shade of
>> >green and are also machine quilted in shocking pink!
>
>
>The description of the outer fabric, the brown print, sounds very like 
>other garments I have seen from the 2nd quarter of the 19th century, which 
>would make machine quilting possible.

I'd believe machine quilting by then. But I thought banyans were out by 
then, and a more bathrobe-like garment has replaced them.


Kayta

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I feel compelled to respond to this post as I know the gentleman involved.  
He is indeed a gentleman, and I'm sure did not mean to offend anyone.  I have 
forwarded the postings as I did feel that there were some valid suggestions 
for ways he might better sell his product.  As someone who saw the specs at 
Pennsic, I was impressed by them and have been considering getting a pair.  
My concern has been, as Robin has already asked, is how period they are for 
women.

Nancy Stengel Ulmer

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I feel compelled to respond to this post as I know the gentleman involved.&nbsp; He is indeed a gentleman, and I'm sure did not mean to offend anyone.&nbsp; I have forwarded the postings as I did feel that there were some valid suggestions for ways he might better sell his product.&nbsp; As someone who saw the specs at Pennsic, I was impressed by them and have been considering getting a pair.&nbsp; My concern has been, as Robin has already asked, is how period they are for women.<BR>
<BR>
Nancy Stengel Ulmer</FONT></HTML>

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Date: Thu, 3 Oct 2002 08:44:15 EDT
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In a message dated 10/3/2002 5:10:24 AM Eastern Daylight Time, kayta@frys.com 
writes:


> But I thought banyans were out by 
> then, and a more bathrobe-like garment has replaced them.
> 
> 
> 

I think what we have here is a question of terminology.  I'm sure you're 
right, and this garment was not called a banyan by then.  Someone more up on 
this particular period will know what it was called.  
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/3/2002 5:10:24 AM Eastern Daylight Time, kayta@frys.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">But I thought banyans were out by <BR>
then, and a more bathrobe-like garment has replaced them.<BR>
<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
I think what we have here is a question of terminology.&nbsp; I'm sure you're right, and this garment was not called a banyan by then.&nbsp; Someone more up on this particular period will know what it was called.&nbsp; <BR>
Ann Wass</FONT></HTML>

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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Thu, 03 Oct 2002 07:14:26 -0700
Status: RO

At 06:42 PM 10/02/2002 -0500, Robin Netherton wrote:
>
>Since most of the people responding on this thread are female, I am
>wondering: Is there any documentation (visual or written) of women wearing
>glasses in the Middle Ages or Renaissance? 

I've seen one Renaissance image, in a woodcut, of a woman embroidering and
wearing a pair of glasses that look like goggles.  I think it was in that
fancy cofee table book that came out a few years back..it might have been
called "The Embroiderer's Story".

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Thu, 03 Oct 2002 10:27:57 -0400
Status: RO


I checked out the "controversial" site and I didn't find it at all
offensive. A little brusque, perhaps, but not offensive. In fact, I may
order some of the glasses! But I do want to know how likely it is that
prescription makers can actually fit them.

Gail Finke




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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Subject: RE: [h-cost] Banyan
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Date: Thu, 3 Oct 2002 11:00:22 -0300
Status: RO

In Norah Waugh's "The Cut of Men's Clothes" - (p. 94 in my copy) under
Eighteenth-century Tailoring, figure 6. L'Art du Tailleur, Figures II and
III - two styles of Robe de Chambre.
This is not literally a "banyan" which is basically T-shaped and not very
full.  But I think it's a more appealing garment, serving the same purpose.
I suspect "banyan" was sometimes used as an all-encompassing term for
"dressing gown."
I once used the one from "Cut of Women's" for Salieri in Amadeus, as it
"swoops" very well and is great for hiding quick changes.
PS   Ann, I have that wonderful catalogue from the Brooklyn Museum, too.
Don't you wish they still had shows.  Oh, the treasure that are sitting
there in storage!!

Martha




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Date: Thu, 3 Oct 2002 11:57:33 EDT
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In a message dated 10/3/2002 11:03:01 AM Eastern Daylight Time, 
marthakelly@nyc.rr.com writes:


> Ann, I have that wonderful catalogue from the Brooklyn Museum, too.
> Don't you wish they still had shows.  Oh, the treasure that are sitting
> there in storage!!
> 
> 

Yes, I know--so frustrating!
Ann

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/3/2002 11:03:01 AM Eastern Daylight Time, marthakelly@nyc.rr.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Ann, I have that wonderful catalogue from the Brooklyn Museum, too.<BR>
Don't you wish they still had shows.&nbsp; Oh, the treasure that are sitting<BR>
there in storage!!<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
Yes, I know--so frustrating!<BR>
Ann</FONT></HTML>

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From: Kevin & Mara Riley <lindo@radix.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: renspecs - rant
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Date: Thu, 3 Oct 2002 12:57:01 -0400 (EDT)
Status: RO

We had a discussion about wearing spectacles on the 18thCWoman list.
Apparently not as many women as men are shown wearing spectacles; but
then, not as many people are shown wearing them as actually owned them in
real life.  It's likely that people felt that they were unflattering, and
left them off for their portraits.

-- Mara

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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Thu, 3 Oct 2002 12:50:34 -0400 (EDT)
Status: RO

Well, a friend of mine sent me a mid-17th c. genre art painting (Steen,
maybe?) of a peddler selling spectacles; the customer is a middle-aged
woman.

Something else to consider is that in this period, most spectacles were to
correct for farsightedness -- in other words, those of us who are myopic
would be out of luck.  So we'd be stumbling around bumping into people and
things ;)  Most/all of the pictures I can recall off hand of men wearing
spectacles from the 17th c. or earlier show them wearing them for
reading, or seeing up close; they most likely wouldn't have worn them for
other activities, I'd think.

Personally, I wear my antique early 19th c. (oval) frames for reenacting
earlier periods, too -- or else wear my contacts, which I realize isn't
an option for everyone.  I know that the frames are not absolutely 100%
authentic for the earlier periods, but I don't think most tourists are
going to stop to think twice about it; whereas if I were wearing my modern
glasses, they would probably notice.

-- Mara

On Wed, 2 Oct 2002, Robin Netherton wrote:

>
> Since most of the people responding on this thread are female, I am
> wondering: Is there any documentation (visual or written) of women wearing
> glasses in the Middle Ages or Renaissance? All the images I can think of
> show clerics or scholars or the like -- all male. If women didn't wear
> glasses, I wonder if this reflects a combination of vanity, expense, and
> the idea that only people in certain specialized occupations (e.g. that
> involve reading or close work) would need them.
>
> Does anyone know when women would have begun wearing glasses as routinely
> as men?
>
> --Robin
>
> _______________________________________________
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> h-costume@mail.indra.com
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: renspecs - rant
References: <006b01c26a7a$d32273c0$93cfadcb@michaela>
 <Pine.GSO.4.43.0210031254140.7843-100000@saltmine.radix.net>
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Date: Thu, 3 Oct 2002 20:26:07 +0100
Status: RO

This brought immediately into my head that classic pose of a woman 
sitting by a table, 3/4 front, with a letter in her hand - but she's 
always looking out at the painter, never actually reading it.  Can't you 
just imagine her turning back and fishing her specs out of the pocket 
she has hanging down the side away from us?

Jean


Kevin & Mara Riley <lindo@radix.net> wrote
>We had a discussion about wearing spectacles on the 18thCWoman list.
>Apparently not as many women as men are shown wearing spectacles; but
>then, not as many people are shown wearing them as actually owned them in
>real life.  It's likely that people felt that they were unflattering, and
>left them off for their portraits.
>
>-- Mara
>
>_______________________________________________
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-- 
Jean Waddie
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: f-costume@indra.com
Cc: basiclifeskills@hotmail.com, gastonsfreakangel@hotmail.com,
        h-costume@indra.com, missrhonda@prodigy.net, soteros@toledotel.com,
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Date: Thu, 03 Oct 2002 13:34:53 -0700
Status: RO

I'm so jazzed!!!  The second page of my "Spiroc Saga" is up and running.  If 
you missed the first page it is at

http://home.teleport.com/~cedric/distdesi/spiroc.html

and now...     page 2

http://home.teleport.com/~cedric/distdesi/spiroc2.html



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: 
http://photos.msn.com/support/worldwide.aspx

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Subject: [h-cost] Costume College - when?
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Date: Thu, 03 Oct 2002 13:56:58 -0700
Status: RO

Did I just miss Costume College this year?  When is it next year?  The 
http://www.costumecollege.org/ website was particularly unhelpful on these 
two points.

Kayta

    //// \\\
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Date: Thu, 3 Oct 2002 17:12:05 -0400
Status: RO

After all, if you looked at pictures in fashion magazines or of celeberties
you would conclude that very few people in this century wore anything
besides cool-looking sunglasses.   And the women in my family always take
their glasses off when someone is taking photographs.

Janet

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Date: Thu, 03 Oct 2002 15:47:53 -0700
Status: RO

To Carolyn-

Yes, CC was either the 2nd or 3rd weekend of July this year.  Come and
gone like a certain Republican President's compassion!!

Who knows when next year, I think they're still sorting through the
remains of the recent one.

Are you coming to PEERS this Saturday???

Talk later, 

Theresa Eacker

Carolyn Kayta Barrows wrote:
> 
> Did I just miss Costume College this year?  When is it next year?  The
> http://www.costumecollege.org/ website was particularly unhelpful on these
> two points.
> 
> Kayta
> 
>     //// \\\
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Date: Thu, 3 Oct 2002 15:51:56 -0700
Status: RO

This is a multi-part message in MIME format.

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A picture of an 18th century mantua is described: coloured silk twist =
and chenille thread, tamboured in a meandering pattern of flowers and =
leaves decorate the fabric...Is tamboured the same as couching? Does =
anyone know if chenille thread is available and where? Thanks

Linda

(picture is in Historical Fashion in Detail by Hart & North pg 92.

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</HEAD>
<BODY bgColor=3D#eeeeee>
<DIV><FONT face=3DArial size=3D2>A picture of an 18th century mantua is =
described:=20
coloured silk twist and chenille thread, tamboured in a meandering =
pattern of=20
flowers and leaves decorate the fabric...Is tamboured the same as =
couching? Does=20
anyone know if chenille thread is available and where? =
Thanks</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Linda</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>(picture is in <U>Historical Fashion in =
Detail</U>=20
by Hart &amp; North pg 92.</FONT></DIV></BODY></HTML>

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Date: Thu, 3 Oct 2002 19:52:56 -0400
Status: RO

I am finally able to announce actual Finished Objects! Five of them, 
in fact- 4 of the "Dread Herjolfernes", and one apron dress to go 
over 2 of the former. And the day before they're needed, too!

I made 2 Herjolfernes-based things each for my husband and me. His 
are about knee-length and lack the center inset panel- he really 
didn't need or want the extra fullness, since this is a working 
weekend (an SCA metalsmithing event). Mine are a short ankle-length 
and have the center inset. We each have a green one and a heavier 
brown one, with different trim- his brown has dark green, and his 
dark green has navy and bright green; my brown has brick red and my 
green has grey. I'm planning to add some narrow purple trim to my 
green at some point, though- I've been using the 
green-white-and-purple color combination every now and again, since 
those are the (very OOP) suffragist colors and so a bit of a personal 
joke OOP. The fabrics are a decent cotton twill. The apron dress is a 
fancy--weave denim, somewhat shorter than my dresses.

I like making up the Herjolfernes- apart from the trim, it takes 
maybe an hour or 2. Of course, the trim can add an hour or more, and 
is really necessary to finish the sleeves and neck hole....

Now I need to make some more brooches, both to use on my dresses and 
as samples for the brooch class I'm teaching... <g>

-Amanda
event novice
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Subject: [h-cost] 3D Historical Costume
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Date: Fri, 4 Oct 2002 10:38:18 +1000 (EST)
Status: RO

Greetings to the list,

I haven't been on this list long, and don't post all
that often, so forgive me if what I'm about to tell
you about you all already know about. :)

The State Hermitage Museum, St. Petersburg, has a
"Virtual Viewings" feature that I just discovered last
night. You can choose between "Virtual Excursions",
"Virtual Exhibitions" and, and most exciting one,
"Gallery of 3-D Images". When you click on that one
you have several items or groups of items from the
museum's collection to choose from to view in 3-D. 

The one of relevance to us here is of course costume
related - the "Dresses by Lamanova", Lamanova being
"one of the most talented couturiers of the turn of
the 20th century. In 1885, when she was barely 24
years old, she opened her own atelier in Moscow."

There are 8 dresses to look at - from a broadcloth
visiting dress, to several evening dresses, and a
couple of ball gowns thrown in for good measure. On
each you can view the gown as it slowly rotates in
front of you, and for each dress there are two or more
views available, so you can see a general view, or a
close up of the embroidery, or the collar, or a
sleeve, etc. Enjoy! :)


<http://www.hermitagemuseum.org/html_En/12/hm12_2_8.html>



Bella




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Date: Thu, 03 Oct 2002 18:29:00 -0700
Status: RO

costume college was indeed the third weekend in July.  It was a lot of fun 
this year and I learned a lot.  For instance, it is probably best not to go 
to an event like that with a half finished costume and expect to finish it 
for Saturday night.  While I managed to finish a medieval costume for 
Saturday, I did not finish my Victorian bodice for Sunday.  and, I spent 
too much time in my room sewing.
I took one class where we wrote poetry about each others outfits, that was 
a little weird, but fabric landscaping was unexpectedly fabulous.  If you 
do Elizabethan, Cheryl Looney was a really good teacher.
I have gotten a lot out of it both years that I have gone.

Maryann

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Subject: [h-cost] Dressing Pins and impressive commercial costume site
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Date: Thu, 3 Oct 2002 20:13:28 -0700
Status: RO

While trying to find a picture of  the "Dreaded Herjolfernes" thing, I
came across this site.

http://www.historicenterprises.com/  

I was thrilled to find dressing pins and was also impressed with their
work.  

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In a message dated 10/3/02 6:54:18 PM Eastern Daylight Time, 
sasha7@ix.netcom.com writes:


> Is tamboured the same as couching? Does anyone know if chenille thread is 
> available and where? Thanks

Tambour work is done with a special hook and makes little chain stitches.  I 
think tambour hooks are still available, and I know chenille thread is.  Try 
Hedgehog Handworks.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#eeeeee"><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/3/02 6:54:18 PM Eastern Daylight Time, sasha7@ix.netcom.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Is tamboured the same as couching? Does anyone know if chenille thread is available and where? Thanks</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #eeeeee" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #eeeeee" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Tambour work is done with a special hook and makes little chain stitches.&nbsp; I think tambour hooks are still available, and I know chenille thread is.&nbsp; Try Hedgehog Handworks.<BR>
Ann Wass</FONT></HTML>

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: RE: [h-cost] 3D Historical Costume
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Date: Fri, 4 Oct 2002 12:30:43 +1000 (EST)
Status: RO

Yes, that's what I thought of it too, and you're
welcome! :)

Bella


--- Saragrace knauf <saragrace@earthlink.net> wrote: >
Thanks!  Very cool!


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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: renspecs
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Date: Fri, 4 Oct 2002 12:28:58 +1000 (EST)
Status: RO

 --- annora <lisleong@k12.hi.us> wrote: > > > 	The
title page of Johan Siebmacher's Schon
> Neues
> > > Modelbuch (1597)
> >
> > Do you happen to know the artist or nationality of
> the
> > artist by any chance? I'd love to see this
> portrait.
> 
> 	Sorry, I don't know the artist but the original
> book is German.
> I don't have the actual book, but a copy of the
> woodcut appears in The
> Embroiderer's Story by Thomasina Beck.
> 
> --annora


Thank you Annora. :) Does anyone have this book, and
would any of you who do be willing to scan and email
me the image please?


Bella

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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Some FOs!
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Date: Thu, 3 Oct 2002 19:29:44 -0700
Status: RO

Pictures!!!  We want pictures~~  :}

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of sustre@pixelations.com
**Sent: Thursday, October 03, 2002 4:53 PM
**To: h-costume@indra.com
**Subject: [h-cost] Some FOs!
**
**
**I am finally able to announce actual Finished Objects! Five of them, 
**in fact- 4 of the "Dread Herjolfernes", and one apron dress to go 
**over 2 of the former. And the day before they're needed, too!
**
**I made 2 Herjolfernes-based things each for my husband and me. His 
**are about knee-length and lack the center inset panel- he really 
**didn't need or want the extra fullness, since this is a working 
**weekend (an SCA metalsmithing event). Mine are a short ankle-length 
**and have the center inset. We each have a green one and a heavier 
**brown one, with different trim- his brown has dark green, and his 
**dark green has navy and bright green; my brown has brick red and my 
**green has grey. I'm planning to add some narrow purple trim to my 
**green at some point, though- I've been using the 
**green-white-and-purple color combination every now and again, since 
**those are the (very OOP) suffragist colors and so a bit of a personal 
**joke OOP. The fabrics are a decent cotton twill. The apron dress is a 
**fancy--weave denim, somewhat shorter than my dresses.
**
**I like making up the Herjolfernes- apart from the trim, it takes 
**maybe an hour or 2. Of course, the trim can add an hour or more, and 
**is really necessary to finish the sleeves and neck hole....
**
**Now I need to make some more brooches, both to use on my dresses and 
**as samples for the brooch class I'm teaching... <g>
**
**-Amanda
**event novice
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From: "Saragrace knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] 3D Historical Costume
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Date: Thu, 3 Oct 2002 19:28:37 -0700
Status: RO

Thanks!  Very cool!

**-----Original Message-----
**From: h-costume-admin@indra.com 
**[mailto:h-costume-admin@indra.com] On Behalf Of Bella
**Sent: Thursday, October 03, 2002 5:38 PM
**To: h-costume@indra.com
**Subject: [h-cost] 3D Historical Costume
**
**
**Greetings to the list,
**
**I haven't been on this list long, and don't post all
**that often, so forgive me if what I'm about to tell
**you about you all already know about. :)
**
**The State Hermitage Museum, St. Petersburg, has a
**"Virtual Viewings" feature that I just discovered last
**night. You can choose between "Virtual Excursions",
**"Virtual Exhibitions" and, and most exciting one,
**"Gallery of 3-D Images". When you click on that one
**you have several items or groups of items from the
**museum's collection to choose from to view in 3-D. 
**
**The one of relevance to us here is of course costume
**related - the "Dresses by Lamanova", Lamanova being
**"one of the most talented couturiers of the turn of
**the 20th century. In 1885, when she was barely 24
**years old, she opened her own atelier in Moscow."
**
**There are 8 dresses to look at - from a broadcloth
**visiting dress, to several evening dresses, and a
**couple of ball gowns thrown in for good measure. On
**each you can view the gown as it slowly rotates in
**front of you, and for each dress there are two or more
**views available, so you can see a general view, or a
**close up of the embroidery, or the collar, or a
**sleeve, etc. Enjoy! :)
**
**
**<http://www.hermitagemuseum.org/html_En/12/hm12_2_8.html>
**
**
**
**Bella
**
**
**
**
**http://mobile.yahoo.com.au - Yahoo! Messenger for SMS
**- Always be connected to your Messenger Friends 
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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] Re: renspecs
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Date: Thu, 03 Oct 2002 15:57:37 -1000 (HST)
Status: RO

> > 	The title page of Johan Siebmacher's Schon Neues
> > Modelbuch (1597)
>
> Do you happen to know the artist or nationality of the
> artist by any chance? I'd love to see this portrait.

	Sorry, I don't know the artist but the original book is German.
I don't have the actual book, but a copy of the woodcut appears in The
Embroiderer's Story by Thomasina Beck.

--annora

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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Fri, 4 Oct 2002 09:20:44 BST
Status: RO

Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote :

> Yes, presumably the gentleman I mentioned in my earlier post has his
> Renaissance specs made up to his own prescription. I've seen other members of
> my society in various period styles too.

There are various suppliers in the UK who will take your prescription (and a cheque), and return you a pair of prescription "period" glasses. I assume they work with a friendly optician. Unfortunately, none of the ones I know of seem to have web sites or email addresses :(




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Date: Fri, 04 Oct 2002 09:07:18 +0100
Status: RO

Dianne wrote:

>However, I have a question. Would it be possible to buy a pair of the >frames in question, and have lenses ground to fit? Since I always buy >frames and lenses in one fell swoop, it's simply not come up before. And as >hard as Iam on glasses, it couldn't hurt to have an extra pair around!

Yes, presumably the gentleman I mentioned in my earlier post has his Renaissance specs made up to his own prescription. I've seen other members of my society in various period styles too.

I think Mara's was the most sensible suggestion. If a reenactor can't wear contacts and doesn't want to have a period pair made, they could at least wear round or oval frames, which look less incongruous than modern shapes.



Kate Bunting
Library, University of Derby


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Date: Fri, 4 Oct 2002 01:10:42 -0700 (PDT)
Status: RO

=?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com> wrote:
[...]
> 18th c. in India and the brightly coloured embroidered fabrics and garments
> then shipped over to England. You can still get tambour hooks, but they are
> specialist items. I was lucky finding some (they come with changeable hoks for
> different sizes) in London.
> 
> Does anyone know if
> > chenille thread is available and where? Thanks
> 
> Sheesh, I know that I have seen it somewhere, but can I remember? Nope. Sorry.
> If I come across it again I'll let you know. Best bet is search the specialist
> needlework shops and online and ask.

For the US posters, I think Lacis still carries chenile thread.  I _know_ 
they still have tambour hooks.
http://www.lacis.com/

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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] Embroidery terms
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Date: Fri, 4 Oct 2002 08:29:18 +0100 (BST)
Status: RO

 --- LLB <sasha7@ix.netcom.com> wrote: > A picture of an 18th century mantua is
described: coloured silk twist and
> chenille thread, tamboured in a meandering pattern of flowers and leaves
> decorate the fabric...Is tamboured the same as couching? 

No, not at all. Tamboured means that it is made with a tambour hook. It looks
very similar to chain stitch, but is faster. Tambour work was often done in the
18th c. in India and the brightly coloured embroidered fabrics and garments
then shipped over to England. You can still get tambour hooks, but they are
specialist items. I was lucky finding some (they come with changeable hoks for
different sizes) in London.

Does anyone know if
> chenille thread is available and where? Thanks

Sheesh, I know that I have seen it somewhere, but can I remember? Nope. Sorry.
If I come across it again I'll let you know. Best bet is search the specialist
needlework shops and online and ask.

Nicole

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

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Date: Fri, 04 Oct 2002 00:18:14 -0700
Status: RO

To Carolyn-
 
> What does one wear to CostumeCollege - anything, like it was
> CostumeCon?  Are the classes only historical, or do they get into
> theatrical and fantasy/science fiction too?

I've never been to CostumeCon but, for my one time at Costume College, I
saw people wear a different costume every day, I saw people just wear
regular stuff (I was one of those), and I saw people wear costume
intermittently.  The classes cover everything from historical to
fantasy/SciFi to theatrical to contemporary issues (preservation,
spotting fakes) plus a wonderful lecture by Edward Maeder.

Have a great weekend, 

Theresa Eacker
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Date: Thu, 03 Oct 2002 23:58:02 -0700
Status: RO

To Bella-

Oh my gosh, what a wonderful find. Thank you soooo much!!!
The green and black satin dress....oooooh, I think I'm dying.  

The 3-D is very cool!!!

Theresa Eacker

Bella wrote: (Snipping)
 
> The State Hermitage Museum, St. Petersburg, has a
> "Virtual Viewings" feature that I just discovered last
> night. You can choose between "Virtual Excursions",
> "Virtual Exhibitions" and, and most exciting one,
> "Gallery of 3-D Images". When you click on that one
> you have several items or groups of items from the
> museum's collection to choose from to view in 3-D.
> 
> The one of relevance to us here is of course costume
> related - the "Dresses by Lamanova"...
> There are 8 dresses to look at  On
> each you can view the gown as it slowly rotates in
> front of you, 
> 
> <http://www.hermitagemuseum.org/html_En/12/hm12_2_8.html>
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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Thu, 3 Oct 2002 06:20:02 -0400
Status: RO


>         I do have an opinion on this subject, but I am going to keep it to
> myself.  Nicole had tried to stop this from becoming a  should wear,
> shouldn't wear debate as we have had those in the past on this very
subject.
> All that is acheived is anger and flames.


Yes, really, let's not get into that debate again, pleeeease . No one's
opinion in ever swayed in the least.

However, I have a question. Would it be possible to buy a pair of the frames
in question, and have lenses ground to fit? Since I always buy frames and
lenses in one fell swoop, it's simply not come up before. And as hard as I
am on glasses, it couldn't hurt to have an extra pair around!

Dianne

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: renspecs
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Date: Fri, 4 Oct 2002 15:17:41 +1000 (EST)
Status: RO

 --- annora <lisleong@k12.hi.us> wrote: > > Does
anyone have this book, and
> > would any of you who do be willing to scan and
> email
> > me the image please?
> 
> 	I can send it to you but probably not until this
> weekend.  Also,
> it's not a portrait.  It's sort of a parlor scene
> with several ladies
> doing different types of handwork--variety of
> embroidery, mending or plain
> sewing, bobbin lace(?), working on a ruff.  The lady
> wearing the nose
> spectacles appears to be older and looks to be
> instructing or checking
> over a younger lady's work.
> 
> --annora


That's just fine. Thank you, I do appreciate you doing
this for me.


Bella 

=====
Lady Bella Lucia da Verona
Innilgard, Lochac

The Realm of Venus
http://au.geocities.com/bella_lucia_da_verona
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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] Re: renspecs
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Date: Thu, 03 Oct 2002 18:04:04 -1000 (HST)
Status: RO

> Does anyone have this book, and
> would any of you who do be willing to scan and email
> me the image please?

	I can send it to you but probably not until this weekend.  Also,
it's not a portrait.  It's sort of a parlor scene with several ladies
doing different types of handwork--variety of embroidery, mending or plain
sewing, bobbin lace(?), working on a ruff.  The lady wearing the nose
spectacles appears to be older and looks to be instructing or checking
over a younger lady's work.

--annora

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume College - when?
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Date: Thu, 03 Oct 2002 20:20:10 -0700
Status: RO


>Yes, CC was either the 2nd or 3rd weekend of July this year.  Come and
>gone like a certain Republican President's compassion!!

He had compassion?  Oops - not a costume question.

>Who knows when next year, I think they're still sorting through the
>remains of the recent one.

That's my guess.  A friend of mine thinks I should go, and we are beginning 
to make plans for next year.  She thought we'd just missed this year's, and 
it seems she was right.

What does one wear to CostumeCollege - anything, like it was 
CostumeCon?  Are the classes only historical, or do they get into 
theatrical and fantasy/science fiction too?

>Are you coming to PEERS this Saturday???

No, I'm going to a different dance event.


Kayta

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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] Re: renspecs - rant
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Date: Fri, 4 Oct 2002 05:50:34 -0700
Status: RO

Several years ago a friend had a pair of period glasses made in England for
herself.  These looked much like a raccoon mask :-) with the ear pieces
being strips of ribbon with small drop shaped weights that held them onto
her face.   Since she was in the military the lenses were actually the type
that were made for gas masks, and came to her free.  This was done in the
spirit of "experiment".  She was surprised and pleased at the actual result.
The frames held the lenses up very close to her eyes, and actually allowed
her to see better than her regular pair with less uncorrected peripheral
vision.  The weights  well for fairly sedentary pursuits like reading,
sewing, and some cooking.  Dancing was "right out!"

Granted, she looked a bit like Ricky Raccoon while wearing them, she had a
blast discovering how a period style actually worked.  Experimental
archeology/Living history.

I'd say if you had the inclination this might be a fun addition to your
persona.  If not, for me at least, glasses are pretty invisible.

Regina Romsey
"You forgot the first rule of a fanatic. When you become obsessed with the
enemy, you become the enemy."
	-- Sinclair, B5


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Dianne and Greg Stucki
Sent: Thursday, October 03, 2002 3:20 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Re: renspecs - rant



>         I do have an opinion on this subject, but I am going to keep it to
> myself.  Nicole had tried to stop this from becoming a  should wear,
> shouldn't wear debate as we have had those in the past on this very
subject.
> All that is acheived is anger and flames.


Yes, really, let's not get into that debate again, pleeeease . No one's
opinion in ever swayed in the least.

However, I have a question. Would it be possible to buy a pair of the frames
in question, and have lenses ground to fit? Since I always buy frames and
lenses in one fell swoop, it's simply not come up before. And as hard as I
am on glasses, it couldn't hurt to have an extra pair around!

Dianne

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Embroidery terms
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Date: Fri, 4 Oct 2002 15:02:28 +0200
Status: RO

This is a multi-part message in MIME format.

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Hello.
You have ben informed about the tambouring, so i wont tell you anything =
like that.
Pure Silk Chenille thread you can have from Hedgehog Handworks in USA. =
Also from Barnyarns in England.
I have had from both, it is a french brand called Au Ver A Soie. =
Chenille thread is mostly couched to the fabric (lyed to the fabric and =
sewn to it with another thread) Because Chenille Thread is a kind of =
hairy thread, it is difficult to take it trough your fabric like =
ordinary thread. It looks like a Caterpillar.
I am making embroidery right now with this thread you can se it here:=20
http://www.my-drewscostumes.dk/robealafrancaise1776.htm
There is not much to se right now, as i have just started. But the red =
flowers is made of Chenille Thread.

Many greetings

Bjarne
  ----- Original Message -----=20
  From: LLB=20
  To: h-costume@indra.com=20
  Sent: Friday, October 04, 2002 12:51 AM
  Subject: [h-cost] Embroidery terms


  A picture of an 18th century mantua is described: coloured silk twist =
and chenille thread, tamboured in a meandering pattern of flowers and =
leaves decorate the fabric...Is tamboured the same as couching? Does =
anyone know if chenille thread is available and where? Thanks

  Linda

  (picture is in Historical Fashion in Detail by Hart & North pg 92.

------=_NextPart_000_0045_01C26BB7.0E4B5380
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 6.00.2719.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#eeeeee>
<DIV><FONT face=3DArial size=3D2>Hello.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>You have ben informed about the =
tambouring, so i=20
wont tell you anything like that.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Pure Silk Chenille thread you can have =
from=20
Hedgehog Handworks in USA. Also from Barnyarns in England.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I have had from both, it is a french =
brand called=20
Au Ver A Soie. Chenille thread is mostly couched to the fabric (lyed to =
the=20
fabric and sewn to it with another thread) Because Chenille Thread is a =
kind of=20
hairy thread, it is difficult to take it trough your fabric like =
ordinary=20
thread. It looks like a Caterpillar.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I am making embroidery right now with =
this thread=20
you can se it here: </FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.my-drewscostumes.dk/robealafrancaise1776.htm">http://w=
ww.my-drewscostumes.dk/robealafrancaise1776.htm</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>There is not much to se right now, as i =
have just=20
started. But the red flowers is made of Chenille Thread.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Many greetings</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Bjarne</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 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=3Dsasha7@ix.netcom.com =
href=3D"mailto:sasha7@ix.netcom.com">LLB</A>=20
</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, October 04, 2002 =
12:51=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Embroidery =
terms</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>A picture of an 18th century mantua =
is described:=20
  coloured silk twist and chenille thread, tamboured in a meandering =
pattern of=20
  flowers and leaves decorate the fabric...Is tamboured the same as =
couching?=20
  Does anyone know if chenille thread is available and where?=20
Thanks</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Linda</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>(picture is in <U>Historical Fashion =
in=20
  Detail</U> by Hart &amp; North pg =
92.</FONT></DIV></BLOCKQUOTE></BODY></HTML>

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Date: Fri, 4 Oct 2002 10:20:52 -0400
Status: RO

At 8:13 PM -0700 10/3/02, Saragrace knauf wrote:
>While trying to find a picture of  the "Dreaded Herjolfernes" thing, I
>came across this site.
>
>http://www.historicenterprises.com/

What a great site! Lots of nice stuff I wouldn't have to make myself! <g>

Their Herjolfernes is a later look than the ones I did- mine have no 
buttons (although I left the sleeves open a way up on one of mine, to 
be pinned or sewn closed) and have a round neck hole with a front 
slit. On mine the front and back insets start up higher, just below 
the bustline, since they're not competing with the front buttons. 
This makes it much looser fitting. The sleeves on mine are looser 
too, and I added probably-inauthentic tiny pleats at the top of mine, 
though not Justin's; I also used underarm gussets and just did the 
sleeve seam under the arm. I was interested to see that they use only 
2 gores under each arm- I thought i was cheating when i did it!

The way I did it I could "cut" out most of the pieces by tearing, and 
the few pieces that weren't rectangular themselves were straight cuts 
in rectangles. Fast! I did take the time to serge all the edges, 
trimming the part the tearing made wonky.

I'll try to get some pics this weekend!

-Amanda
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From h-costume-admin@indra.com  Fri Oct  4 10:23:42 2002
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Date: Fri, 4 Oct 2002 07:22:20 -0700 (PDT)
Status: RO

Greetings!

A query regarding flat-felled seams being used for
Elizabethan clothing was posted to a newsgroup that I
read. 

I don't recall ever seeing/reading anything about its
usage, but then again, I haven't been able to read
everything ever published ;-). Does anyone know if
flat-felled seams are an old seam technique or is it
modern?

Thanks.
kate

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 4 Oct 2002 15:33:40 +0100 (BST)
Status: RO

 --- kate <macailith@yahoo.com> wrote: > Greetings!
> 
> A query regarding flat-felled seams being used for
> Elizabethan clothing was posted to a newsgroup that I
> read. 
> 
> I don't recall ever seeing/reading anything about its
> usage, but then again, I haven't been able to read
> everything ever published ;-). Does anyone know if
> flat-felled seams are an old seam technique or is it
> modern?
> 
> Thanks.
> kate

It is a REALLY old technique, there are finds on the backs of early Anglo-Saxon
brooches where the linen has corroded onto the metal and the seams are possible
to deipher. Lo and behold, they are flat-felled. I remember reading in the
Schlabow book that those finds could be dated back to the 3rd century at least
on germany finds, if I am not completely mistaken.
Also, the early 17th c shift on display in the Britisg gallery at the V&A is
flat felled too.

Nicole

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

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Subject: Re: [h-cost] Re: renspecs - rant
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Date: Fri, 4 Oct 2002 09:40:03 -0700 (PDT)
Status: RO

I used to do this all the time -- I bought up vintage glasses frames
at thrift stores, and Sears optometrics has the lenses made for me.

It was pretty cheap, all told.

.heather.


> Yes, really, let's not get into that debate again, pleeeease . No one's
> opinion in ever swayed in the least.
> 
> However, I have a question. Would it be possible to buy a pair of the frames
> in question, and have lenses ground to fit? Since I always buy frames and
> lenses in one fell swoop, it's simply not come up before. And as hard as I
> am on glasses, it couldn't hurt to have an extra pair around!
> 
> Dianne
> 
> _______________________________________________
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Date: Fri, 4 Oct 2002 13:27:00 -0400
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If you are sending me an entry for the Online Costume Ball, please, please,
put in the subject header "Online Costume Ball."  I normally do not open
attachments.  I opened two messages with attachments this week, thinking
they were for the Ball and they were viruses.  So now I will only open a
message with an attachment with the proper subject header.

Penny Ladnier
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Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 4 Oct 2002 10:48:21 -0700
Status: RO

At 7:22 AM -0700 10/4/02, kate wrote:
>Greetings!
>
>A query regarding flat-felled seams being used for
>Elizabethan clothing was posted to a newsgroup that I
>read.
>
>I don't recall ever seeing/reading anything about its
>usage, but then again, I haven't been able to read
>everything ever published ;-). Does anyone know if
>flat-felled seams are an old seam technique or is it
>modern?

My "arcaheological sewing" article (on Cynthia's site) doesn't really 
cover as late as the Elizabethan era, so I can't speak to that aspect 
particularly.  By far and away _the_ most common and widespread seam 
for joining wool (from the Bronze Age up through the Medieval period) 
was a group of techniques closely akin to a felled seam.  There are a 
few significant differences, however, between a modern felled seam 
and the ones I studied.  The historic seam-group doesn't normally 
depend on anything equivalent to a straight running seam, but rather 
uses a hem stitch sewing each folded edge to the flat fabric. 
(Sometimes there is top-stitching added to this, but the basic 
version is two rows of hem stitching.)

So, defining the seam in terms of "overlap the two pieces of fabric 
with the raw edges folded to the inside", the flat felled seam is an 
extremely widespread and typical seam for woolen fabrics at least up 
through the medieval period. But the visual aspect of modern flat 
felled seams that involves two parallel visible straight seams is not 
one that appears to have been typical.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
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Date: Fri, 4 Oct 2002 10:50:51 -0700
Status: RO

>However, I have a question. Would it be possible to buy a pair of the frames
>in question, and have lenses ground to fit? Since I always buy frames and
>lenses in one fell swoop, it's simply not come up before. And as hard as I
>am on glasses, it couldn't hurt to have an extra pair around!
>
>Dianne
>

The web site indicates that you can buy the frames with no lenses. 
(From my own experience of trying to get an optometrist to make me 
lenses with no frames, I advise having the frames with you when you 
go in to talk about lenses.  It's also possible that the lenses will 
be more expensive if they are not a standard size and shape.)

Heather
-- 
*****
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hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Fri Oct  4 14:43:59 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 04 Oct 2002 11:40:19 -0700
Status: RO


> > A query regarding flat-felled seams being used for
> > Elizabethan clothing was posted to a newsgroup that I
> > read.
> >
> > I don't recall ever seeing/reading anything about its
> > usage, but then again, I haven't been able to read
> > everything ever published ;-). Does anyone know if
> > flat-felled seams are an old seam technique or is it
> > modern?

>It is a REALLY old technique, there are finds on the backs of early 
>Anglo-Saxon
>brooches where the linen has corroded onto the metal and the seams are 
>possible
>to deipher. Lo and behold, they are flat-felled. I remember reading in the
>Schlabow book that those finds could be dated back to the 3rd century at least
>on germany finds, if I am not completely mistaken.
>Also, the early 17th c shift on display in the Britisg gallery at the V&A is
>flat felled too.

Yes, but did the Elizabethans do it too?

Kayta

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 4 Oct 2002 20:38:29 +0100 (BST)
Status: RO

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

> Yes, but did the Elizabethans do it too?

She asked 'was it old'. Therefore I answered 'yes it is old'. She did not ask
'was it Elizabethan'.

I am not into Elizabethan, but the shift I have seen is Jacobean, perhaps Drea
would know, having been in the V&A more renectly than I was, and I do usually
skip the 16th century stuff anyway. What about the two shirt/shift in Bath?

Nicole

=====
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L'Age d'Or & Kirke's Lambs 
Civilian & Military  Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 4 Oct 2002 20:42:12 +0100 (BST)
Status: RO

 --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: >

> through the medieval period. But the visual aspect of modern flat 
> felled seams that involves two parallel visible straight seams is not 
> one that appears to have been typical.

Hm? *scratches head* two parallel lines??? uh... are we talking about different
seams here? Does anyone have a drawing? because I am not sure anymore that we
are talking about the same thing. maybe I am thinking of something else???

Nicole

=====
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L'Age d'Or & Kirke's Lambs 
Civilian & Military  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] flat-felled seams
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Date: Fri, 04 Oct 2002 13:32:29 -0700
Status: RO


> > Yes, but did the Elizabethans do it too?
>
>She asked 'was it old'. Therefore I answered 'yes it is old'. She did not ask
>'was it Elizabethan'.

She also mentioned Elizabethan, which I am into, so I asked the list, 
generally, if it was Elizabethan.  Good to know it's old, as I am into 
other periods too, but not so heavily that I knew that answer.


Kayta

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From h-costume-admin@indra.com  Fri Oct  4 17:10:19 2002
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Date: Fri, 4 Oct 2002 17:10:37 -0400
Status: RO

Nicole, are you thinking of French seams perhaps? My best explanation of
what a flat felled seam looks like is plain old blue jeans. Those are flat
felled.

Dianne
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Friday, October 04, 2002 3:42 PM
Subject: Re: [h-cost] flat-felled seams


> --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: >
>
> > through the medieval period. But the visual aspect of modern flat
> > felled seams that involves two parallel visible straight seams is not
> > one that appears to have been typical.
>
> Hm? *scratches head* two parallel lines??? uh... are we talking about
different
> seams here? Does anyone have a drawing? because I am not sure anymore that
we
> are talking about the same thing. maybe I am thinking of something else???
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> L'Age d'Or & Kirke's Lambs
> Civilian & Military  Living History Society 1660-1715
> URL: http://www.kipar.org/
> Email: marquis@kipar.org
>
> __________________________________________________
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From: Ron Carnegie <r.carnegie@verizon.net>
Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 04 Oct 2002 17:27:56 -0400
Status: RO

At 08:42 PM 10/4/02 +0100, you wrote:
> --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: >
>
>> through the medieval period. But the visual aspect of modern flat 
>> felled seams that involves two parallel visible straight seams is not 
>> one that appears to have been typical.
>
>Hm? *scratches head* two parallel lines??? uh... are we talking about different
>seams here? Does anyone have a drawing? because I am not sure anymore that we
>are talking about the same thing. maybe I am thinking of something else???
>
>Nicole


        I suspect that the poster was referring to the two needle appraoch
as used on Modern Levi's blue jeans or some men's shirts.  This is of course
a very modern technique which doesn't make a lot of sense without a sewing
machine.   Historical flat felled seams that I have seen are more like those
described as medeivial, at least as late as the U.S. Federal Army blouse of
the 1860s.  The unlined versions of these are flat felled without the
parrallel stiches, even when machine were used.

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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To: h-costume@indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 4 Oct 2002 16:03:53 -0700
Status: RO

At 8:42 PM +0100 10/4/02, N Kipar wrote:
>  --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: >
>
>>  through the medieval period. But the visual aspect of modern flat
>>  felled seams that involves two parallel visible straight seams is not
>>  one that appears to have been typical.
>
>Hm? *scratches head* two parallel lines??? uh... are we talking 
>about different
>seams here? Does anyone have a drawing? because I am not sure anymore that we
>are talking about the same thing. maybe I am thinking of something else???

I don't know -- the way I was taught to make a modern, machine-sewn 
flat-felled seam is:

- wrong sides together, sew a straight seam
- trim one side of the seam allowance slightly, fold the other over towards it
- flatten the seam allowance and top-stitch along the edge of the fold

You end up with two parallel visible lines of sewing on the right 
side of the fabric: the original seam and the top-stitched seam. 
Since the original question wasn't specific on that point, I wanted 
to distinguish between what the fabric is doing and what the stitches 
are doing.

Someone else mentioned shirts and shifts -- I'd like to point out 
that, in my research for the Arcahaeological Sewing article, there 
tended to be a clear distinction between the set of seam types used 
for wool and the set used for linen.  (Hem types were more similar 
between the two.) Seams in wool often assumed the anti-ravelling 
properties of that fabric, while seams in linen often involved 
elaborate mechanisms to avoid leaving raw edges exposed in any way.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Fri Oct  4 19:38:23 2002
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Subject: [h-cost] Re: [STEPS] Slightly OT - Fw: Bad checks...
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Date: Wed, 02 Oct 2002 13:38:02 -0700
Status: RO

>Please forgive the cross-posts but this is important.  I found this
on the
>orycon-l list and have received permission from Lauryn to re-post it
>elsewhere.  In her words - "Be my guest! the more people that know
about
>her
>the better for all of us."
>
>I, myself, am posting this to the following groups -
>GPACG-general(at)yahoogroups.com, AnTirMerchants(at)yahoogroups.com,
>margospatterns(at)yahoogroups.com, steps(at)antir.sca.org (the
Cathedral
>Steps), h-costume(at)indra.com, and ICG-D(at)yahoogroups.com   All
these
>have either merchants or merchant contacts on them.  If you know of
any
>lists (or merchants not on these lists) that would be interested,
please
>forward.  If you need to contact Lauryn directly, please contact me
offline
>at brenna@robewarriors.com
>
>Thank you for the bandwidth and keep your eyes open for this person.
>
>Brenna Sharp
>B Sharp Fabrics
SNIP FOR BREVITY

	M'Lady, if you could gather as much information on this matter as
you could and then forward it to the following:	Federal Bureau of
Investigation
		Seattle Field Office
		1110 Third Avenue, 
		Seattle, WA  
		98101-2904
		(206) 622-0460.

	Once you've forwarded the information to them via e-mail, follow up
with a phone call if at all possible this will emphasize your desire
for action in this matter and can help get your posts dug out of the
e-mail slush pile much more rapidly.

	I had the privilege of working with several individuals from the FBI
over the past month in regards to matters relating to threats to
local mosques and synagogues on or around the anniversary of the
9/11/01 attack. While the FBI isn't my favorite Federal organization
by any stretch of the mind, the vast majority of their agents who are
actually in the field working are honest and hard working folk who
actually do understand that their job is to enforce Federal laws for
the People of the United States. The situation you're describing is
not a large criminal endeavor in terms of Federal jurisdiction but
make no mistake, it most certainly has crossed into Federal bounds.
The second these people deliberately bounced a check outside the
state of their home of record, "poof", crossing interstate lines for
felonious purposes. 
	While I most certainly can't speak for any of the Feds and can't
honestly even guarantee that they'll look at your situation. I can
guarantee that if they do get involved, people are going to truly
wish they'd just stayed in California. As the investigation of this
type of crime is fairly straight forward and defenses are very
limited, it's in the interest of both the FBI and the Justice
Department to take this kind of case. Don't be afraid to emphasize
that to them if they don't seem enthralled by the seriousness of your
concerns. Don't be afraid to come right out and say, "listen pinhead,
you've got a simple, one agent interview, grab some rubber checks for
evidence, get the bank's local field office to get the security tapes
of the account being opened, ten man hour investigation with a
ridiculously high probability of a conviction." Perhaps not phrasing
it exactly that way. I'm not feeling particularly PC this afternoon.
	Also, forward it to the State Police and Attorney's General of each
of the States involved. I don't have their contact info handy but
it's readily available on the web. 
	As someone who's worked with and around small merchants for a lot of
my life, I know how much this kind of thing can hurt a person's
business. The fact that the account holder's name is an alias just
frosts my butt that much more. I truly dislike people taking
advantage of the folks who can least afford it. It brings out my
dislike for bullies and televangelists.

Cairbre.

Information requested by the FBI according to their www page
at:http://seattle.fbi.gov/provide.htm
General Information About You:
 		Your Name.
 		Address.
 		Telephone:  home/work.
 		Confidentiality:  yes/no.
 		E-mail address.

Subject Information:
 		Type of crime that has been, is being, or will be committed.
 		Location of the crime.
 		Approximate date crime occurred or will occur.
 		Your source of information.
 		Were you a witness to the incident?
 		Or did you hear about it from someone else?  If so, whom?

Additional Information:
 		Subject (Person).
 		Name and Alias(es).
 		Physical Description:  race, sex, age, height, weight, tattoos,
piercings and distinguishing physical 			characteristics.
 		Subject (Business).
 		Name(s) of Business.
 		Address of Business.
 		Name(s) and Alias(es) of Person(s) associated with business.
 		Address of Person(s) associated with business.


Original Message Follows:

----- Original Message -----
From: "Lauryn MacGregor | Little Toad Designs"
To: "Orycon Mailing List"
Sent: Tuesday, October 01, 2002 8:57 AM
Subject: [ORYCON-L] Bad checks...


> I recently vended at the Shrewsbury RenFaire and recieved a bad
check.
> Aparently this woman and or women is passing bad checks
professionaly
> and any vendors should be ware of her. The checks were for a
business
> called Maiden, Mother,& Crone out fo Oakdale California. The
signature
> on the check was Debbie Graziano. But there is no such person. The
> checks were issued to an addres in Southbeach Oregon and the
account has
> not been good for at least three years. If any of the vendors on
the
> list have a bad check from her you can contact -
> Dawn Bradely Berry
> Dreamlizard Pearls & Plunder
> P.O.Box 2251
> San MArcos, Cal 92079
> &07-761-4916
> 760-518-2411(cell)
>
> She is putting together a case against this woman. So far the evil
scum
> has passed checks in three states all to crafters and artists. Most
of
> us do this because we love our art, but we also live on a
shoestring and
> can't afford to be burned like this.
>
>   Thanks for the rant space and look out for these people.
>
>     Lauryn

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From h-costume-admin@indra.com  Fri Oct  4 19:44:17 2002
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From: kate <macailith@yahoo.com>
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Date: Fri, 4 Oct 2002 16:45:21 -0700 (PDT)
Status: RO

Sorry for the vague post--the person on the newsgroup
was looking for instances in Elizabethan clothing.

kate



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From h-costume-admin@indra.com  Fri Oct  4 21:31:23 2002
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From: "michaela" <thebruce@ihug.co.nz>
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Subject: [h-cost] 19thC nipple piercing?
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Date: Sat, 5 Oct 2002 13:32:08 +1200
Status: RO

Ok.. someone posted this on the Moulin Rouge Live journal community, so I
did a search.. and it seems a large numebr of body piercing sites state
this:
"In the 1890's it was all the rage for Victorian women to pierce their
nipple with jewellery sold by the famous jewellers of Paris. Some even had
both nipples pierced and hung silver chains from one to the other."

http://www.body-jewellery-shop.co.uk/info/pierce_info_historyofpiercing.htm
is one, but there are a lot more.
http://www.bedido.com/bodypiercecentral/history.htm Now that one goes
further to say the piercing held cloaks of Roman Emporer's guards....

OK, so anyone want to either substantiate this or laugh at it and say why?

I don't have any info with me, but I'd love to be able to refute this with
good back up. especially as people are building on this idea and thinking
that our victorian forbears would have used some horribly crude tool.. like
a nail to do it....

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Date: Fri, 04 Oct 2002 21:53:10 -0400
Status: RO



I believe that the woman who runs Historic Enterprises
(www.historicenterprises.com) used to be on this list. For people wondering
if the garments are as well made as they are attractive (and expensive!) the
answer is yes. They are sturdy, beautifully made, and well worth the money
if you have it -- which I don't. My husband and I both have several of their
smaller pieces and WISH we had their fancier things, which we've seen and
examined in person.

As usual, no interest in the company, just a satisfied customer.

Gail Finke


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From: Lee Thompson-Herbert <lee@retro.com>
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Subject: Re: [h-cost] 19thC nipple piercing?
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Date: Fri, 4 Oct 2002 19:33:16 -0700 (PDT)
Status: RO


"michaela" <thebruce@ihug.co.nz> wrote:
> 
> Ok.. someone posted this on the Moulin Rouge Live journal community, so I
> did a search.. and it seems a large numebr of body piercing sites state
> this:
> "In the 1890's it was all the rage for Victorian women to pierce their
> nipple with jewellery sold by the famous jewellers of Paris. Some even had
> both nipples pierced and hung silver chains from one to the other."
> 
> http://www.body-jewellery-shop.co.uk/info/pierce_info_historyofpiercing.htm
> is one, but there are a lot more.
> http://www.bedido.com/bodypiercecentral/history.htm Now that one goes
> further to say the piercing held cloaks of Roman Emporer's guards....
> 
> OK, so anyone want to either substantiate this or laugh at it and say why?
> 
> I don't have any info with me, but I'd love to be able to refute this with
> good back up. especially as people are building on this idea and thinking
> that our victorian forbears would have used some horribly crude tool.. like
> a nail to do it....

[note: no, surgical tools were well enough advanced by the victorian period
that a nail would be extremely unlikely.]

>From Valerie Steele's _Fetish_, pg 69:

	Even when elements of a particular story are plausible, fantastic
	details are superimposed.  The "governess" at "Madame La B---'s
	school just outside Paris" wrote to _Society_ in 1899 to describe
	"Tight-Lacing and the Latest Craze," that of having one's "tetons"
	pierced by "jewelers in the Rue St. Honore/." Some people do pierce
	their nipples, of course, and this was a popular topic in 1899 
	among correspondants to _Society_.  But when the "governess" says
	that the practice had been described in _La Vie parisienne_ and in
	a recent "roman," I cannot help wondering if she is just repeating
	an idea that she read about.  Nor is it likely that the breast-rings
	in her pierced nipples, together with "the friction of my lingerie"
	had caused her bust to grow.

[I will note that nipple piercing _can indeed_ cause an apparent increase
in bust size.  A number of women in my personal experience have noted it,
and a few noticed it because they had only _one_ nipple pierced at the time.]

For background, _Modern Society_ was a fetishists' magazine.  Steele points out 
that there isn't much _external evidence_ for the stories printed in _Society_
and _London Life_.  On the next page, she notes:
	But why should we believe that the EDM letters are strictly factual
	at all?  It's well recognized that many of the letters in present-day
	sex magazines are made up by the editors, while others represent
	heavily fictionalized versions of personal accounts. 

>From page 71:
	In 1899, A Woman Of Fifty wrote to _Society_ to describe her 
	experiences at a "fashionaable finishing school" in the early 1860s,
	during "one of the periodic cycles of tight-lacing, as may be gathered
	from the correspondance which appeared in 'The Englishwoman's Domestic
	Magazine' about this time."  She went on to refer to many of the cult
	elements that played a role in the fetishist literature.  There was 
	the ritualistic invocation of the sexy and sadistic "mistress" of
	the tight-lacing finishing school, which was populated by perverse
	but aristocratic young ladies and occasionally men dressed as women.
	The ubiquitious French governess, Mademoiselle de Beauvoir, appeared
	with a "13-inch waist," although otherwise "plump."  "Birching...was
	an openly recognized punishment."  Breast-rings--the current 
	enthusiasm of correspondants to _Society_--were worn by "three French
	girls, daughters of a marquise."

	As I wrote in my first book, I do not doubt that real fetishists did 
	many of the things they described in their letters; tight-laced, had
	themselves pierced and whipped, cross-dressed.  But I doubt whether 
	they did so under the circumstances that they described; at the 
	tight-lacing boarding school, in the bosom of the aristocratic family,
	and at the hands of Mademoiselle de Beavoir.

In other words, while the practice may have existed, it's unlikely that it
was "all the rage."  The only evidence I've ever seen presented all comes
from the various fetishist publications of the time.


Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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] flat-felled seams
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Date: Fri, 04 Oct 2002 20:23:51 -0600
Status: RO

What about silks?
--Sue, in a mood to sew....

Heather Rose Jones wrote:
> 
> I'd like to point out
> that, in my research for the Arcahaeological Sewing article, there
> tended to be a clear distinction between the set of seam types used
> for wool and the set used for linen.  (Hem types were more similar
> between the two.) Seams in wool often assumed the anti-ravelling
> properties of that fabric, while seams in linen often involved
> elaborate mechanisms to avoid leaving raw edges exposed in any way.
>
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Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 4 Oct 2002 19:28:16 -0700
Status: RO

At 8:23 PM -0600 10/4/02, Sue Clemenger wrote:
>Heather Rose Jones wrote:
>>
>>  I'd like to point out
>>  that, in my research for the Arcahaeological Sewing article, there
>>  tended to be a clear distinction between the set of seam types used
>>  for wool and the set used for linen.  (Hem types were more similar
>>  between the two.) Seams in wool often assumed the anti-ravelling
>>  properties of that fabric, while seams in linen often involved
>  > elaborate mechanisms to avoid leaving raw edges exposed in any way.

>What about silks?
>--Sue, in a mood to sew....
>

I only had  a very few examples in silk where the seams were 
described in the literature.  It seemed to be more of a 
differentiation in what types of publications talked about what 
topics.  Detailed descriptions of sewing methods tended to appear in 
archaeology-oriented publications, which only rarely dealt with silk 
fabrics.  I think all the examples I included were from the "Clothing 
and Textiles" (MoL) book.

Heather

-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Fri, 04 Oct 2002 22:32:32 -0400
Status: RO

> Something else to consider is that in this period, most spectacles were to
> correct for farsightedness -- in other words, those of us who are myopic
> would be out of luck.

Hi, All. Mara, I am researching this area. If you have any documentation to
support the idea that 16th and 1st half 17th Cent. eyeglasses were doing any
corrective work other than magnifying (i.e. correcting farsighted vision),
please share the source with me. Please don't bother these other folks unless
they want the info also. I don't want to beat this thread up with off topic
stuff. BTW, I hope that no one misconstrued my last post (Ron?). I was
commenting on the styles made available by the merchant as compared to
archaeological finds of the period of which I am aware, as well as his style of
salesmanship, which was noted by a previous person in a previous post, not
attempting to tell anyone what is gospel truth in eyewear, or what to buy or
not. If I am not being clear in my posts, I once again apologise. I don't have
an excuse regarding language, as I am an English speaker (as some would have it)
Mike T.

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Subject: [h-cost] OT for most of us....Re:the post about bad checks
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Date: Fri, 04 Oct 2002 23:32:19 -0400
Status: RO

Rest assured, the FBI has been involved in it already...  Also the name 
rung familiar bells in the heads of several over on the 
alt.fairs.renaissance newsgroup, so that past information was also 
looked up and passed on to the original seeker of information and 
warning spreader.

I believe she was also considering involving the Post Office if she 
could, as obtaining the checks for (possible) fraudulent use was done 
through a Post Office Box...  among other things, I believe they started 
to require valid ID before you could rent a box way back around the 
Unibomber garbage years ago, and I didn't think that had changed.

-Elisabeth

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Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 04 Oct 2002 21:47:49 -0600
Status: RO

Ahhh....that I have (2nd edition).
Thanks,
Sue (now more in a mood for some Irish Coffee and bed, but the sewing
jones *will* return! ;-)

Heather Rose Jones wrote:
> 

> >What about silks?
> >--Sue, in a mood to sew....
> >
> 
> I only had  a very few examples in silk where the seams were
> described in the literature.  It seemed to be more of a
> differentiation in what types of publications talked about what
> topics.  Detailed descriptions of sewing methods tended to appear in
> archaeology-oriented publications, which only rarely dealt with silk
> fabrics.  I think all the examples I included were from the "Clothing
> and Textiles" (MoL) book.
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To: h-costume@indra.com
From: Ron Carnegie <r.carnegie@verizon.net>
Subject: Re: [h-cost] 19thC nipple piercing?
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Date: Fri, 04 Oct 2002 23:40:32 -0400
Status: RO

At 01:32 PM 10/5/02 +1200, you wrote:
>Ok.. someone posted this on the Moulin Rouge Live journal community, so I
>did a search.. and it seems a large numebr of body piercing sites state
>this:
>"In the 1890's it was all the rage for Victorian women to pierce their
>nipple with jewellery sold by the famous jewellers of Paris. Some even had
>both nipples pierced and hung silver chains from one to the other."
>
>http://www.body-jewellery-shop.co.uk/info/pierce_info_historyofpiercing.htm
>is one, but there are a lot more.
>http://www.bedido.com/bodypiercecentral/history.htm Now that one goes
>further to say the piercing held cloaks of Roman Emporer's guards....
>
>OK, so anyone want to either substantiate this or laugh at it and say why?
>
>I don't have any info with me, but I'd love to be able to refute this with
>good back up. especially as people are building on this idea and thinking
>that our victorian forbears would have used some horribly crude tool.. like
>a nail to do it....
>
>michaela
>http://homepages.ihug.co.nz/~thebruce
>http://recital.tripod.com/costume


         The requirement for documentation is not upon you.  It is difficult
and often impossible to prove the negative, and so where scholarly
documentation is concerned, it falls to those making the claim of the
practice.  I did not check the webpages you mentioned, and have no interest
to, but did they give documentation for their claims? 

         Webpages by the way, are useless as documentation (though better
ones cite sources).  Anybody can put anything on the web.  Typically they
quote each other or often the same source.  My Great Uncle for instance
(Jackie Condon)  is listed on several "Little Rascals" and silent film sites
as having died in 1978.  He is still living today in Las Vegas.  Genealogy
pages are filled with errors!

          I would be even more suspect of the sort of webpage you mention.
Before any peirced people get offended, that is not the part I refer to.
What I mean are the webpages that are about some modern craft, hobby, art,
etc.  that has a page listing it's history.  These are often posted by
people with little interest in history quoting secondary sources that are
about the modern craft, hobby, or art, and not its history.  I am sure that
some of you have seen what I mean before.

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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Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 04 Oct 2002 22:00:03 -0600
Status: RO

The man's shirt is straight sewing, if I correctly recall my Janet
Arnold article, in which it was discussed.  Think the edges of the
pieces had tiny, tiny hems, and then they were stitched together with a
very small seam--didn't look like anything but a regular seam, as much
as I could see, squinting through the glass and salivating.
The woman's shift has got insets of linen and silk bobbin lace along all
of the major seams (side seams of body, armscyes, outer center of
sleeves).  The lace is connected to the linen on either side with
buttonhole stitching.  I *think* there's a more ordinary seam under the
arm for the regular seam (as opposed to the decorative one on the
outside).  I'd have to dig out my notes and double-check.  Does that
make sense?
I also got the impression, with both of them, of fairly narrow (rolled?)
hems.
I've also seen good closeup pix. of the boy's shirt that the V&A *used*
to have on display (grumble, grumble).  On it, the pieces of fabric were
joined with  this interesting embroidery stitch that looked a bit like
some of the faggoting/buttonhole stitches I've been able to find in
modern embroider books (although I've not found anything that looked
exactly like it).  I have read that this was a fairly common method of
joining the pieces of these shirts and smocks.  Dunno about earlier
stuff, but there sure are a fair number of pictures showing this, if you
look for it!
(Sorry, tried to ascii-art it, but it didn't work! <g>)  Essentially,
the embroidery stitch wanders back and forth, regularly, between the two
abutting edges, catching them both, but alternating.  Does that make
*any* sense at all?
--Sue, forever and always completely obsessed with blackwork.....

N Kipar wrote:
> 
> I am not into Elizabethan, but the shift I have seen is Jacobean, perhaps Drea
> would know, having been in the V&A more renectly than I was, and I do usually
> skip the 16th century stuff anyway. What about the two shirt/shift in Bath?
>
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Date: Sat, 5 Oct 2002 16:23:37 +1200
Status: RO

>          Webpages by the way, are useless as documentation (though better
> ones cite sources).  Anybody can put anything on the web.  Typically they
> quote each other or often the same source.  My Great Uncle for instance
> (Jackie Condon)  is listed on several "Little Rascals" and silent film
sites
> as having died in 1978.  He is still living today in Las Vegas.  Genealogy
> pages are filled with errors!


Oh I know, this is the point I ws trying to make to the original poster on
the MR LJ community. Basically they are willing to believe a site with no
sources, no explanation for such a gernalistic sweeping remark. A remark
which also goes against what common sense would suggest anyway;)
http://www.livejournal.com/talkread.bml?journal=moulin_rouge&itemid=458020
Good grief I've got a lot of typos in my posts....

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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Date: Sat, 5 Oct 2002 16:29:07 +1200
Status: RO

Thank you so much:) I had a feeling Valerie Steele would be mentioned too,

Do I have permission to use this in my next reply to this person? It's good
int hat it states it's possible this did happen but what those circumstances
would have been.

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume

> [note: no, surgical tools were well enough advanced by the victorian
period
> that a nail would be extremely unlikely.]
>
> From Valerie Steele's _Fetish_, pg 69:
>
> Even when elements of a particular story are plausible, fantastic
> details are superimposed.  The "governess" at "Madame La B---'s
> school just outside Paris" wrote to _Society_ in 1899 to describe
> "Tight-Lacing and the Latest Craze," that of having one's "tetons"
> pierced by "jewelers in the Rue St. Honore/." Some people do pierce
> their nipples, of course, and this was a popular topic in 1899
> among correspondants to _Society_.  But when the "governess" says
> that the practice had been described in _La Vie parisienne_ and in
> a recent "roman," I cannot help wondering if she is just repeating
> an idea that she read about.  Nor is it likely that the breast-rings
> in her pierced nipples, together with "the friction of my lingerie"
> had caused her bust to grow.
>
> [I will note that nipple piercing _can indeed_ cause an apparent increase
> in bust size.  A number of women in my personal experience have noted it,
> and a few noticed it because they had only _one_ nipple pierced at the
time.]
>
> For background, _Modern Society_ was a fetishists' magazine.  Steele
points out
> that there isn't much _external evidence_ for the stories printed in
_Society_
> and _London Life_.  On the next page, she notes:
> But why should we believe that the EDM letters are strictly factual
> at all?  It's well recognized that many of the letters in present-day
> sex magazines are made up by the editors, while others represent
> heavily fictionalized versions of personal accounts.
>
> From page 71:
> In 1899, A Woman Of Fifty wrote to _Society_ to describe her
> experiences at a "fashionaable finishing school" in the early 1860s,
> during "one of the periodic cycles of tight-lacing, as may be gathered
> from the correspondance which appeared in 'The Englishwoman's Domestic
> Magazine' about this time."  She went on to refer to many of the cult
> elements that played a role in the fetishist literature.  There was
> the ritualistic invocation of the sexy and sadistic "mistress" of
> the tight-lacing finishing school, which was populated by perverse
> but aristocratic young ladies and occasionally men dressed as women.
> The ubiquitious French governess, Mademoiselle de Beauvoir, appeared
> with a "13-inch waist," although otherwise "plump."  "Birching...was
> an openly recognized punishment."  Breast-rings--the current
> enthusiasm of correspondants to _Society_--were worn by "three French
> girls, daughters of a marquise."
>
> As I wrote in my first book, I do not doubt that real fetishists did
> many of the things they described in their letters; tight-laced, had
> themselves pierced and whipped, cross-dressed.  But I doubt whether
> they did so under the circumstances that they described; at the
> tight-lacing boarding school, in the bosom of the aristocratic family,
> and at the hands of Mademoiselle de Beavoir.
>
> In other words, while the practice may have existed, it's unlikely that it
> was "all the rage."  The only evidence I've ever seen presented all comes
> from the various fetishist publications of the time.
>
>
> Lee M.Thompson-Herbert        lee@retro.com       KoX 1995, SP4
> Head Muso, White Rats Morris, Faultline 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: kat@grendal.rain.com
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Subject: Re: [h-cost] flat-felled seams
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Date: Fri, 04 Oct 2002 23:09:42 -0700
Status: RO


> I also got the impression, with both of them, of fairly
> narrow (rolled?) hems. I've also seen good closeup pix. of the boy's
> shirt that the V&A *used* to have on display (grumble, grumble).  On
> it, the pieces of fabric were joined with  this interesting embroidery
> stitch that looked a bit like some of the faggoting/buttonhole
> stitches I've been able to find in modern embroider books (although
> I've not found anything that looked exactly like it).  I have read
> that this was a fairly common method of joining the pieces of these
> shirts and smocks.  Dunno about earlier stuff, but there sure are a
> fair number of pictures showing this, if you look for it! (Sorry,
> tried to ascii-art it, but it didn't work! <g>)  Essentially, the
> embroidery stitch wanders back and forth, regularly, between the two
> abutting edges, catching them both, but alternating.  Does that make
> *any* sense at all? --Sue, forever and always completely obsessed with
> blackwork.....

If you are speaking of the 1540's Boy's shirt which used to be on 
display at the V&A (until they took it out to put in 20th C evening 
dresses from what Drea told me), it has simple seaming which is 
opened out and then overstitched with embroidery. It can be clearly 
seen in at least one blackwork book (although I can't find it 
although I tried to find the reference last week for Drea). No 
faggotting on that one. (Later ones are more likely to have it 
anyway, especially Elizabethan/Jacobean ones.)

Most of the things I've seen have either had a lining (so they 
wouldn't use flat-felling as a seam treatment), used overcast 
stitches (Elizabethan "serging") on the edges of opened out seams, or 
were reinforced by applying trim over them (so that it is a strong 
seam, which is part of the function of flat-felling.) Doesn't mean 
that it never occurred in that time frame, but I haven't seen extant 
garments with it.

Kat Russell
<kat@grendal.rain.com>

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From: Ron Carnegie <r.carnegie@verizon.net>
Subject: Re: [h-cost] Re: renspecs - rant
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Date: Sat, 05 Oct 2002 02:10:36 -0400
Status: RO

At 10:32 PM 10/4/02 -0400, you wrote:
>> Something else to consider is that in this period, most spectacles were to
>> correct for farsightedness -- in other words, those of us who are myopic
>> would be out of luck.
>
>Hi, All. Mara, I am researching this area. If you have any documentation to
>support the idea that 16th and 1st half 17th Cent. eyeglasses were doing any
>corrective work other than magnifying (i.e. correcting farsighted vision),
>please share the source with me. Please don't bother these other folks unless
>they want the info also. I don't want to beat this thread up with off topic
>stuff. BTW, I hope that no one misconstrued my last post (Ron?).

   Aw...Mike I was afraid that by using your post as my springboard that I
would give you the wrong idea....

        I was not referring to your post really, but to a worry of what
might rear it's head. It looked like it was beginning (I won't wear those
they are ugly, but you should they are correct, etc...).    These sorts of
arguments are useless on the list.  What are more useful are some of the
threads that have spun off of the subject (ARE these period designs, Do
women wear them, why are they worn, what are alternatives, etc).   I suspect
you and I in fact have very similar thoughts regarding the authenticity topic!

     Along those lines, I also would not refrain from continuing your above
mentioned discussion online.  Glasses I would argue can be part of costume,
and I do not think that any would have objections to discussing what period
glasses are, or how they were worn or used in period.  It's discussions
regarding weather or not they must be worn know that get nasty!
       

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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Subject: [h-cost] Ron's Uncle and Vintage Game Shows
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Date: Sat, 5 Oct 2002 04:09:28 -0400
Status: RO

Ron,

I saw your great uncle on a 1950/early 60s game show the other night... I
think it was I've Got a Secret.

BTW, for those who are fans of 1950s/early 60s fashions, Game Show Network
is repeating the series, What's My Line from its beginning.  The show was on
the air 17 years.  The old black & white TV shows start at 4AM to 6AM East
Coast time.  The three shows airing now are: I've Got a Secret, What's My
Line, and To Tell the Truth.  You can pick up on a lot of fashion designers
of the time as guests.  Right now, What's My Line is in the original
broadcast year, 1953.  Margaret Thurman was a mystery guest yesterday.  She
looked so lovely and her hairstyle was wonderful.

What is so wonderful about these shows is that they will show the latest
fashions.  Mary Quant was a guest one night when she first introduced the
mini-skirt.  Because these shows were broadcast out of NYC, you will catch a
lot of Broadway and film stars.  One night Bette Davis was the mystery guest
and she had on the flowing gown.  I laughed myself silly as she walked over
to meet the panel... she gracefully threw the skirt out in front of her,
took a couple of steps, and then threw the skirt out again.  So dramatic of
an exit for Bette.

A couple of unusual fashion firsts on the shows....
1. A dress with over 10,000 optical lights... this was the 50s.  These were
lights like you see those fiber optic strand balls in Spensers.
2. Last night a lady was on I've Got a Secret... her cocktail dress was made
of 100 something pairs of nylon hose.  The ladies in the town donated their
hose so she could made the dress.  She described how she made the dress.
The bodice was the hose made in a basket weave.  I couldn't figure out how
she made the bottom.

A big way to tell the broadcast year is that it is mentioned sometimes, but
you can also tell by what film they say is premiering.  Then hope over to
imdb.com and put in the name of the film.  The site will tell you the year
it was premiered.

Now to top it off... my husband and I love to watch Gunsmoke at 6AM on
TVLand to pick out who is wearing the wrong fashions for the period.  They
are in the early to mid-1970s original broadcast time right now.  Its our
together time before Joe goes to work and I am heading to bed to sleep.

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


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Subject: Re: [h-cost] 19thC nipple piercing?
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Date: Sat, 5 Oct 2002 04:11:56 -0400
Status: RO

Michaela,

What is so funny about both sites is that the information is identical and
that neither sites a source.

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


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Subject: [h-cost] corrective lenses
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Date: Sat, 5 Oct 2002 09:09:24 -0500
Status: RO


Last night at the bookstore I was browsing through this book:

Glass: A World History
by Alan MacFarlane, Gerry Martin

The authors discuss the discovery of lenses and list dates for their
uses, both concave and convex, specifically in Europe.

The book was interesting, but I think I'll borrow a copy from the public
library rather than buy it.

Kim




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Date: Sat, 05 Oct 2002 11:13:50 -0400
Status: RO

At 04:09 AM 10/5/02 -0400, you wrote:
>Ron,
>
>I saw your great uncle on a 1950/early 60s game show the other night... I
>think it was I've Got a Secret.
>
       Interesting, I knew that he had been on a TV show but I do not recall
what it was.  The one I am thinking of however he was not alone, he was with
the man that used to play Farina and one other.  Is this the show you mean?

        I have never seen any of his Our Gang Comedies, as they are the
silent versions as opposed to the more common "Little Rascals" though I have
seen him in Buster Keaton's "The General" and I have a newsreel of him and
the old cast of the "Our Gang" comedies welcoming the new cast.

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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Subject: [h-cost] I've made a spectacle of myself
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Date: Sat, 5 Oct 2002 15:31:28 EDT
Status: RO

Greetings to all on this list, from the little old brillenmacher, me.

A friend alerted me that I and my site are actually getting some press on the 
Web. I appreciate each and every comment. Let me address as many as I can, 
both about the site and about period eyewear.

Q. Isn't the introductory letter a tad caustic?
A. You betcha. A revamp of the site is the next thing I do, after this 
letter. I was just trying to suggest some frustration at what I thought was 
the complacency among average SCA members about their limited choices in 
eyewear. My intent was to gently grab the lapels, but I'm afraid I also spat 
in the face. 

Q. Why won't the PayPal buttons work?
A. Because I fiddled with them. I ordered the button HTML before I put the 
site together, then rewrote the code to make it work. I'll fix it as part of 
the 
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Subject: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
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Date: Sat, 5 Oct 2002 21:12:11 +0100
Status: RO

Hi all,

the vendor of this  "Edwardian" jacket at
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=965672260

is hedging his/her bets, as we go on to:

"Around the waist band is a strip of wide silk brocade in a medieval
pattern"
and
"This garment really resembles an Elizabethan jacket but I believe it
is Edwardian because of the pigeon breasted front."

It's a very strange jacket, and it looks to me to be a theatrical
costume, but I should be interested in your comments. Be warned, there
are a lot of pictures...

best wishes
Stevie

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From h-costume-admin@indra.com  Sat Oct  5 17:05:18 2002
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Subject: Re: [h-cost] Re: impressive commercial site
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Date: Sat, 5 Oct 2002 17:06:09 EDT
Status: RO


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I love looking at historic enterprises' web site  too.  They are inspiring 
and I know of a few people who have purchased items from them (hats and 
knives) and they were very satisfied with the quality.

I have a question though, for some of you who have seen their clothes, how 
are the seams finished on the inside of their garments?  Serged, overlocked 
or unfinished seams?  How do most "serious" historical commercial clothing 
companies finish the insides of their garments?  This info is often not 
provided on product descriptions, is it because most consumers don't really 
care?

Just curious.

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I love looking at historic enterprises' web site&nbsp; too.&nbsp; They are inspiring and I know of a few people who have purchased items from them (hats and knives) and they were very satisfied with the quality.<BR>
<BR>
I have a question though, for some of you who have seen their clothes, how are the seams finished on the inside of their garments?&nbsp; Serged, overlocked or unfinished seams?&nbsp; How do most "serious" historical commercial clothing companies finish the insides of their garments?&nbsp; This info is often not provided on product descriptions, is it because most consumers don't really care?<BR>
<BR>
Just curious.<BR>
<BR>
Lisa</FONT></HTML>

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From h-costume-admin@indra.com  Sat Oct  5 19:43:49 2002
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Date: Sat, 05 Oct 2002 17:49:37 -0600
Status: RO

My rather edwardian-uninformed/ignorant opinion? It's ug-gleee!
And I really don't see how it resembles anything Elizabethan at all.
My two euro' worth.....
--sue

Stevie Gamble wrote:
> 
> Hi all,
> 
> the vendor of this  "Edwardian" jacket at
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=965672260
> 
> It's a very strange jacket, and it looks to me to be a theatrical
> costume, but I should be interested in your comments. Be warned, there
> are a lot of pictures...
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Date: Sat, 05 Oct 2002 20:06:30 -0400
Status: RO

Hi, All. Thanks, Ron. I was hoping that I hadn't been misunderstood. You are right
about the number of things (accuracy and the like). We most probably are of the
same opinion. I certainly don't want to get into an issue about looks or taste in
items of apparel, regardless of who wears or sells them. The sellers pitch has
been discussed, and apparently he has been made aware of the perceived
shortcomings. As a side note. I do have some archaeological info on glasses for
anyone who is interested. Sent me a private e-mail for further info. Mike T.  PS
The picture of the old woman with spectacles can be found on pg. 38 of "British
Embroidery, Curious Works fron the Seventeenth Century" by Kathleen Epstein
Curious Works Press 1998  ISBN 0-87935-186-1



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From h-costume-admin@indra.com  Sat Oct  5 20:34:20 2002
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Date: Sat, 05 Oct 2002 20:23:35 -0400
Status: RO

Hi. Your best bet is to contact Gwen personally (she's the clothing
person in the business), but I believe that she does serging for the
inside seams of some of her products. The reason for this, I would
guess, is to keep costs down and still meet the reenactor "5 foot rule"
for clothing. I don't doubt that, for an additional charge, she would
probably do handwork on unexposed seams, but I know that she is very
careful not to have any machine work exposed on her gear. She has taken
great pains to make the patterns to keep the garments this way. I can't
think of any other "serious" historical commercial clothing companies
whose work I have seen. There are some folks out there that will do
"spot on" recreations of clothing, and you pay the price for hand work.
Others are working from the other end, not because they don't care, but
because the requirements aren't so stringent. Just my 2 cents.  Mike T.



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Subject: [h-cost] Re: Online Costume Ball (Guest #22?)
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Date: Sat, 05 Oct 2002 20:46:25 -0400
Status: RO

Ok... is it my imagination, or are those Canadians down here visiting 
MDRF for their takeover?  (Yeah, the MDRF folk love the OnRF folk... 
specially since we've several who are both... but it's a friendly 
competition in some ways as well :-)

Not that they might not have a similar pavillion, but the pavillion with 
that set up of trees behind it looks awfully familiar....

-Elisabeth

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] 3D Historical Costume
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Date: Sun, 6 Oct 2002 12:13:20 +1000 (EST)
Status: RO

 --- Theresa Eacker <theresa@misc.com> wrote: > To
Bella-
> 
> Oh my gosh, what a wonderful find. Thank you soooo
> much!!!
> The green and black satin dress....oooooh, I think
> I'm dying.  
> 
> The 3-D is very cool!!!


You're very welcome. I love the green and black one
too. Probably because I love green. Next to red it's
my favourite colour. :)


Bella...who has been having a break from sewing since
the 1st, after completing a Florentine doublet bodice
dress in *green* velvet...must get back to sewing for
my fiance's outfit though....





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- Always be connected to your Messenger Friends
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From h-costume-admin@indra.com  Sat Oct  5 22:52:19 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 19thC nipple piercing?
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Date: Sat, 05 Oct 2002 19:47:40 -0700
Status: RO

Speaking as a pierced person, I am in no way offended by a piece written by 
someone like you, so obviously concerned about scholarship.  I too have to 
deal with this, and some things even more spurious.  More often that you 
probably would care to be dealing, as several of my friends and 
acquaintances are also pierced people, and not all of them care about 
scholarship, nor some apparently even know what that word means.

>Before any peirced people get offended, that is not the part I refer to.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
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Date: Sat, 05 Oct 2002 19:52:26 -0700
Status: RO


>It's a very strange jacket, and it looks to me to be a theatrical
>costume, but I should be interested in your comments. Be warned, there
>are a lot of pictures...

I looked at the brown tape appliqued in various places, and decided the 
workmanship would have been better if it had been real Edwardian.  OTOH, I 
liked the fibre-art aspects of it - I could wear it to San Francisco and 
nobody would think it was historical.

Kayta

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Date: Sat, 5 Oct 2002 22:58:39 -0400
Status: RO

Ron,

He was by himself on the show.  He held up a photo of himself and they did a
closeup of it.  His secret was that he was in the Our Gang series.  Do you
have cable TV?  A lot of the silents are shown on TCM early on Sunday
mornings.

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


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Subject: [h-cost] Edwardian Renaissance - no, really
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Date: Sat, 05 Oct 2002 21:10:46 -0700
Status: RO

Found some Edwardian theatrical costumes on e-bay - search on 'edwardian 
costume'.  There are several, plus several hats to go with them.

Kayta

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Date: Sat, 5 Oct 2002 15:19:41 -0700
Status: RO

At 3:31 PM -0400 10/5/02, RikWolff@aol.com wrote:
>Greetings to all on this list, from the little old brillenmacher, me.
>
>A friend alerted me that I and my site are actually getting some press on the
>Web. I appreciate each and every comment. Let me address as many as I can,
>both about the site and about period eyewear.
>
>Q. Isn't the introductory letter a tad caustic?
>A. You betcha. A revamp of the site is the next thing I do, after this
>letter. I was just trying to suggest some frustration at what I thought was
>the complacency among average SCA members about their limited choices in
>eyewear. My intent was to gently grab the lapels, but I'm afraid I also spat
>in the face.
>
>Q. Why won't the PayPal buttons work?
>A. Because I fiddled with them. I ordered the button HTML before I put the
>site together, then rewrote the code to make it work. I'll fix it as part of
>the
>__


Q. When will the full range of styles become available?

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <4.3.1.2.20021005195047.00ce8240@mail.frys.com>
Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
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Date: Sun, 6 Oct 2002 13:33:43 +0200
Status: RO

Hi.
Yes, i would say that two.
Could this be a new garment made of old fabrics?
It is quite fashionable for now, isnt it?

Bjarne

----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Sunday, October 06, 2002 4:52 AM
Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay


>
> >It's a very strange jacket, and it looks to me to be a theatrical
> >costume, but I should be interested in your comments. Be warned, there
> >are a lot of pictures...
>
> I looked at the brown tape appliqued in various places, and decided the
> workmanship would have been better if it had been real Edwardian.  OTOH, I
> liked the fibre-art aspects of it - I could wear it to San Francisco and
> nobody would think it was historical.
>
> Kayta
>
>     //// \\\
>    ////-@@\\\
>   ((((   7 )))
>    (((  <> ))))
>       )   ((((((
> /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: [h-cost] Maria Theresia Dress
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Date: Sun, 6 Oct 2002 13:46:24 +0200
Status: RO

Hello.
The arachne lace list i am on, is disgussing a dress portraied in a painting
of Maria Theresia.
I thoaght, when i am on a costume list to pass on the question.
There is a portrait of Empress Maria Theresia of Austria (Marie Antoinettes
mother) at Schönbrunn in Wienna.
she is wearing a specktakular court dress where the skirt wich is over a
huge panier has beautifull beautifull laces applyed to the fabric. Not in
ruches and not gathered or pleated, but applyed so that the lace comes to
its best look.
I think the portrait is in Santina Levey's huge book about the history of
lace.
Well i mostly have costume books, and i wondered is there a costume book
where this portrait would be in?
Or is there an online place where i could se this?
The arachne list wondered if any know what happened to this dress, it would
have presented a vast fortune.

Bjarne


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
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Date: Sun, 06 Oct 2002 05:15:37 -0700
Status: RO

I may make one for wearing in the present day, as in, not at historical events.

>Yes, i would say that two.
>Could this be a new garment made of old fabrics?
>It is quite fashionable for now, isnt it?
>
>Bjarne
>
>----- Original Message -----
>From: "Carolyn Kayta Barrows" <kayta@frys.com>
>To: <h-costume@indra.com>
>Sent: Sunday, October 06, 2002 4:52 AM
>Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
>
>
> >
> > >It's a very strange jacket, and it looks to me to be a theatrical
> > >costume, but I should be interested in your comments. Be warned, there
> > >are a lot of pictures...
> >
> > I looked at the brown tape appliqued in various places, and decided the
> > workmanship would have been better if it had been real Edwardian.  OTOH, I
> > liked the fibre-art aspects of it - I could wear it to San Francisco and
> > nobody would think it was historical.
> >
> > 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


Kayta

    //// \\\
   ////-@@\\\
  ((((   7 )))
   (((  <> ))))
      )   ((((((
/----\   /---\))

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From h-costume-admin@indra.com  Sun Oct  6 08:57:27 2002
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Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
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Date: Sun, 6 Oct 2002 09:00:52 -0400
Status: RO

Greetings again. This piece is certainly the turn of the 19th Century. One
of the fashion ideas of the time was to was to reflect the modes of the
Renaissance, which this piece certainly does It has been modified perhaps
for theater, as has been suggested. The fur is an add on, including the
beaded embellishments. The satin bands have been obviously been added to
enlarge the waist, and this has also changed the front fastening.
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Saturday, October 05, 2002 4:12 PM
Subject: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay


> Hi all,
>
> the vendor of this  "Edwardian" jacket at
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=965672260
>
> is hedging his/her bets, as we go on to:
>
> "Around the waist band is a strip of wide silk brocade in a medieval
> pattern"
> and
> "This garment really resembles an Elizabethan jacket but I believe it
> is Edwardian because of the pigeon breasted front."
>
> It's a very strange jacket, and it looks to me to be a theatrical
> costume, but I should be interested in your comments. Be warned, there
> are a lot of pictures...
>
> best wishes
> Stevie
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Linda J. Thompson" <LindaJThompson@comcast.net>
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Subject: [h-cost] Finishing Seams/costume
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Date: Sun, 06 Oct 2002 09:30:00 -0500
Status: RO

I have sold garments with serged seams, raw edged seams, french seamed and flat felled. It 
depends on the qualities of the fabrics.  But to be honest most of them are serged.  This 
is obviously not historically accurate.

While I create clothing that gives the wearer a historic siloheutte I do not state 
outright that anything is historically accurate unless it is.

It is much easier to be historically accurate for me, if it is a time period after the 
sewing machine was invented.  :D

Historic accuracy to me means you create the garment as it would have been created during 
the era it is duplicating, right down to the method of stitches.  I can not afford to hand 
sew garments that are replicating the Tudor era and then be successful commercially.
Now if someone wishes an item to be completely historically correct they let me know and
it is priced accordingly.


Linda Thompson

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

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Subject: [h-cost] Finishing Seams/costume 
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Thanks for the info on what is considered acceptable for finishes.  I ask as 
I am in the middle of developing a small line of reproduction linen 
shirts/partlets, etc. with machine blackwork on them and I am new to the 
American re-enactment scene, although I know Australia's well.  I am weighing 
the cost to produce/accuracy factor myself at the moment. In promoting them, 
I am quite happy to give a full description so people know what they are 
getting, but I noticed that many other respected companies do not give 
details of the inner construction.  It seems to me people who care will ask, 
and for others it may be a case of too much information.  Is this an accurate 
appraisal of American re-enactor consumers?  I probably will go with the 
serged finishes myself unless people request otherwise I will out price most 
people who might be interested in embroidered garments.

In Australia the <A HREF="http://www.14thbrooklyn.net/">14th Brooklyn NYSM</A> 's definition of levels of living history 
authenticity are being widely adopted and follow.  Is this a scale people 
here are familiar with?  Is it referred to at all?

Museum Quality: Design, materials and methods are identical to those of the 
time and place one is attempting to represent. As an example this would 
involve 
> copying an original garment down to the last stitch. 
Acceptable Quality: Having one or more variations from museum quality, which 
does not significantly detract from its use in historic representation. This 
> might allow garments with a modern material lining or synthetic thread, but 
> which have the exact look of the original 
Marginal Quality: Having one or more variations from museum quality or 
subject to questionable interpretations of historic fact, which significantly 
detracts 
> from its use. The use of incorrect weight material, change in design or fit 
> which are noticeable on close inspection, or incorrect materials for 
> buttons, fall into this category. 
Unacceptable: Anything which is unquestionably wrong, ie polyester materials, 
modern shirts, modern eyeglasses, wrist watches, chromed metals, mobile 
> phones, stay-brite buttons. 


Thanks for your feedback.

Lisa


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Thanks for the info on what is considered acceptable for finishes.&nbsp; I ask as I am in the middle of developing a small line of reproduction linen shirts/partlets, etc. with machine blackwork on them and I am new to the American re-enactment scene, although I know Australia's well.&nbsp; I am weighing the cost to produce/accuracy factor myself at the moment. In promoting them, I am quite happy to give a full description so people know what they are getting, but I noticed that many other respected companies do not give details of the inner construction.&nbsp; It seems to me people who care will ask, and for others it may be a case of too much information.&nbsp; Is this an accurate appraisal of American re-enactor consumers?&nbsp; I probably will go with the serged finishes myself unless people request otherwise I will out price most people who might be interested in embroidered garments!
.<BR>
<BR>
In Australia the <A HREF="http://www.14thbrooklyn.net/">14th Brooklyn NYSM</A> 's definition of levels of living history authenticity are being widely adopted and follow.&nbsp; Is this a scale people here are familiar with?&nbsp; Is it referred to at all?<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><B>Museum Quality:</B> Design, materials and methods are identical to those of the time and place one is attempting to represent. As an example this would involve </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">copying an original garment down to the last stitch. </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><B>Acceptable Quality:</B> Having one or more variations from museum quality, which does not significantly detract from its use in historic representation. This </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">might allow garments with a modern material lining or synthetic thread, but which have the exact look of the original </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><B>Marginal Quality:</B> Having one or more variations from museum quality or subject to questionable interpretations of historic fact, which significantly detracts </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">from its use. The use of incorrect weight material, change in design or fit which are noticeable on close inspection, or incorrect materials for buttons, fall into this category. </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><B>Unacceptable:</B> Anything which is unquestionably wrong, ie polyester materials, modern shirts, modern eyeglasses, wrist watches, chromed metals, mobile </FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">phones, stay-brite buttons. </BLOCKQUOTE><BR>
<BR>
<BR>
Thanks for your feedback.<BR>
<BR>
Lisa<BR>
<BR>
</FONT></HTML>
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Date: Sun, 6 Oct 2002 12:55:30 EDT
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It seems that somewhere between me and you, there is a limitation on words I 
can email at a time. I had a big list of Qs and As, and now they're lost to 
the ether. Suffice it to say that my home page update may answer many 
questions, including the progress of my new models. If not, please ask them 
here, or directly at rikwolff@aol.com.

Reijnier VerPlanck / Rick Wolff
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I know people from time to time comment on period films on this list.  I saw 
the French "8 Women" this weekend.  It was delightful and had wonderful 1950s 
costumes.  The attention to detail was most impressive.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I know people from time to time comment on period films on this list.&nbsp; I saw the French "8 Women" this weekend.&nbsp; It was delightful and had wonderful 1950s costumes.&nbsp; The attention to detail was most impressive.<BR>
Ann Wass</FONT></HTML>

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: Re: [h-cost] Finishing Seams/costume
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Date: Sun, 06 Oct 2002 13:52:54 -0700
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>
>While I create clothing that gives the wearer a historic siloheutte I do 
>not state outright that anything is historically accurate unless it is.
>
>
>Historic accuracy to me means you create the garment as it would have been 
>created during the era it is duplicating, right down to the method of 
>stitches.  I can not afford to hand sew garments that are replicating the 
>Tudor era and then be successful commercially.
>Now if someone wishes an item to be completely historically correct they 
>let me know and
>it is priced accordingly.
>
That is EXACTLY how I deal with these issues.  I can weave the cordings for 
lace up gowns and hand sew buttonhole/eyelets, but most of the time the 
customer does not want to pay for the amount of time that all takes.  I CAN 
make very authentic garments, but you have to specify that requirement and 
PAY for it.

I've learned so much more about what is right and what will do on this list 
that now there is a defined difference in my thinking about authenticy vs. 
productivity/saleability.



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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] flat-felled seams
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Date: Sun, 6 Oct 2002 22:42:43 +0100 (BST)
Status: RO

 --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: > 
 
> - wrong sides together, sew a straight seam
> - trim one side of the seam allowance slightly, fold the other over towards
> it
> - flatten the seam allowance and top-stitch along the edge of the fold

Hm, no, that's not what I mean actually. Gosh I hate it when I don't know all
the English terms and probably never will. I though this time was French seams?
definitely muddling things up here. I didn't mean clipping on one side, and
don't mean sewing down either, but blindstitching it on. Oh dear, I won't even
try any further explaining it.

> Someone else mentioned shirts and shifts -- I'd like to point out 
> that, in my research for the Arcahaeological Sewing article, there 
> tended to be a clear distinction between the set of seam types used 
> for wool and the set used for linen.  (Hem types were more similar 
> between the two.) Seams in wool often assumed the anti-ravelling 
> properties of that fabric, while seams in linen often involved 
> elaborate mechanisms to avoid leaving raw edges exposed in any way.

Absolutely, and it is actually pretty liogical, even if bot knowing about seam
types being used (mainly talking Anglo-Saxon 6th-8th c here, and earlier
germanic bog finds) it just does not work! Linen seams just don't work on wool
and vice versa. 

Nicole

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

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From h-costume-admin@indra.com  Sun Oct  6 17:55:19 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Finishing Seams/costume
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Date: Sun, 06 Oct 2002 14:36:00 -0700
Status: RO

You know the difference and, if the customer is willing to pay what your 
time is worth, you will spend the time.  Sounds fair to me.  I suppose you 
are also willing to let the customer do his/her own hand finishing 
(specifically buttonholes, but could be other) so they get it but they 
don't have to pay you to do it?

>>While I create clothing that gives the wearer a historic siloheutte I do 
>>not state outright that anything is historically accurate unless it is.
>>
>>
>>Historic accuracy to me means you create the garment as it would have 
>>been created during the era it is duplicating, right down to the method 
>>of stitches.  I can not afford to hand sew garments that are replicating 
>>the Tudor era and then be successful commercially.
>>Now if someone wishes an item to be completely historically correct they 
>>let me know and
>>it is priced accordingly.
>That is EXACTLY how I deal with these issues.  I can weave the cordings 
>for lace up gowns and hand sew buttonhole/eyelets, but most of the time 
>the customer does not want to pay for the amount of time that all 
>takes.  I CAN make very authentic garments, but you have to specify that 
>requirement and PAY for it.
>
>I've learned so much more about what is right and what will do on this 
>list that now there is a defined difference in my thinking about 
>authenticy vs. productivity/saleability.


Kayta

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From h-costume-admin@indra.com  Sun Oct  6 17:55:33 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] "Sumptious Velvet Brocade Edwardian Jacket" on Ebay
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Date: Sun, 06 Oct 2002 14:55:19 -0700
Status: RO


>Greetings again. This piece is certainly the turn of the 19th Century. One
>of the fashion ideas of the time was to was to reflect the modes of the
>Renaissance, which this piece certainly does It has been modified perhaps
>for theater, as has been suggested. The fur is an add on, including the
>beaded embellishments. The satin bands have been obviously been added to
>enlarge the waist, and this has also changed the front fastening.

I know about the Renaissance influence of which you speak.  That's where we 
get terms like 'van dyked' for lace in zig-zag points.  But I think this 
jacket stopped being Victorian/Edwardian a while ago, and now qualifies as 
'mixed media'.

I am very fond of Victorian/Edwardian-does-Renaissance, as it happens.  I 
recently posted about an e-bay set of garments which were Edwardian-made 
for some Renaissance theatrical use.  Somewhere on the figurative back 
burner I have an 1880s theatrical costume photo I'd really like to recreate 
and wear.  It is a charming mix of periods, with a stomacher, 
puff-and-slash shoulders and elbows, lace frills on the shoulder-edges of 
the neckline like Emperess Josephine might have worn, and a potholder-like 
thing on the head a' la Marie Stuart.  The the lines of the dress are 
otherwise very 1880s, as is the hair of the wearer.

Kayta

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From h-costume-admin@indra.com  Sun Oct  6 18:10:15 2002
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From: "Jane Williams" <jane@williams.nildram.co.uk>
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Subject: Re: [h-cost] flat-felled seams
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Date: Sun, 6 Oct 2002 23:11:43 +0100
Status: RO

On 6 Oct 2002 at 22:42, N Kipar wrote:

> Hm, no, that's not what I mean actually. Gosh I hate it when I don't
> know all the English terms and probably never will. I though this time
> was French seams? definitely muddling things up here. I didn't mean
> clipping on one side, and don't mean sewing down either, but
> blindstitching it on. Oh dear, I won't even try any further explaining
> it.

This got me all confused, since I thought French and 
felled were the same. So I went and looked in a book 
(!) RTFM, and so on, as I say to my users.

Run & Fell seam: start right sides together, one edge 
longer than the other, fold the overlap down to touch 
the first line of stitches, iron flat, hem into place.

French seam: start with *wrong* side together and 
the same length. Do first line of stitches. Fold the 
other way along the join, and do another line of 
stitches so as to enclose the raw edges. The result 
isn't flat.

Oh, and the next one listed is a "mantua makers 
seam". Put right sides together, edges level. And do 
a hem with both pieces together, making sure your 
stitches go through all layers of the double material. 
Looks like a French seam when done.

So I've learnt something new today!




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Subject: Re: [h-cost] Maria Theresia Dress
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Date: Sun, 06 Oct 2002 15:34:02 -0700
Status: RO

Bjarne,
I think the portrait you are referring to can be found on pg. 10 of _Lace
the Elegant Web_ by Janine Montupet and Ghislaine Schoeller. The portrait
was painted by Martin Van Meytens in 1744.  The dress was given to the
Empress by Flanders in 1744. This portrait is supposed to hang in the Museum
of Art, Ghent. 
Nadine Pelikan


on 10/6/02 4:46 AM, Bjarne og Leif Drews at drewscph@post12.tele.dk wrote:

> Hello.
> The arachne lace list i am on, is disgussing a dress portraied in a painting
> of Maria Theresia.
> I thoaght, when i am on a costume list to pass on the question.
> There is a portrait of Empress Maria Theresia of Austria (Marie Antoinettes
> mother) at Schönbrunn in Wienna.
> she is wearing a specktakular court dress where the skirt wich is over a
> huge panier has beautifull beautifull laces applyed to the fabric. Not in
> ruches and not gathered or pleated, but applyed so that the lace comes to
> its best look.
> I think the portrait is in Santina Levey's huge book about the history of
> lace.
> Well i mostly have costume books, and i wondered is there a costume book
> where this portrait would be in?
> Or is there an online place where i could se this?
> The arachne list wondered if any know what happened to this dress, it would
> have presented a vast fortune.
> 
> Bjarne
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Maria Theresia Dress
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Date: Sun, 06 Oct 2002 15:39:47 -0700
Status: RO

Bjarne,
Here is a URL for Meyten's, the lace dress portrait is the fourth down.
Nadine

http://gallery.euroweb.hu/html/m/meytens/

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Date: Sun, 6 Oct 2002 19:00:30 EDT
Status: RO


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So it sounds to me like it would come to no surprise to a US re-enactor to 
find that his/her historical inspired or well researched garment had serged 
seams on the inside.  Correct?  

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">So it sounds to me like it would come to no surprise to a US re-enactor to find that his/her historical inspired or well researched garment had serged seams on the inside.&nbsp; Correct?&nbsp; <BR>
<BR>
Lisa</FONT></HTML>

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Date: Sun, 06 Oct 2002 16:09:29 -0700
Status: RO

At 08:23 PM 10/05/2002 -0400, leigh tartaglio wrote:
>Hi. Your best bet is to contact Gwen personally (she's the clothing
>person in the business), but I believe that she does serging for the
>inside seams of some of her products. 

Yes, when I last saw her work several years ago, she was using serging on
seams that don't show from the outside.  However, she welcomes custom
orders, and will, for a price, make it as authentic as you like, up to and
including completely handstitching the garment.  Just be prepared for that
price to be one that really makes it worth her while!

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Sun, 6 Oct 2002 20:29:24 -0500 (CDT)
Status: RO


Can anyone identify this address:

<jwurtzburger@nyc.rr.com>

This person's computer is infected with klez, and I've been getting
infected emails from him/her for weeks now. Direct emails to this address
go unanswered, and I can't locate it on any search engines I've tried.

I'm apparently in the addressbooks of a lot of people I don't know
personally, mostly because of my posts to mailing lists like this. That
lets me in for a lot of Klez emails, which pick victims out of the
infected person's addressbook.

I'm pretty sure this person doesn't know about the infection, because the
virus mails keep coming. (This is of course not the address in the bogus
"From" lines, which change with every mail; it's in the hidden headers.)
So I'm hoping this person is on h-cost, or that someone here recognizes
this address, so I can get in touch with him/her.

Thanks, and now I return you to your regularly scheduled costume
discussion.

--Robin

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Finishing Seams/costume
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Date: Sun, 06 Oct 2002 19:24:26 -0700
Status: RO


>So it sounds to me like it would come to no surprise to a US re-enactor to 
>find that his/her historical inspired or well researched garment had 
>serged seams on the inside.  Correct?

I would say yes to that.  Most of the serious costumers I know have 
sergers, which they got to make costume seams easier.  In fact, the only 
time it really matters what your seams look like on the inside is when you 
have to show them to a workmanship judge at a CostumeCon.  Short of that, 
who is ever going to see them?

I happen to like hand-stitched hand-finished seams, and since I am 
unemployed I have the time to do them.  While this means I can't afford the 
services of a pro-costumer, I can't fault their hourly rate, having spent 
that many hours on my own costumes.  When I win the lottery, I will never 
sew my own costumes again - I'll offer to set my favourite costumer up in a 
shop somewhere and pay her to make them for me.

Kayta

    //// \\\
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      )   ((((((
/----\   /---\))

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Date: Sun, 6 Oct 2002 22:41:12 EDT
Status: RO


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In a message dated 10/6/02 7:27:10 PM Pacific Daylight Time, kayta@frys.com 
writes:


> I'll offer to set my favourite costumer up in a 
> shop somewhere and pay her to make them for me

Hey,  I shall keep you in mind if my current plan to attract a business 
partner with a need to launder money fails.

LS

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/6/02 7:27:10 PM Pacific Daylight Time, kayta@frys.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I'll offer to set my favourite costumer up in a <BR>
shop somewhere and pay her to make them for me</BLOCKQUOTE><BR>
<BR>
Hey,&nbsp; I shall keep you in mind if my current plan to attract a business partner with a need to launder money fails.<BR>
<BR>
LS</FONT></HTML>

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Date: Sun, 06 Oct 2002 22:44:29 -0400
Status: RO


I don't remember what the seam finishes of Historic Enterprises garments
are, although I do know there are no visible machine stitches anywhere on
the garment exterior. They are finished -- I will check out my husband's
hosen and braes and report back tomorrow. But the garments I looked at
extensively were all entirely lined, so I couldn't see the seam finishes.

They are not museum replicas, though, and so they are not sewn by hand.

Gail Finke


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Subject: Re: [h-cost] OT: Do you know this person?
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Date: Sun, 6 Oct 2002 22:50:37 -0400
Status: RO

Robin,

Virus picks up on unopened email and address book.  Most likely who ever is
sending the virus is not the email address that you see.  I get between
15-20 viruses sent to me a day.  I hardly ever recognize the email address.

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

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Sunday, October 06, 2002 9:29 PM
Subject: [h-cost] OT: Do you know this person?


>
> Can anyone identify this address:
>
> <jwurtzburger@nyc.rr.com>
>
> This person's computer is infected with klez, and I've been getting
> infected emails from him/her for weeks now. Direct emails to this address
> go unanswered, and I can't locate it on any search engines I've tried.
>
> I'm apparently in the addressbooks of a lot of people I don't know
> personally, mostly because of my posts to mailing lists like this. That
> lets me in for a lot of Klez emails, which pick victims out of the
> infected person's addressbook.
>
> I'm pretty sure this person doesn't know about the infection, because the
> virus mails keep coming. (This is of course not the address in the bogus
> "From" lines, which change with every mail; it's in the hidden headers.)
> So I'm hoping this person is on h-cost, or that someone here recognizes
> this address, so I can get in touch with him/her.
>
> Thanks, and now I return you to your regularly scheduled costume
> discussion.
>
> --Robin
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Sun, 6 Oct 2002 22:06:46 -0500 (CDT)
Status: RO


On Sun, 6 Oct 2002, Penny Ladnier wrote:

> Virus picks up on unopened email and address book.  Most likely who
> ever is sending the virus is not the email address that you see.  I
> get between 15-20 viruses sent to me a day.  I hardly ever recognize
> the email address.

Yes, I know how Klez works. But as I said, perhaps not too clearly, my
email program enables me to read the hidden headers and determine the
actual computer of origin of the infected messages. I've gotten about 10
messages in the last week or two that have this particular computer in the
origin headers, though the visible "From" line is always a different name
(another random address from the person's addressbook).

--Robin

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From h-costume-admin@indra.com  Sun Oct  6 23:25:22 2002
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Date: Sun, 6 Oct 2002 23:26:21 -0400
Status: RO

I get a number of those, too, and have had a few "offenders" that 
have become such a nuisance I had to do something about it- like the 
ones who sent me between 10 and 17 infected emails a day, with over a 
meg of attachments!

The only thing that's seemed to work for me is this: look up the 
domain in the email and find out who owns the ISP it's on. Go to the 
ISP's site and poke around until you find their "Acceptable Use 
Policy". Write to the ISP and tell them that one of their customers 
is sending you bunches of unsolicited infected mail, and quote the 
parts of their policy that this is violating. Paste in a copy of the 
header with the person's email address and the tracking info. Repeat 
with every new piece you get from this person.

So far this has worked for the handful of people where it's become a 
real problem. I'll add that without using pretty strong language, and 
quoting their policy back to them, they tended to brush me off. Using 
words like "harassment" and "interfering with my business email" 
seemed to get their attention, but using the language in their own 
policy and attributing it to the appropriate section etc. was vital, 
as was asking them to enforce it.

I've really hated to have to do this, especially since I know it's 
all virus-driven and so in a sense not their fault. But in some 
cases, there's no other option- it's just too much, for too long, and 
no end in sight.

Hope this helps...

-Amanda Fisher
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From h-costume-admin@indra.com  Mon Oct  7 01:41:21 2002
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Subject: [h-cost] Class Updates
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Date: Mon, 7 Oct 2002 01:42:37 -0400
Status: RO

We have two classes starting this week at the Costume Classroom,
www.costumeclassroom.com :
***Propriety, Plain and Fancy: Victorian and Edwardian Fashions from Bustle
to Gibson Girl (Marna Jean's class)
***The 1660s: Restoration Costume Comes to Life (Nicole's class)

Janice P. Ryan will be keeping her Strapless Stays AND Pet-en-lair Gown
classes
open until Nov. 15.  So you can still sign up and start the classes today.

Drea's 16th Century Women January 2003 class is full.  No more students will
be added to this class.  January will be the last time Drea will teach this
class.  She is developing a new class about Lower Class 16th Century Women
for Sept. 2003.  Look for when we announce it.

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


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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: Re: [h-cost] Finishing Seams/costume
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Date: Mon, 07 Oct 2002 00:15:07 -0700
Status: RO

I would be more than happy to let someone else who is willing to, make their 
own handwork finishes.  I would even adjust pricing to reflect an unfinished 
product.  I guess that way, people who can do a little sewing would still 
get complex garments and still be able to have the pride of having done 
(what I consider)the worst part on their own.


>From: Carolyn Kayta Barrows <kayta@frys.com>
>You know the difference and, if the customer is willing to pay what your 
>time is worth, you will spend the time.  Sounds fair to me.  I suppose you 
>are also willing to let the customer do his/her own hand finishing 
>(specifically buttonholes, but could be other) so they get it but they 
>don't have to pay you to do it?
>
>>That is EXACTLY how I deal with these issues.  I can weave the cordings 
>>for lace up gowns and hand sew buttonhole/eyelets, but most of the time 
>>the customer does not want to pay for the amount of time that all takes.  
>>I CAN make very authentic garments, but you have to specify that 
>>requirement and PAY for it.
>>
>>I've learned so much more about what is right and what will do on this 
>>list that now there is a defined difference in my thinking about 
>>authenticy vs. productivity/saleability.
>
>
>Kayta



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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] flat-felled seams
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Date: Mon, 7 Oct 2002 08:16:44 +0100 (BST)
Status: RO

 --- Jane Williams <jane@williams.nildram.co.uk> wrote: > 
> This got me all confused, since I thought French and 
> felled were the same. So I went and looked in a book 
> (!) RTFM, and so on, as I say to my users.

Thanks Jane! *G*

> Run & Fell seam: start right sides together, one edge 
> longer than the other, fold the overlap down to touch 
> the first line of stitches, iron flat, hem into place.

Ahhh! Okay, yes, I do mean run & fell then, but I never clip one side or start
with one being longer, and I would never use a machine to sew it down, where's
the poin, it's visible then! I always blindstitch by hand very carefully down.
Anyway, you got me thinking, maybe I will do a run & fell on my Queen shift and
farthingale which I all got out at Teddy's yesterday. Oh, and he made the
corset pattern to fit for me. Updates on the diary with piccie *G*

Nicole

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

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Date: Mon, 07 Oct 2002 00:21:11 -0700
Status: RO


When I win
>the lottery, I will never sew my own costumes again - I'll offer to set my 
>favourite costumer up in a shop somewhere and pay her to make them for me.
>
>Kayta
>
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
>/----\   /---\))
>


When I win, (notice the positive attitude here?)I will buy myself that shop 
and make everything I've ever dreamed of and NOT worry for one second about 
being able to sell it to someone thereby paying for the next project.  I 
would probably donate them to schools, theaters, etc. just so I would have 
room to make more.  ;)  OK, If I'm gonna dream, I'm gonna dream BIG!!


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

I wont hurt you, I just want to dress you up!!


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Subject: [h-cost] seam finishes
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Date: Mon, 7 Oct 2002 07:10:47 -0700 (PDT)
Status: RO

I'll add my two cents worth on seam finishes on
professionally made costumes.  I see serger finishes
alot and for the most part have really mixed feelings
about them.  Since I do do my own work I understand
the time versus money angle....but have seen some
serger finishes that have pulled off the edge of the
fabric.  Sometimes the seam allowances are cut so
narrow to accomodate the seam and overcast in one
stitch (sorry, don't know what it's called) that the
seams pull out and then fray.  I realize this doesn't
usually happen on wool but some of the brocades and
other slick fabrics which fray easily really need
deeper seam allowances.  I always recommend to people
to ask what type of seam finishes they're getting when
they order something.  For the museum reproductions we
can use a sewing machine as our period is late enough
for that but the seam finishes were still done by hand
at that time (1840s), particularly the curved seams. 
The use of selvedges does eliminate some of the hand
finishing, saves fabric and is period.  I haven't
found evidence of machine finished seams in my
museum's clothing collection, which is very small,
does anyone know when  finishing seams with a second
row of stitching 1/8th inch away from the seam came
into use?
                         Cassandra (back from the land
of the almost dead with bronchitis)

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Date: Mon, 7 Oct 2002 08:02:32 -0700
Status: RO

Hi all,

While researching this weekend, I came across several interesting comments and things relating to our recent discussion of whether colored linen was available and used prior to the 16th century.  The Plictho from 1548 documents dyeing recipes for linen, but no one on the list had seen evidence/citations prior to this, if I remember correctly.  (And I may not, it is still early and I haven't had enough caffeine yet.)

There were several quotes that I came across is the Museum of London Textiles and Clothing this weekend that seemed to hint at the possibility of colored linen.  On page 96, "...this argues against the use of linen thread, which was frequently left undyed,"  which tantalizingly seems to imply that it *might* have been dyed.  Then, on page 151, "Linen thread supplied to the Wardrobe came in a variety of colors," - it could be natural color variation, but that doesn't seem to be what's implied here.  

Then, while tracking down one of the references, I found a citation for *black* linen thread:

plate 159
Linen cloth with Lower Saxon coats-of-arms and mythical beasts in hexagonal frames formed of roses and fleur-de-lys.
Kloster Isenhagen, second quarter of the 14th century
121 x 165 cm Hexagon: 41.5 cm
Linen.  White and *black( linen thread; strongly twisted woolen thread in red, green, yellow and blue.  Brick, couching and stem stitches: satin stitch forming patterns.  (emphasis mine)
Lit.: M. Schuette, Gestickte Bildteppiche des Mittelalters, Leipzig 1930, II, p. 41, Pl. 25 - von Falke in Pantheon VIII, (1931), p.371.  

This was in the Schuette book - Schuette, Marie and Sigrid Muller-Christensen, A Pictorial History of Embroidery, Frederick A. Praeger, New York, 1964.

I checked the other embroideries in this section of the book, but this was the only one that specifically mentioned colored linen thread.

It may sound like a silly question, but is there any chance this could have occurred naturally?  If not, then do we conclude that there was *some* way to dye linen during this time?

Colleen


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From: kat@grendal.rain.com
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Date: Mon, 07 Oct 2002 09:50:31 -0700
Status: RO

> While researching this weekend, I came across several interesting
> comments and things relating to our recent discussion of whether
> colored linen was available and used prior to the 16th century.  The
> Plictho from 1548 documents dyeing recipes for linen, but no one on
> the list had seen evidence/citations prior to this, if I remember
> correctly.  (And I may not, it is still early and I haven't had enough
> caffeine yet.)

Part of this is because we didn't have access to books discussing 
dyes prior to the 16th C. (Had something to do with the invention of 
the printing press just before then.)

> There were several quotes that I came across is the Museum of London
> Textiles and Clothing this weekend that seemed to hint at the
> possibility of colored linen.  On page 96, "...this argues against the
> use of linen thread, which was frequently left undyed,"  which
> tantalizingly seems to imply that it *might* have been dyed.  Then, on
> page 151, "Linen thread supplied to the Wardrobe came in a variety of
> colors," - it could be natural color variation, but that doesn't seem
> to be what's implied here.  

One of the reasons why it had always been assumed that it was white 
or offwhite thread that was always used is because so often the 
extant garments were stitched with thread which appeared to be that 
color. *Appeared* is the operative word here, because when they 
actually test the threads they are finding that there are remnants of 
dyestuffs in them. One of the biggest examples is the Civil War 
garments stitched with off white thread. It turns out that most of 
them were actually stitched with logwood dyed thread, but logwood on 
linen fades out to a brown, grey or off white color.

> Then, while tracking down one of the references, I found a citation
> for *black* linen thread:
> 
> plate 159
> Linen cloth with Lower Saxon coats-of-arms and mythical beasts in
> hexagonal frames formed of roses and fleur-de-lys. Kloster Isenhagen,
> second quarter of the 14th century 121 x 165 cm Hexagon: 41.5 cm
> Linen.  White and *black( linen thread; strongly twisted woolen thread
> in red, green, yellow and blue.  Brick, couching and stem stitches:
> satin stitch forming patterns.  (emphasis mine) Lit.: M. Schuette,
> Gestickte Bildteppiche des Mittelalters, Leipzig 1930, II, p. 41, Pl.
> 25 - von Falke in Pantheon VIII, (1931), p.371.  
> 
> This was in the Schuette book - Schuette, Marie and Sigrid
> Muller-Christensen, A Pictorial History of Embroidery, Frederick A.
> Praeger, New York, 1964.
> 
> I checked the other embroideries in this section of the book, but this
> was the only one that specifically mentioned colored linen thread.
> 
> It may sound like a silly question, but is there any chance this could
> have occurred naturally?  If not, then do we conclude that there was
> *some* way to dye linen during this time?

While you can get some coloring naturally, (such as madder fed sheep, 
I'm told), I suspect that the threads were dyed. We just don't have 
the documentation for how they did it like we do from later periods 
such as the 16th C (era of the explosion of printed material).

However, linen doesn't hold the dye as well as silk or wool, so 
unless tested for the dyestuffs we wouldn't be able to tell by 
looking at them. So, I guess we need to look in textile archeology 
sources where they have tested the fibres for dyestuff for our 
"documentation."

Kat Russell
<kat@grendal.rain.com>

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Date: Mon, 7 Oct 2002 19:11:50 +0100
Status: RO

>(such as madder fed sheep, 
I'm told),

Do you have anything further on this ?

Mel

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Date: Mon, 07 Oct 2002 13:44:24 -0700
Status: RO


> >(such as madder fed sheep, 
> I'm told),
> 
> Do you have anything further on this ?
> Mel

I've read about it, but in what of any of several dozens of books on 
dyestuffs and/or wool I found it in, I have no idea.

Kat Russell
<kat@grendal.rain.com>

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Date: Mon, 7 Oct 2002 14:08:10 -0700 (PDT)
Status: RO

Could someone give me some more information on Penny's
costume classes.  They sound interesting but my time
comes in fits and starts such that I'm reluctant to
commit to too many things with inflexible deadlines. 
Could I take a class and download or bookmark each
lesson until such time as I can get to them?  I might
be able to do one lesson a week for a few weeks and
then not be able to pick it up for a month or more and
then do two or three lessons on one of those weekends
when I can't get my sleep to flip.  Any info would be
great.  Can I access (ie pay for) older lessons and do
them at my own speed?  Thanks.
                                      Cassandra

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Finishing Seams/costume
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Date: Mon, 7 Oct 2002 13:17:23 -0700
Status: RO

At 7:00 PM -0400 10/6/02, LSinervo@aol.com wrote:
>So it sounds to me like it would come to no surprise to a US 
>re-enactor to find that his/her historical inspired or well 
>researched garment had serged seams on the inside.  Correct? 

I think this would be a correct assessment.  For me, the important 
thing in commercial garments is for the seller/maker to be 
knowledgeable and honest about what they are doing.  I am much more 
wary of a vendor who doesn't seem to _know_ what commercial 
compromises and shortcuts they're taking than one who says explicitly 
something like, "The standard version of this item uses modern sewing 
in all non-visible situations -- a version with historically accurate 
stitching is available by special order [at a commensurately higher 
price]".  I, personally as a consumer, would tend to expect that the 
highest level of accuracy that is _not_ done by special order would 
be "accuracy in externally visible details".

Heather

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Mon, 7 Oct 2002 13:06:47 -0700
Status: RO

At 8:02 AM -0700 10/7/02, Colleen McDonald wrote:

<snip to cut to the essential question>

>It may sound like a silly question, but is there any chance this 
>could have occurred naturally?  If not, then do we conclude that 
>there was *some* way to dye linen during this time?

This topic comes up periodically, and a handful of anecdotal examples 
of colored linen can be offered.  For example, the lining of the 
"Satin coat of Charles the Bold" (15th c.) is a very dark (gray or 
black) linen, as can be seen in the color photos in Mechthild 
Flury-Lemberg's "Textile Conservation and Research".  Similarly, 
photos of the linen lining of one of the Golden Fleece vestments in 
"The Conservation of Tapestries and Embroideries" show it to be a 
pale salmon-orangey-pink color.  These aren't the only anecdotal 
examples that can be listed.  The question that arises is not simply, 
"_could_ linen be dyed in the middle ages?" but more complexly "under 
what conditions does dyed linen appear to have been used, and when 
does it appear not to have been used?"

Extrapolating from a black linen lining to a black linen chemise, for 
example, strikes me as implausible, given the uniform portrayal of 
chemises in art as white.  How relevant is it that the two examples 
above are as lining fabrics in garments that would not have been 
laundered -- thus removing light and laundry, the two factors most 
likely to quickly degrade color in linen?

At any rate, it isn't an all-or-nothing question -- that either they 
didn't have any colored linen, or that colored linen was freely 
interchangeable with uncolored.  This situation lends it self to 
over-simplification when trying to educate people about medieval 
textiles and garments, and the over-simplification that is closest to 
the truth is "they didn't use colored linen".  That this 
oversimplification can be demonstrated to be false should not lead 
people to concluding that the opposite oversimplification is true.

Heather
(who collects examples of medieval colored linen, but generally 
avoids promulating them)
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Janet  Davis" <castle@erie.net>
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Subject: Re: [h-cost] seam finishes
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Date: Mon, 7 Oct 2002 18:24:04 -0400
Status: RO

but have seen some
> serger finishes that have pulled off the edge of the
> fabric.  Sometimes the seam allowances are cut so
> narrow to accomodate the seam and overcast in one
> stitch (sorry, don't know what it's called) that the
> seams pull out and then fray.

This just happened to me with a fairly new linen gown that I am quite
pleased with otherwise.  I discovered at an event this weekend that the back
of the armhole seam had come apart on the right side (since it was rather
cold, I kept a houplande on over it all day so no one could see it, but in
warmer weather, I wear it alone.)

Janet

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Subject: Re: [h-cost] seam finishes
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Date: Mon, 07 Oct 2002 16:35:01 -0700
Status: RO


>but have seen some
> > serger finishes that have pulled off the edge of the
> > fabric.  Sometimes the seam allowances are cut so
> > narrow to accomodate the seam and overcast in one
> > stitch (sorry, don't know what it's called) that the
> > seams pull out and then fray.
>
>This just happened to me with a fairly new linen gown that I am quite
>pleased with otherwise.  I discovered at an event this weekend that the back
>of the armhole seam had come apart on the right side (since it was rather
>cold, I kept a houplande on over it all day so no one could see it, but in
>warmer weather, I wear it alone.)

(Off the point entirely, and trying to be funny,) But aren't mends and 
patches period?


Kayta

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Date: Mon, 7 Oct 2002 17:41:39 -0700 (PDT)
Status: RO

My inate volunteerism has gotten me into trouble.  I
now need to recreate a Regency outfit from the skin
out for a research project for a friend who writes
regency romances.  As her heroines are usually from
the upper class I also need to figure out what would
be appropriate for a lady's genteel needlework and
what she would have done by a dressmaker.  Websites? 
Books? Artwork?  Help?
                            Cassandra

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Date: Mon, 07 Oct 2002 18:56:37 -0600
Status: RO

Uh...without being able to pull out any actual, scholarly cites or
anything (it was one of THOSE Mondays), what about the
sumptuary/regulatory laws I've heard of in reference to "saffron shirts"
for those people living in Ireland during certain periods of British
rule? I've always assumed they'd be linen, but I suppose they could be a
fine wool.  Does anyone know?
Mind you, I'm assuming that the *color* is saffron-ish, not the dye
stuff.  We've been experimenting this summer, and you can get some
amazingly potent yellows and golds with tansy, or dandelion, or weld.
--Sue

Heather Rose Jones wrote:
> 
The question that arises is not simply,
> "_could_ linen be dyed in the middle ages?" but more complexly "under
> what conditions does dyed linen appear to have been used, and when
> does it appear not to have been used?"
> 
> Extrapolating from a black linen lining to a black linen chemise, for
> example, strikes me as implausible, given the uniform portrayal of
> chemises in art as white.  How relevant is it that the two examples
> above are as lining fabrics in garments that would not have been
> laundered -- thus removing light and laundry, the two factors most
> likely to quickly degrade color in linen?
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] I got into trouble with a Regency
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Date: Mon, 07 Oct 2002 18:28:31 -0700
Status: RO

Check out the Jane Austin Society website, wherever your search engine says 
it is.

>My inate volunteerism has gotten me into trouble.  I
>now need to recreate a Regency outfit from the skin
>out for a research project for a friend who writes
>regency romances.  As her heroines are usually from
>the upper class I also need to figure out what would
>be appropriate for a lady's genteel needlework and
>what she would have done by a dressmaker.  Websites?
>Books? Artwork?  Help?


Kayta

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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Mon, 07 Oct 2002 22:31:01 -0400
Status: RO

Hi. I'm guessing that the name of the shirt, "leine croich", if I understand
my translation correctly, refers to the linen (leine) dyed with the saffron
crocus (Croich). As with all linen dyes, due to the structure of the fabric,
the dye is somewhat fugitive. I don't know, however, if this applies, as I
don't remember references to Scots/Irish yellow leines prior to the 16th
Cent. The answer to "could linen be dyed?" is certainly an emphatic "yes!"
Under what conditions was dyed linen used, and when, is certainly the more
difficult question. I have heard of men's lined hose being used in the late
15th-early 16th Cent., but there is no true indication of which I know to
indicate what material was used for the lining, or whether or not it was
dyed to match the outer layer if indeed it was linen. For this info, you
might want to contact Gerry Embleton or John  Howe with the Companie of St.
George, who are doing much more in-depth research in this area.  Mike T.



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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Mon, 7 Oct 2002 22:48:47 -0500 (CDT)
Status: RO


Heather wrote:

> The question that arises is not simply, "_could_ linen be dyed in the
> middle ages?" but more complexly "under what conditions does dyed
> linen appear to have been used, and when does it appear not to have
> been used?"

and, similarly, Mike wrote:

> The answer to "could linen be dyed?" is certainly an emphatic "yes!"
> Under what conditions was dyed linen used, and when, is certainly the
> more difficult question.

And that's the crux of it for me, too. I'm one of the people who's asked
about dyed linen on this list, periodically over several years now, and
whenever I hear of an extant linen garment or a written reference to a
linen garment, my first question is "Is it white or dyed?" My interest
isn't in dyeing per se, but rather in the issue of whether linen was used
for the visible layers of body garments (e.g. gowns, tunics) in medieval
Western Europe.

There's no question linen was used for undergarments (e.g. chemises,
shirts), bed linens, table linens, towels, aprons, sacking, wrappings, and
many other purposes, but these are all things that are normally assumed to
be white or undyed. Linen is also listed in documents as a lining, and (as
Heather notes) appears in extant garments as a lining (sometimes dyed!
thanks, Heather). But whether it was used as what people today call the
"fashion fabric" of garments -- there's the issue.

I keep coming back to this question because people seem to assume that
since wool and linen were the two common fibers of the period, people were
as likely to make their gowns from linen as from wool, with linen the
default for warm weather. Naturally, re-enactors in much of the US would
prefer linen gowns over wool ones because of the weather, and so there's a
preponderance of linen clothing in a wide range of colors and styles at
many medieval re-enactments and events.

But as people ask me what fabrics I recommend for gowns of various sorts,
I can't say with any certainty that linen is a viable choice because I
still haven't seen any strong evidence of linen for that use. There's
probably an example or three out there, but at this point it would take a
fair lot of evidence to balance the huge absence of it I've seen so far.

Where I haven't looked is documents, which could be very fruitful: textile
guild regulations, property use laws, import/export records, inventories
... but I'm not a primary documents researcher and am unlikely to have the
sort of time and access to do serious primary work in that area anytime
soon.

So, why my interest in dyed linen? Because if there were evidence to
suggest that linen was dyed frequently and in large quantities and in many
colors, that would suggest that this fabric was a likely candidate for
non-underwear garments. If there is little or no evidence of dyed linen
cloth, that suggests that it's unlikely many garments were made with linen
as the outer fabric. I wouldn't base an argument on either line of
thought, but it's a useful avenue for supporting material ... particularly
since information on cloth sometimes includes references to the use of the
cloth.

So for my purposes, a reference to colored linen thread doesn't tell me
anything one way or another except to confirm that there was technology to
dye linen thread. That would be useful in its own right -- for sewing and
embroidery -- but it doesn't indicate whether they were using dyed linen
thread to make cloth for garments, or using the same techniques to dye
linen cloth for garments.

In fact, I find it interesting that this conversation has turned up
references to dyed linen thread for embroidery, dyed linen thread for
seams, and dyed linen fabric for linings. Given all that, the apparent
absence of linen for the outer layer of garments may well reflect a
deliberate medieval preference for wool as the visible fabric (better
wearing, better color retention, seams less likely to ravel, etc.) and
linen as an option for structural support (in the linings). That's
consistent to some references I've seen to wool tunics lined with either
wool or linen, but not linen/wool or linen/linen.

It's similar to the cotton situation -- we find references and extant
examples of cotton thread for various uses, cotton fabric used for
embroidery grounds, cotton for bed hangings and cushions -- but not much
(if any) cotton in *wear* on the body for most of the Middle Ages, north
of Italy at least. (Though there's cotton used as a mix in fabrics such as
fustian, and cotton used as padding or stuffing in garments.) So they had
cotton available, but apparently chose not to use it for this purpose.
This makes intuitive sense to me, given that I've found that the clothing
construction methods I have developed as my best-guess at period practice
work quite nicely in wool and linen but are a royal pain in cotton. Makes
me wonder if they had the same experience.

So when it comes to what to tell the people who ask me whether it's
authentic to make their gowns in linen, I'm with Heather, who wrote:

> At any rate, it isn't an all-or-nothing question -- that either they
> didn't have any colored linen, or that colored linen was freely
> interchangeable with uncolored.  This situation lends it self to
> over-simplification when trying to educate people about medieval
> textiles and garments, and the over-simplification that is closest to
> the truth is "they didn't use colored linen".  That this
> oversimplification can be demonstrated to be false should not lead
> people to concluding that the opposite oversimplification is true.

And, like Heather, I'm reluctant to point to the few appearances we have
of dyed linen in certain limited uses in clothing because I don't want to
suggest it's then safe to extrapolate to lots of dyed linen in a much
broader range of uses. Better to oversimplify in the direction of what
seems to be the truth -- that as far as we can tell, linen was not a
routine choice for a garment's outer fabric.

--Robin
writing a long post, as usual, because I don't have time to write a short
one

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Subject: Re: [h-cost] Colored linen in the 14th century?
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In a message dated 10/7/02 8:06:00 AM Pacific Daylight Time, 
Colleen.McDonald@mackie.com writes:


>  The Plictho from 1548 documents dyeing recipes for linen, but no one on the 
> list had seen evidence/citations prior to this, if I remember correctly. 

In Colors - The Story of Dyes and Pigments by Francois Delamare and Bernard 
Guineau states that "We do know that the madder plant was used to dye the red 
linen textiles found in the Old Kingdom tombs of the Nile valley.  Safflower, 
a source of red and pink, has been identified among the seeds found in the 
tomb of Tutankhamun.  Should we trust ancient texts?  Pliny the Elder, a 
1st-century AD Roman encyclopedias, wrote a Natural History in which he 
reports that the Egyptian dyers used indigo, kermes (source of red or purple, 
made from parts of the cochineal insect,), archil (a red producing lichen, 
also called orchil or cudbear), alkanet (an herb whose root produces red), 
buckthorn berries and saffron (for yellow), mulberry juice (for red or 
purple), and tannins (acidic fixatives),.  According to Pliny, they also 
invented mordanting, a treatment of fibers with chemicals that allows the dye 
to adhere better, thus increasing colorfastness."  

Basically all circumstantial evidence indicates the dying of linen has been 
practiced ever since, if not prior.   

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 8:06:00 AM Pacific 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"> The Plictho from 1548 documents dyeing recipes for linen, but no one on the list had seen evidence/citations prior to this, if I remember correctly. </BLOCKQUOTE><BR>
<BR>
In Colors - The Story of Dyes and Pigments by Francois Delamare and Bernard Guineau states that "We do know that the madder plant was used to dye the red linen textiles found in the Old Kingdom tombs of the Nile valley.&nbsp; Safflower, a source of red and pink, has been identified among the seeds found in the tomb of Tutankhamun.&nbsp; Should we trust ancient texts?&nbsp; Pliny the Elder, a 1st-century AD Roman encyclopedias, wrote a <I>Natural History</I> in which he reports that the Egyptian dyers used indigo, kermes (source of red or purple, made from parts of the cochineal insect,), archil (a red producing lichen, also called orchil or cudbear), alkanet (an herb whose root produces red), buckthorn berries and saffron (for yellow), mulberry juice (for red or purple), and tannins (acidic fixatives),.&nbsp; According to Pliny, they also invented mordanting, a treatment of fibers with chemicals that allows the dye to adhere better, thus increasing colorfastness."&nbsp; <BR>
<BR>
Basically all circumstantial evidence indicates the dying of linen has been practiced ever since, if not prior.&nbsp;&nbsp; <BR>
<BR>
Lisa</FONT></HTML>

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Gosh, I wish I had time to research more and type some commentary but I am 
flat out at the moment so I shall just drop a couple of sources that indicate 
linen's use in outer garments,

again

Medieval Costume and Fashion by Herbert Norris.

"Remnants of an armorial surcote dating about 1240 still exist.  It is of 
very fine linen, golden yellow in colour, and on it a lion in blue linen ("or 
a lion rampant azure" for Rivers) is appliqued, the edges being sewn down 
securely with a solid chain-stitch in dull orange.  Various parts of the 
animal are stitched and darned with deeper blue threads, to suggest the 
anatomy."

Where this is I do not know!

And there are a number of examples of block printed linen from the twelth to 
fourteenth centurys in The Book of Costume by Millia Davenport with the 
following commentary.  "Fragment of natural linen, block printed in green.  
Wood-block printed fabrics, in imitation of Italian brocades, often using 
silver and gold, began to appear in the Rhineland, end XIIc.  They apparently 
antedated block printed initials on manuscripts, which led to the invention 
of type."  and "Fragments of block-printed linen: Upper right, Renish:eagles, 
fruit and leaves in dark purple."  The photos of the fragments do not look 
eclassiatical but more like the motifs found in outer clothing (as seen in 
medieval paintings).

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Gosh, I wish I had time to research more and type some commentary but I am flat out at the moment so I shall just drop a couple of sources that indicate linen's use in outer garments,<BR>
<BR>
again<BR>
<BR>
Medieval Costume and Fashion by Herbert Norris.<BR>
<BR>
"Remnants of an armorial surcote dating about 1240 still exist.&nbsp; It is of very fine linen, golden yellow in colour, and on it a lion in blue linen ("or a lion rampant azure" for Rivers) is appliqued, the edges being sewn down securely with a solid chain-stitch in dull orange.&nbsp; Various parts of the animal are stitched and darned with deeper blue threads, to suggest the anatomy."<BR>
<BR>
Where this is I do not know!<BR>
<BR>
And there are a number of examples of block printed linen from the twelth to fourteenth centurys in The Book of Costume by Millia Davenport with the following commentary.&nbsp; "Fragment of natural linen, block printed in green.&nbsp; Wood-block printed fabrics, in imitation of Italian brocades, often using silver and gold, began to appear in the Rhineland, end XIIc.&nbsp; They apparently antedated block printed initials on manuscripts, which led to the invention of type."&nbsp; and "Fragments of block-printed linen: Upper right, Renish:eagles, fruit and leaves in dark purple."&nbsp; The photos of the fragments do not look eclassiatical but more like the motifs found in outer clothing (as seen in medieval paintings).<BR>
<BR>
Lisa<BR>
</FONT></HTML>
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From: kat@grendal.rain.com
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Subject: Re: [h-cost] Colored linen in the 14th century?
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> Where I haven't looked is documents, which could be very fruitful:
> textile guild regulations, property use laws, import/export records,
> inventories ... but I'm not a primary documents researcher and am
> unlikely to have the sort of time and access to do serious primary
> work in that area anytime soon.

I think you are right that these will probably be the best bet for 
knowing the answers to the question of "was colored linen used as 
outerwear fabric in the 14th or 15th C".
 
> So, why my interest in dyed linen? Because if there were evidence to
> suggest that linen was dyed frequently and in large quantities and in
> many colors, that would suggest that this fabric was a likely
> candidate for non-underwear garments. If there is little or no
> evidence of dyed linen cloth, that suggests that it's unlikely many
> garments were made with linen as the outer fabric. I wouldn't base an
> argument on either line of thought, but it's a useful avenue for
> supporting material ... particularly since information on cloth
> sometimes includes references to the use of the cloth.

However, one of the things limiting us is that the extant garments we 
have tend to be made of things like silk or wool or are highly 
embroidered (which is why they seem to have gotten extra care from 
both the original makers and from conservators.) So, even if they had 
linen outer garments (ie for things such as kirtles) it is unlikely 
that we would have an example of them. They just aren't used in 
ecclesiastic or state garments (which tend to be the types of things 
best preserved.) 

So that leaves us with archeologic evidence. For linen, that's not 
very likely because of the conditions where most of our extant 
garments are found. For the same reason we don't usually find things 
like linen chemises in graves, we also don't find linen non-underwear 
garments: the soils are acid which promotes protein (wool, silk) 
preservation but not plant fibre (linen or nettle).

So, the only conclusion we can come to in their absence is that we 
don't know if they did or did not have linen for that use unless we 
find written references in the type of documents you mentioned 
earlier.

I personally prefer to teach that, in the absence of further 
information, it is best not to use it for outerwear if someone is 
going to be looking at it for "academic" purposes (such as contests).

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Colored linen in the 14th century? or Keepping up with the Joneses
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In a message dated 10/7/02 7:44:06 PM Pacific Daylight Time, mikes@dandy.net 
writes:


> Under what conditions was dyed linen used, and when, is certainly the more
> difficult question.

My impressions are that although one would of course desire silk, brocades, 
etc if one had the money and/or wasn't frightened by the sumputary laws one 
would wear it and linen was used in a practical sense and also by the wanna 
be's of society.  People tried to look there best when ever they could and if 
they could only block print linen to look like brocaded silk then that is 
what they wore.  That is just my impression.  More research required!

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 7:44:06 PM Pacific Daylight Time, mikes@dandy.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Under what conditions was dyed linen used, and when, is certainly the more<BR>
difficult question.</BLOCKQUOTE><BR>
<BR>
My impressions are that although one would of course desire silk, brocades, etc if one had the money and/or wasn't frightened by the sumputary laws one would wear it and linen was used in a practical sense and also by the wanna be's of society.&nbsp; People tried to look there best when ever they could and if they could only block print linen to look like brocaded silk then that is what they wore.&nbsp; That is just my impression.&nbsp; More research required!<BR>
</FONT></HTML>
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Colored linen in the 14th century?
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On Tue, 8 Oct 2002 LSinervo@aol.com wrote:

> Gosh, I wish I had time to research more and type some commentary but
> I am flat out at the moment so I shall just drop a couple of sources
> that indicate linen's use in outer garments,

These were new to me. Thanks. But I have to be skeptical, and cannot
accept these as garment examples without question. Specifically:

> Medieval Costume and Fashion by Herbert Norris.
> 
> "Remnants of an armorial surcote dating about 1240 still exist.  It is
> of very fine linen, golden yellow in colour, and on it a lion in blue
> linen ("or a lion rampant azure" for Rivers) is appliqued, the edges
> being sewn down securely with a solid chain-stitch in dull orange.  
> Various parts of the animal are stitched and darned with deeper blue
> threads, to suggest the anatomy."
> 
> Where this is I do not know!

Good question. I don't trust Norris at all; he's notoriously unreliable.
This raises a lot of questions for me:
 - What sort of garment was this from -- a herald's tabard? (I have not
heard of any extant women's surcotes with heraldry on them, and precious
few male garments, one of which is the Black Prince's jupon).
 - Or, since it's "remnants," did someone just assume it was from a
surcote, when it might be from a banner, an ecclesiastical cope, a wall
hanging, a cushion, etc.
 - Is this really original, or was it remade at some later date?
 - What is the date based on?
 - Where is the garment from? I wouldn't rule out linen use for visible
layer of garments in Spain or Italy; my interest is Western Europe.

Heather's our resident expert on extant garments ... does this ring any
bells?

> And there are a number of examples of block printed linen from the
> twelth to fourteenth centurys in The Book of Costume by Millia
> Davenport with the following commentary.  "Fragment of natural linen,
> block printed in green.  Wood-block printed fabrics, in imitation of
> Italian brocades, often using silver and gold, began to appear in the
> Rhineland, end XIIc.  They apparently antedated block printed initials
> on manuscripts, which led to the invention of type."  and "Fragments
> of block-printed linen: Upper right, Renish:eagles, fruit and leaves
> in dark purple."  The photos of the fragments do not look
> eclassiatical but more like the motifs found in outer clothing (as
> seen in medieval paintings).

OK, necessary scepticism again. I looked at these, and would be inclined
to assume they were from wall hangings, tablecoverings, or other
decorative use, partly because the motifs are consistent with images of
such uses, partly because I find the use of block printing for garments
unlikely (particularly in so sumptuous a design), and partly because a
decorative fabric is much more likely to survive in these sorts of pieces
than a garment fabric. But if anyone has a reason to suggest these might
be from garments, I'd be really interested in hearing it. They're figures
634 and 635 in Davenport.

--Robin

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In a message dated 10/7/02 9:38:46 PM Pacific Daylight Time, 
kat@grendal.rain.com writes:


> So, the only conclusion we can come to in their absence is that we 
> don't know if they did or did not have linen for that use unless we 
> find written references in the type of documents you mentioned 
> earlier.
> 

This is interesting to me as I consider there to be a "number" of examples of 
linen used as outer garments.  Don't have the MoL book handy but I know there 
are a few examples there too.  So, my question would then be, given so few 
examples of linen are likely to exist due to decay etc,  would it not be more 
reasonable to conclude that as a few extant examples do indeed exist that it 
is likely that linen WAS used as outer garments in the medieval period?  I 
agree looking at other primary records could sway my opinion too.

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 9:38:46 PM Pacific Daylight Time, kat@grendal.rain.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">So, the only conclusion we can come to in their absence is that we <BR>
don't know if they did or did not have linen for that use unless we <BR>
find written references in the type of documents you mentioned <BR>
earlier.<BR>
</BLOCKQUOTE><BR>
<BR>
This is interesting to me as I consider there to be a "number" of examples of linen used as outer garments.&nbsp; Don't have the MoL book handy but I know there are a few examples there too.&nbsp; So, my question would then be, given so few examples of linen are likely to exist due to decay etc,&nbsp; would it not be more reasonable to conclude that as a few extant examples do indeed exist that it is likely that linen WAS used as outer garments in the medieval period?&nbsp; I agree looking at other primary records could sway my opinion too.<BR>
<BR>
Lisa</FONT></HTML>

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In a message dated 10/7/02 9:50:28 PM Pacific Daylight Time, 
robin@shell.nightowl.net writes:


> (I have not
> heard of any extant women's surcotes with heraldry on them, and precious
> few male garments, one of which is the Black Prince's jupon).

Don't know of many extant garment of the period at all, but pg. 214 of 
Davenport #598 has a brass with Katherine, Lady Harsick with a kirtle bearing 
the arms of Geslingthorpe, assumed by Calthorpe, and pg. 179 of A History of 
Costume in the West by Francois Boucher (published at 20,000 years of 
something or another in the US I believe) has as #317 Luttrell Psalter, c.,  
which Norris describes as Sir Geoffrey Louterell, His Wife and Daughter in 
Law in Heraldic surcotes.

I shall keep my eye out for more examples, and if I find any, will post them. 
 

Cheers 

Lisa 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 9:50:28 PM Pacific Daylight Time, robin@shell.nightowl.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">(I have not<BR>
heard of any extant women's surcotes with heraldry on them, and precious<BR>
few male garments, one of which is the Black Prince's jupon).</BLOCKQUOTE><BR>
<BR>
Don't know of many extant garment of the period at all, but pg. 214 of Davenport #598 has a brass with Katherine, Lady Harsick with a kirtle bearing the arms of Geslingthorpe, assumed by Calthorpe, and pg. 179 of A History of Costume in the West by Francois Boucher (published at 20,000 years of something or another in the US I believe) has as #317 Luttrell Psalter, c.,&nbsp; which Norris describes as Sir Geoffrey Louterell, His Wife and Daughter in Law in Heraldic surcotes.<BR>
<BR>
I shall keep my eye out for more examples, and if I find any, will post them.&nbsp; <BR>
<BR>
Cheers <BR>
<BR>
Lisa <BR>
</FONT></HTML>
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oops that was supposed to be

and pg. 179 of A History of Costume in the West by Francois Boucher 
(published at 20,000 years of something or another in the US I believe) has 
as #317 Luttrell Psalter, c.,  1340, London, British museum, Ms f . 202 v. 
which Norris describes as Sir Geoffrey Louterell, His Wife and Daughter, in 
Heraldic surcotes.
 
 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">oops that was supposed to be<BR>
<BR>
and pg. 179 of A History of Costume in the West by Francois Boucher (published at 20,000 years of something or another in the US I believe) has as #317 Luttrell Psalter, c.,&nbsp; 1340, London, British museum, Ms f . 202 v. which Norris describes as Sir Geoffrey Louterell, His Wife and Daughter, in Heraldic surcotes.<BR>
 <BR>
 </FONT></HTML>

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Subject: Re: [h-cost] Colored linen in the 14th century?
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In a message dated 10/7/02 9:50:28 PM Pacific Daylight Time, 
robin@shell.nightowl.net writes:


> (I have not
> heard of any extant women's surcotes with heraldry on them, and precious
> few male garments, one of which is the Black Prince's jupon).

Don't know of many extant garment of the period at all, but pg. 214 of 
Davenport #598 has a brass with Katherine, Lady Harsick with a kirtle bearing 
the arms of Geslingthorpe, assumed by Calthorpe, and pg. 179 of A History of 
Costume in the West by Francois Boucher (published at 20,000 years of 
something or another in the US I believe) has as #317 Luttrell Psalter, c.,  
which Norris describes as Sir Geoffrey Louterell, His Wife and Daughter in 
Law in Heraldic surcotes.

I shall keep my eye out for more examples, and if I find any, will post them. 
 

Cheers 

Lisa 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 9:50:28 PM Pacific Daylight Time, robin@shell.nightowl.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">(I have not<BR>
heard of any extant women's surcotes with heraldry on them, and precious<BR>
few male garments, one of which is the Black Prince's jupon).</BLOCKQUOTE><BR>
<BR>
Don't know of many extant garment of the period at all, but pg. 214 of Davenport #598 has a brass with Katherine, Lady Harsick with a kirtle bearing the arms of Geslingthorpe, assumed by Calthorpe, and pg. 179 of A History of Costume in the West by Francois Boucher (published at 20,000 years of something or another in the US I believe) has as #317 Luttrell Psalter, c.,&nbsp; which Norris describes as Sir Geoffrey Louterell, His Wife and Daughter in Law in Heraldic surcotes.<BR>
<BR>
I shall keep my eye out for more examples, and if I find any, will post them.&nbsp; <BR>
<BR>
Cheers <BR>
<BR>
Lisa <BR>
</FONT></HTML>
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From: Ron Carnegie <r.carnegie@verizon.net>
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 08 Oct 2002 01:45:17 -0400
Status: RO

At 10:48 PM 10/7/02 -0500, you wrote:

>Heather wrote:
>
> > The question that arises is not simply, "_could_ linen be dyed in the
> > middle ages?" but more complexly "under what conditions does dyed
> > linen appear to have been used, and when does it appear not to have
> > been used?"
>
>and, similarly, Mike wrote:
>
> > The answer to "could linen be dyed?" is certainly an emphatic "yes!"
> > Under what conditions was dyed linen used, and when, is certainly the
> > more difficult question.
>
>And that's the crux of it for me, too. I'm one of the people who's asked
>about dyed linen on this list, periodically over several years now, and
>whenever I hear of an extant linen garment or a written reference to a
>linen garment, my first question is "Is it white or dyed?" My interest
>isn't in dyeing per se, but rather in the issue of whether linen was used
>for the visible layers of body garments (e.g. gowns, tunics) in medieval
>Western Europe.

      This may be later than you are looking for as it is not really 
medieval.

                 In the British State Papers [Colonial 33. Domestic 
Elizabeth. cxl. No 48, i.]  as reprinted in Hakluyt Society's THE THREE 
VOYAGES OF MARTIN FROBISHER  no. 38 first series includes a document dated 
26 of Marche, 1577.  SHIPPINGE THOWT MYET TO BE EMPLOYED IN THE VIAGE 
ENTENTED BY MR FURBUSHER.  In this document (an accounting of various 
stores purchased for the voyage, is the entry "(Provision for the 
apparelling of the men) Item Wollinge clothe for jirkens, breche and hose, 
canvas and lynnenge clothe for dublets and sherts, hats, caps, and shewes, 
etc." The amount alloted was 100 pounds.

         This does not speak at all to the dying of linen, but it does seem 
to suggest that linen was used for outer (or visible) garments by 1577.  In 
this case I mean the doublet.  Some may believe the word "lynnenge" means 
lining cloth and not linen, though I do not think so as the author used a 
very similiar spelling for woolen.  Even if he does mean lining, canvas in 
the period consisted, by most accounts, consisted of heavy linen or 
hemp.  What is interesting to me, is that the voyage in question was bound 
for Baffin Bay,Newfoundland, not a warm climate at all!

         Many secondary sources quote linen of canvas clothes for sailors 
as well, so there well may be more documentation out there, unless it is 
all subjecture which with nautical stuff is quite possible.  I will try to 
look into earlier sources, but I can't promise anything, as I am very busy 
with a new play.

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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Date: Tue, 08 Oct 2002 02:09:24 -0400
Status: RO

At 01:08 AM 10/8/02 -0400, you wrote:
>In a message dated 10/7/02 9:38:46 PM Pacific Daylight Time, 
>kat@grendal.rain.com writes:
>
>
>>So, the only conclusion we can come to in their absence is that we
>>don't know if they did or did not have linen for that use unless we
>>find written references in the type of documents you mentioned
>>earlier.
>
>
>This is interesting to me as I consider there to be a "number" of examples 
>of linen used as outer garments.  Don't have the MoL book handy but I know 
>there are a few examples there too.  So, my question would then be, given 
>so few examples of linen are likely to exist due to decay etc,  would it 
>not be more reasonable to conclude that as a few extant examples do indeed 
>exist that it is likely that linen WAS used as outer garments in the 
>medieval period?  I agree looking at other primary records could sway my 
>opinion too.
>
>Lisa


    I can not find any clear examples of linen outer garments in TEXTILES 
AND CLOTHING.  The chapter on linen shows some extant linen swatches, but 
the text suggests that they are household linens.  They do mention some 
linen recovered from Viking grave sites, but say little more than that, so 
from the book it can not be determined if these are clothing fragments or 
household linens.  Are there some elsewhere?  The book is sans index  :(  .

     In the chapter on tailoring their is some discussion of the "St Louis 
Tunic"  which is an extant linen garment, but most seem to believe that 
this is a inner garment (shirt).  In fact it is the source for one of the 
patterns of men's shirts offered by Historic Enterprises.

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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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 07:20:17 +0100
Status: RO

I think part of the linen as outer garement question may lie in the climatic
differances at the time, ie it was somewhat colder we believe. Over the last
few years in England it is much more common to wear T shirts for much of the
year, however much of the year is quite comfortable in wool and would be
more so if the weather was 3-5 degrees cooler. That may be the simple answer
there. I've seen it suggested very fine wool is cool, but I've tried very
very fine wool and it is still hotter than linen.

Linen is undoubtably more difficult to dye than wool and indeed cotton or
silk, but you can get some colour from it although it is less likely to
last.

Mel

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Date: Tue, 8 Oct 2002 02:20:34 EDT
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In a message dated 10/7/02 11:13:29 PM Pacific Daylight Time, 
r.carnegie@verizon.net writes:


> I can not find any clear examples of linen outer garments in TEXTILES 
> AND CLOTHING.  The chapter on linen shows some extant linen swatches, but 
> the text suggests that they are household linens

I thought there was an example of a garment that had a tablet woven edge on 
it that was of linen.  I don't have a copy of the book on hand, but I thought 
for sure I remembered seeing that.  I could be wrong.

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 11:13:29 PM Pacific Daylight Time, r.carnegie@verizon.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I can not find any clear examples of linen outer garments in TEXTILES <BR>
AND CLOTHING.&nbsp; The chapter on linen shows some extant linen swatches, but <BR>
the text suggests that they are household linens</BLOCKQUOTE><BR>
<BR>
I thought there was an example of a garment that had a tablet woven edge on it that was of linen.&nbsp; I don't have a copy of the book on hand, but I thought for sure I remembered seeing that.&nbsp; I could be wrong.</FONT></HTML>

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Subject: Re: [h-cost] Outergarments of linen in the 14th century?
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In a message dated 10/7/02 11:13:29 PM Pacific Daylight Time, 
r.carnegie@verizon.net writes:


>  I can not find any clear examples of linen outer garments in TEXTILES 
> AND CLOTHING

no, just fragments if I recall too, but I did think I remember seeing a 
garment with button holes, I must get another copy.

Another avenue of research might be The Fraternity of Tailors and Linen 
Armourers of St. John the Baptist in the City of London formed in 1272.  I 
suppose that padded akertons is not an "outer garment" in the context of this 
discussion which is probably the only other example I can think of that  I 
have come accross.

Lisa    



    




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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 11:13:29 PM Pacific Daylight Time, r.carnegie@verizon.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> I can not find any clear examples of linen outer garments in TEXTILES <BR>
AND CLOTHING</BLOCKQUOTE><BR>
<BR>
no, just fragments if I recall too, but I did think I remember seeing a garment with button holes, I must get another copy.<BR>
<BR>
Another avenue of research might be The Fraternity of Tailors and Linen Armourers of St. John the Baptist in the City of London formed in 1272.&nbsp; I suppose that padded akertons is not an "outer garment" in the context of this discussion which is probably the only other example I can think of that&nbsp; I have come accross.<BR>
<BR>
Lisa    <BR>
<BR>
<BR>
<BR>
    <BR>
<BR>
<BR>
<BR>
</FONT></HTML>
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Subject: Re: [h-cost] costume classes
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Cassandra,

Susan our technical director is going to write you personally and explain
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In a message dated 10/7/02 11:17:51 PM Pacific Daylight Time, 
MelanieWilson@bigfoot.com writes:


> I think part of the linen as outer garement question may lie in the climatic
> differances at the time, ie it was somewhat colder we 
> believe.................. . That may be the simple answer
> 

I think this is probably quite correct.  No doubt linen was used primarily 
for linings when the choice of fabrics was available as it suited climatic 
conditions but in a society based upon a show of wealth people will use what 
ever materials are at hand to make themselves look as good as possible.  I 
shall keep my eye out for examples of linen's use in the future.  This is 
interesting!

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/7/02 11:17:51 PM Pacific Daylight Time, MelanieWilson@bigfoot.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I think part of the linen as outer garement question may lie in the climatic<BR>
differances at the time, ie it was somewhat colder we believe.................. . That may be the simple answer<BR>
</BLOCKQUOTE><BR>
<BR>
I think this is probably quite correct.&nbsp; No doubt linen was used primarily for linings when the choice of fabrics was available as it suited climatic conditions but in a society based upon a show of wealth people will use what ever materials are at hand to make themselves look as good as possible.&nbsp; I shall keep my eye out for examples of linen's use in the future.&nbsp; This is interesting!<BR>
<BR>
Lisa</FONT></HTML>

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Date: Tue, 8 Oct 2002 09:55:10 -0400 (EDT)
Status: RO

Again, this is a couple of centuries later, but in T Bouck va Wondre, a
dutch book of secrets dated to 1503, there are several recipes for dyeing
linen red.  Which would indicate, to me, an outer garment of some kind.

Drea


On Tue, 8 Oct 2002, Ron Carnegie wrote:

> At 01:08 AM 10/8/02 -0400, you wrote:
> >In a message dated 10/7/02 9:38:46 PM Pacific Daylight Time,
> >kat@grendal.rain.com writes:
> >
> >
> >>So, the only conclusion we can come to in their absence is that we
> >>don't know if they did or did not have linen for that use unless we
> >>find written references in the type of documents you mentioned
> >>earlier.
> >
> >
> >This is interesting to me as I consider there to be a "number" of examples
> >of linen used as outer garments.  Don't have the MoL book handy but I know
> >there are a few examples there too.  So, my question would then be, given
> >so few examples of linen are likely to exist due to decay etc,  would it
> >not be more reasonable to conclude that as a few extant examples do indeed
> >exist that it is likely that linen WAS used as outer garments in the
> >medieval period?  I agree looking at other primary records could sway my
> >opinion too.
> >
> >Lisa
>
>
>     I can not find any clear examples of linen outer garments in TEXTILES
> AND CLOTHING.  The chapter on linen shows some extant linen swatches, but
> the text suggests that they are household linens.  They do mention some
> linen recovered from Viking grave sites, but say little more than that, so
> from the book it can not be determined if these are clothing fragments or
> household linens.  Are there some elsewhere?  The book is sans index  :(  .
>
>      In the chapter on tailoring their is some discussion of the "St Louis
> Tunic"  which is an extant linen garment, but most seem to believe that
> this is a inner garment (shirt).  In fact it is the source for one of the
> patterns of men's shirts offered by Historic Enterprises.
>
> 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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Date: Tue, 08 Oct 2002 15:01:18 +0100
Status: RO

Rick Wolff wrote:
>It seems that somewhere between me and you, there is a limitation on >words I can email at a time. I had a big list of Qs and As, and now they're >lost to the ether. Suffice it to say that my home page update may answer >many questions, including the progress of my new models. If not, please >ask them here, or directly at rikwolff@aol.com.

I wasn't one of those who complained about the original wording on the website, but as  no-one else has commented on the new version I thought I'd mention that it seems very well-expressed and tactful to me.


Kate Bunting
Library, University of Derby


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 09:23:22 -0500 (CDT)
Status: RO


On Tue, 8 Oct 2002 LSinervo@aol.com wrote:

> I shall keep my eye out for examples of linen's use in the future.  
> This is interesting!

If you've just come into this for the first time, you might be interested
in reading some of the past discussions we've had on this topic. Try
searching the archives for some of these threads:

Subject: "Use of linen in Italy and elsewhere," August 1999
Subject: "linen--only for underwear??" July 2000
Subject: "linen--uses and dyeing" July 2000
Subject: "linen, blue, and silver (was: linen--uses and dyeing)" July 2000
Subject: "linen blue and silver" July 2000
Subject: "Fwd:  Re: A disturbing thought:  Linen garments" August 2001
Subject "Colored Linen" August 2002


There are probably more that would be visible on a subject-line search for
just "linen." But these are all threads I've saved bits of, so I had the
names and dates. In skimming through these I saw some good data that add
to most of the points we're addressing in this latest iteration, so a run
through the archives to get up to speed would be useful for anyone who
wasn't in on the earlier discussions. They include lots of support for
colored linen and linen for outergarments from the 16th c. on up, some
questions about exactly what colors were used in 18th century, some
discussion of printed linens (which apparently were not for clothing
except in extraordinary circumstances, according to some sources), and
more.

Archives are at <http://sca.uwaterloo.ca/~fashion/archives/>

--Robin

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Date: Tue, 08 Oct 2002 11:30:48 -0400
Status: RO

Thank you. It says essentially the same thing, except now it gets to what's driving me to do what I'm doing. I hate to admit it, but I predict the scuttlebutt over my first version will have penetrated more deeply than the opinions of the current version. I hope I'm wrong. I feel weird using these channels for commercial messages. That's why I hope to make this a real and useful nexis for study in early optometry.

Reijnier Verplanck / Rick Wolff
Spectacles by VerPlanck
renspecs.com
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Subject: [h-cost] Re: colored linen in the 14th century?
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Date: Tue, 08 Oct 2002 13:09:21 -0400
Status: RO



I would hesitate to base anything on garments displaying heraldry. People on
this list have previously presented good research (Henk particularly, though
he's not on anymore) that heraldic decorations on clothes were not usual,
though they do appear in period illustrations. Also, garments made for
tournaments were much more like what we think of as costumes than "garments"
for regular wear. So if the note cited really is linen, and not just an
assumption, and really is an appliqued heraldic surcote, and not a
misidentified flag or something, then it still might not represent something
that people actually wore in their daily lives.

I would think (a guess here!) that the answer might be found in guild and
trade regulations. Wool was a major industry throughout Britain and Europe,
and all sorts of regulations governed the types of fabric allowed to be made
and sold, the way they could be dyed and finished, etc. I am told by a
friend who spins that, for instance, certain weaves of linen were only used
for table cloths. If, say, you found colored yards of this (and I
haven't!!!! it's an example) that still wouldn't tell you whether people
wore outer clothes made of colored linen.

Gail Finke

 

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 15:16:23 -0400 (EDT)
Status: RO

Well, this isn't 14th c., but someone posted a link to the list (and I
can't find it in my bookmarks, which desperately need weeding) about a
man's doublet, dated to the early 17th century, made of a sort of
grey-brown linen.  The web site had something to do with objects found
inserted into the walls of buildings, so maybe someone will recall it.

Anyway, the thing that interested me was that the doublet was linen; I
usually think of outerwear for this period as being wool and nothing else.
Of course, there are linen jackets, etc., in Hart's _Costume in Detail_,
so clearly that's a gross oversimplification on my part <G>.

-- Mara

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Date: Tue, 8 Oct 2002 15:21:00 -0400 (EDT)
Status: RO

>From what I've read, the Scots wore both wool and linen shirts in this
period, but I'd assume the leine was linen unless specified otherwise.

The color was usually derived from weld, though maybe some really wealthy
people dyed their leinte with actual saffron.

I'd love to see results of your weld dyeing experiment -- do you have them
posted anywhere?

Also have seen a quote to the effect that the seams were embellished with
colored (red or green) silk thread, but that falls more in the realm of
embroidery than plain sewing ;)

Cheers,
Mara


On Mon, 7 Oct 2002, Sue Clemenger wrote:

> Uh...without being able to pull out any actual, scholarly cites or
> anything (it was one of THOSE Mondays), what about the
> sumptuary/regulatory laws I've heard of in reference to "saffron shirts"
> for those people living in Ireland during certain periods of British
> rule? I've always assumed they'd be linen, but I suppose they could be a
> fine wool.  Does anyone know?
> Mind you, I'm assuming that the *color* is saffron-ish, not the dye
> stuff.  We've been experimenting this summer, and you can get some
> amazingly potent yellows and golds with tansy, or dandelion, or weld.
> --Sue

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Date: Tue, 8 Oct 2002 12:26:15 -0700 (PDT)
Status: RO

Thanks Susan and Penny,
    It looks like I will be signing up for a class as
soon as I get paid next week.  If Cathy Decker or
anyone who uses her site frequently is here....I tried
looking through her site for my Regency research and
everything I tried had either the graphics wouldn't
come up or I got a message telling me that my server
was not allowed to access those pages.  Help?  I'm
coming out of my Yahoo account, signed in, but I can
use regular Yahoo without signing in.  
    My two cents on colored linen.  My interest is on
the 19th century in America but when cloth is scarce
enough people used anything, ie bed ticking, table
linens, etc.  I assume this applies to the poor
anywhere, anytime, perhaps not a valid assumption.
    Ditto home weaving.  In a book called Lone Stars
that came out of the quilt research project for Texas
the journals talk about the women who spun and wove
until trade became established and they didn't need to
and when the Civil War cut off supplies of ready woven
yardage the older women took up spinning and weaving
again.  For this specific time frame and place the
evidence argues that women did home fabric production
until they could get ready woven yardage and then
returned to it when money or supplies became scarce. 
I suppose an extrapolation could be made for the poor
continuing home production even when ready made was
available as labor could be provided by the family
while money, as in coin, had to be gotten from outside
the family unit.  I'm thinking specifically of my
great-grandparents down in Kentucky who didn't get
electriciy until 1968.  I don't remember Good Mama
buying anything ever from the grocer.  She bought
yardage and shoes and overalls for her husband but
everything else was home produced or so ancient that
it predated the 1900s.
     I wonder if a case could be made for whether
linen or wool was the poor man's cloth for the
Renaissance and before.  Poor people's clothing is
notoriously rare to be found.  The doublet mentioned
on this list before for the hidden garments site?  The
doublet found inside the chimney that the conservator
copied for the display?  I can't remember the exact
site but I thought it was working man's clothing and
it was linen?  As always I have more questions for the
pre-19th timeframe than data.  Oh, well.
                               Cassandra 
 


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From: "Mary Temple" <noxcat@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 08 Oct 2002 20:15:15 +0000
Status: RO

The one issue I haven't yet seen mentioned regarding extant linen is the 
fact that linen was frequently recycled into paper. Dyes can be bleached out 
during the paper manufacturing process. In his book Connections, James Burke 
mentions the "Rag and Bone" man collecting linen rag for paper making in the 
14th century.

Just another thought...

Mary/Katerine

> > Where I haven't looked is documents, which could be very fruitful:
> > textile guild regulations, property use laws, import/export records,
> > inventories ... but I'm not a primary documents researcher and am
> > unlikely to have the sort of time and access to do serious primary
> > work in that area anytime soon.
>
>I think you are right that these will probably be the best bet for
>knowing the answers to the question of "was colored linen used as
>outerwear fabric in the 14th or 15th C".
>
> > So, why my interest in dyed linen? Because if there were evidence to
> > suggest that linen was dyed frequently and in large quantities and in
> > many colors, that would suggest that this fabric was a likely
> > candidate for non-underwear garments. If there is little or no
> > evidence of dyed linen cloth, that suggests that it's unlikely many
> > garments were made with linen as the outer fabric. I wouldn't base an
> > argument on either line of thought, but it's a useful avenue for
> > supporting material ... particularly since information on cloth
> > sometimes includes references to the use of the cloth.
>
>However, one of the things limiting us is that the extant garments we
>have tend to be made of things like silk or wool or are highly
>embroidered (which is why they seem to have gotten extra care from
>both the original makers and from conservators.) So, even if they had
>linen outer garments (ie for things such as kirtles) it is unlikely
>that we would have an example of them. They just aren't used in
>ecclesiastic or state garments (which tend to be the types of things
>best preserved.)
>
>So that leaves us with archeologic evidence. For linen, that's not
>very likely because of the conditions where most of our extant
>garments are found. For the same reason we don't usually find things
>like linen chemises in graves, we also don't find linen non-underwear
>garments: the soils are acid which promotes protein (wool, silk)
>preservation but not plant fibre (linen or nettle).
>
>So, the only conclusion we can come to in their absence is that we
>don't know if they did or did not have linen for that use unless we
>find written references in the type of documents you mentioned
>earlier.
>
>I personally prefer to teach that, in the absence of further
>information, it is best not to use it for outerwear if someone is
>going to be looking at it for "academic" purposes (such as contests).
>
>Kat Russell
><kat@grendal.rain.com>
>


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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 11:00:54 -0700
Status: RO

At 10:48 PM -0500 10/7/02, Robin Netherton wrote:

>And that's the crux of it for me, too. I'm one of the people who's asked
>about dyed linen on this list, periodically over several years now, and
>whenever I hear of an extant linen garment or a written reference to a
>linen garment, my first question is "Is it white or dyed?" My interest
>isn't in dyeing per se, but rather in the issue of whether linen was used
>for the visible layers of body garments (e.g. gowns, tunics) in medieval
>Western Europe.
>
>There's no question linen was used for undergarments (e.g. chemises,
>shirts), bed linens, table linens, towels, aprons, sacking, wrappings, and
>many other purposes, but these are all things that are normally assumed to
>be white or undyed. Linen is also listed in documents as a lining, and (as
>Heather notes) appears in extant garments as a lining (sometimes dyed!
>thanks, Heather). But whether it was used as what people today call the
>"fashion fabric" of garments -- there's the issue.

In Europe (which sidesteps all those Egyptian linen tunics) I can 
only offer a few examples -- and none dyed.  There's a white linen 
chasuble at St. Godehard's Basilica in Hildesheim, Germany from the 
14th c. which is made of a very decorative complex diamond twill. 
The simple fact of it being a chasuble makes it a "fashion fabric", 
but the highly decorative weave also argues for a "show off" 
function. I've also got a listing for a 10th c. linen chasuble from 
the grave of St. Ulrich in Augsburg,  but I don't recall offhand 
whether it has any interesting features.

The embroidered tunic-relic of St. Bathilde is white linen, but it's 
a garment that I'm really uncomfortable drawing any general 
conclusions from (the legends make it a garment of deliberate 
peculiarity).

Other than that, all my European linen items are shirts and albs and 
similar undergarments.

Heather
-- 
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hrjones@socrates.berkeley.edu
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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 11:09:34 -0700
Status: RO

At 11:45 PM -0400 10/7/02, LSinervo@aol.com wrote:
>In a message dated 10/7/02 8:06:00 AM Pacific Daylight Time, 
>Colleen.McDonald@mackie.com writes:
>
>>The Plictho from 1548 documents dyeing recipes for linen, but no 
>>one on the list had seen evidence/citations prior to this, if I 
>>remember correctly.
>>
>
>
>In Colors - The Story of Dyes and Pigments by Francois Delamare and 
>Bernard Guineau states that "We do know that the madder plant was 
>used to dye the red linen textiles found in the Old Kingdom tombs of 
>the Nile valley.  Safflower, a source of red and pink, has been 
>identified among the seeds found in the tomb of Tutankhamun.  Should 
>we trust ancient texts?  Pliny the Elder, a 1st-century AD Roman 
>encyclopedias, wrote a Natural History in which he reports that the 
>Egyptian dyers used indigo, kermes (source of red or purple, made 
>from parts of the cochineal insect,), archil (a red producing 
>lichen, also called orchil or cudbear), alkanet (an herb whose root 
>produces red), buckthorn berries and saffron (for yellow), mulberry 
>juice (for red or purple), and tannins (acidic fixatives),. 
>According to Pliny, they also invented mordanting, a treatment of 
>fibers with chemicals that allows the dye to adhere better, thus 
>increasing colorfastness." 
>
>Basically all circumstantial evidence indicates the dying of linen 
>has been practiced ever since, if not prior.  

I would tend to be a bit more cautious in interpreting this text (at 
least, in terms of what is quoted above -- which is all I have to 
work with).  Linen is only mentioned there in connection with 
madder-dyed textiles from Old Kingdom tombs in Egypt.  The Old 
Kingdom era is a _long_ time ago.  That leaves a large gap of time 
for the "ever since" conclusion.

Safflower seeds have been found in tombs, but safflower is also a 
food plant whose seeds are a rich source of oil, and the presence of 
seeds doesn't tell you for which purpose the plant was grown.  It 
suggests that safflower-based dyes were _possible_, but not that they 
were definitely used.

The quotes from Pliny appear to be talking about dying in general -- 
and textile survivals from Egypt in the first century certainly 
confirm a wide range of colors used in _wool_.  But I don't see the 
above quote indicating that the claim is being made for using these 
substances to dye _linen_.

I don't mean to be picking on you for providing the quote -- it's a 
very useful quote.  But it's important to read our sources carefully, 
and not read into them things that they didn't intend to claim. 
Sometimes I think that 90% of research is figuring out what the 
sources do and don't say once you find them!

Heather
-- 
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 13:34:18 -0700
Status: RO

At 11:55 PM -0500 10/7/02, Robin Netherton wrote:
>On Tue, 8 Oct 2002 LSinervo@aol.com wrote:
>
>>  Gosh, I wish I had time to research more and type some commentary but
>>  I am flat out at the moment so I shall just drop a couple of sources
>>  that indicate linen's use in outer garments,
>
>These were new to me. Thanks. But I have to be skeptical, and cannot
>accept these as garment examples without question. Specifically:
>
>>  Medieval Costume and Fashion by Herbert Norris.
>>
>>  "Remnants of an armorial surcote dating about 1240 still exist.  It is
>>  of very fine linen, golden yellow in colour, and on it a lion in blue
>>  linen ("or a lion rampant azure" for Rivers) is appliqued, the edges
>>  being sewn down securely with a solid chain-stitch in dull orange. 
>>  Various parts of the animal are stitched and darned with deeper blue
>>  threads, to suggest the anatomy."
>>
>>  Where this is I do not know!
>
>Good question. I don't trust Norris at all; he's notoriously unreliable.
<snip>


>Heather's our resident expert on extant garments ... does this ring any
>bells?


I've put it on my list of things to look for, but other than the 
Norris reference, I've never encountered mention of this item. 
Norris is completely maddening in his disinterest in providing 
trackable citations for things.


>  > And there are a number of examples of block printed linen from the
>>  twelth to fourteenth centurys in The Book of Costume by Millia
>>  Davenport with the following commentary.  "Fragment of natural linen,
>>  block printed in green.  Wood-block printed fabrics, in imitation of
>>  Italian brocades, often using silver and gold, began to appear in the
>>  Rhineland, end XIIc.  They apparently antedated block printed initials
>>  on manuscripts, which led to the invention of type."  and "Fragments
>>  of block-printed linen: Upper right, Renish:eagles, fruit and leaves
>>  in dark purple."  The photos of the fragments do not look
>>  eclassiatical but more like the motifs found in outer clothing (as
>>  seen in medieval paintings).
>
>OK, necessary scepticism again. I looked at these, and would be inclined
>to assume they were from wall hangings, tablecoverings, or other
>decorative use, partly because the motifs are consistent with images of
>such uses, partly because I find the use of block printing for garments
>unlikely (particularly in so sumptuous a design), and partly because a
>decorative fabric is much more likely to survive in these sorts of pieces
>than a garment fabric. But if anyone has a reason to suggest these might
>be from garments, I'd be really interested in hearing it. They're figures
>634 and 635 in Davenport.

Most of the printed linens I've seen (which I'd love to experiment 
with at some point!) give a strong impression of being furnishings. 
I do have one example ... and this is going to sound familiar after 
my previous post ... of a block-printed chasuble from the 15th or 
16th century, but I think it was cotton rather than linen -- I'd need 
to check my photocopies when I get home.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****

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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 8 Oct 2002 17:12:49 -0400 (EDT)
Status: RO

As a side note, I've found a really excellent article on painted an
stamped fabric during the middle ages that might be helpful in context:

http://www.parma.bc.ca/articles/steyned.html

Drea


On Tue, 8 Oct 2002, Heather Rose Jones wrote:

> At 11:55 PM -0500 10/7/02, Robin Netherton wrote:
> >On Tue, 8 Oct 2002 LSinervo@aol.com wrote:
> >
> >>  Gosh, I wish I had time to research more and type some commentary but
> >>  I am flat out at the moment so I shall just drop a couple of sources
> >>  that indicate linen's use in outer garments,
> >
> >These were new to me. Thanks. But I have to be skeptical, and cannot
> >accept these as garment examples without question. Specifically:
> >
> >>  Medieval Costume and Fashion by Herbert Norris.
> >>
> >>  "Remnants of an armorial surcote dating about 1240 still exist.  It is
> >>  of very fine linen, golden yellow in colour, and on it a lion in blue
> >>  linen ("or a lion rampant azure" for Rivers) is appliqued, the edges
> >>  being sewn down securely with a solid chain-stitch in dull orange. 
> >>  Various parts of the animal are stitched and darned with deeper blue
> >>  threads, to suggest the anatomy."
> >>
> >>  Where this is I do not know!
> >
> >Good question. I don't trust Norris at all; he's notoriously unreliable.
> <snip>
>
>
> >Heather's our resident expert on extant garments ... does this ring any
> >bells?
>
>
> I've put it on my list of things to look for, but other than the
> Norris reference, I've never encountered mention of this item.
> Norris is completely maddening in his disinterest in providing
> trackable citations for things.
>
>
> >  > And there are a number of examples of block printed linen from the
> >>  twelth to fourteenth centurys in The Book of Costume by Millia
> >>  Davenport with the following commentary.  "Fragment of natural linen,
> >>  block printed in green.  Wood-block printed fabrics, in imitation of
> >>  Italian brocades, often using silver and gold, began to appear in the
> >>  Rhineland, end XIIc.  They apparently antedated block printed initials
> >>  on manuscripts, which led to the invention of type."  and "Fragments
> >>  of block-printed linen: Upper right, Renish:eagles, fruit and leaves
> >>  in dark purple."  The photos of the fragments do not look
> >>  eclassiatical but more like the motifs found in outer clothing (as
> >>  seen in medieval paintings).
> >
> >OK, necessary scepticism again. I looked at these, and would be inclined
> >to assume they were from wall hangings, tablecoverings, or other
> >decorative use, partly because the motifs are consistent with images of
> >such uses, partly because I find the use of block printing for garments
> >unlikely (particularly in so sumptuous a design), and partly because a
> >decorative fabric is much more likely to survive in these sorts of pieces
> >than a garment fabric. But if anyone has a reason to suggest these might
> >be from garments, I'd be really interested in hearing it. They're figures
> >634 and 635 in Davenport.
>
> Most of the printed linens I've seen (which I'd love to experiment
> with at some point!) give a strong impression of being furnishings.
> I do have one example ... and this is going to sound familiar after
> my previous post ... of a block-printed chasuble from the 15th or
> 16th century, but I think it was cotton rather than linen -- I'd need
> to check my photocopies when I get home.
>
> 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
>


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From: "Angela Lazear-CRC" <cabbagerose@sbcglobal.net>
To: <h-costume@indra.com>
References: <11DFEAF2.2A4BDEF4.0080FACC@aol.com>
Subject: Re: [h-cost] I've made a spectacle of m(SNIP!)
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Date: Tue, 8 Oct 2002 15:13:36 -0700
Status: RO

Rick,

Would you mind reposting your website or simply emailing it to me off list?
I'm getting to the point where I can barely do anything without my glasses
on, so the inevitable need for something period correct will soon raise it's
ugly head and I didn't bookmark it, or can't find it.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
www.cabbagerosecostumes.com
"As in a theater, the eyes of men,
after a well-graced actor leaves the stage,
are idly bent on him that enters next,
thinking his prattle to be tedious."
W. Shakespeare

From: <RikWolff@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 08, 2002 8:30 AM
Subject: Re: [h-cost] I've made a spectacle of m(SNIP!)


> Thank you. It says essentially the same thing, except now it gets to
what's driving me to do what I'm doing. I hate to admit it, but I predict
the scuttlebutt over my first version will have penetrated more deeply than
the opinions of the current version. I hope I'm wrong. I feel weird using
these channels for commercial messages. That's why I hope to make this a
real and useful nexis for study in early optometry.
>
> Reijnier Verplanck / Rick Wolff
> Spectacles by VerPlanck
> renspecs.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-admin@indra.com  Tue Oct  8 19:54:50 2002
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Date: Tue, 08 Oct 2002 16:46:54 -0700
Status: RO

I have been making costumes for a long time but never for myself.  I just 
joined a Scottish Elizabethan (1560's) reenactment group and have finally 
made a costume for me.  I am supposed to be a Baroness (I wanted to wear a 
french hood and be at Mary's court) so I made a costume with an overskirt, 
underskirt and separate bodice that has both side lacing and back 
lacing.  It is brown linen over salmon linen which is okay with my 
group.  I wanted to try it out so I wore it to Casa de Renn Faire in 
Northern California.  I discovered that it is very comfortable except that 
since I am built like a beach ball, I can't hold a skirt up.  I added a 
belt.  It helped a little, but not much, because even a belt expects to 
encounter hips sticking out from my truly magnificent stomach.    I decided 
that the answer was to add hooks to the bodice and eyes to the skirt.  back 
to the faire to try this out.  again it helped, but not a lot because the 
hooks wouldn't stay in the eyes.

Now I have to add a bum roll and farthingale to the  mix.  I thought about 
adding an underbodice or suspenders, but they wouldn't take care of my 
bloomers or bum roll.  Also, quite frankly, I am of that delicate age when 
I could be in a blinding snowstorm and complain about the heat.  To be 
honest, I have never really experienced a snow storm so I am speaking 
metaphorically.

So this is my latest plan.  I am going to add some grommets to the bodice 
and cover them with a stomacher.  I am going to add grommets to the front 
of the skirts, the bum roll and the bloomers and farthingale and lace them 
all together and hide it with the stomacher.  I will put grommets in the 
side of the skirts and grommets in the modesty panels in the side of the 
bodice and lace those together.  They will be hidden by the lacing at the 
side.  Naturally I have quite enough of a butt to hold up the back so that 
isn't a problem.

Does anyone have any ideas or opinions?  I have to look historically 
accurate (no hand sewn seams.  they would lose me there).  With my next 
costume, I will probably just make them connected with a skirting to hide 
where they are joined, but this bodice is too boned for that to be a viable 
option and I really like this costume and have sunk a fortune in trims in 
it and am not ready to dump it and start over.

Any help would be appreciated.  Thanks, the fat, fifty and forgetful Lady Mab

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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] keeping it up
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Date: Tue, 08 Oct 2002 20:06:48 -0400
Status: RO

Have you thought about suspenders? Depending on what the neck line of 
the bodice is, that may be doable.

Putting on my theatre hat,

Rhianwen

At 4:46 PM -0700 10/8/02, MaryAnn Jones wrote:
>Does anyone have any ideas or opinions?  I have to look historically 
>accurate (no hand sewn seams.  they would lose me there).  With my 
>next costume, I will probably just make them connected with a 
>skirting to hide where they are joined, but this bodice is too boned 
>for that to be a viable option and I really like this costume and 
>have sunk a fortune in trims in it and am not ready to dump it and 
>start over.
>
>Any help would be appreciated.  Thanks, the fat, fifty and forgetful Lady Mab
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] keeping it up
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Date: Tue, 08 Oct 2002 20:06:48 -0400
Status: RO

Have you thought about suspenders? Depending on what the neck line of 
the bodice is, that may be doable.

Putting on my theatre hat,

Rhianwen

At 4:46 PM -0700 10/8/02, MaryAnn Jones wrote:
>Does anyone have any ideas or opinions?  I have to look historically 
>accurate (no hand sewn seams.  they would lose me there).  With my 
>next costume, I will probably just make them connected with a 
>skirting to hide where they are joined, but this bodice is too boned 
>for that to be a viable option and I really like this costume and 
>have sunk a fortune in trims in it and am not ready to dump it and 
>start over.
>
>Any help would be appreciated.  Thanks, the fat, fifty and forgetful Lady Mab
>
>_______________________________________________
>h-costume mailing list
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From: kat@grendal.rain.com
To: h-costume@indra.com
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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Tue, 08 Oct 2002 17:47:10 -0700
Status: RO

> Most of the printed linens I've seen (which I'd love to experiment
> with at some point!) give a strong impression of being furnishings. I
> do have one example ... and this is going to sound familiar after my
> previous post ... of a block-printed chasuble from the 15th or 16th
> century, but I think it was cotton rather than linen -- I'd need to
> check my photocopies when I get home.

Most of the printed linens in the V&A collection *are* either 
furnishings or ecclesiastic garments. Evidently the printed linen was 
used in poor parishes and for garments the priest would use when 
going to plague infested areas. (Some of these would be destroyed 
afterward in "cleansing fires." I suspect no one wanted to use their 
silk and embroidered ones for such a purpose.)

I've not found any non-speculative source which talks about garments 
for the non-clerics made of linen until much later. Certainly not in 
the 14th C (for which the original poster was looking for 
information.

It is always so tempting to say "it was used in the 17th century and 
in antiquity, so they probably had it in the time in between. 
However, especially in textiles there are times when techniques or 
styles were completely out of use that we just can't do that. (Which 
brings us back to the "Ruritanian Feather" article. But since that is 
*copiously* covered in the archives and fairly recently too, I won't 
go into it again here.)

Kat Russell
<kat@grendal.rain.com>

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Date: Tue, 8 Oct 2002 19:44:24 -0500
Status: RO

Lady Mab

I had the same problem with my husband. His venetians would not stay up on
their own. He's a rather skinny guy with, of course, no hips either.  So I
put grommets in the waistband of the pants and grommets on a strip along the
bottom of the doublet, which is hidden by the tabs/skirts, and tied them
together. Works like a charm, and is very period. Well, maybe not grommets,
per se, but eyelets and lacing the whole thing together with points,
definitely. In fact, that little detail has gained him major points in two
Bristol Renn Faire costume contests, both of which he won first place men's
middle class.

Good luck!

**********************
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: "MaryAnn Jones" <mabse@attbi.com>
To: <h-costume@net.indra.com>
Sent: Tuesday, October 08, 2002 6:46 PM
Subject: [h-cost] keeping it up


> I have been making costumes for a long time but never for myself.  I just
> joined a Scottish Elizabethan (1560's) reenactment group and have finally
> made a costume for me.  I am supposed to be a Baroness (I wanted to wear a
> french hood and be at Mary's court) so I made a costume with an overskirt,
> underskirt and separate bodice that has both side lacing and back
> lacing.  It is brown linen over salmon linen which is okay with my
> group.  I wanted to try it out so I wore it to Casa de Renn Faire in
> Northern California.  I discovered that it is very comfortable except that
> since I am built like a beach ball, I can't hold a skirt up.  I added a
> belt.  It helped a little, but not much, because even a belt expects to
> encounter hips sticking out from my truly magnificent stomach.    I
decided
> that the answer was to add hooks to the bodice and eyes to the skirt.
back
> to the faire to try this out.  again it helped, but not a lot because the
> hooks wouldn't stay in the eyes.
>
> Now I have to add a bum roll and farthingale to the  mix.  I thought about
> adding an underbodice or suspenders, but they wouldn't take care of my
> bloomers or bum roll.  Also, quite frankly, I am of that delicate age when
> I could be in a blinding snowstorm and complain about the heat.  To be
> honest, I have never really experienced a snow storm so I am speaking
> metaphorically.
>
> So this is my latest plan.  I am going to add some grommets to the bodice
> and cover them with a stomacher.  I am going to add grommets to the front
> of the skirts, the bum roll and the bloomers and farthingale and lace them
> all together and hide it with the stomacher.  I will put grommets in the
> side of the skirts and grommets in the modesty panels in the side of the
> bodice and lace those together.  They will be hidden by the lacing at the
> side.  Naturally I have quite enough of a butt to hold up the back so that
> isn't a problem.
>
> Does anyone have any ideas or opinions?  I have to look historically
> accurate (no hand sewn seams.  they would lose me there).  With my next
> costume, I will probably just make them connected with a skirting to hide
> where they are joined, but this bodice is too boned for that to be a
viable
> option and I really like this costume and have sunk a fortune in trims in
> it and am not ready to dump it and start over.
>
> Any help would be appreciated.  Thanks, the fat, fifty and forgetful Lady
Mab
>
> _______________________________________________
> 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 Oct  8 21:13:49 2002
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
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Subject: [h-cost] Painting on Cloth Article (was Colored linen in the 14th century?)
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Date: Wed, 9 Oct 2002 11:14:55 +1000 (EST)
Status: RO

 --- Drea Leed <drea@nospam> wrote: > As a side
note, I've found a really excellent
> article on painted an
> stamped fabric during the middle ages that might be
> helpful in context:
> 
> http://www.parma.bc.ca/articles/steyned.html
> 
> Drea


Long ago when I first discovered this article I was
really excited, and very shortly after I read it all I
wasn't. It's well written, but it does not do what the
author seems to want to do - that is to prove that
painting was regularly used on clothing. I once wrote
a post on this article for another group, in which I
examine the "evidence" and list it. I do hope you all
don't mind me reproducing it here.

>>>>>>>>>Yes, this is an article I read and book
marked some while back. If you read 
through you will find that the writer professes to go
on to 
explain that "beside the crafts of weaver and
embroiderer, and long 
intertwined with them, was the craft of painter, or
painter-stainer. 
Painters provided designs, and sometimes competition,
for textile 
craftsmen. Although paint was a cheap and fast
alternative to woven or 
embroidered decoration, it was not despised, but was
used in period for all 
the same purposes as the more costly cloth.". BUT
he/she never actually demonstrates that it was 
used commonly for garments. Does the author perhaps go
on to give us 
examples or citations of the use of painting on
clothing? No.

The author goes on to state: "One turns to documentary
evidence, wills, 
contracts and inventories. Then there is the problem
of terminology. What 
is a cloth "depicted" with images? Woven, embroidered,
stencilled or 
painted? Even "depeynted" is not as certain as it
appears, since it could 
be used to mean "decorated" in almost any manner."

Here are all the words I could find in the article,
that describe an actual 
fabric item decorated by painting:
(I've used examples only once, but in many cases they
are mentioned several 
times in different examples. These are all sourced
examples. Those examples 
not sourced and merely the authors interpretation I
have not used - most 
notably "costumes", although it is a likely use for
fabric painting, just 
not sourced by the author.)

banners (of different types)
town standard
altar cloths
furniture
embroidery designs
counterpanes
tapestry
linen for "the jewel to be worn by Our Lord on Corpus
Christi Day"
heraldic display
wall hangings
palls
fabric for church lecterns
bed curtains
bed canopies
curtains
horse-coverings
cushions
document bag
flags
festival hangings

and finally:

garments for little boys or children (from Cennini,
the only mention of 
painting as the finished product)

There is overwhelming evidence that painting on cloth
of varying kinds was 
used as a cheaper alternative in the use of
utilitarian items. And almost 
none of it being used on clothing. Cennini at least
gives us an indication 
of *how* fabric painting was sometimes used on
clothing - on little boys or 
children's clothes. (perhaps by those that couldn't
afford to keep 
replacing worn-out or out-grown clothing on children?)

I believe that the word painted is commonly
misunderstood and misread. In 
the light of this article, those who couldn't afford
the more expensive 
embroidered tapestries, wall hangings, etc, or who
wanted them fast and 
cheap for processions, or other reasons, bought
painted cloths. There is 
only one mention of it used in clothing in that
article, and 
elsewhere...well, one Queen's forepart of mysterious
usage (masque costume?) does not an 
Elizabethan wardrobe make.<<<<<<<<<


Bella


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Date: Tue, 08 Oct 2002 18:22:12 -0700
Status: RO

I have much the same problem.  What I do is to make my skirts up as usual.
I make all my bodices by flatlining them with canvas or twill.  I then sew
the upper edge of the waistband to the flatlining of the bodice, using
sturdy thread like button and carpet thread, with a herringbone stitch.
Most professional theater costumes are made this way, because it's far
easier to alter than dismantling a gown with the skirts sewn into a waist
seam.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Date: Tue, 08 Oct 2002 18:22:12 -0700
Status: RO

I have much the same problem.  What I do is to make my skirts up as usual.
I make all my bodices by flatlining them with canvas or twill.  I then sew
the upper edge of the waistband to the flatlining of the bodice, using
sturdy thread like button and carpet thread, with a herringbone stitch.
Most professional theater costumes are made this way, because it's far
easier to alter than dismantling a gown with the skirts sewn into a waist
seam.

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From h-costume-admin@indra.com  Tue Oct  8 21:49:26 2002
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Subject: Re: [h-cost] I've made a spectacle of m(SNIP!)
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Date: Tue, 8 Oct 2002 15:10:06 -0700
Status: RO

At 11:30 AM -0400 10/8/02, RikWolff@aol.com wrote:
>Thank you. It says essentially the same thing, except now it gets to 
>what's driving me to do what I'm doing. I hate to admit it, but I 
>predict the scuttlebutt over my first version will have penetrated 
>more deeply than the opinions of the current version. I hope I'm 
>wrong. I feel weird using these channels for commercial messages. 
>That's why I hope to make this a real and useful nexis for study in 
>early optometry.

Just keep repeating to yourself, "There is no such thing as bad 
publicity ... there is no such thing as bad publicity ...."

Heather

-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Tue, 08 Oct 2002 22:15:08 -0500
Status: RO

I can't tell from your description if you are wearing a corset or not. 
If so, I hope it has straps.  If you are and it does, you can use the
"points" method described by Rebecca to tie your farthingale to your
corset.  Except for your bloomers (yer on yer own there!) everything
else rests on top, and nothing falls down.  This method has saved me all
sorts of back pain, for while I do have hips, they don't appreciate
taking the full weight of all that garb.  To see a picture and
description of what I did, go to 
http://www.faucet.net/costume/period/under.html

If you're not wearing a corset, you might consider one (with straps!)
for your next effort.  I know it seems like too many layers, but IMHO it
certainly beats making _every_ bodice into a corset instead.  

Margo's suggestion of sewing the waistband of the skirt into the bodice
is a very good one--unless the bodice opens in the front and the skirt
in the back, which has sometimes been my quandary in the past with this method.

Best of luck,
Melanie Schuessler
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Subject: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 00:01:17 -0400
Status: RO

Hi

I'm now ready to choose my fabric for my 1873-5 evening dress (still
debating between ball & evening dress) & my big question is what type of
fabric would be the most suitable modern equivalent? I've been thinking
about silk tafetta (maybe even iridescent?) but am worried that it may be
too stiff to drape up over the bustle properly.  I've read that it was
common to use 2 colours AND 2 materials.  What combos were used other than
silk & velvet?  I'd like to be able to wear this gown in all seasons & think
velvet would look strange in the summer.

As for colour, I read a list of colours from the period & there happened to
be a group 'Strawberry, Cream, Prune'- does that sound like a reasonable
combo or is it too wild?

I have read of Pink & Garnet in the Harper's Bazaar which is what seems to
be represented in several of Tissot's paintings. Was purple worn for
anything other than levels of mourning?

So, another colour question is.. if your petticoat is white (bright white) &
some of the white shows beneath the hem as you move, what colour would any
lace accents on the body of the gown be? It seems that white would be too
stark on any colour. Or was their idea of a white petticoat not really
WHITE?

Looking forward to hearing your opinions!

Thanks

Elizabeth
elizabeth@alabasterstyle.com

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From: kat@grendal.rain.com
To: h-costume@indra.com
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Subject: Re: [h-cost] Painting on Cloth Article (was Colored linen in the 14th century?)
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Date: Tue, 08 Oct 2002 22:10:41 -0700
Status: RO

Regarding:
> > http://www.parma.bc.ca/articles/steyned.html
> Long ago when I first discovered this article I was
> really excited, and very shortly after I read it all I
> wasn't. It's well written, but it does not do what the
> author seems to want to do - that is to prove that
> painting was regularly used on clothing.

I think if you ask the author (Barbara Gordon), you would find that 
she *wasn't* trying to prove that it was used on clothing. She was 
trying to prove that painting was done in lieu of tapestry weaving or 
embroidering. She regularly teaches classes on the use of painted 
cloth for this purpose. (Believe me, she'd laugh at the thought that 
she was providing information for *costumers* as she, um, how to put 
this, stays away from trying to make clothing. Shoot, I even sew 
coifs for her husband. Of course, they are handsewn with linen thread 
on linen in the 14th C style...)

However, I would agree with your analysis of the information 
provided: basically for furnishings and ecclesiastic use with one 
mention of its use for children's clothing.

Robinson in his _A History of Printed Textiles_ talks about the use 
of block printing in Europe in the Middle Ages. He discusses its use 
in lesser monasteries, churches and for the wall hangings of the 
middle class. He also talks about printing being used for embroidery 
patterns. He also states, "Owing to their poor fastness to washing, 
these were hardly suitable for clothing."  He also mentions that the 
method needed to make the printing (using a hand method which, 
especially as the designs got bigger also required thicker pigments 
encorporating varnish) also makes it less likely to be used for 
clothing. (Of course, that doesn't mean that there wouldn't be rare 
inported pieces from the Orient, Middle East, India and Malasia, 
where printing was used occasionally for clothing. But it would be 
*rare*.)

Kat Russell
<kat@grendal.rain.com>

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Date: Tue, 8 Oct 2002 21:47:32 -0700
Status: RO

At 1:34 PM -0700 10/8/02, Heather Rose Jones wrote:
>Most of the printed linens I've seen (which I'd love to experiment 
>with at some point!) give a strong impression of being furnishings. 
>I do have one example ... and this is going to sound familiar after 
>my previous post ... of a block-printed chasuble from the 15th or 
>16th century, but I think it was cotton rather than linen -- I'd 
>need to check my photocopies when I get home.

If it's the chasuble of St. Ulrich from Lucerne, it's block-printed 
wool. The fabric is blue-green and is printed in black with palmettes 
and other motifs similar to those in contemporary (14th-15thc.) 
Italian silks. The printed pattern goes across seams in some cases, 
indicating it was printed after the chasuble was sewn together. This 
chasuble is still used each year in a blessing ceremony where it is 
held up like a canopy for people to walk underneath.

Ref: Cat. No. 20 in _Textile Conservation and Research_, Mechtild 
Flury-Lemberg, Abegg-Stiftung Bern, 1988, ISBN 3-905014-02-5
-- 
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O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Mourning Program
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Date: Wed, 9 Oct 2002 03:42:09 -0400
Status: RO

Chesterfield, Virginia Historical Society will offer a program, "Memento
Mori- Death Rites of Old Virginia," Wednesday, Oct. 16, at 6:30 PM at
Castlewood, 10201 Iron Bridge Rd.  Joyce Henry of Petersburg National
Battlefield will discuss the rituals of 19th Century mourning and present
original clothing and artifacts.

Admission: $4 member, $5 non-members.  For more information call
804-777-9663.

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


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Subject: Re: [h-cost] I've made a spectacle of m(SNIP!)
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Date: Wed, 9 Oct 2002 09:25:40 +0100 (BST)
Status: RO

 --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> 
> Just keep repeating to yourself, "There is no such thing as bad 
> publicity ... there is no such thing as bad publicity ...."

But there is such thing as bad press and this is why I wrote my reply in the
very first place!!!!

I am glad it is all sorted now.

Nicole

=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  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: 17th c linen, was Re: [h-cost] Colored linen in the 14th century?
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Date: Wed, 9 Oct 2002 09:58:31 +0100 (BST)
Status: RO

 --- Kevin & Mara Riley <lindo@Radix.Net> wrote: > Well, this isn't 14th c.,
but someone posted a link to the list (and I
> can't find it in my bookmarks, which desperately need weeding) about a
> man's doublet, dated to the early 17th century, made of a sort of
> grey-brown linen.  The web site had something to do with objects found
> inserted into the walls of buildings, so maybe someone will recall it.
> 
> Anyway, the thing that interested me was that the doublet was linen; I
> usually think of outerwear for this period as being wool and nothing else.
> Of course, there are linen jackets, etc., in Hart's _Costume in Detail_,
> so clearly that's a gross oversimplification on my part <G>.

Mara, there are quite a few linen extant doublets. (well, 'quite a few' in
relative terms :-) from the early 17th century. hey are usually unbleached
though and there is a ovely heavily 'white-work' embroidered one in 'Fashion in
detail', the V&A publication one. Then there are of course the embroidered
linen jackets like Margaret Lawton's. Seems that when embroidery comes into
play linen becomes more frequent.

Nicole

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

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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 22:24:52 +1300
Status: RO

> I'm now ready to choose my fabric for my 1873-5 evening dress (still
> debating between ball & evening dress) & my big question is what type of
> fabric would be the most suitable modern equivalent? I've been thinking
> about silk tafetta (maybe even iridescent?) but am worried that it may be
> too stiff to drape up over the bustle properly.

Silk tafetta should be fine.. again it depends on the weight. But I have
some white silk that is heavier and stiffer than lining weight but also less
stiff than that crisp shot tafetta you used to be able to find everywhere.
I'd make a full dress out of this if I had enough.

 I've read that it was
> common to use 2 colours AND 2 materials.  What combos were used other than
> silk & velvet?  I'd like to be able to wear this gown in all seasons &
think
> velvet would look strange in the summer.

Well.. that did tend more todwards heavier fabrics and more for day wear. If
you look in Fashion and Reality/Victorian and Edwardian Fashion: A
Photographic Survey (same book, diff publishing titles) You'll see a lot of
dull and matt or piled and lustrous fabrics used. These tend to be different
shades of the same colour though. http://www.antique-fashion.com/0183.htm

You could use the velvet in bands which means instead of looking like the
whole dress is heavy, you'll just have accents.

> As for colour, I read a list of colours from the period & there happened
to
> be a group 'Strawberry, Cream, Prune'- does that sound like a reasonable
> combo or is it too wild?

No doesn't sound too wild, especially if you think of them as water colours
rather than heavy oil paints;) I know analine dyes were available and much
loved.. but it you think of the three shades as being part of a family. You
could use the strawberry as the base colour and the prune as trimming with
the cream as accents.. say ruffles at the end of half sleeves, around the
neck and rows alternating with the prune on the skirt.

http://www.vintagetextile.com/new_page_52.htm
http://www.vintagetextile.com/newpage510.htm Try that for striking colour!

> I have read of Pink & Garnet in the Harper's Bazaar which is what seems to
> be represented in several of Tissot's paintings. Was purple worn for
> anything other than levels of mourning?

I'm sure there is a deep purple gown mentioned in the first edition of
Blanche Payne's History of costume. And there is a lilac dress in the
painting The Fair Toxophilites (archers).. so I'd say yes. I think there
were probably rules in regards to style and trimming that goes with wearing
certain colours for mourning.
http://www.antique-fashion.com/188.htm

> So, another colour question is.. if your petticoat is white (bright white)
&
> some of the white shows beneath the hem as you move, what colour would any
> lace accents on the body of the gown be? It seems that white would be too
> stark on any colour. Or was their idea of a white petticoat not really
> WHITE?

Go for white.. or if you are wanting cream, add a cream trim to the bottom
of the petticoat so that the white doesn't show through. See if you can
reduce that near blue white too though. You know how glowing white our
fabrics can be:) A tea dye might work well.
http://www.vintagetextile.com/newpage91.htm see, mixing of cream and white
was not a big issue so you can do it (no I do realise the colour of the
dummy is showing through the bodice, look atthe apron drape and lace ruffles
and the back of the skirt). Just make it part of the design

And just a few more links that might help in colour/fabric decisions:
http://www.antique-fashion.com/2082.htm
http://www.victorianelegance.com/1800.html do scroll right through to
http://www.victorianelegance.com/180010.html

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 11:13:34 +0100
Status: RO

>> I'm now ready to choose my fabric for my 1873-5 evening dress (still
> debating between ball & evening dress) & my big question is what type of
> fabric would be the most suitable modern equivalent? I've been thinking
> about silk tafetta (maybe even iridescent?) but am worried that it may be
> too stiff to drape up over the bustle properly.

I use all sorts of fabrics and unless I actually used upolstery fabric #I
think most work fine (I use curtains a lot)

I've read that it was
> common to use 2 colours AND 2 materials.  What combos were used other than
> silk & velvet?  I'd like to be able to wear this gown in all seasons &
think
> velvet would look strange in the summer.

I don't think it would look strange, but it would be hot, linen, cottons,
brocades , wools,  prints, it was the start of greater avalibility of
fabrics, colours and machine sewing so they went mad & stuck things
togerther we would find gross. :)

>These tend to be different
shades of the same colour though. http://www.antique-fashion.com/0183.htm

I've seen high contacts colours used too, more often described though, the
really OTT ideas tended to fade & I suspect lime green & orange dresses were
seperated & re worked ;p

>You could use the velvet in bands which means instead of looking like the
whole dress is heavy, you'll just have accents.

I have to confess I like heavy dressess with often 14 lbs undergarment the
heavy look helps the movement to be correct

> As for colour, I read a list of colours from the period & there happened
to
> be a group 'Strawberry, Cream, Prune'- does that sound like a reasonable
> combo or is it too wild?

Many recreations of dress are more modern colour coordinated that the
Victorian coordination might have been. Colour is very much dependant on
culture, so I have on set of 21st C eyes & another for 19th C. There isn't
too wild in 19th C But you should wear combinations that YOU personally feel
good about. The longer I do the period the wilder I get with colours :)

> So, another colour question is.. if your petticoat is white (bright white)
&
> some of the white shows beneath the hem as you move, what colour would any
> lace accents on the body of the gown be? It seems that white would be too
> stark on any colour. Or was their idea of a white petticoat not really
> WHITE?

>Go for white.. or if you are wanting cream, add a cream trim to the bottom
of the petticoat so that the white doesn't show through. See if you can
reduce that near blue white too though. You know how glowing white our
fabrics can be:)

These are OBAs optical brightening Agents, white dyes which take in light
and send it out optically brighter. Tip for any period Don't use modern
washing powders with OBAs.

Mel

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Subject: Re: [h-cost] Painting on Cloth Article (was Colored linen in the 14th 
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Date: Wed, 09 Oct 2002 08:14:47 -0500
Status: RO

kat@grendal.rain.com wrote:
> 
> I think if you ask the author (Barbara Gordon), you would find that
> she *wasn't* trying to prove that it was used on clothing. 

This may well be, but I would have been mislead into excitement as
well--the key phrase in her intro is "[painted cloth] was used in period
for all the same purposes as the more costly cloth."  One major use of
more costly cloth, and of course the one that springs first to _my_
mind, is clothing.

Melanie Schuessler
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Date: Wed, 09 Oct 2002 08:17:31 -0500
Status: RO


>  --- Kevin & Mara Riley <lindo@Radix.Net> wrote: > Well, this isn't 14th c.,
> but someone posted a link to the list (and I
> > can't find it in my bookmarks, which desperately need weeding) about a
> > man's doublet, dated to the early 17th century, made of a sort of
> > grey-brown linen.  The web site had something to do with objects found
> > inserted into the walls of buildings, so maybe someone will recall it.

I haven't seen this reposted to the list, so here it is:
http://search.concealedgarments.org:8167/index.jsp

Melanie Schuessler
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: 17th c linen, was Re: [h-cost] Colored linen in the 14th century?
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Date: Wed, 9 Oct 2002 07:53:22 -0500 (CDT)
Status: RO


>  --- Kevin & Mara Riley <lindo@Radix.Net> wrote: 
> Well, this isn't 14th c., but someone posted a link to the list (and I
> > can't find it in my bookmarks, which desperately need weeding) about a
> > man's doublet, dated to the early 17th century, made of a sort of
> > grey-brown linen.  The web site had something to do with objects found
> > inserted into the walls of buildings, so maybe someone will recall it.

Was that <http://www.concealedgarments.org>?

As to color, remember that finds like this are often grey-brown after
centuries of burial. I didn't read this writeup myself, so I don't know if
they tested the item for dyes.



==========================================================
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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Date: Wed, 09 Oct 2002 09:40:23 -0400
Status: RO


All this talk of painted and block-printed fabric has me very curious. I
can't access the article Drea posted (internet not working this morning for
some reason) but I'll try again later, and I'll check out the Robinson book
someone mentioned. But I am interested to find out whether these paint and
ink treatments for furnishing fabrics was done by professionals. If so, was
that their only business, or would it be done by people who also provided
the expensive woven/embroidered cloths? Does anyone know?

Gail Finke


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Date: Wed, 9 Oct 2002 10:18:45 EDT
Status: RO

In a message dated 10/8/02 11:53:16 PM Eastern Daylight Time, 
mercury@eagle.ca writes:

<< Or was their idea of a white petticoat not really
 WHITE? >>

I LOVE a dark gown that shows a flash of white petticoat when the wearer 
walks, or waltzes.

Taffeta is perfect. But most real Bustle gowns I've seen are of a thinner 
weave than the synthetics you get now. Also silk twill seems to be popular. 
As to colors and fabrics, I have read in a contemporary source that ALL gowns 
were of at least 2 fabrics [though maybe not two colors...like a plain 
taffeta with a matching or analogous brocade or jacquard] Stripes [small 
ones] are very popular. They show the drape of the bustle well. Two colors I 
see all the time [though not together on the same gown] in real gowns, no 
matter where they're from, is a Carolina blue and a sorta butterscotch/ 
bronze-like yellowy brown.
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Date: Wed, 9 Oct 2002 10:21:38 EDT
Status: RO

In a message dated 10/9/02 5:25:27 AM Eastern Daylight Time, 
thebruce@ihug.co.nz writes:

<< You
 could use the strawberry as the base colour and the prune as trimming with
 the cream as accents. >>

Mmmmmmm... dessert!
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Date: Wed, 09 Oct 2002 08:30:38 -0600
Status: RO

Actually, the dyeing experiments have been endemic in my local (SCA)
group this past summer, and I'm just one of the hangers-on around the
folks who are more serious about it than I.  I don't think any of it has
been webbed, although we *do* have a baronial website, and I've got my
digital camera.  Hmmm.....
We've had a lot of fun using all different kinds of natural dyes (some
pre-17th c., some not).  Logwood makes the most amazing, lovely purples;
cochineal (pinks and reds); indigo (blues and greens--State
laws/regulations forbid growing woad here [super-bad noxious weed in
these parts], so we bought that); various local lichens and walnut hulls
for an amazing range of lovely browns, as did cutch.  Experiments with
indigenous plants have been fun, too--dandelion flowers produce a
screaming bright yellow (and an interesting bright green when overdyed
with a couple of dips of indigo); tansy produces some great greens and
yellows (depending on whether you're using the flowering part, or the
leaves/stems).  The only persistent disappointment has been our
inability to get a good red from madder--we've tried root from a couple
of different sources, and get the same results (various
pinky-oranges/salmons), so we're suspecting it's our local water.
We've been experimenting with different types of fibers and
fabrics--wools, silks, some linen, some cotton.  I'm planning on
ordering some silk twill from Dharma for a gown or two.  I'd love to do
something in wool, as well, but have not been able to locate good wool
fabric that's not already dyed black or done in navy pinstripes.  *sigh*
--Sue

Kevin & Mara Riley wrote:
> 
> >From what I've read, the Scots wore both wool and linen shirts in this
> period, but I'd assume the leine was linen unless specified otherwise.
> 
> The color was usually derived from weld, though maybe some really wealthy
> people dyed their leinte with actual saffron.
> 
> I'd love to see results of your weld dyeing experiment -- do you have them
> posted anywhere?
> 
> Also have seen a quote to the effect that the seams were embellished with
> colored (red or green) silk thread, but that falls more in the realm of
> embroidery than plain sewing ;)
> 
> Cheers,
> Mara
> 
> On Mon, 7 Oct 2002, Sue Clemenger wrote:
> 
> > Uh...without being able to pull out any actual, scholarly cites or
> > anything (it was one of THOSE Mondays), what about the
> > sumptuary/regulatory laws I've heard of in reference to "saffron shirts"
> > for those people living in Ireland during certain periods of British
> > rule? I've always assumed they'd be linen, but I suppose they could be a
> > fine wool.  Does anyone know?
> > Mind you, I'm assuming that the *color* is saffron-ish, not the dye
> > stuff.  We've been experimenting this summer, and you can get some
> > amazingly potent yellows and golds with tansy, or dandelion, or weld.
> > --Sue
> 
> _______________________________________________
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Date: Wed, 9 Oct 2002 10:26:03 EDT
Status: RO

In a message dated 10/9/02 6:09:42 AM Eastern Daylight Time, 
MelanieWilson@bigfoot.com writes:

<< I have to confess I like heavy dressess with often 14 lbs undergarment the
 heavy look helps the movement to be correct >>

I must respectfully disagree here. All the real gowns I've seen are light. 
They move beautifully. Check out "Age of Innocence". The fabrics are light to 
medium weight. [well, except the winter wear]. For very early Bustles [say 
1869 to 1870] Check out "The French Lieutenant's Woman". Light, crisp 
taffetas everywhere!
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Subject: Re: [h-cost] Painting on Cloth Article (was Colored linen in the 14th century?)
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Date: Wed, 9 Oct 2002 08:06:41 +0000
Status: RO

One of our Moorish-type Laurels here did a competition piece on the use
of printed cloth for clothing items. Maybe Kat will remember more on
this--it's been a few years. All I remember is that she said something
about the use of stamping cloth to lay down a design. I don't recall what
the ground fabric was. Nor if it was a culture-specific thing.

				Arlys



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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 16:48:59 +0100
Status: RO

>I must respectfully disagree here.

I was refering to day wear rather than evening here, perhaps I wasn't clear
? Anyway the figures I've see for underwear are in that region of weight,
although eveing from reading would be lighter I believe but not too much so
some of the outerwear would have to have dense underwear to stop it being
indecent I feel  . Too light weight gowns outdoors in English conditions are
a pain & blow about far too much. US in areas of still air (if there are any
I don't know I afraid) might be different

>All the real gowns I've seen are light.

What real gowns are you talking about those produced in the era ? I'm unsure
as I think the items you mention below are films and therefore not real in
my sense of the word but I might well be misunderstanding you ?

Then again out version of light may differ it is rather subjective !

Mel

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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 12:13:55 -0400
Status: RO

I can't recall my source... I always like pink and maroon together.  Then I
found out that the two colors were not used together.  They were considered
bad taste.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
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----- Original Message -----
From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
To: <h-costume@indra.com>
Sent: Wednesday, October 09, 2002 6:13 AM
Subject: Re: [h-cost] 1870's colours & fabrics - evening gown


> >> I'm now ready to choose my fabric for my 1873-5 evening dress (still
> > debating between ball & evening dress) & my big question is what type of
> > fabric would be the most suitable modern equivalent? I've been thinking
> > about silk tafetta (maybe even iridescent?) but am worried that it may
be
> > too stiff to drape up over the bustle properly.
>
> I use all sorts of fabrics and unless I actually used upolstery fabric #I
> think most work fine (I use curtains a lot)
>
> I've read that it was
> > common to use 2 colours AND 2 materials.  What combos were used other
than
> > silk & velvet?  I'd like to be able to wear this gown in all seasons &
> think
> > velvet would look strange in the summer.
>
> I don't think it would look strange, but it would be hot, linen, cottons,
> brocades , wools,  prints, it was the start of greater avalibility of
> fabrics, colours and machine sewing so they went mad & stuck things
> togerther we would find gross. :)
>
> >These tend to be different
> shades of the same colour though. http://www.antique-fashion.com/0183.htm
>
> I've seen high contacts colours used too, more often described though, the
> really OTT ideas tended to fade & I suspect lime green & orange dresses
were
> seperated & re worked ;p
>
> >You could use the velvet in bands which means instead of looking like the
> whole dress is heavy, you'll just have accents.
>
> I have to confess I like heavy dressess with often 14 lbs undergarment the
> heavy look helps the movement to be correct
>
> > As for colour, I read a list of colours from the period & there happened
> to
> > be a group 'Strawberry, Cream, Prune'- does that sound like a reasonable
> > combo or is it too wild?
>
> Many recreations of dress are more modern colour coordinated that the
> Victorian coordination might have been. Colour is very much dependant on
> culture, so I have on set of 21st C eyes & another for 19th C. There isn't
> too wild in 19th C But you should wear combinations that YOU personally
feel
> good about. The longer I do the period the wilder I get with colours :)
>
> > So, another colour question is.. if your petticoat is white (bright
white)
> &
> > some of the white shows beneath the hem as you move, what colour would
any
> > lace accents on the body of the gown be? It seems that white would be
too
> > stark on any colour. Or was their idea of a white petticoat not really
> > WHITE?
>
> >Go for white.. or if you are wanting cream, add a cream trim to the
bottom
> of the petticoat so that the white doesn't show through. See if you can
> reduce that near blue white too though. You know how glowing white our
> fabrics can be:)
>
> These are OBAs optical brightening Agents, white dyes which take in light
> and send it out optically brighter. Tip for any period Don't use modern
> washing powders with OBAs.
>
> Mel
>
> _______________________________________________
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Date: Wed, 9 Oct 2002 18:32:45 +0200
Status: RO

Hello.
For those of you, who are interrested, i have added new pictures of the new
dressdiary of a robe a la francaise 1776.
It is my new digital camera, who mastered the pictures, they are very fine
and very true to the colours.
I am very pleased.
www.my-drewscostumes.dk\dressdiary.htm

Bjarne


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Date: Wed, 9 Oct 2002 12:31:10 -0400
Status: RO

Experiments with
> indigenous plants have been fun, too--dandelion flowers produce a
> screaming bright yellow (and an interesting bright green when overdyed
> with a couple of dips of indigo); tansy produces some great greens and
> yellows (depending on whether you're using the flowering part, or the
> leaves/stems).

Actually, dandelions are not indigenous - they were brought over from Europe
as a salad plant.  Tansy was also available in Europe in the Middle Ages.

Janet

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Date: Wed, 09 Oct 2002 09:47:54 -0700
Status: RO


> One of our Moorish-type Laurels here did a competition piece on the
> use of printed cloth for clothing items. Maybe Kat will remember more
> on this--it's been a few years. All I remember is that she said
> something about the use of stamping cloth to lay down a design. I
> don't recall what the ground fabric was. Nor if it was a
> culture-specific thing.

Sorry, I don't recall that. I may not have judged that piece (and I 
tend to remember the ones I judge even when the other pieces done by 
the same person are interesting.)

Kat Russell
<kat@grendal.rain.com>

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Date: Wed, 09 Oct 2002 19:05:48 +0200
Status: RO

Hi,

The link is not working :-(

Greetings,
        Deredere
http://home.kabelfoon.nl/~triade/


Bjarne og Leif Drews wrote:

>Hello.
>For those of you, who are interrested, i have added new pictures of the new
>dressdiary of a robe a la francaise 1776.
>It is my new digital camera, who mastered the pictures, they are very fine
>and very true to the colours.
>I am very pleased.
>www.my-drewscostumes.dk\dressdiary.htm
>
>Bjarne
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Wed, 9 Oct 2002 13:12:23 -0400
Status: RO

Bjarne,

The photos aren't showing up.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com
http://www.onlinecostumeball.com
----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, October 09, 2002 12:32 PM
Subject: [h-cost] dress diary.


> Hello.
> For those of you, who are interrested, i have added new pictures of the
new
> dressdiary of a robe a la francaise 1776.
> It is my new digital camera, who mastered the pictures, they are very fine
> and very true to the colours.
> I am very pleased.
> www.my-drewscostumes.dk\dressdiary.htm
>
> Bjarne
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
>


[This E-mail was scanned for viruses by Plugit.com Virus Scanners (http://www.plugit.com)]

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From h-costume-admin@indra.com  Wed Oct  9 21:54:04 2002
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Coloured Linen in general
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Date: Wed, 9 Oct 2002 20:34:35 -0500 (CDT)
Status: RO


On Wed, 9 Oct 2002 LSinervo@aol.com wrote:

> Thanks for the referral to the archives!  I shall have a look.  When
> one enters a converation late one doesn't know that the simple
> question "Did coloured linen in the 14th century exist?" assumes the
> exclusion of fancy dress items, printed wall hangings, tea towels,
> stitching thread, embroidery thread and garments worn at a game of
> swans on the fifth of May.  Now I understand the question!

Looking back, I see that it's true that the first post on this thread did
ask only whether linen was dyed at all in this period ... but the issue of
whether people used colored linen as a primary garment fabric has been
addressed so often here in the past few years that I think most of us just
fell naturally back into that conversation. After all, most of us are
pretty single-mindedly focused on clothes (rather than banners,
furnishings, etc.) and we try to be careful not to generalize too far
across textile categories.

Looking back, though, I gather the initial poster had probably picked up
from our earlier, clothing-focused threads the thought that there was no
evidence that linen was dyed at all. And thus the confusion -- some of us
talking about dyed linen in general, and others of us pointing out that
all the examples were of non-clothing items and so weren't relevant to the
question at hand (since *our* questions at hand usually relate to clothing
only). Plus some of us knew that the original poster is working on a
specific costume project, and so we automatically translated her actual
question (did they dye linen?) into the one we figured she was *really*
asking (did they dye linen for clothing?) I think we actually had two or
three conversations going on here, only we all thought we were part of the
same one ;-)

--Robin

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Date: Wed, 9 Oct 2002 17:43:36 +0000
Status: RO

Would someone please be so kind as to send me subscribe information
off-list? Thanks!


				Arlys
				<cley@juno.com>

On Wed, 9 Oct 2002 23:18:46 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Hi Melanie Schuessler
> I followed the link in one of your postings about using eylet holes, 
> to
> secure garments, and i visited other sites at your websites.
> I was quite surprised when i looked at your beautifull renaissance 
> pictures,
> your work is really beautifull. I loved particularly the embroidered 
> doublet
> bodice you made.
> And i really found your starching of a ruff quite interresting. This 
> was a
> very good idea you had using a hair iron, to starch the ruff with. I 
>  must
> try that some time.
> Loved your costumes!
> 
> Bjarne
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Subject: [h-cost] coloured linen
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Date: Thu, 10 Oct 2002 11:52:55 +1000
Status: RO

Hi all, 
I found a reference to linen clothes in a facimile copy of Tacuinum
Sanitatas (ca. 1400?). It's at home, I'm at work, so excuse the
relatively vague comments.

My facimile is basically a picture book with captions, but two of the
illustrations refer to "Wool clothing" and "Linen Clothing" (a third
page, not illustrated, is "Silk clothing").
The caption says in part (paraphrasing) Linen's nature is cold and dry,
and it is recommended for wear by the young and in southern climes.
The illustrations shows 4 women, 3 in coloured garments, 1 in white,
cutting white linen.
Incidently, the wool caption includes the comment that wool clothing
can irritate the skin. Given that there is no mention of undergarments
in either caption, I'm inclined to think that the book is referring to
linen outer garments, but that's speculation of course.
This seems like a fruitful avenue of research, because numerous
versions of this work exist and other text versions may give more info.

This has been an interesting discussion so far.

Annette Wilson
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Date: Wed, 09 Oct 2002 20:02:47 -0600
Status: RO

Nope.  There's at least two.
The second (my contribution):
"I'm not worthy....I'm not worthy....I'm not worthy...."
--sue

Dianne and Greg Stucki wrote:
> 
> Bjarne, there really is only one thing to say about your work.
> 
> Wow.
> 
> Dianne
> ----- Original Message -----
> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> To: <h-costume@indra.com>
> Sent: Wednesday, October 09, 2002 4:02 PM
> Subject: [h-cost] apologises wrong URL
> 
> > I am really really sorry of the mess i made. New computer and new program.
> > But now it works, promise!!!
> > Go to: www.my-drewscostumes.dk and click your way to it.
> >
> > Sorry
> > Bjarne
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
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Date: Thu, 10 Oct 2002 13:34:20 +1300
Status: RO


> Thanks for the great links !

Those are two of my favourite sites to go look for stuning costumes.. there
is far more that is just so breathtaking that I'd wind up linking to nearly
the whole site;)

As far as heavy goes.. hehehe, seems to be some problems with what is
infered being different to what is being implied:) I realise myself that I
use a bit of short hand and tend to assume people know what i'm referring
too;)

When I used the word heavy I was referring to the look of the garment in
that too much velvet on a gown meant for evening and used in summer and
spring could look too dark, and heavy. Just as in Fashion and Reality there
is a late 1880s tulle gown with a wool shawl that looks too heavy for the
lightness of the dress:)

That said, a  little bit of something heavy can contrast nicely.. like
velvet and there seems to have been a fashion in the early/mid 1880s for a
white dress trimmed with black at the neck and cuffs. I've seen some where
the trim was fur:)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Wed, 9 Oct 2002 10:12:40 -0700
Status: RO

At 9:47 PM -0700 10/8/02, Chris Laning wrote:
>At 1:34 PM -0700 10/8/02, Heather Rose Jones wrote:
>>Most of the printed linens I've seen (which I'd love to experiment 
>>with at some point!) give a strong impression of being furnishings. 
>>I do have one example ... and this is going to sound familiar after 
>>my previous post ... of a block-printed chasuble from the 15th or 
>>16th century, but I think it was cotton rather than linen -- I'd 
>>need to check my photocopies when I get home.
>
>If it's the chasuble of St. Ulrich from Lucerne, it's block-printed 
>wool. The fabric is blue-green and is printed in black with 
>palmettes and other motifs similar to those in contemporary 
>(14th-15thc.) Italian silks. The printed pattern goes across seams 
>in some cases, indicating it was printed after the chasuble was sewn 
>together. This chasuble is still used each year in a blessing 
>ceremony where it is held up like a canopy for people to walk 
>underneath.

Nope, the one I'm thinking of is red printed on white.  Still haven't 
gotten around to looking up the notes when I'm at home.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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In a message dated 10/9/02 3:11:05 PM Pacific Daylight Time, 
anne@montgomerie.demon.co.uk writes:


> I had a quick flick through and I couldn't find anything.  I wonder if 
> you would get any linen fibres attached to brooches etc?  That would 
> tend to indicate an outer garment.  But maybe linen would disintegrate 
> with the corrosion?  It's difficult when some fibres survive and others 
> don't, to get a good picture of relative proportions originally used.
> 

I stand corrected re the MoL book than, it has been about two years since I 
have seen it.  It is not the use of linen as an outer garment that I am 
adamant about, just that coloured linen certainly existed in the 14th century 
and was fairly common, see tablet woven band email.  Exactly what class wore 
it, when and where is something I shall keep an eye out for in the future.  

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/9/02 3:11:05 PM Pacific Daylight Time, anne@montgomerie.demon.co.uk writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I had a quick flick through and I couldn't find anything.&nbsp; I wonder if <BR>
you would get any linen fibres attached to brooches etc?&nbsp; That would <BR>
tend to indicate an outer garment.&nbsp; But maybe linen would disintegrate <BR>
with the corrosion?&nbsp; It's difficult when some fibres survive and others <BR>
don't, to get a good picture of relative proportions originally used.<BR>
</BLOCKQUOTE><BR>
<BR>
I stand corrected re the MoL book than, it has been about two years since I have seen it.&nbsp; It is not the use of linen as an outer garment that I am adamant about, just that coloured linen certainly existed in the 14th century and was fairly common, see tablet woven band email.&nbsp; Exactly what class wore it, when and where is something I shall keep an eye out for in the future.&nbsp; <BR>
<BR>
Lisa</FONT></HTML>

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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 18:32:21 EDT
Status: RO

In a message dated 10/9/02 6:30:32 PM Eastern Daylight Time, 
AlbertCat@aol.com writes:

<< So many costumes are made from 
 upholstery stuff and are just plain clunky that "light" as far as I mean, is 
 not meant to mean diaphanous. >>

This has GOT to be one of the clumsiest sentences ever written!
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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Wed, 9 Oct 2002 18:28:23 EDT
Status: RO

In a message dated 10/9/02 11:46:43 AM Eastern Daylight Time, 
MelanieWilson@bigfoot.com writes:

<< What real gowns are you talking about those produced in the era ? I'm 
unsure
 as I think the items you mention below are films and therefore not real  >>

I meant actual period stuff. Then went on to give examples that are not 
"real" that one could look at in motion....on film.

I understand better what you mean now. So many costumes are made from 
upholstery stuff and are just plain clunky that "light" as far as I mean, is 
not meant to mean diaphanous.
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From h-costume-admin@indra.com  Wed Oct  9 22:01:50 2002
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Subject: [h-cost] Costume sale in DC area
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Date: Wed, 09 Oct 2002 13:15:10 -0500
Status: RO

This was posted on another newsgroup and I thought folks here might also
be interested.  I would love to go!  Hope someone here can and will give
us a report.  Best of luck.  -Catherine

Hi all- I work for the Shakespeare Theatre Costume Shop, and just
wanted to invite you all to our upcoming Costume and Prop sale! We
are clearing out a lot of inventory (going all the way back to when
we were at the Folger Theater!), and there is something for
everyone! Costumes, hats, fabric, trim, leather, etc. Please come!

      Shakespeare Theatre Costume and Prop Sale!

        -Saturday, October 12,  11:00am to 6:00 pm
               (Columbus Day weekend)
        -507 8th Street SE, Washington, DC  (rehearsal studio)
          The rehearsal studio is accessible via the Eastern Market
          (orange and blue lines) Metro station

We accept all major credit cards, personal checks and cash!

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Date: Wed, 9 Oct 2002 11:14:00 +0100
Status: RO

Michaela

Thanks for the great links !

Mel


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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Wed, 9 Oct 2002 23:04:13 +0100
Status: RO

LSinervo@aol.com wrote
>In a message dated 10/7/02 11:13:29 PM Pacific Daylight Time,
>r.carnegie@verizon.net writes:
>  I can not find any clear examples of linen outer garments in TEXTILES
>  AND CLOTHING.  The chapter on linen shows some extant linen
>  swatches, but
>  the text suggests that they are household linens
>
>
>I thought there was an example of a garment that had a tablet woven edge
>on it that was of linen.  I don't have a copy of the book on hand, but I
>thought for sure I remembered seeing that.  I could be wrong.

I had a quick flick through and I couldn't find anything.  I wonder if 
you would get any linen fibres attached to brooches etc?  That would 
tend to indicate an outer garment.  But maybe linen would disintegrate 
with the corrosion?  It's difficult when some fibres survive and others 
don't, to get a good picture of relative proportions originally used.
-- 
Jean Waddie
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From h-costume-admin@indra.com  Wed Oct  9 22:04:26 2002
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Subject: [h-cost] how to starch a ruff.
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Date: Wed, 9 Oct 2002 23:18:46 +0200
Status: RO

Hi Melanie Schuessler
I followed the link in one of your postings about using eylet holes, to
secure garments, and i visited other sites at your websites.
I was quite surprised when i looked at your beautifull renaissance pictures,
your work is really beautifull. I loved particularly the embroidered doublet
bodice you made.
And i really found your starching of a ruff quite interresting. This was a
very good idea you had using a hair iron, to starch the ruff with. I  must
try that some time.
Loved your costumes!

Bjarne


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Subject: Re: [h-cost] seam finishes
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Date: Wed, 9 Oct 2002 19:58:28 +0100
Status: RO

Carolyn Kayta Barrows <kayta@frys.com> wrote
>
>>but have seen some
>> > serger finishes that have pulled off the edge of the
>> > fabric.  Sometimes the seam allowances are cut so
>> > narrow to accomodate the seam and overcast in one
>> > stitch (sorry, don't know what it's called) that the
>> > seams pull out and then fray.
>>
>>This just happened to me with a fairly new linen gown that I am quite
>>pleased with otherwise.  I discovered at an event this weekend that the back
>>of the armhole seam had come apart on the right side (since it was rather
>>cold, I kept a houplande on over it all day so no one could see it, but in
>>warmer weather, I wear it alone.)
>
>(Off the point entirely, and trying to be funny,) But aren't mends and 
>patches period?
>
>
>Kayta
>
Our motto was always "dirt is period" !
-- 
Jean Waddie
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 9 Oct 2002 22:02:30 +0200
Status: RO

I am really really sorry of the mess i made. New computer and new program.
But now it works, promise!!!
Go to: www.my-drewscostumes.dk and click your way to it.

Sorry  
Bjarne


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Date: Wed, 9 Oct 2002 16:06:44 -0400
Status: RO

Bjarne, there really is only one thing to say about your work.

Wow.

Dianne
----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, October 09, 2002 4:02 PM
Subject: [h-cost] apologises wrong URL


> I am really really sorry of the mess i made. New computer and new program.
> But now it works, promise!!!
> Go to: www.my-drewscostumes.dk and click your way to it.
>
> Sorry
> Bjarne
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Wed, 9 Oct 2002 14:41:24 EDT
Status: RO


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Thanks for the referral to the archives!  I shall have a look.  When one 
enters a converation late one doesn't know that the simple question "Did 
coloured linen in the 14th century exist?" assumes the exclusion of  fancy 
dress items, printed wall hangings, tea towels, stitching thread, embroidery 
thread and garments worn at a game of swans on the fifth of May.  Now I 
understand the question!  

FYI

The book Ecclesiastical Pomp & Aristocratic Circumstance - A Thousand Years 
of Brocaded Tabletwoven Bands by Nancy Spies documents a number of extant 
bands and the ones with coloured linen follow:

Braunschweig , Herzog Anton Ulrich Museum
15th century
Weft: blue linen

Halberstadt, ?Halberrstadt Cathedral Treasury
13th/14th century
Weft:  green linen

Brixen Cathedral Treasury, Brixen (Bressanone), Italy
13th century
warp: dark brown linen
weft: dark brown linen

Museo Textil i d'Indumentaria, Barcelona, Spain
13th century
weft: yellow and maroon linen

Kloster St. Andreas, Sarnen, Switzerland
14th century
weft: blue or white linen

Einsiedeln, Benediktinerkloster
15th century
Warp: white and blue linen

Sion (Sitten), Eglise de Valere
15th Century
Brocade wefts: "spun-gold membrane" around reddish linen core

Church Onze-Lieve-Vrouw Hemelvaart, St. Truiden, Belgium
13th/14th century
weft: blue linen

She also states "It would be unwise to base any definite conclusions 
concerning sites of manufacture strictly on the type of threads utilized in 
brocaded tabletwoven bands because the threads, both the expensive silks and 
metallics,  as well as the fine wools and linens, were available all over 
Europe from the time of the Roman Empire, either in fabric form which could 
be unraveled or in actual skein form, ready for weaving.  The only 
prohibition to their use would have been the cost involved in obtaining them. 
 Further, it is important to keep in mind, especially concerning the earliest 
brocaded bands, that the weavers would probably have simply used the 
materials at hand rather than obtaining threas towards this specific purpose. 
 This idea is supported by quite a few examples of historical bands on which 
different brocading wefts were added apparently at random with little or no 
regard to the design being woven.  In these cases, the weavers seem to have 
used whatever threads were available."

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Thanks for the referral to the archives!&nbsp; I shall have a look.&nbsp; When one enters a converation late one doesn't know that the simple question "Did coloured linen in the 14th century exist?" assumes the exclusion of&nbsp; fancy dress items, printed wall hangings, tea towels, stitching thread, embroidery thread and garments worn at a game of swans on the fifth of May.&nbsp; Now I understand the question!&nbsp; <BR>
<BR>
FYI<BR>
<BR>
The book Ecclesiastical Pomp &amp; Aristocratic Circumstance - A Thousand Years of Brocaded Tabletwoven Bands by Nancy Spies documents a number of extant bands and the ones with coloured linen follow:<BR>
<BR>
Braunschweig , Herzog Anton Ulrich Museum<BR>
15th century<BR>
Weft: blue linen<BR>
<BR>
Halberstadt, ?Halberrstadt Cathedral Treasury<BR>
13th/14th century<BR>
Weft:&nbsp; green linen<BR>
<BR>
Brixen Cathedral Treasury, Brixen (Bressanone), Italy<BR>
13th century<BR>
warp: dark brown linen<BR>
weft: dark brown linen<BR>
<BR>
Museo Textil i d'Indumentaria, Barcelona, Spain<BR>
13th century<BR>
weft: yellow and maroon linen<BR>
<BR>
Kloster St. Andreas, Sarnen, Switzerland<BR>
14th century<BR>
weft: blue or white linen<BR>
<BR>
Einsiedeln, Benediktinerkloster<BR>
15th century<BR>
Warp: white and blue linen<BR>
<BR>
Sion (Sitten), Eglise de Valere<BR>
15th Century<BR>
Brocade wefts: "spun-gold membrane" around reddish linen core<BR>
<BR>
Church Onze-Lieve-Vrouw Hemelvaart, St. Truiden, Belgium<BR>
13th/14th century<BR>
weft: blue linen<BR>
<BR>
She also states "It would be unwise to base any definite conclusions concerning sites of manufacture strictly on the type of threads utilized in brocaded tabletwoven bands because the threads, both the expensive silks and metallics,&nbsp; as well as the fine wools and linens, were available all over Europe from the time of the Roman Empire, either in fabric form which could be unraveled or in actual skein form, ready for weaving.&nbsp; The only prohibition to their use would have been the cost involved in obtaining them.&nbsp; Further, it is important to keep in mind, especially concerning the earliest brocaded bands, that the weavers would probably have simply used the materials at hand rather than obtaining threas towards this specific purpose.&nbsp; This idea is supported by quite a few examples of historical bands on which different brocading wefts were added apparently at random with little or no regard to the design being woven.&nbsp; In these cases, the weavers seem t!
o have used whatever threads were available."<BR>
<BR>
Lisa</FONT></HTML>

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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Wed, 9 Oct 2002 17:58:17 -0700
Status: RO

At 11:04 PM +0100 10/9/02, Jean Waddie wrote:
>LSinervo@aol.com wrote
>>In a message dated 10/7/02 11:13:29 PM Pacific Daylight Time,
>>r.carnegie@verizon.net writes:
>>  I can not find any clear examples of linen outer garments in TEXTILES
>>  AND CLOTHING.  The chapter on linen shows some extant linen
>>  swatches, but
>>  the text suggests that they are household linens
>>
>>
>>I thought there was an example of a garment that had a tablet woven edge
>>on it that was of linen.  I don't have a copy of the book on hand, but I
>>thought for sure I remembered seeing that.  I could be wrong.
>
>I had a quick flick through and I couldn't find anything.  I wonder 
>if you would get any linen

It sounds like the item being recalled is the strip with buttonholes 
and a tablet-woven edging in figure 135. The main fabric on that 
piece is wool, with a linen lining (and the tablet-woven edging in 
silk).

Heather
-- 
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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Wed, 9 Oct 2002 18:11:08 -0700
Status: RO

At 1:34 PM -0700 10/8/02, Heather Rose Jones wrote:

>Most of the printed linens I've seen (which I'd love to experiment 
>with at some point!) give a strong impression of being furnishings. 
>I do have one example ... and this is going to sound familiar after 
>my previous post ... of a block-printed chasuble from the 15th or 
>16th century, but I think it was cotton rather than linen -- I'd 
>need to check my photocopies when I get home.

Just to tie up this loose end ...

The item is published in:

Zwillinger, Thomas.  1996.  Textile Kunst aus tausend Jahren.  Köln, 
Greven. catalog no. P 2

My recollection was slightly off -- the fabric has a linen warp and 
cotton weft, and the printing is done in brown, according to the 
text.  (The photo shows it as slightly reddish, but this may be a 
printing drift.)  The boundaries between the printing blocks are 
quite visible, due to relatively sloppy registration, and the pattern 
goes in opposite directions on the left and right sides of the 
garment, so I'd interpret that as meaning it was printed as yardage, 
not after the garment was made.  The pattern is reminiscent of 15th 
c. Italian silk brocades.  The text discusses the purpose of 
vestments of this type with the following (translated from the German 
on the fly -- so forgive minor errors):

"The use of linen or cotton as the ground-fabric of a liturgical 
garment was explained in the 19th century with the label of the 
so-called "plague-chasuble", which -- because it was easier to clean 
-- would be worn during visitations in plague-time.  According to 
Jutta Zander-Seidel, it is more likely that they were used for 
ordinary masses in the church-year, while expensive silk garments 
were reserved for high feast days."

Heather
-- 
*****
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hrjones@socrates.berkeley.edu
*****

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Date: Wed, 09 Oct 2002 20:29:42 -0600
Status: RO

Uh...well, indigenous as in "growing in my yard so I didn't have to pay
for it?" <g>
We also have to deal with other interlopers like knapweed (great honey,
decent green dye, horribly invasive weed).
I knew tansy was also medieval (from recipes).  That was, in part, one
of the reasons we played with it.  That, and it grows everywhere in my
neighborhood--it really seems to like water and there are a couple of
irrigation ditches/creeks (pronounced "cricks" <g>) in my area.  It's
cool stuff.
--sue

Janet Davis wrote:
> 
> Experiments with
> > indigenous plants have been fun, too--dandelion flowers produce a
> > screaming bright yellow (and an interesting bright green when overdyed
> > with a couple of dips of indigo); tansy produces some great greens and
> > yellows (depending on whether you're using the flowering part, or the
> > leaves/stems).
> 
> Actually, dandelions are not indigenous - they were brought over from Europe
> as a salad plant.  Tansy was also available in Europe in the Middle Ages.
>
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Date: Wed, 09 Oct 2002 22:33:57 -0500
Status: RO

Bjarne og Leif Drews wrote:
> 
> Hi Melanie Schuessler
> I followed the link in one of your postings about using eylet holes, to
> secure garments, and i visited other sites at your websites.
> I was quite surprised when i looked at your beautifull renaissance pictures,
> your work is really beautifull. I loved particularly the embroidered doublet
> bodice you made.

Why thank you!  If I could embroider at anything like your level, I
would take more close-ups of my work!  ;)

> And i really found your starching of a ruff quite interresting. This was a
> very good idea you had using a hair iron, to starch the ruff with. I  must
> try that some time.

Oh yes--it's great fun.  Well, all right, not so fun after the first
couple of hours but VERY satisfying.  I love having a ruff that looks
_right_ to me.

I've been looking at your dress diary, and I join the rest of the list
in saying  OOooooohhhhh..... aaaaaaahhhhhhhhhh.....  Can't wait to see
the finished product!

Melanie
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] coloured linen
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Date: Wed, 9 Oct 2002 22:01:02 -0500 (CDT)
Status: RO


On Thu, 10 Oct 2002, Annette Wilson wrote:

> I found a reference to linen clothes in a facimile copy of Tacuinum
> Sanitatas (ca. 1400?)...
> My facimile is basically a picture book with captions, but two of the
> illustrations refer to "Wool clothing" and "Linen Clothing" (a third
> page, not illustrated, is "Silk clothing").
> The caption says in part (paraphrasing) Linen's nature is cold and dry,
> and it is recommended for wear by the young and in southern climes.
> The illustrations shows 4 women, 3 in coloured garments, 1 in white,
> cutting white linen.
> Incidently, the wool caption includes the comment that wool clothing
> can irritate the skin. Given that there is no mention of undergarments
> in either caption, I'm inclined to think that the book is referring to
> linen outer garments, but that's speculation of course.
> This seems like a fruitful avenue of research, because numerous
> versions of this work exist and other text versions may give more info.

Yes, this is a fruitful set of sources, and the fact that the text and the
illustrations have different cultures of origin adds some interesting
variables. I posted an off-the-cuff analysis of the linen references in
several of the Tacuinum manuscripts when this topic came up a couple of
years ago. Following is the relevant part of my post from July 1999 under
the subject line "Use of linen in Italy and elsewhere". The rest of the
post (and thread) are easy to locate in the archives under that subject
line. 

In looking over the archived version, I see that a few lines of the text
from this section of the post was dropped; I've restored the missing bits
from my own copy, here. (Eric the archive-keeper knows about the dropped
line problem; it happens in some posts in which there's a colon close to
the beginning of the line. For that reason, I'm replacing the problematic
colons in this post with two periods in a row like this .. so the archived
version of *this* post won't drop the same lines.

The quote starts here:

<<
<lots of stuff snipped here>
... it does occur to me that if linen were commonly used for gowns
anywhere, it would be in Italy, where summers are hotter and longer. 

Which brings me to the only bit of evidence I *have* found for linen being
used for clothing, at least since I started watching for these references.
This is the Italian reference I mentioned earlier, but it might not
technically be Italian at all.  It's from the Tacuinum Sanitatus,
sometimes called the Medieval Health Handbook (and published in a nice art
book by that name, also in another art book called The Four Seasons of the
House of Cerruti). This manual lists maybe a hundred different influences
-- foods, weather conditions, emotions, etc. -- and describes their health
effects. The manuscripts are in Latin and the existing manuscripts are
from Italy, but the original text was apparently Arabic, and it may have
its origin or connections in Southern Spain. 

There's an entry for wool clothing (vestis lanea), one for silk clothing
(vestis de sete), and one for linen clothing (vestis linea). Not all
extant manuscripts have all the same combinations of entries. The
translations I have differ slightly from one of my sources to the other,
which may reflect a different source manuscript that translated the Arabic
into Latin differently, or it may be just a different English translation
of the same source manuscript.

Here are the translations I have. Version (1) is from "The Medieval Health
Handbook," by Luisa Cogliati Arano; version (2) is from "The Four Seasons
of the House of Cerruti," trans. by Judith Spencer.

        (1) Wool clothing. Nature: Warm and dry. Optimum: The thin kind
from Flanders. Usefulness: It protects the body from cold and holds
warmth. Dangers: It causes skin irritation.  Neutralization of the
Dangers.. With thin linen clothing.
        (2) Woolen clothes. Clothes are suited to _praeparatio aeri_, or
the adaptation of the climate to life, which is one of the seven things
essential to good health. Clothes made of wool, whose nature is warm and
dry, are beneficial in the winter to old people, life in Northern regions,
cold constitutions, all things that, of the four elements, correspond to
water. These clothes, especially those in fine Flemish wool which are to
be preferred, draw the inner heat from the body and keep it warm. The
advantage of wool can also be a disadvantage: as too much warmth is
harmful, wear a thin linen garment under the wool.

        (2) Silk clothes. Silk clothing is very luxurious and grand. It is
highly valued and equally highly priced and for this reason it cannot be
worn by peasants, but only by noble men and women and esteemed and
prominent citizens. _In medicina_, according to medical science,
everything that was said about woolen clothes applies equally to silk
ones, for the nature of silk, like that of wool, is hot and dry. Wool,
however, is said to be better than silk for covering the head at night.

        (1) Linen clothing. Nature: Cold and dry in the second degree.  
Optimum.. The light, splendid, beautiful kind. Usefulness: It moderates
the heat of the body. Dangers: It presses down on the skin and blocks
transpiration. Neutralization of the Dangers: By mixing it with silk.
Effects.. It dries up ulcerations. It is primarily good for hot
temperaments, for the young, in Summer, and in the Southern regions.
        (2) Linen clothes. Linen clothes are very suitable for the summer:  
they are light, splendid, and attactive. The women will see to the making
of them, working rapidly and wisely with scissors and needle. Linen
clothes are useful in keeping the body at a moderate temperature and they
help to dry out ulcers, but they press on the skin and prevent the
exhalation of vapors. For this reason it is wiser to make clothes from
cloth that has a mixture of linen and silk, which also looks dazzlingly
elegant.

So, that last bit might serve as some supporting evidence that linen was
used for gowns, not just underwear, in Southern European summers. But it's
not definitive.

Interestingly, the illumination in the edition I have here, which was
taken from a Northern Italian manuscript of the Tacuinum, shows
seamstresses at work cutting plain white linen from a bolt, and sewing
plain white linen. The shapes of the pieces are not recognizable as any
particular kind of clothing, just yardage. By contrast, the page on wool
in one manuscript shows a male tailor fitting a man's red gown, and his
assistant is working on a greyish-blue gown, while a green gown lies on a
table. In the wool illustration in another Tacuinum manuscript from the
same region, the scene is much the same, but shows bolts as well as
finished garments, of red and blue, again being sewn and fitted by men to
men.

So there's always the chance that while the Arabic text referred to use of
linen gowns, the Northern Italian illuminator may have known linen only in
its bleached form, which may have been sewn (by women) into underwear
rather than tailored (by men) into gowns.  It's impossible to tell for
sure, from this little sliver of information, but there's also not enough
here to definitively support the idea of dyed linen for gowns.

The silk workshop scene is similar to the wool ones, with a male tailor
and assistant and a row of hanging garments, but their colors are red,
blue, pink, and white with a pattern (quilted? hard to tell), and the
customer is female, wearing pink. So, some of those pinks in paintings may
represent silks.

(Some of these pictures have shown up over the years in the Medieval Woman
series of calendars and daybooks.)

>>

(Thus endeth the quote.)

If I ever get around to doing a serious study of this, I'd want to compare
the text and art of all the extant Tacuinums on these three entries. (I
know of five illuminated copies; I don't know if there are any
contemporaneous copies of the text without illuminations). These bits are
tantalizing, though, as much for what they don't specify as for what they
do, and for the possible discordance between text and art.

--Robin

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Date: Thu, 10 Oct 2002 00:17:15 -0400
Status: RO

Bjarne,

You do such beautiful work!!!!!  I am green with envy!

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


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Date: Wed, 09 Oct 2002 22:49:36 -0600
Status: RO

Geez, Penny, doesn't that -uhm- clash just a little with the color of
your hair?
See, if you were a plain old boring brunette like me, you could be
camo-shades of envy green (like me), and you wouldn't clash! ;-P
--sue, charter member of bjarne fan club

Penny Ladnier wrote:
> 
> Bjarne,
> 
> You do such beautiful work!!!!!  I am green with envy!
> 
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
> 
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Date: Thu, 10 Oct 2002 01:12:19 -0400
Status: RO

Now, Sue... I would claim to be Bjarne's #1 fan... but my asst. Susan took
that spot!  I think she has also become Michaela's #1 fan too!

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


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From h-costume-admin@indra.com  Thu Oct 10 01:58:35 2002
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Date: Thu, 10 Oct 2002 07:02:01 +0100
Status: RO

>I can't recall my source... I always like pink and maroon together.  Then I
found out that the two colors were not used together.  They were considered
bad taste.

Do you happen to recall where & when ?

Mel

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Date: Thu, 10 Oct 2002 07:04:58 +0100
Status: RO

>As far as heavy goes.. hehehe, seems to be some problems with what is
infered being different to what is being implied:) I realise myself that I
use a bit of short hand and tend to assume people know what i'm referring
too;)

The main problem I find is we have different points of referance we all
speak the same language , nominally, but our cultures biases and experiances
are different. Sometime I forget that & it can be hard to pick up on
everything that might be misunderstood

Mel

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Date: Thu, 10 Oct 2002 00:11:00 -0600
Status: RO

Shoot...I just figured you were co-chairs for the club!
--sue, taking a break from cooking chicken for an SCA feast...

Penny Ladnier wrote:
> 
> Now, Sue... I would claim to be Bjarne's #1 fan... but my asst. Susan took
> that spot!  I think she has also become Michaela's #1 fan too!
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Date: Thu, 10 Oct 2002 00:13:59 -0600
Status: RO

Right on! Of course, then we complicate the #$@$!! out of it all by
playing with costume and clothing from a variety of cultures over a span
of a few measly millenia! and they all come with *their* sets of givens!
Isn't life *interesting??* <g>
--sue


Melanie Wilson wrote:
> 

> The main problem I find is we have different points of referance we all
> speak the same language , nominally, but our cultures biases and experiances
> are different. Sometime I forget that & it can be hard to pick up on
> everything that might be misunderstood
>
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Date: Thu, 10 Oct 2002 07:13:06 +0100
Status: RO

>I meant actual period stuff. Then went on to give examples that are not
"real" that one could look at in motion....on film.

Thanks for clarifying that :) I've not seen those actual costumes for those
films as far as I'm aware, but those costume I have seen for films are all
too often of very incorrect fabrics, so the movement on films often cannot
be trusted I feel. TheRational movements and similar argued for the
undergarment weight to be reduced from 14lbs to 7lbs to allow freer
movement, therefore I think it is reasonable to assume 14lb or thereabouts
as'normal' underwear weight this is pretty heavy, which is why I feel a
heavier fabric gives a better movement of the body inside , rather than the
clothing movement.

>I understand better what you mean now. So many costumes are made from
upholstery stuff and are just plain clunky that "light" as far as I mean, is
not meant to mean diaphanous.

I think we are nearer in ref terms now ;)

Interestingly many of my friends , recreating 1870s, have problems with
their bustles between evening and day wear due to the differances in weight,
I haven't had any problems & my gear varies from very heavy velvet to light
taffeta, therefore I thought I'd mention that my bustle has a canvas base,
with steel, and ruffles, others I've seen are based of little more than
shirt weight fabric & rip apart very easily

Mel

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Subject: Re: [h-cost] Colored linen in the 14th century?
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Date: Thu, 10 Oct 2002 07:21:24 +0100
Status: RO

>I had a quick flick through and I couldn't find anything.  I wonder if
you would get any linen fibres attached to brooches etc?

It would be the most likely place to find archaelogical textile remaims,
either the fabric or pattern of fabric in the metal

Mel
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From: "Jane Williams" <jane@williams.nildram.co.uk>
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Subject: Re: [h-cost] Re: Dyeing experiments
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Date: Thu, 10 Oct 2002 07:36:05 +0100
Status: RO

On 9 Oct 2002 at 20:29, Sue Clemenger wrote:

> Uh...well, indigenous as in "growing in my yard so I didn't have to
> pay for it?" <g> We also have to deal with other interlopers like
> knapweed (great honey, decent green dye, horribly invasive weed). I
> knew tansy was also medieval (from recipes).  That was, in part, one
> of the reasons we played with it.  That, and it grows everywhere in my
> neighborhood--it really seems to like water and there are a couple of
> irrigation ditches/creeks (pronounced "cricks" <g>) in my area.  It's
> cool stuff. --sue

Word of warning: I've heard that the plant many 
Americans call "tansy", which is comnmon over 
there, bears little or no relation to the European 
Tansy. Both have yellow flowers, and that's about it. 
I may be wrong, but I'd suggest checking before you 
draw too many conclusions from your dyeing 
experiments.


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Date: Wed, 09 Oct 2002 23:46:25 -0700
Status: RO


> On 9 Oct 2002 at 20:29, Sue Clemenger wrote:
> 
> > Uh...well, indigenous as in "growing in my yard so I didn't have to
> > pay for it?" <g> We also have to deal with other interlopers like
> > knapweed (great honey, decent green dye, horribly invasive weed). I
> > knew tansy was also medieval (from recipes).  That was, in part, one
> > of the reasons we played with it.  That, and it grows everywhere in
> > my neighborhood--it really seems to like water and there are a
> > couple of irrigation ditches/creeks (pronounced "cricks" <g>) in my
> > area.  It's cool stuff. --sue
> 
> Word of warning: I've heard that the plant many 
> Americans call "tansy", which is comnmon over 
> there, bears little or no relation to the European 
> Tansy. Both have yellow flowers, and that's about it. 
> I may be wrong, but I'd suggest checking before you 
> draw too many conclusions from your dyeing 
> experiments.

Quite right. There are two main types of tansy. The European tansy is 
the dye tansy. It is not a weed in the sense that it is restricted. 
However, the most common kind of tansy in the US is not a true tansy 
but is tansy ragwort. It is toxic to cattle and is considered a 
noxious weed in most states. (And I wouldn't be the least surprised 
if it likes creekbeds.)

Most good garden books have both of them in them, so find a good one 
and check to see which kind *you* have.

Kat Russell
<kat@grendal.rain.com>

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From h-costume-admin@indra.com  Thu Oct 10 02:49:45 2002
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Subject: Re: [h-cost] 1870's colours & fabrics - evening gown
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Date: Thu, 10 Oct 2002 02:49:52 -0400
Status: RO

Mel,

I am sorry that I don't.  I lost most of my resource information on where I
found the sources when my computer crashed a couple of years ago.

I do remember it clearly though, because pink and maroon color combination
was my favorite.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com
http://www.onlinecostumeball.com
----- Original Message -----
From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
To: <h-costume@indra.com>
Sent: Thursday, October 10, 2002 2:02 AM
Subject: Re: [h-cost] 1870's colours & fabrics - evening gown


> >I can't recall my source... I always like pink and maroon together.  Then
I
> found out that the two colors were not used together.  They were
considered
> bad taste.
>
> Do you happen to recall where & when ?
>
> 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
> this message may contain personal views which are not the views of the
> Company, unless specifically stated.
>
>
>
> _______________________________________________
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>


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Date: Thu, 10 Oct 2002 02:53:41 -0400
Status: RO

Sue (chicken lady),

I am everyone's #2 fan , I love everyone equally.  But I am the keeper of
all hand fans... and I don't share!  A girl has to be greedy sometimes!

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


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Date: Thu, 10 Oct 2002 08:02:21 +0100
Status: RO

>I am sorry that I don't.  I lost most of my resource information on where I
found the sources when my computer crashed a couple of years ago.

Never mind thanks anyway

>I do remember it clearly though, because pink and maroon color combination
was my favorite.

What a pain for you then :) I wonder why it was considered distastlful, ah
well...

Mel


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Date: Thu, 10 Oct 2002 01:07:46 -0600
Status: RO

It's the real, ordinary, garden-variety common tansy.  Double-checked
against various herb and natural dye books.  Known as Tanacetum vulgare,
aka "golden buttons."  Related to herbs costmary and alecost (T.
balsamia), pyrethrum (T. cinerariifolium), and feverfew (T.
parthenium).  According to one book, it's "a native of Britain...[and]
was known to the Anglo-Saxons,...During the Middle Ages the plant was a
popular disinfecting herb for strewing [it has a remarkably sharp, but
not unpleasant, scent], and an insect-repellant....The flowers yield a
yellow-orange dye, and were added to pot-pourri."
--Sue

Jane Williams wrote:
> 
> 
> Word of warning: I've heard that the plant many
> Americans call "tansy", which is comnmon over
> there, bears little or no relation to the European
> Tansy. Both have yellow flowers, and that's about it.
> I may be wrong, but I'd suggest checking before you
> draw too many conclusions from your dyeing
> experiments.
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Date: Thu, 10 Oct 2002 01:12:38 -0600
Status: RO

>From the pictures and descriptions in my herb books, I'd say it's pretty
clear that what we've got (that I've been referring to, at any rate) is
actual tansy.  Can't find any reference to the tansy ragwort (although
it's really late at night, and I could be just missing it).  I've got a
great local source for weed information, though.  One of the members of
my local SCA group is the head "weed guy" for one of the counties that
comprise our barony.  I'll ask him.
Our tansy does, by the way, make a beautiful yellow if you use the ripe
flower heads.
--Sue

kat@grendal.rain.com wrote:
> 
> > On 9 Oct 2002 at 20:29, Sue Clemenger wrote:
> >
> > > Uh...well, indigenous as in "growing in my yard so I didn't have to
> > > pay for it?" <g> We also have to deal with other interlopers like
> > > knapweed (great honey, decent green dye, horribly invasive weed). I
> > > knew tansy was also medieval (from recipes).  That was, in part, one
> > > of the reasons we played with it.  That, and it grows everywhere in
> > > my neighborhood--it really seems to like water and there are a
> > > couple of irrigation ditches/creeks (pronounced "cricks" <g>) in my
> > > area.  It's cool stuff. --sue
> >
> > Word of warning: I've heard that the plant many
> > Americans call "tansy", which is comnmon over
> > there, bears little or no relation to the European
> > Tansy. Both have yellow flowers, and that's about it.
> > I may be wrong, but I'd suggest checking before you
> > draw too many conclusions from your dyeing
> > experiments.
> 
> Quite right. There are two main types of tansy. The European tansy is
> the dye tansy. It is not a weed in the sense that it is restricted.
> However, the most common kind of tansy in the US is not a true tansy
> but is tansy ragwort. It is toxic to cattle and is considered a
> noxious weed in most states. (And I wouldn't be the least surprised
> if it likes creekbeds.)
> 
> Most good garden books have both of them in them, so find a good one
> and check to see which kind *you* have.
> 
> Kat Russell
> <kat@grendal.rain.com>
> 
> _______________________________________________
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Date: Thu, 10 Oct 2002 00:41:22 -0700
Status: RO

Laura-the-Geek here again.  The URL is actually:
http://www.my-drewscostumes.dk/dressdiary.html

Very pretty!

-Laura

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From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
To: "LIST COSTUME UK" <COSTUMEUK@yahoogroups.com>,
        <victorianhighsociety@yahoo.co.uk>,
        <victorianliveRolePlayUK@yahoogroups.com>,
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Subject: [h-cost] Horsehair fabric for petticoats etc
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Date: Thu, 10 Oct 2002 14:30:43 +0100
Status: RO

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Croft Mills Croft Mill
E-mail Address(es):
  info@croftmill.co.uk

Has horsehair fabric for sale it is fairly lightweight, but should come =
in usefull for Victorian costumes !

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
this message may contain personal views which are not the views of the
Company, unless specifically stated.
Tel: +44 116 260 4442=20
Fax:  +44 116 260 1396=20

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<DIV>Has horsehair fabric for sale it is fairly lightweight, but should =
come in=20
usefull for Victorian costumes !</DIV>
<DIV>&nbsp;</DIV>
<DIV>Mel</DIV>
<DIV><FONT color=3D#000000 size=3D2>This e-mail, and any attachment, is=20
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Date: Thu, 10 Oct 2002 10:12:40 -0400
Status: RO

        You have every right to be pleased, with both the embroidery and
the photos.  I wish I had a tenth of your talent.  What an honor it is to
know you, even from a long distance.

Lalah
Never give up, Never surrender
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Subject: [h-cost] Information on Castle Furnishings?
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Date: Thu, 10 Oct 2002 10:10:58 -0500
Status: RO

Does anyone know how long it should take to get books from Castle Furnishings?
I placed an order Sept. 19th and have not received the order.  Nor have I receieved a 
reply to my inquiry regarding my order?

Thanks
-- 
Linda Thompson

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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 10 Oct 2002 18:02:00 +0200
Status: RO

Dear Lalah, and all others who enjoyed my embroidery.
Thanks a lot for your warm friendly phraise. Sometimes you just do it, and
dont worry how on earth it will get along. I dont get rich of this projekt,
but if i didnt say yes to it, i would never had made it.
It is when i do my best, i feel most alive, and also the most happy person
on earth.
Thanks again

Bjarne
----- Original Message -----
From: "Lalah T Tillinghast" <catpurson@juno.com>
To: <h-costume@indra.com>
Sent: Thursday, October 10, 2002 4:12 PM
Subject: Re: [h-cost] dress diary.


>         You have every right to be pleased, with both the embroidery and
> the photos.  I wish I had a tenth of your talent.  What an honor it is to
> know you, even from a long distance.
>
> Lalah
> Never give up, Never surrender
> _______________________________________________
> 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 Oct 10 12:57:09 2002
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Subject: [h-cost] Costume Lectures in DC Area
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Date: Thu, 10 Oct 2002 12:56:20 EDT
Status: RO


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The Riversdale House Museum presents two costume lectures this fall:
Oct. 23  Costumes of Senator Hattie Caraway's era: 1900-1050 (in conjunction 
with the exhibit, "A Woman's Place is in the Senate," commemorating the first 
woman to be elected to the U.S. Senate) presented by costume historian Ann 
Wass

Dec. 5  Looking for the Perfect Bra  presented by Colleen Gau, co-author of 
"Uplift: The Bra in America"  (She will also be signing her book.)

Lectures are at 7:00 p.m.  Cost is $5.00 each.
Riversdale is located at 4811 Riverdale Rd. in Riverdale Park, Maryland.

For more information call 301-864-0420.

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">The Riversdale House Museum presents two costume lectures this fall:<BR>
Oct. 23&nbsp; Costumes of Senator Hattie Caraway's era: 1900-1050 (in conjunction with the exhibit, "A Woman's Place is in the Senate," commemorating the first woman to be elected to the U.S. Senate) presented by costume historian Ann Wass<BR>
<BR>
Dec. 5&nbsp; Looking for the Perfect Bra&nbsp; presented by Colleen Gau, co-author of "Uplift: The Bra in America"&nbsp; (She will also be signing her book.)<BR>
<BR>
Lectures are at 7:00 p.m.&nbsp; Cost is $5.00 each.<BR>
Riversdale is located at 4811 Riverdale Rd. in Riverdale Park, Maryland.<BR>
<BR>
For more information call 301-864-0420.</FONT></HTML>

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From: "Janet  Davis" <castle@erie.net>
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References: <Pine.LNX.4.10.10210092118250.15708-100000@shell.nightowl.net>
Subject: Re: [h-cost] coloured linen
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Date: Thu, 10 Oct 2002 13:26:26 -0400
Status: RO

While they are from a totally opposite part of the world, some of the
documents in the Cairo Geniza refer to linen being used for outerwear and in
colors.  Interestingly, the word "linen" rarely appears in the documents -
the most common reference is to "Dabiqi" (a name derived from a town where
this type of linen was produced).  Climate probably has a lot to do with
this - linen is common, silk even more so but wool is not often mentioned or
apparently (given the prices) much valued.

Janet

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Date: Thu, 10 Oct 2002 12:34:56 -0500
Status: RO

"Linda J. Thompson" wrote:
> 
> Does anyone know how long it should take to get books from Castle Furnishings?
> I placed an order Sept. 19th and have not received the order.  Nor have I receieved a
> reply to my inquiry regarding my order?

I have no experience with this company, but having been on both the
shipping and the receiving end of things I can think of several issues
that will affect shipping time:  whether the items are in stock, where
they're shipped from, where they're shipped to, how they're shipped,
etc.  I just checked their web page and they state they ship book rate. 
Basically that means the post office ships the package on a space
available basis and it can take 4-6 weeks to arrive.  Personally, I
always pay extra (usually only a dollar or two) for priority or UPS
shipping; I've had too many book rate shipments never arrive and I don't
trust it (others have had good experiences, YMMV).  What did Castle
Furnishings say when you contacted them about it?

--Charlene

-- 
If a painting can be forged well enough to fool experts, why is the
original so valuable?  -- George Carlin
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Date: Thu, 10 Oct 2002 18:42:20 +0000
Status: RO

<<Does anyone know how long it should take to get books 
from Castle Furnishings? I placed an order Sept. 19th 
and have not received the order.  Nor have I receieved a
reply to my inquiry regarding my order?>>

I've purchased books from Leah Janette/Janet Davis of 
Castle Furnishings many, many times.  If there is a 
delay in receiving my order it has usually been because 
she's been away merchanting at an event or two or three.
AFAIK, the company is comprised of herself and one other 
person only.

I would suggest sending her another email, as they do 
occasionally get lost in the ether so to speak.

If all else fails, please contact me off list and I'll 
contact her by telephone to get you two in touch.

HTH,

Karaznina Semenova vdova Iul'iana, BMDL, AEthelmearc
Juliana Taper, Pittsburgh, PA 


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Subject: [h-cost] Castle Replied today
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Date: Thu, 10 Oct 2002 13:52:18 -0500
Status: RO

My order was set aside to see if something was still in stock (unfortunately it's no 
longer available)
thanks for the information though on book rate... I had no idea it could sit around in the 
Post Office that long.
I offer regular and priority mailing for my store so had no experience with book rate (I 
don't sell books)  ;D
-- 
Linda Thompson

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

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Subject: [h-cost] new book on Greenland textiles!!
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Date: Thu, 10 Oct 2002 08:02:11 -0400
Status: RO

This was posted by Nancy Spies on the Arts-list:

-----Original Message-----
 On Behalf Of SNSpies@aol.com
Sent: Thursday, October 10, 2002 11:36 AM
Subject: [sca-arts] new book on Greenland textiles!!

I have just heard from Else Oestergaard that she has a new book coming
out soon on the Norse textiles from Greenland.  Titled "Woven Into the
Past: Textile Finds from Norse Greenland", the Danish version will be
out sometime after Christmas with the English version appearing later. 

To further whet your appetite, Karen Finch just told me that Else has
made "a particular study of the seams, including why they are different
in different places.  Pre-sewing machine seams each serves a different
purpose."  

I will let you know more information as I receive it.  

 (Nancy Spies)
www.weavershand.com/ArelateStudio.html ---

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

Wow! Can't wait to get this one!

Linda



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From h-costume-admin@indra.com  Thu Oct 10 16:50:55 2002
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Date: Thu, 10 Oct 2002 16:50:35 -0400
Status: RO

Bjarne... I was already in awe of your general costuming and lace 
skills... *now* I have to envy your embroidery skills as well!

Sigh... I only wish that my non-counted satin stitch would look that 
nice (bane of my embroidery existance that stitch is...(


-Elisabeth

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From h-costume-admin@indra.com  Thu Oct 10 17:54:50 2002
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Date: Thu, 10 Oct 2002 23:57:02 +0200
Status: RO

Dear Elisabeth.
Chee! many many thanks for your lovely words, all i will say is, that you
can if you practice, it is all a matter of patience and time, and also the
will to do it counts a lot.

Bjarne


----- Original Message -----
From: "Liz / Cozit" <cozit@comcast.net>
To: <h-costume@indra.com>
Sent: Thursday, October 10, 2002 10:50 PM
Subject: [h-cost] Re: dress diary


> Bjarne... I was already in awe of your general costuming and lace
> skills... *now* I have to envy your embroidery skills as well!
>
> Sigh... I only wish that my non-counted satin stitch would look that
> nice (bane of my embroidery existance that stitch is...(
>
>
> -Elisabeth
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Janet  Davis" <castle@erie.net>
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Subject: Re: [h-cost] Information on Castle Furnishings?
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Date: Thu, 10 Oct 2002 19:24:46 -0400
Status: RO

> Does anyone know how long it should take to get books from Castle
Furnishings?

Well....it really shouldn't take very long (unless something is out of
stock) but sometimes I
* am incredibly busy and only get to what is demanding immediate attention
* am away for a long event or several in a row
*get in a dreary mood where things just don't get done
* have other explanations of various problems
I never charge a credit card until something is ready to ship.  Feel free to
nag me and definately let me know if there is a need for something at a
particular time.

As far as shipping things book rate, over the last couple years my
experience has been excellent.  I have even shipped things on Friday (from
Erie, PA) and had them delivered on Saturday in Pittsburgh before I even got
the e-mail sent to let the customer know it was coming.  I sometimes buy
out-of-print books if I find a good deal on e-bay or such and getting things
book rate from other places has always worked out well.  (Although I will
occasionally blame the Post Office if something is late, actually I think
they do a great job and are underappreciated.)

Janet
Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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Subject: [h-cost] Missed Post:Costume Lectures in DC Area
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Date: Thu, 10 Oct 2002 22:32:52 -0400
Status: RO

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Can someone repost this? I am on digest and this item was supposed to be
part of digest #1364, but this was not included.

Thanks in advance,

Allison

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Subject: [h-cost] new book on Greenland textiles!!
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I have just heard from Else Oestergaard that she has a new book coming out 
soon on the Norse textiles from Greenland.  Titled "Woven Into the Past: 
Textile Finds from Norse Greenland", the Danish version will be out sometime 
after Christmas with the English version appearing later. 

To further whet your appetite, Karen Finch just told me that Else has made "a 
particular study of the seams, including why they are different in different 
places.  Pre-sewing machine seams each serves a different purpose."  

I will let you know more information as I receive it.  

Ingvild

Ingvild Josefsdatter, OL
(Nancy Spies)
Barony of Bright Hills
Kingdom of Atlantia
www.weavershand.com/ArelateStudio.html

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I have just heard from Else Oestergaard that she has a new book coming out soon on the Norse textiles from Greenland.&nbsp; Titled "Woven Into the Past: Textile Finds from Norse Greenland", the Danish version will be out sometime after Christmas with the English version appearing later. <BR>
<BR>
To further whet your appetite, Karen Finch just told me that Else has made "a particular study of the seams, including why they are different in different places.&nbsp; Pre-sewing machine seams each serves a different purpose."&nbsp; <BR>
<BR>
I will let you know more information as I receive it.&nbsp; <BR>
<BR>
Ingvild<BR>
<BR>
Ingvild Josefsdatter, OL<BR>
(Nancy Spies)<BR>
Barony of Bright Hills<BR>
Kingdom of Atlantia<BR>
www.weavershand.com/ArelateStudio.html</FONT></HTML>

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Subject: [h-cost] Re: new book on Greenland textiles!!
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Date: Thu, 10 Oct 2002 12:16:32 -0400
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ohghod, something ELSE to spend my (non-existent) money on....

Ingvild, you, you, you ENABLER you!!!

Ro,=20
house, dog & kitten poor....

  ----- Original Message -----=20
  From: SNSpies@aol.com=20
  To: h-costume@mail.indra.com ; h-needlework@ansteorra.org ; =
atlantia@atlantia.sca.org ; Norsefolk@yahoogroups.com ; =
sca-arts@listsvr.pca.net ; sca-garb@list.uvm.edu ; =
SCA-Laurels@ansteorra.org ; SCAWeaving@yahoogroups.com ; =
ekaterina@adelphia.net ; barysears@msn.com ; gonnella@stsci.edu ; =
Noramunro@aol.com ; charles_jones@cap-police.senate.gov ; =
Weaver8002@aol.com ; loisrey@erols.com ; JulianaCardoso1@aol.com ; =
telsing@hotmail.com ; ladyro@annapolis.net ; lollyr@erols.com ; =
tressena2000@yahoo.com ; SuTillery@comcast.net ; rico_ratso@yahoo.com ; =
mbrunzie@yahoo.com=20
  Sent: Thursday, October 10, 2002 11:36 AM
  Subject: new book on Greenland textiles!!


  I have just heard from Else Oestergaard that she has a new book coming =
out soon on the Norse textiles from Greenland.  Titled "Woven Into the =
Past: Textile Finds from Norse Greenland", the Danish version will be =
out sometime after Christmas with the English version appearing later.=20

  To further whet your appetite, Karen Finch just told me that Else has =
made "a particular study of the seams, including why they are different =
in different places.  Pre-sewing machine seams each serves a different =
purpose." =20

  I will let you know more information as I receive it. =20

  Ingvild

  Ingvild Josefsdatter, OL
  (Nancy Spies)
  Barony of Bright Hills
  Kingdom of Atlantia
  www.weavershand.com/ArelateStudio.html=20

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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>ohghod, something ELSE to spend my (non-existent) =
money=20
on....</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Ingvild, you, you, you ENABLER you!!!</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Ro, </FONT></DIV>
<DIV><FONT size=3D2>house, dog &amp; kitten poor....</FONT></DIV>
<DIV>&nbsp;</DIV>
<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=3DSNSpies@aol.com =
href=3D"mailto:SNSpies@aol.com">SNSpies@aol.com</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
title=3Dh-costume@mail.indra.com=20
  href=3D"mailto:h-costume@mail.indra.com">h-costume@mail.indra.com</A> =
; <A=20
  title=3Dh-needlework@ansteorra.org=20
  =
href=3D"mailto:h-needlework@ansteorra.org">h-needlework@ansteorra.org</A>=
 ; <A=20
  title=3Datlantia@atlantia.sca.org=20
  =
href=3D"mailto:atlantia@atlantia.sca.org">atlantia@atlantia.sca.org</A> =
; <A=20
  title=3DNorsefolk@yahoogroups.com=20
  =
href=3D"mailto:Norsefolk@yahoogroups.com">Norsefolk@yahoogroups.com</A> =
; <A=20
  title=3Dsca-arts@listsvr.pca.net=20
  href=3D"mailto:sca-arts@listsvr.pca.net">sca-arts@listsvr.pca.net</A> =
; <A=20
  title=3Dsca-garb@list.uvm.edu=20
  href=3D"mailto:sca-garb@list.uvm.edu">sca-garb@list.uvm.edu</A> ; <A=20
  title=3DSCA-Laurels@ansteorra.org=20
  =
href=3D"mailto:SCA-Laurels@ansteorra.org">SCA-Laurels@ansteorra.org</A> =
; <A=20
  title=3DSCAWeaving@yahoogroups.com=20
  =
href=3D"mailto:SCAWeaving@yahoogroups.com">SCAWeaving@yahoogroups.com</A>=
 ; <A=20
  title=3Dekaterina@adelphia.net=20
  href=3D"mailto:ekaterina@adelphia.net">ekaterina@adelphia.net</A> ; <A =

  title=3Dbarysears@msn.com =
href=3D"mailto:barysears@msn.com">barysears@msn.com</A>=20
  ; <A title=3Dgonnella@stsci.edu=20
  href=3D"mailto:gonnella@stsci.edu">gonnella@stsci.edu</A> ; <A=20
  title=3DNoramunro@aol.com =
href=3D"mailto:Noramunro@aol.com">Noramunro@aol.com</A>=20
  ; <A title=3Dcharles_jones@cap-police.senate.gov=20
  =
href=3D"mailto:charles_jones@cap-police.senate.gov">charles_jones@cap-pol=
ice.senate.gov</A>=20
  ; <A title=3DWeaver8002@aol.com=20
  href=3D"mailto:Weaver8002@aol.com">Weaver8002@aol.com</A> ; <A=20
  title=3Dloisrey@erols.com =
href=3D"mailto:loisrey@erols.com">loisrey@erols.com</A>=20
  ; <A title=3DJulianaCardoso1@aol.com=20
  href=3D"mailto:JulianaCardoso1@aol.com">JulianaCardoso1@aol.com</A> ; =
<A=20
  title=3Dtelsing@hotmail.com=20
  href=3D"mailto:telsing@hotmail.com">telsing@hotmail.com</A> ; <A=20
  title=3Dladyro@annapolis.net=20
  href=3D"mailto:ladyro@annapolis.net">ladyro@annapolis.net</A> ; <A=20
  title=3Dlollyr@erols.com =
href=3D"mailto:lollyr@erols.com">lollyr@erols.com</A> ;=20
  <A title=3Dtressena2000@yahoo.com=20
  href=3D"mailto:tressena2000@yahoo.com">tressena2000@yahoo.com</A> ; <A =

  title=3DSuTillery@comcast.net=20
  href=3D"mailto:SuTillery@comcast.net">SuTillery@comcast.net</A> ; <A=20
  title=3Drico_ratso@yahoo.com=20
  href=3D"mailto:rico_ratso@yahoo.com">rico_ratso@yahoo.com</A> ; <A=20
  title=3Dmbrunzie@yahoo.com=20
  href=3D"mailto:mbrunzie@yahoo.com">mbrunzie@yahoo.com</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, October 10, =
2002 11:36=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> new book on Greenland=20
  textiles!!</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
face=3DArial size=3D2=20
  FAMILY=3D"SANSSERIF">I have just heard from Else Oestergaard that she =
has a new=20
  book coming out soon on the Norse textiles from Greenland.&nbsp; =
Titled "Woven=20
  Into the Past: Textile Finds from Norse Greenland", the Danish version =
will be=20
  out sometime after Christmas with the English version appearing later. =

  <BR><BR>To further whet your appetite, Karen Finch just told me that =
Else has=20
  made "a particular study of the seams, including why they are =
different in=20
  different places.&nbsp; Pre-sewing machine seams each serves a =
different=20
  purpose."&nbsp; <BR><BR>I will let you know more information as I =
receive=20
  it.&nbsp; <BR><BR>Ingvild<BR><BR>Ingvild Josefsdatter, OL<BR>(Nancy=20
  Spies)<BR>Barony of Bright Hills<BR>Kingdom of Atlantia<BR><A=20
  =
href=3D"http://www.weavershand.com/ArelateStudio.html">www.weavershand.co=
m/ArelateStudio.html</A></FONT>=20
  </FONT></BLOCKQUOTE></BODY></HTML>

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In a message dated 10/10/2002 10:35:27 PM Eastern Daylight Time, 
athurman@cybergal.com writes:


> Can someone repost this? I am on digest and this item was supposed to be 
> part of digest #1364, but this was not included.
> 
> 

The Riversdale House Museum presents two costume lectures this fall:
Oct. 23  Costumes of Senator Hattie Caraway's era: 1900-1050 (in conjunction 
with the exhibit, "A Woman's Place is in the Senate," commemorating the first 
woman to be elected to the U.S. Senate) presented by costume historian Ann 
Wass

Dec. 5  Looking for the Perfect Bra  presented by Colleen Gau, co-author of 
"Uplift: The Bra in America"  (She will also be signing her book.)

Lectures are at 7:00 p.m.  Cost is $5.00 each.
Riversdale is located at 4811 Riverdale Rd. in Riverdale Park, Maryland.

For more information call 301-864-0420. 

Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/10/2002 10:35:27 PM Eastern 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">Can someone repost this? I am on digest and this item was supposed to be part of digest #1364, but this was not included.</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
The Riversdale House Museum presents two costume lectures this fall:<BR>
Oct. 23&nbsp; Costumes of Senator Hattie Caraway's era: 1900-1050 (in conjunction with the exhibit, "A Woman's Place is in the Senate," commemorating the first woman to be elected to the U.S. Senate) presented by costume historian Ann Wass<BR>
<BR>
Dec. 5&nbsp; Looking for the Perfect Bra&nbsp; presented by Colleen Gau, co-author of "Uplift: The Bra in America"&nbsp; (She will also be signing her book.)<BR>
<BR>
Lectures are at 7:00 p.m.&nbsp; Cost is $5.00 each.<BR>
Riversdale is located at 4811 Riverdale Rd. in Riverdale Park, Maryland.<BR>
<BR>
For more information call 301-864-0420.</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> <BR>
<BR>
Ann Wass</FONT></HTML>

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Subject: [h-cost] post office/wide-laced gowns/movie Elizabethan dress
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Date: Fri, 11 Oct 2002 11:52:23 -0700 (PDT)
Status: RO

Thanks for the kind words about the post office.  We
postal gremlins (we're too grumpy on the graveyard
shift to be elves) like to move out mail as rapidly as
possible as it's our mail too and I always want my
stuff yesterday if not sooner.  Book rate goes by
truck from place to place, which is why it's cheaper
while almost everything else goes by plane.  We don't
usually mind getting blamed for delays as it does
sometimes happen but for the most part the system
works pretty well.  The volume we work is staggering,
rather like Bjarne's embroidery.  I personally process
for delivery 164,000 pieces of mail on a light night
and I'm only one of 8 machines doing business size
letters.  We have 3 more machines doing magazine size
mail and another 1 doing packages.  Our little
facility processes around 1 million pieces of mail a
night and that's just the easy stuff that can go
through a machine.  I don't have good stats on the
pieces that are done by hand or on the other 2 shifts.
 We do have a dress code for safety too which is
sometimes really strange.  We don't have uniforms
unless you work with the public and those are pretty
odd too from a clothing point of view but we did
recently discuss school uniforms so I won't go into
detail unless someone asks.
    Next topic, re the recent discussion of wide-laced
gowns on women check out Bronwyn Cosgrove's the
Complete History of Costume and Fashion pg 101, lower
right-hand corner.  There's a lady in a pink gown with
short sleeves worn over a light blue undergown with
bishop sleeves.  The overdress bodice goes over the
shoulders down to the waist in a wide, truncated V
which laces across.  You can see the side of the
bodice well enough to see the lacing cords' pattern. 
I cannot refernce the painting as all the caption says
is Bruges c.1500.  The undergown has a low neck and
you can see the white of the shift(?) as it goes up to
the neck in a jewel neckline.  It's a really good
source if you wanted to reproduce the gown as the only
thing I can't see is the back.  Hopes this adds
something to the recent discussion.
    Just finished watching Elizabeth with Kate Winslet
and wondered if there is any period evidence for the
gown worn dancing with the black doublet and blackwork
sleeves and underskirt?  Also the brocade overdress
when she goes out riding after Dudley?  The overdress
is brocade with a shawl collar and closes at the front
waist, collar turned back above and gown open in
front.
                        Cassandra (arguing with my
daughter's lace overdress again)

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Subject: [h-cost] Fwd: Archaeological Footwear
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Date: Sat, 12 Oct 2002 14:24:58 +0200
Status: RO


>From: "Rainer Atzbach M.A." <rainer.atzbach@ggeo.uni-bamberg.de>
>Subject: Rezension Stepping Through Time
>Date: Thu, 10 Oct 2002 15:47:03 +0200
>------------------------------------------------------------------------
>
>Olaf Goubitz /Carol van Driel-Murray/Willy Groenman-van Waateringe: Stepping
>through Time. Archaeological Footwear from Prehistoric Times until 1800.
>Edited by the Stichting Promotie Archeologie, Zwolle 2001. 397 S., ca. 820
>s/w Abb. ISBN 90-801044-6-9. Preis: NL 55 EUR, B+D 60 EUR, GB (Oxbow) 35 £,
>übriges Europa 70 EUR, USA (Oxbow/ David Brown) 63 $.
>Infobroschüre als kostenloser Download:
>http://www.archeologie-spa.nl/pdf/pdf001.zip
>
>Summary:
>
>This book unites studies of the retired restorer Olaf Goubitz, the
>archaeologist Carol van-Driel Murray and the biologist Willy Groenman-van
>Waateringe, who belong to the most important researchers in European
>footwear. Olaf Goubitz' part deals with the medieval and postmedieval shoes
>in the Netherlands, which could be seen being paradigmatical for the whole
>of Europe. Though in some passages his text is lacking structure, it
>provides a plenty of information to the calceological history and the way of
>recording shoes. Moreover his detailed and clear drawings are worth to be
>seen - in archaeology nothing lasts longer than a well drawn reconstruction.
>Carol Driel-Murray gives a short overview to the Roman shoes worn in the
>former North-West provinces Gallia Belgica and Germania Inferior considering
>typology and craftmanship as well. Willy Groenman-van Waateringe completes
>the trilogy with a very small essay on Dutch and European prehistoric finds
>also regarding their importance as archaeological source material. Although
>this compendium is not the expected well structured handbook on European
>footwear, everyone who is occupied with historical shoes and shoemaker's
>craft should study this book.


Rezensiert für H-Museum und Virtual Library Museen von
Rainer Atzbach M.A., Lehrstuhl für Archäologie des Mittelalters und der
Neuzeit, Universität Bamberg
E-mail: rainer.atzbach@ggeo.uni-bamberg.de
WWW: www.uni-bamberg.de/~ba5am1



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From: Kevin + Mara <lindo@radix.net>
Subject: Re: [h-cost] keeping it up
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Date: Sat, 12 Oct 2002 08:06:04 -0400
Status: RO

In fact, doesn't the corset in Arnold's _Patterns of Fashion_ (I forget the 
name of the wearer) have eyelets for just this purpose -- i.e., keeping up 
the farthingale?  So it's a period solution. <G>

Cheers,
Mara

At 10:15 PM 10/8/2002 -0500, you wrote:
>I can't tell from your description if you are wearing a corset or not.
>If so, I hope it has straps.  If you are and it does, you can use the
>"points" method described by Rebecca to tie your farthingale to your
>corset.  Except for your bloomers (yer on yer own there!) everything
>else rests on top, and nothing falls down.  This method has saved me all
>sorts of back pain, for while I do have hips, they don't appreciate
>taking the full weight of all that garb.  To see a picture and
>description of what I did, go to
>http://www.faucet.net/costume/period/under.html
>
>If you're not wearing a corset, you might consider one (with straps!)
>for your next effort.  I know it seems like too many layers, but IMHO it
>certainly beats making _every_ bodice into a corset instead.
>
>Margo's suggestion of sewing the waistband of the skirt into the bodice
>is a very good one--unless the bodice opens in the front and the skirt
>in the back, which has sometimes been my quandary in the past with this 
>method.
>
>Best of luck,
>Melanie Schuessler

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Date: Sat, 12 Oct 2002 10:26:53 -0500
Status: RO

Kevin + Mara wrote:
> 
> In fact, doesn't the corset in Arnold's _Patterns of Fashion_ (I forget the
> name of the wearer) have eyelets for just this purpose -- i.e., keeping up
> the farthingale?  So it's a period solution. <G>

Exactly where I got the idea!  (Amazing how when you do it the way they
did it, it works...)

;)
Melanie
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From h-costume-admin@indra.com  Sat Oct 12 16:23:44 2002
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Subject: [h-cost] 1861evening gown - help w/color of accessories
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Date: Sat, 12 Oct 2002 13:19:56 -0700
Status: RO

My next project (among many) is the 1861-4 evening gown from Patterns of 
Fashion 2, on page 22. I've always loved that very elegant sweep of lace 
from the center front, and I actually have a very old black lace stole that 
will be perfect for that. It's not as ornate as the Chantilly lace in the 
original, but I think I'm going to fancy it up with some lace appliques.

I found this wonderful forest green striped cotton/satin at (of all places) 
JoAnns that will be perfect. It's not too heavy, so it won't drag down, but 
it's heavy enough to drape nicely with lots of body. No problem doing the 
lace trim in black, but what about the undersleeves? The original fabric 
was black and pink striped, and the udnersleeves were pink silk, but I'm 
working with all forest green and black lace. I was thinking a sheer ivory 
for the sleeves but I'm not sure. I don't think a sheer black would look 
good at all, but there's no other color in the dress to pull from. I think 
green undersleeves would look pretty awful. Any suggestions other than 
ivory for the undersleeves?

Also, what color gloves would should be worn? Most of the period references 
show wrist length gloves for evening wear, even with elbow-length sleeves, 
such as these, but I'm not sure what color they should be. Black seems 
logical to tie in with the color of the gown, but that's seems too 
reminiscent of mourning. But if everything on the dress is black or green 
(not counting hte as yet to be decided undersleeves), wouldn't white gloves 
look odd?

I'm now going to start the hunt for the right Chantilly lace for the trim. 
Hopefully it can be found somewhere in downtown Los Angeles.

Thanks,
Julie


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Subject: Re: [h-cost] keeping it up
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Date: Sat, 12 Oct 2002 09:03:30 -0700
Status: RO

At 8:06 AM -0400 10/12/02, Kevin + Mara wrote:
>In fact, doesn't the corset in Arnold's _Patterns of Fashion_ (I 
>forget the name of the wearer) have eyelets for just this purpose -- 
>i.e., keeping up the farthingale?  So it's a period solution. <G>

And I could swear that I've seen 16th c. German pictures of 
dress-makers' shops with something hanging on display that looked 
like a farthingale attached to _some_ sort of top -- I'd have to dig 
them up to see if there was clear detail, but my recollection is that 
the top was vaguely a sleeveless, low-neckline shape, so the 
relationship, if any, to a corset (over? under? equals?) is unclear 
in my memory.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Sat, 12 Oct 2002 17:17:56 -0500 (CDT)
Status: RO


On Sat, 12 Oct 2002, Heather Rose Jones wrote:

> And I could swear that I've seen 16th c. German pictures of
> dress-makers' shops with something hanging on display that looked like
> a farthingale attached to _some_ sort of top -- I'd have to dig them
> up to see if there was clear detail, but my recollection is that the
> top was vaguely a sleeveless, low-neckline shape, so the relationship,
> if any, to a corset (over? under? equals?) is unclear in my memory.

There's a print in Jost Amman's Book of Trades that shows a chemise or
possibly an underdress hanging in the back of a tailor's shop. The chemise
has fine pleats in the skirt that are apparently being "set" in place by a
series of several narrow horizontal pressboards clamped over the garment
at intervals. A weight hangs from the bottom of the whole business.

Joseph Strutt misinterpreted the pressboards as being hoops, and redrew
the image as though these horizontal lines were boning placed on the
outside of the garment's skirt. I wouldn't be surprised if later books
picked up his interpretation -- so many later books redrew from Strutt.

Perhaps that's the image you're remembering?

--Robin

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Subject: Re: [h-cost] 1861evening gown - help w/color of accessories
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Date: Sun, 13 Oct 2002 01:04:04 +0200
Status: RO

Hi there.
Not that i am particular clever with this period or anything, but i think
that ivory for the sleaves would be quite fine.
And you should be able to find fine machinemade Chantilly laces in black, at
least here in Copenhagen i have seen it very often.
How about ivory gloves, or cream coloured? white would be two hard in
colour, but i am not sure!

Bjarne
----- Original Message -----
From: <Kiloran@worldnet.att.net>
To: <h-costume@indra.com>
Sent: Saturday, October 12, 2002 10:19 PM
Subject: [h-cost] 1861evening gown - help w/color of accessories


> My next project (among many) is the 1861-4 evening gown from Patterns of
> Fashion 2, on page 22. I've always loved that very elegant sweep of lace
> from the center front, and I actually have a very old black lace stole
that
> will be perfect for that. It's not as ornate as the Chantilly lace in the
> original, but I think I'm going to fancy it up with some lace appliques.
>
> I found this wonderful forest green striped cotton/satin at (of all
places)
> JoAnns that will be perfect. It's not too heavy, so it won't drag down,
but
> it's heavy enough to drape nicely with lots of body. No problem doing the
> lace trim in black, but what about the undersleeves? The original fabric
> was black and pink striped, and the udnersleeves were pink silk, but I'm
> working with all forest green and black lace. I was thinking a sheer ivory
> for the sleeves but I'm not sure. I don't think a sheer black would look
> good at all, but there's no other color in the dress to pull from. I think
> green undersleeves would look pretty awful. Any suggestions other than
> ivory for the undersleeves?
>
> Also, what color gloves would should be worn? Most of the period
references
> show wrist length gloves for evening wear, even with elbow-length sleeves,
> such as these, but I'm not sure what color they should be. Black seems
> logical to tie in with the color of the gown, but that's seems too
> reminiscent of mourning. But if everything on the dress is black or green
> (not counting hte as yet to be decided undersleeves), wouldn't white
gloves
> look odd?
>
> I'm now going to start the hunt for the right Chantilly lace for the trim.
> Hopefully it can be found somewhere in downtown Los Angeles.
>
> Thanks,
> Julie
>
>
> _______________________________________________
> 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 Oct 12 19:40:51 2002
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Subject: [h-cost] My latest sewing project is finally online
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Date: Sun, 13 Oct 2002 09:40:58 +1000 (EST)
Status: RO

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Greetings to the list,

I finished my latest project by the October 1st deadline I had, although it's taken me a while to get the photos taken and processed. But they're finally done.

I've done a web page with the info and pics to make it easier to see them, if anyone would like to. I have only two gripes with my photos - my scoliosis was playing up so I look less than happy in some shots (I've only used the ones that didn't have me 
looking totally murderous) and my 13 year old tried very hard to centre the ponytail for the ribbon-wrapped hairdo but pulled it out of centre while wrapping my braids (I can't complain - I was glad to have her help :) ) Oh, that and the fact that the camicia shots were washed out with flash, and not clear enough without flash, and my 15 year old el cheapo camera can't focus close-up for quids! 

A-hem.... :)

You can find the page here:

http://members.tripod.com/realm_of_venus/mygarb/index.htm


Bella




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<P><FONT size=3>Greetings to the list,</FONT></P>
<P><FONT size=3>I finished my latest project by the October 1st deadline I had, although&nbsp;it's taken me a while to get the photos taken and processed. But they're finally done.<BR><BR>I've done a web page with the info and pics to make it easier to see them, if anyone would like to. I have only two gripes with my photos - my scoliosis was playing up so I look less than happy in some shots (I've only used the ones that didn't have me <BR>looking totally murderous) and my 13 year old tried very hard to centre the ponytail for the ribbon-wrapped hairdo but pulled it out of centre while wrapping my braids (I can't complain - I was glad to have her help :) ) Oh, that and the fact that the camicia shots were washed out with flash, and not clear enough without flash, and my 15 year old el cheapo camera can't focus close-up for quids! </FONT></P>
<P><FONT size=3>A-hem.... :)<BR><BR>You can find the page here:<BR><BR></FONT><A href="http://members.tripod.com/realm_of_venus/mygarb/index.htm" target=_blank><FONT color=#003399 size=3>http://members.tripod.com/realm_of_venus/mygarb/index.htm</FONT></A><BR><BR><BR><FONT size=3>Bella<BR></P></FONT><p><br><hr size=1>
<a href="http://au.rd.yahoo.com/mail/tagline/?http://au.mobile.yahoo.com/mobile/sms/msgr/index.html" target=_blank><b>Yahoo! Messenger for SMS</b></a>
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From h-costume-admin@indra.com  Sat Oct 12 20:13:11 2002
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Subject: Re: [h-cost] 1861evening gown - help w/color of accessories
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Date: Sat, 12 Oct 2002 19:13:58 -0500
Status: RO

Well, I like your choice of color - but maybe that's because I did 
almost the exact same thing about 10 years ago!  I made my dress out of 
forest green bengaline, but with white lace, so the white gloves didn't 
look odd at all.  Have fun!

Karen

Kiloran@worldnet.att.net wrote:

> My next project (among many) is the 1861-4 evening gown from Patterns 
> of Fashion 2, on page 22. I've always loved that very elegant sweep of 
> lace from the center front, and I actually have a very old black lace 
> stole that will be perfect for that. It's not as ornate as the 
> Chantilly lace in the original, but I think I'm going to fancy it up 
> with some lace appliques.
>
> I found this wonderful forest green striped cotton/satin at (of all 
> places) JoAnns that will be perfect. It's not too heavy, so it won't 
> drag down, but it's heavy enough to drape nicely with lots of body. No 
> problem doing the lace trim in black, but what about the undersleeves? 
> The original fabric was black and pink striped, and the udnersleeves 
> were pink silk, but I'm working with all forest green and black lace. 
> I was thinking a sheer ivory for the sleeves but I'm not sure. I don't 
> think a sheer black would look good at all, but there's no other color 
> in the dress to pull from. I think green undersleeves would look 
> pretty awful. Any suggestions other than ivory for the undersleeves?
>
> Also, what color gloves would should be worn? Most of the period 
> references show wrist length gloves for evening wear, even with 
> elbow-length sleeves, such as these, but I'm not sure what color they 
> should be. Black seems logical to tie in with the color of the gown, 
> but that's seems too reminiscent of mourning. But if everything on the 
> dress is black or green (not counting hte as yet to be decided 
> undersleeves), wouldn't white gloves look odd?
>
> I'm now going to start the hunt for the right Chantilly lace for the 
> trim. Hopefully it can be found somewhere in downtown Los Angeles.
>
> Thanks,
> Julie
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Sat, 12 Oct 2002 21:11:02 -0400
Status: RO

Hi, All. If what Robin is saying is the case, and the Tacuinum evidence refers
to the wearing of linen garments only made of white linen (and made by women),
then does this say that in Southern Italy in that period it was possible,
without shame, to walk around in ones underthings? Or perhaps linen was worn
as outergarments, but only in white? There are a lot of interesting
connections made here, but only a few of them are complete. Mike T. BTW, is
there historical evidence of dyeing completed garments, made from imported
fabrics that come in only white?


> So, that last bit might serve as some supporting evidence that linen was
> used for gowns, not just underwear, in Southern European summers. But it's
> not definitive.
>
> Interestingly, the illumination in the edition I have here, which was
> taken from a Northern Italian manuscript of the Tacuinum, shows
> seamstresses at work cutting plain white linen from a bolt, and sewing
> plain white linen. The shapes of the pieces are not recognizable as any
> particular kind of clothing, just yardage. By contrast, the page on wool
> in one manuscript shows a male tailor fitting a man's red gown, and his
> assistant is working on a greyish-blue gown, while a green gown lies on a
> table. In the wool illustration in another Tacuinum manuscript from the
> same region, the scene is much the same, but shows bolts as well as
> finished garments, of red and blue, again being sewn and fitted by men to
> men.
>
> So there's always the chance that while the Arabic text referred to use of
> linen gowns, the Northern Italian illuminator may have known linen only in
> its bleached form, which may have been sewn (by women) into underwear
> rather than tailored (by men) into gowns.  It's impossible to tell for
> sure, from this little sliver of information, but there's also not enough
> here to definitively support the idea of dyed linen for gowns.
>

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Date: Sat, 12 Oct 2002 21:31:47 -0400
Status: RO

Hi, I think the dresses you are referring to are in the Tailor's and  in
the Furrier's shop in Jost Amman's Book of Trades (pgs 53 and 54 in the
Dover edition). They seem to be just bodices attached to skirts, not
corsets, but the way that they are displayed may indicate some sort of
stiffening in the bodice (or merely artistic license, who knows?)
Interestingly enough, we have an 18th or 19th Cent Swedish version of the
item on the wall at the Furrier's at the New Sweden Museum. The top is
woolen cloth lined with hemp or linen canvas, and the skirts are made of
sheepshin, tanned with the fleece on and turned in for warmth. Just goes
to show you, good ideas stay around a while.  Mike T.



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Date: Sat, 12 Oct 2002 20:42:47 -0700
Status: RO

thanks everyone for the advice.  I have some other things to try now that 
are better than my original idea.  it takes a while to come up to speed on 
these things.  Now that I have done a number of costumes of this period, 
(ie the renn faire period) and looked at a ton of pictures I have a better 
idea of what is actual Elizabethan and what is faire Elizabethan.  All I 
can say is, I am glad I am not queen. Maryann





At 08:06 AM 10/12/2002 -0400, Kevin + Mara wrote:
>In fact, doesn't the corset in Arnold's _Patterns of Fashion_ (I forget 
>the name of the wearer) have eyelets for just this purpose -- i.e., 
>keeping up the farthingale?  So it's a period solution. <G>
>
>Cheers,
>Mara
>
>At 10:15 PM 10/8/2002 -0500, you wrote:
>>I can't tell from your description if you are wearing a corset or not.
>>If so, I hope it has straps.  If you are and it does, you can use the
>>"points" method described by Rebecca to tie your farthingale to your
>>corset.  Except for your bloomers (yer on yer own there!) everything
>>else rests on top, and nothing falls down.  This method has saved me all
>>sorts of back pain, for while I do have hips, they don't appreciate
>>taking the full weight of all that garb.  To see a picture and
>>description of what I did, go to
>>http://www.faucet.net/costume/period/under.html
>>
>>If you're not wearing a corset, you might consider one (with straps!)
>>for your next effort.  I know it seems like too many layers, but IMHO it
>>certainly beats making _every_ bodice into a corset instead.
>>
>>Margo's suggestion of sewing the waistband of the skirt into the bodice
>>is a very good one--unless the bodice opens in the front and the skirt
>>in the back, which has sometimes been my quandary in the past with this 
>>method.
>>
>>Best of luck,
>>Melanie Schuessler
>
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Date: Sat, 12 Oct 2002 20:56:01 -0700
Status: RO

I made a 1860s dress with the usual underskirt overskirt and bodice and 
used a vintage sari for the overskirt and bodice.  the embroidered part of 
the end of the sari just fit the pattern of the overskirt and there was 
plenty left over for a bodice and some of the embroidered part for the 
sleeves.  I am assuming that with the connection that England had with 
India that this wasn't a coincidence.
Did they use saris in their gowns?  If they did, when did they start?  When 
did brocades from China show up?  I feel free to ask these questions, 
because I have been stunned by the level of scholarship displayed on this 
list.  It makes me want to throw my geology degree away and go study 
clothing. maryann



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Date: Sat, 12 Oct 2002 21:09:39 -0700
Status: RO

thanks for the pictures.  It makes it easy to see how it works.  Since my 
chemise opens in the front, there is no reason that I couldn't do the same 
thing with my bloomers. maryann

At 10:15 PM 10/8/2002 -0500, you wrote:
>I can't tell from your description if you are wearing a corset or not.
>If so, I hope it has straps.  If you are and it does, you can use the
>"points" method described by Rebecca to tie your farthingale to your
>corset.  Except for your bloomers (yer on yer own there!) everything
>else rests on top, and nothing falls down.  This method has saved me all
>sorts of back pain, for while I do have hips, they don't appreciate
>taking the full weight of all that garb.  To see a picture and
>description of what I did, go to
>http://www.faucet.net/costume/period/under.html
>
>If you're not wearing a corset, you might consider one (with straps!)
>for your next effort.  I know it seems like too many layers, but IMHO it
>certainly beats making _every_ bodice into a corset instead.
>
>Margo's suggestion of sewing the waistband of the skirt into the bodice
>is a very good one--unless the bodice opens in the front and the skirt
>in the back, which has sometimes been my quandary in the past with this 
>method.
>
>Best of luck,
>Melanie Schuessler
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sat, 12 Oct 2002 21:12:42 -0700
Status: RO

this sounds like just what I need.  I think that I will try this 
solution.  thanks

At 07:44 PM 10/8/2002 -0500, you wrote:
>Lady Mab
>
>I had the same problem with my husband. His venetians would not stay up on
>their own. He's a rather skinny guy with, of course, no hips either.  So I
>put grommets in the waistband of the pants and grommets on a strip along the
>bottom of the doublet, which is hidden by the tabs/skirts, and tied them
>together. Works like a charm, and is very period. Well, maybe not grommets,
>per se, but eyelets and lacing the whole thing together with points,
>definitely. In fact, that little detail has gained him major points in two
>Bristol Renn Faire costume contests, both of which he won first place men's
>middle class.
>
>Good luck!
>
>**********************
>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: "MaryAnn Jones" <mabse@attbi.com>
>To: <h-costume@net.indra.com>
>Sent: Tuesday, October 08, 2002 6:46 PM
>Subject: [h-cost] keeping it up
>
>
> > I have been making costumes for a long time but never for myself.  I just
> > joined a Scottish Elizabethan (1560's) reenactment group and have finally
> > made a costume for me.  I am supposed to be a Baroness (I wanted to wear a
> > french hood and be at Mary's court) so I made a costume with an overskirt,
> > underskirt and separate bodice that has both side lacing and back
> > lacing.  It is brown linen over salmon linen which is okay with my
> > group.  I wanted to try it out so I wore it to Casa de Renn Faire in
> > Northern California.  I discovered that it is very comfortable except that
> > since I am built like a beach ball, I can't hold a skirt up.  I added a
> > belt.  It helped a little, but not much, because even a belt expects to
> > encounter hips sticking out from my truly magnificent stomach.    I
>decided
> > that the answer was to add hooks to the bodice and eyes to the skirt.
>back
> > to the faire to try this out.  again it helped, but not a lot because the
> > hooks wouldn't stay in the eyes.
> >
> > Now I have to add a bum roll and farthingale to the  mix.  I thought about
> > adding an underbodice or suspenders, but they wouldn't take care of my
> > bloomers or bum roll.  Also, quite frankly, I am of that delicate age when
> > I could be in a blinding snowstorm and complain about the heat.  To be
> > honest, I have never really experienced a snow storm so I am speaking
> > metaphorically.
> >
> > So this is my latest plan.  I am going to add some grommets to the bodice
> > and cover them with a stomacher.  I am going to add grommets to the front
> > of the skirts, the bum roll and the bloomers and farthingale and lace them
> > all together and hide it with the stomacher.  I will put grommets in the
> > side of the skirts and grommets in the modesty panels in the side of the
> > bodice and lace those together.  They will be hidden by the lacing at the
> > side.  Naturally I have quite enough of a butt to hold up the back so that
> > isn't a problem.
> >
> > Does anyone have any ideas or opinions?  I have to look historically
> > accurate (no hand sewn seams.  they would lose me there).  With my next
> > costume, I will probably just make them connected with a skirting to hide
> > where they are joined, but this bodice is too boned for that to be a
>viable
> > option and I really like this costume and have sunk a fortune in trims in
> > it and am not ready to dump it and start over.
> >
> > Any help would be appreciated.  Thanks, the fat, fifty and forgetful Lady
>Mab
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume


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Subject: [h-cost] Vintage Patterns
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Date: Sun, 13 Oct 2002 00:26:40 -0400
Status: RO

Vintage patterns on eBay have been going for some high prices on eBay but
this one is unreal...
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=721097025

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


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From h-costume-admin@indra.com  Sun Oct 13 01:39:23 2002
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From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] Vintage Patterns
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Date: Sat, 12 Oct 2002 22:38:42 -0700
Status: RO

Ok, that's nuts.  Is it collectors? Do they want to own old patterns or do
they make dresses from them? I couldn't care less if I have copies of old
patterns, I just like to save the drafting time. How obsessed does one have
to be to pay $400 plus for a dress that simple? Granted it has the side
detail, but still...

It is lovely though.  ::goes off to try to figure out how much time it would
take to draft that dress pattern::

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: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Saturday, October 12, 2002 9:26 PM
Subject: [h-cost] Vintage Patterns


> Vintage patterns on eBay have been going for some high prices on eBay but
> this one is unreal...
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=721097025
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
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>
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] keeping it up
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Date: Sun, 13 Oct 2002 18:18:11 +1300
Status: RO

> And I could swear that I've seen 16th c. German pictures of
> dress-makers' shops with something hanging on display that looked
> like a farthingale attached to _some_ sort of top -- I'd have to dig
> them up to see if there was clear detail, but my recollection is that
> the top was vaguely a sleeveless, low-neckline shape, so the
> relationship, if any, to a corset (over? under? equals?) is unclear
> in my memory.

Yep, from descriptions othr people have mentioned it's one that's in ..
Everyday Dress 1650-1900 by Elizabeth Eewing. That should hopefully be in
most people's libraries and it's in the introduction.

I scanned it but it seems to have been lost during my computor switch or
when I had to do a system recover on my computor.

It's not really a farthingale, just what might be a kirtle as it is hanging
by straps from pegs. And the skirt is pleated, not hooped:)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Subject: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 08:22:47 +0100
Status: RO

>Did they use saris in their gowns?

It is an interesting question and is riddled with questions about how they
would view saris, native costume and cultural perceptions, it is possible
that the would not because to do so might be seen as going native. I have
seen one victorian bodice whose cut was extremely remanisant of India style
cutting,

 Mel




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Date: Sun, 13 Oct 2002 04:09:02 -0400
Status: RO

I have seen a lot of Grecian and Japanese styles from 1880s through 1920s.
I do have an Egyptian dress image from 1923.  It is really cool!

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


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Subject: Re: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 09:28:10 +0100
Status: RO

>I have seen a lot of Grecian and Japanese styles from 1880s through 1920s.
I do have an Egyptian dress image from 1923.  It is really cool!

Yes I think later 1920s especially borrowed a lot from Egypt, you also seea
lot more jewellry influences the scarab comes to mind for Egypt & there was
Raj jewellry too I belive.

The 1880 Grecian is more in artistic form I think isn't it ? And greek
classics is a different perception culturally from ones subjects, I feel ?

Mel
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Subject: Re: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 04:34:43 -0400
Status: RO

Mel,

I have seen several versions of Grecian dresses in the Delineator magazine.
They do not state theatrical.  Generally they are good about explaining
occasions for garments to be worn.

I also see in the 1890s, empire waisted dresses for women.  So strange
because I haven't seen women photographed in this style for the 1890s.   I
eventually want to do a time line of when these different time period
influence the 1880-1920s.  I plan on teaching a class on recycled fashions
one day.

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


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Subject: [h-cost] More Additions
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Date: Sun, 13 Oct 2002 05:01:39 -0400
Status: RO

I have added more guests to the Online Costume Ball.  Several h-costumers
are in the additions. So now the fun begins... try to figure out who they
are!!!  Some are h-costumers are out of their normal periods than you are
used to seeing.

I think from my last notice we ended with Group 5.  So start are Group 6.
We have 37 guests so far.  I have added a new category... theater costumes.
An exception to the Ball rules for this category... You may send someone
else's photo in this category if you have their permission and you made the
costume.

Have fun!!!!!

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


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Subject: Re: [h-cost] My latest sewing project is finally online
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Status: RO



>You can find the page here:
>
>http://members.tripod.com/realm_of_venus/mygarb/index.htm
>
>
>Bella
>
>
That is so completely incredible!!  Congratulations on a fantastic Job, very 
well done.



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

I wont hurt you, I just want to dress you up!!


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Subject: Re: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 10:00:47 +0100
Status: RO

I would think they might adopt the designs - paisley pattern is supposed 
to come from India, and I know in the late 18th/early 19th century there 
was a huge vogue for home furnishings and wallpapers in Indian and 
Chinese patterns - reaching its height in the Brighton Pavilion?

Although I know next to nothing about Victorian costume, I wouldn't have 
thought they would have a use in their own clothing for the lightweight 
silks etc.  And surely they wouldn't have adopted the styles - I'm 
thinking of all those native women in different parts of the Empire 
forced into "decent, Christian" clothing.  Only a few very eccentric 
types would have gone the other way.

Jean



Melanie Wilson <MelanieWilson@bigfoot.com> wrote
>>Did they use saris in their gowns?
>
>It is an interesting question and is riddled with questions about how they
>would view saris, native costume and cultural perceptions, it is possible
>that the would not because to do so might be seen as going native. I have
>seen one victorian bodice whose cut was extremely remanisant of India style
>cutting,
>
> 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
>this message may contain personal views which are not the views of the
>Company, unless specifically stated.
>
>
>
>_______________________________________________
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>h-costume@mail.indra.com
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-- 
Jean Waddie
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Subject: [h-cost] colored linen is period when?
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Date: Sun, 13 Oct 2002 06:57:14 -0700 (PDT)
Status: RO

I've been following the colored linen discussions with
great interest.  At what decade or so would the list
be comfortable saying that colored linen was used for
outer garments?  By the museum's era 1840s+ linen was
a matter of who could get it or wanted it or could
afford it.  Cotton was the poor man's cloth as it came
out of the New England mills by the tens of thousands
of yards.   Thanks.
                            Cassandra

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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Vintage Patterns
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Date: Sun, 13 Oct 2002 10:05:20 -0700
Status: RO

At 12:26 AM 10/13/2002 -0400, Penny Ladnier wrote:
>Vintage patterns on eBay have been going for some high prices on eBay but
>this one is unreal...
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=721097025
>
That's amazing. I tought it might have been a mistake, with someone adding
a zero by accident, but I checked the bid history and there were six people
bidding over $100.  

I'm going to look through my old pattern stash!

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
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Subject: Re: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 18:09:06 +0100
Status: RO

>I have seen several versions of Grecian dresses in the Delineator magazine.
They do not state theatrical.  Generally they are good about explaining
occasions for garments to be worn.

>I also see in the 1890s, empire waisted dresses for women.  So strange
because I haven't seen women photographed in this style for the 1890s

I think you'll find both these are still artistic as in Bohemean, Rational
or reform dres and the aesthetic movement, I think it was in Oscar Wildes
America I saw these (the book has a good collection of these styles) . I
didn't mean theatrical sorry for any misunderstanding, but rather the
movement suggestion women could still be beatiful without being
restriced.... You also see medieval/gothic styles in this type of ress, and
mistures, I'm desperatly trying to remember exactly where I saw these.

There is I think an exibition in a museum in the US running currently there
is a web ref but I didn't bookmark it I fear  Hang on

Here you go I thought I made some notes

If you don't want to be corseted look to Rational, artistic, reform or
aesthetic dress. Here are a few web links there are 100s more !

"Any costumes which impair or contradict the natural lines of the human
frame are to be rejected as ugly, injurious, or both; for they are the abuse
of dress, not its proper use."   --Mary Haweis, The Art of Dress,1879


http://web.nwe.ufl.edu/~kchancey/corsetaesthetic.html

http://costume.osu.edu/Reforming_Fashion/artistic_dress.htm

http://www.costumes.org/pages/fashiondress/dress_reformblip.htm

http://www.costumes.org/galleryimages/rationaldress/

Oscar wildes America p154 has 2 empire waist dresses 1883 (photo)

I'll get back to you on the Grecian one

Mel



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From: Robin Netherton <robin@shell.nightowl.net>
To: LIST H costume <h-costume@indra.com>
Subject: Re: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 12:36:01 -0500 (CDT)
Status: RO


On Sun, 13 Oct 2002, Melanie Wilson wrote:

> >I also see in the 1890s, empire waisted dresses for women.  So
> >strange because I haven't seen women photographed in this style for
> >the 1890s
> 
> I think you'll find both these are still artistic as in Bohemean,
> Rational or reform dres and the aesthetic movement, I think it was in
> Oscar Wildes America I saw these (the book has a good collection of
> these styles) . I didn't mean theatrical sorry for any
> misunderstanding, but rather the movement suggestion women could still
> be beatiful without being restriced.... You also see medieval/gothic
> styles in this type of ress, and mistures, I'm desperatly trying to
> remember exactly where I saw these.

Stella Mary Newton's book on "Dress Reformers" gives an excellent
presentation of this movement, and some good pictures and sources.

When I was researching Victorian approaches to medieval dress, I also
found a number of references in 19th century books on dress to these sorts
of styles -- some positive, some negative. Haweis was one, as Melanie also
quotes. 

> "Any costumes which impair or contradict the natural lines of the
> human frame are to be rejected as ugly, injurious, or both; for they
> are the abuse of dress, not its proper use."  --Mary Haweis, The Art
> of Dress,1879

She wrote another book on "The Art of Decoration" that addresses
some of the same matters. Some of her conclusions are rather far-fetched,
as she had no compunctions about altering history to suit her theories ;-)

--Robin

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Date: Sun, 13 Oct 2002 09:41:09 -1000 (HST)
Status: RO

	The question of possibly using sari fabric in English costume is
prompting a question of my own.  I have 12+ yards of Indian cotton that
has a border woven of real metal thread and am wondering what the best way
to wash it would be.

	There's a LOT of excess dye in the fabric, as when I handle it for
even only a few minutes, I can clearly see my hands changing color.
Normally I wouldn't hesitate to run it through the washer a few times but
I'm worried that the metal thread border will be permanently twisted and
crumpled.  I'm not really concerned about the color changing--it could go
several shades lighter and would still be okay but I don't want it to be
streaky or have the border get crushed.

	I'm not planning on sewing anything with it--I use it for draped
"costumes" so cutting it up and handwashing a piece at a time wouldn't
work either.  Would sloshing the whole 12 yards in the bathtub and loosely
folding it to hang over a shower curtain rod work?  If I had a yard and a
clothesline I'd hang it up and hose it down.

	Thanks for any suggestions.

--annora

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] washing suggestions
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Date: Sun, 13 Oct 2002 15:05:10 -0500 (CDT)
Status: RO


On Sun, 13 Oct 2002, annora wrote:

> If I had a yard and a clothesline I'd hang it up and hose it down.

What about a long clothesline, outside, and hang it lengthwise along the
line?

12 yards is long, but a 6-yard clothesline isn't out of the question, and
you could do half at a time.

--Robin

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Date: Sun, 13 Oct 2002 17:41:05 -0500
Status: RO

Anora--

Bathtub sounds fine to me, but don't use plain water. Add some
Synthropol to end the crocking/bleeding of color.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of annora
Sent: Sunday, October 13, 2002 2:41 PM
To: h-costume@indra.com
Subject: [h-cost] washing suggestions

	The question of possibly using sari fabric in English costume is
prompting a question of my own.  I have 12+ yards of Indian cotton that
has a border woven of real metal thread and am wondering what the best
way
to wash it would be.

	There's a LOT of excess dye in the fabric, as when I handle it
for
even only a few minutes, I can clearly see my hands changing color.
Normally I wouldn't hesitate to run it through the washer a few times
but
I'm worried that the metal thread border will be permanently twisted and
crumpled.  I'm not really concerned about the color changing--it could
go
several shades lighter and would still be okay but I don't want it to be
streaky or have the border get crushed.

	I'm not planning on sewing anything with it--I use it for draped
"costumes" so cutting it up and handwashing a piece at a time wouldn't
work either.  Would sloshing the whole 12 yards in the bathtub and
loosely
folding it to hang over a shower curtain rod work?  If I had a yard and
a
clothesline I'd hang it up and hose it down.

	Thanks for any suggestions.

--annora

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Date: Sun, 13 Oct 2002 18:34:25 -0400
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> > If I had a yard and a clothesline I'd hang it up and hose it down.

I think maybe the "yard" she is wishing for is the kind with grass.

Janet (who has a rather ugly 16' clothesline in the middle of her backyard
so her significant other can hose down tarps, tent walls and other things
that go camping.)

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Date: Sun, 13 Oct 2002 18:06:36 -0500 (CDT)
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On Sun, 13 Oct 2002, Janet  Davis wrote:

> > > If I had a yard and a clothesline I'd hang it up and hose it down.
> 
> I think maybe the "yard" she is wishing for is the kind with grass.

Oh, duh. My brain was still on the "12 yards" of fabric.

--Robin, very glad we don't have to mow 12 yards here


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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] My latest sewing project is finally online
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Date: Mon, 14 Oct 2002 10:11:57 +1000 (EST)
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 --- Jennifer Sena <distantdesigns@hotmail.com> wrote:

> That is so completely incredible!!  Congratulations
> on a fantastic Job, very 
> well done.


Thank you so much! :) I couldn't have done it without
a great pattern - my skills aren't up to drafting
doublet-style bodices yet. :)


Bella

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Indian influence in victorian costume
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Date: Sun, 13 Oct 2002 17:17:43 -0700
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> >Did they use saris in their gowns?
>
>It is an interesting question and is riddled with questions about how they
>would view saris, native costume and cultural perceptions, it is possible
>that the would not because to do so might be seen as going native. I have
>seen one victorian bodice whose cut was extremely remanisant of India style
>cutting,

I have seen one Victorian dress that appears to have been made of saree 
material.  It's in one of those two books about surviving clothing from 
Queen Victoria's family.  As I can't lay my hands on it at the moment, all 
I can remember is that the dress was blue with silver or gold embroidery, 
and it had a bustle, so it must have been 1870s or 1880s.


Kayta

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Date: Sun, 13 Oct 2002 18:15:42 -0700
Status: RO



Would sloshing the whole 12 yards in the bathtub and loosely
>folding it to hang over a shower curtain rod work?  If I had a yard and a
>clothesline I'd hang it up and hose it down.
>
>	Thanks for any suggestions.
>
>--annora

How about using a tension rod in the shower and getting an add on hand held 
shower thingy.  I have one in my shower because my husband and I need 
different heights to the spray.  You can direct the flow in any direction 
you want so there's not a single focus area for the water.  Then you can 
hang and hose without the yard.  Plus it all goes down the shower drain 
instead of the grass.


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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Date: Mon, 14 Oct 2002 15:50:45 +1300
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> >Did they use saris in their gowns?
>
> It is an interesting question and is riddled with questions about how they
> would view saris, native costume and cultural perceptions, it is possible
> that the would not because to do so might be seen as going native. I have
> seen one victorian bodice whose cut was extremely remanisant of India
style
> cutting,

I haven't seen any real examples of this, but in the musical The Mystery of
Edwin Drood (or Drood) the character Helena Landless was originally costumed
in a bustle dress that looked like it was draped from a a sari. It was a
check patterm but the draping looked like it was inspired by sari draping
rather than western draping for the bustle.
This would have been to suggest her staus as a half-caste rather than her
being fashion concious.

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Date: Sun, 13 Oct 2002 21:35:55 -0600
Status: RO

Hi, gang! I'm back from an SCA event (Crown Tourney), downloading my
emails, and this topic caught my eye--I had this related experience
today I know a lot of you would get a chuckle from....
See...I live in a state that only has 2 Hancock fabric stores (the
nearest thing we've got out here to a decent brick-and-mortar fabric
source), and one of them was located in the town our event was in, so
this morning before we set off for home (6 hour drive, not counting
stops.  blech), we went to the Hancocks.
Sorry, Robin...I kept my eye out for some blue wool for you...saw the
right color on the wrong fabric. ;-(
I *did* manage to score enough light-weight cream colored wool fabric,
and a matching amount of rusty-orange (madder-dyed looking) wool to make
some hose for my new outfits though.  When the Nice Little Old Lady was
cutting it, she apologized for any bits of glitter that might be on my
pieces, since the previous customer had been buying something glittery
for Halloween.  The look of shock and horror on her face when I told her
it was no big deal--that I was just going to take them home and throw
them in the machine was *just priceless.*  Well, dear, you know...it's
wool, and it should be dry-cleaned, etc., etc. or it'll shrink...Her
face didn't get any better when I cheerfully told her that that's
exactly what I wanted it to do--to full, after all, isn't that what wool
is supposed to do? <huge evil grin>
I'm sure she's convinced I belong to the Dark Side, but geez, it's gonna
be 14th/15th hose--no way would I continually want to have dry clean my
socks! ;-P
--sue, going back to spoiling her 4 kitties, and doing laundry <g>
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Date: Mon, 14 Oct 2002 00:12:07 -0400
Status: RO

I have seen a few go over $100 but $400 is crazy.

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


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Subject: Re: [h-cost] washing suggestions
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Date: Mon, 14 Oct 2002 06:34:05 +0100
Status: RO

>Would sloshing the whole 12 yards in the bathtub and loosely
folding it to hang over a shower curtain rod work?

It should help, it might be worth putting some salt in the water to try &
fix thedye a bit better too, but it seems very badly dyed

Mel

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Subject: [h-cost] [h-cos] urban legands concerning the history of fashion
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Date: Mon, 14 Oct 2002 20:53:53 +0930
Status: RO



Hello
I'm looking for urban legands concerning the history of fashion.
I have found lots of information (on the net and in books) that I doubt to 
be true. most of these sources are aimed at womens studies students (high 
school) and so now I wandering just what these girls are learning.
Recently on the list was that oddity of victorian nipple piercing.
Other things I have read about are:
Iron renaissance corsets - I have only ever seen one picture of one and it 
looks to me to be a touture device and not some thing that would have been 
worn for fashion.
15"-20" waists in mid 1800's - It is my understanding that it wasn't until 
the late 1800's that waists got that small. In the earlier times small 
waists were an illusion caused by "big" skirts, "big" sleeves (causing 
visual width at the shoulders) and pointed bodices.
Victorian women had ribs removed to gain smaller waists - Impossible, I say. 
They didn't have the medical knowledge back then.
In the 1700's women wore corsets to make their waists smaller - From what I 
can tell it is the wide skirts and pointed bodices that create an illusion 
of a small waist. Corsets of this period are still very much "V" shaped and 
therefore designed to smooth and lift.

Please correct me if my understanding is wrong.
Does any one else know of any more of these "urban legands concerning the 
history of fashion", I'm beggining to find some of them rather ammusing.
Rebecca

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Date: Mon, 14 Oct 2002 12:54:03 +0100
Status: RO

English Heritage's official video of the 2000 History in Action event at Kirby Hall includes footage of a man (dressed as a sailor, for some reason) holding forth about 19th century surgery, including the rib removal story. I too find it highly suspect.

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] My latest sewing project is finally online
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Date: Mon, 14 Oct 2002 12:58:55 +0100 (BST)
Status: RO

Gorgeous Bella, absolutely gorgeous!

Nicole

> A-hem.... :)
> 
> You can find the page here:
> 
> http://members.tripod.com/realm_of_venus/mygarb/index.htm
> 
> 
> Bella
> 
> 
> 
> 
> ---------------------------------
> Yahoo! Messenger for SMS- Always be connected to your Messenger Friends 

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

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Date: Mon, 14 Oct 2002 13:11:33 +0100
Status: RO

>English Heritage's official video of the 2000 History in Action event at
Kirby Hall includes footage of a man (dressed as a sailor, for some reason)
holding forth about 19th century surgery, including the rib removal story. I
too find it highly suspect

I believe the gentleman in question plays a ships surgeon

Mel


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
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Subject: [h-cost] UK online trim store?
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Date: Mon, 14 Oct 2002 13:07:11 +0100 (BST)
Status: RO

Does anybody know of a UK shop that is online and sells trims and such lovely
things? I don't have any nice glittery things for my normal clothing *pout* I
love the Calontir Trim site but I can't shop there, they don't even accept
electronic payment.

Cheers for any info, can also be non-online

Nicole

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

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In a message dated 10/14/2002 7:24:55 AM Eastern Daylight Time, 
lady_adele@hotmail.com writes:


> urban legands concerning the 
> history of fashion", 

How about the one that the stock market goes up as hemlines go up?  This 
actually had a basis in one very small statement of fact, which I can't 
dredge up out of the mists of the past, but got to be applied generally.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/14/2002 7:24:55 AM Eastern Daylight Time, lady_adele@hotmail.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">urban legands concerning the <BR>
history of fashion", </BLOCKQUOTE><BR>
<BR>
How about the one that the stock market goes up as hemlines go up?&nbsp; This actually had a basis in one very small statement of fact, which I can't dredge up out of the mists of the past, but got to be applied generally.<BR>
Ann Wass</FONT></HTML>

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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] [h-cos] urban legands concerning the history of fashion
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Date: Mon, 14 Oct 2002 09:15:15 -0400 (EDT)
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> Iron renaissance corsets - I have only ever seen one picture of one and it
> looks to me to be a touture device and not some thing that would have been
> worn for fashion.

These items are a quandary.  They do exist--a couple of them--dated to the
16th/17th century, but they are really wierd and no-one truly knows what
they were used for.  People have suggested masque costume, dress dummies,
orthopaedic devices, mannequins, forms for making leather corsets...who
knows. I haven't seen any contemporary written reference to them.  If
anyone has, I'd love to hear about it.

Drea

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From h-costume-admin@indra.com  Mon Oct 14 09:23:55 2002
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On Mon, 14 Oct 2002, Drea Leed wrote:

> These items are a quandary.  They do exist--a couple of them--dated to
> the 16th/17th century, but they are really wierd and no-one truly
> knows what they were used for.  People have suggested masque costume,
> dress dummies, orthopaedic devices, mannequins, forms for making
> leather corsets...who knows.

Someone on this list suggested they were shop signs -- another equally 
attractive possibility. That was a good thread...

--Robin

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From h-costume-admin@indra.com  Mon Oct 14 09:34:25 2002
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Date: Mon, 14 Oct 2002 07:38:24 -0600
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Hey, lovely outfit! The competition sounds like a fun one, too! Gives me
ideas for something similar in my sca area!
--sue

Bella wrote:
> 
> Greetings to the list,
> 
> I finished my latest project by the October 1st deadline I had,
> although it's taken me a while to get the photos taken and processed.
> But they're finally done.
>
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Date: Mon, 14 Oct 2002 08:33:25 -0700
Status: RO


>  Other things I have read about are: Iron renaissance corsets
> - I have only ever seen one picture of one and it looks to me to be a
> touture device and not some thing that would have been worn for
> fashion. 

Lots of theories about this one, but it could have been an orthopedic 
device for controlling scoliosis. Unfortunately, some people *still* 
require devices which look more tortuous than that for controlling 
scoliosis. Most of them are teenage girls too.

> Victorian women had ribs removed to gain smaller waists -
> Impossible, I say. They didn't have the medical knowledge back then.

Not impossible and they did have enough medical knowledge to do it. 
It was done at least once, for an actress, who definitely survived.

Actually, removing ribs is not as complicated as it sounds. If done 
properly you never enter the abdominal or chest cavity, which greatly 
reduces the chances of infection and other complications. It is more 
on a par with removing surface tumors, which was being done 
successfully even in the 15th and 16th C.

As to surgery, the Victorians were actually doing a lot of it. It's 
why they wanted to study anatomy so much (to the point where people 
really did steal bodies for the medical schools.) They didn't have 
anasthesia as wonderful and safe as ours, but they still did it. 
(Keep in mind that Nitrous oxide came along in the 18th C and was 
used as anaesthesia. Chloroform came along for anaesthesia somewhere 
in the mid19thC.)

Some operations were successful, others weren't. However, they were 
even doing successful (ie the patient lived for many years after the 
surgery) abdominal operations such as removal of ovarian tumors even 
at the beginning of the 19th C. (Surgery advances were more common in 
the US of the time than the rest of Europe.) (There are plenty of 
books about the history of medicine which well document this sort of 
thing.)

Often times what starts our as a single person doing something 
becomes blown into "common practice". Other times modern people think 
something is so impossible that it seems titilating to retell it over 
and over again.

Kat Russell (MD)
<kat@grendal.rain.com>

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Subject: Re: [h-cost] urban legands concerning the history of fashion
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Date: Mon, 14 Oct 2002 11:04:46 -0500
Status: RO

Could removing the floating ribs in the 19th century be comparable to
(as an example that I saw on a talk show a few years ago) someone using
numerous plastic surgeries to make them look like Barbie.

Onaree 

kat@grendal.rain.com wrote:
> > Victorian women had ribs removed to gain smaller waists -
> > Impossible, I say. They didn't have the medical knowledge back then.
> 
> Not impossible and they did have enough medical knowledge to do it.
> It was done at least once, for an actress, who definitely survived.
> 
> Actually, removing ribs is not as complicated as it sounds. If done
> properly you never enter the abdominal or chest cavity, which greatly
> reduces the chances of infection and other complications. It is more
> on a par with removing surface tumors, which was being done
> successfully even in the 15th and 16th C.
> 
> As to surgery, the Victorians were actually doing a lot of it. It's
> why they wanted to study anatomy so much (to the point where people
> really did steal bodies for the medical schools.) They didn't have
> anasthesia as wonderful and safe as ours, but they still did it.
> (Keep in mind that Nitrous oxide came along in the 18th C and was
> used as anaesthesia. Chloroform came along for anaesthesia somewhere
> in the mid19thC.)
> 
> Some operations were successful, others weren't. However, they were
> even doing successful (ie the patient lived for many years after the
> surgery) abdominal operations such as removal of ovarian tumors even
> at the beginning of the 19th C. (Surgery advances were more common in
> the US of the time than the rest of Europe.) (There are plenty of
> books about the history of medicine which well document this sort of
> thing.)
> 
> Often times what starts our as a single person doing something
> becomes blown into "common practice". Other times modern people think
> something is so impossible that it seems titilating to retell it over
> and over again.
> 
> Kat Russell (MD)
> <kat@grendal.rain.com>
> 


-- 
Ubi dubium ibi libertas:  Where there is doubt, there is freedom. --
Latin proverb
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Subject: Re: [h-cost] washing suggestions
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Date: Mon, 14 Oct 2002 12:31:34 -0400
Status: RO

I used some of that stuff for costumes for King & I.  I just threw it in the
washer on warm and dryer on low.  You do HAVE to iron it afterward.  Metal
band does get a little crumpled but irons out.  The fabric gets more
wrinkled---it needs the ironing more than the band.  When it comes out of the
dryer it looks like the fabric shrunk and the band didn't, but ironing makes
it all better.
Kate

Melanie Wilson wrote:

> >Would sloshing the whole 12 yards in the bathtub and loosely
> folding it to hang over a shower curtain rod work?
>
> It should help, it might be worth putting some salt in the water to try &
> fix thedye a bit better too, but it seems very badly dyed
>
> Mel
>
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Subject: Indian textiles/Washing saris/Re: [h-cost] victorian period
From: marcus findlay-arthur <marcus.cuttingtable@virgin.net>
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Date: Mon, 14 Oct 2002 17:43:12 +0000
Status: RO


> England imported all manner of textiles from India circa 1620 when the 
> first Trade Post was established granting the English trade 
> status,primarily in various types of cottons.
> Thru' the 17thC to 19thC it snowballed and became a major money maker 
> for the East India Co. and later the Crown.The earliest reference I've 
> found for using Indian textiles (made as something else) to make frocks 
> from,is 1817/19 - when a number of shawls were converted into rather 
> lovely garments.
> I've never come across a sari that was converted into an extent 
> Victorian gown.(But the average Indian sari measured 5 yards during the 
> reign of the Raj.)Only puja sari's and those woven in the Karkhana's of 
> the Reigning Houses would be longer - an extent gharghra(Indian skirt) 
> woven in the mid to late 19thC in Bharatpur for the ruling Singh family 
> was 106 yards long but proved too heavy to wear and eventualy divided 
> in two.
>
> Certainly Indian silks woven for the export market,tarlatans,mul mul 
> and a slew of varieties of muslins and cottons were/would have been 
> used to combat the climate for the Europeans living there and exported 
> to the rest of the world.
> The problem would be that after the Indian Mutiny of 1857 Indian sari 
> decorative designs were influenced by Victorian wallpaper motifs,a 
> fashion that continues to today in various permutations and are sold as 
> 'Mummy' saris for the older women.While lovely in them selves,I'm not 
> certain a fashionable Victorian English woman would wear something that 
> looked/copied current wallpaper fashions,irrespective of how lovely or 
> exotic.Now that by no means says that there weren't exceptions,but they 
> would be 'clever' adaptations because of the stigma of 'going native' 
> vs the type of design on the sari and location.No colonial in India 
> would dare wear something so obviously derivative.
>
> (Having worked with sari silks a good bit I can only applaud your 
> patience!)
> Synthrapol is absolutely vital for any washing project!!!Salt is a 
> waste of your time and effort.I know this from bitter experience that 
> this List got me thru' by over-dying.
>
> Wash with baby shampoo in luke warm water in the tub by hand (wear 
> gloves) and let soak a spell.Add synthrapol.Rinse by soaking several 
> times,the last with a shower-head,the detachable kind works best.Don't 
> twist the fabric any more than you have to.I do a quick partial dry in 
> the drier for 8 minutes,on med. to remove as much excess water as you 
> possibly can and then you iron it dry.(Ironing is your friend!!!)
> Depending on the woven design of the 'gilt' threads forming the butis 
> and the border,gently tug then straight - work on the front of the 
> fabric since the pointed tip of the iron will get caught in the threads 
> on the reverse.The wetter the woven areas are,the more luck you will 
> have in smoothing them out.Its time consuming,slow going,exhausting and 
> cannot be rushed or you'll have a mess on your hands.(Wipe the iron 
> frequently for any residual dye and cover the ironing board with 
> something that you don't care about.Keep paper towels handy.)By the 
> time you finish,the sari should still be plenty damp - take a few hours 
> rest and let it air dry.Go over it if you need to once dry.Do not be 
> tempted to spray it with water once dry to iron as its likely to 'spot' 
> and you start from scratch.
> Once made up and worn you will have to clean it as above 
> separately.(For an aged period look,I over dye the modern sari - even 
> with threads as you'll want to mellow the brashness of the gilt some 
> and wash six or seven times in the washer after dying.Comes out looking 
> as if it walked out of the V&A's vaults.)Best of luck and I hope that 
> this helps you.As for China I can't help.Sorry.
>
> Marcus/Mangal
>
> On Sunday, October 13, 2002, at 03:56  am, MaryAnn Jones wrote:
>
>> I made a 1860s dress with the usual underskirt overskirt and bodice 
>> and used a vintage sari for the overskirt and bodice.  the embroidered 
>> part of the end of the sari just fit the pattern of the overskirt and 
>> there was plenty left over for a bodice and some of the embroidered 
>> part for the sleeves.  I am assuming that with the connection that 
>> England had with India that this wasn't a coincidence.
>> Did they use saris in their gowns?  If they did, when did they start?  
>> When did brocades from China show up?
>

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From: kat@grendal.rain.com
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Date: Mon, 14 Oct 2002 10:05:25 -0700
Status: RO



> Could removing the floating ribs in the 19th century be comparable to
> (as an example that I saw on a talk show a few years ago) someone
> using numerous plastic surgeries to make them look like Barbie.

Probably about that common. It happened but was not widespread.

Imagine years from now the poor quality costume book saying 
"surgeries to make oneself look like the Barbie doll were frequently 
done so that women can have that fashionable look which was so prized 
in that time."

But the sad thing is we *do* have people doing things to their bodies 
(anorexia and bulemia, as well as the people who go overboard with 
plastic surgery) now.

Kat Russell
<kat@grendal.rain.com>

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From h-costume-admin@indra.com  Mon Oct 14 13:36:37 2002
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From: Shea Young
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Subject: [h-cost] Book - Women who ruled
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Date: Mon, 14 Oct 2002 10:34:17 -0700
Status: RO

Greetings list,
This book came through today: Women who ruled,edited by Annette Dixon, The
University of Michigan Museum of Art, ISBN: 1858941660

On the cover is the clearest reproduction I have ever seen of the 1545
painting of Eleanora of Toledo. Inside, the painting shows what appears to a
fringe of pearls at the end of her belt. Another fabulous picture of Maria
Maddalena of Austria is offered, along with several woodcuts. 

It would be a good one to check out at the library!

Yours truly in technical processing land,  Shea Young



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Subject: [h-cost] RE: [MR] new book on Greenland textiles!!
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Date: Sat, 12 Oct 2002 10:06:59 -0400
Status: RO

In my book on folkwear it states seams were covered with magical symbols to
protect the wearer.  It was a weak place, hence most garments were one
piece.

Soffya
http://www.aeonline.biz/Links.htm


-----Original Message-----
From: atlantia-admin@atlantia.sca.org
[mailto:atlantia-admin@atlantia.sca.org]On Behalf Of SNSpies@aol.com
Sent: Thursday, October 10, 2002 11:36 AM
To: h-costume@net.indra.com; h-needlework@ansteorra.org;
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mbrunzie@yahoo.com
Subject: [MR] new book on Greenland textiles!!


--
[ Picked text/plain from multipart/alternative ]
I have just heard from Else Oestergaard that she has a new book coming out
soon on the Norse textiles from Greenland.  Titled "Woven Into the Past:
Textile Finds from Norse Greenland", the Danish version will be out sometime
after Christmas with the English version appearing later.

To further whet your appetite, Karen Finch just told me that Else has made
"a
particular study of the seams, including why they are different in different
places.  Pre-sewing machine seams each serves a different purpose."

I will let you know more information as I receive it.

Ingvild

Ingvild Josefsdatter, OL
(Nancy Spies)
Barony of Bright Hills
Kingdom of Atlantia
www.weavershand.com/ArelateStudio.html
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Date: Mon, 14 Oct 2002 00:40:14 -0700
Status: RO

My younger daughter and I were helping out with Ardenwood's Harvest 
Festival today.  We went across the street to Jack-In-The-Box for lunch, 
still wearing our floral-calico farm-women Victorians (Ardenwood does the 
1890s).  While we were there, a teenager, old enough to drive, asked us if 
we were from Renaissance Fair.

Kayta

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From h-costume-admin@indra.com  Mon Oct 14 15:16:08 2002
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Subject: [h-cost] [h-cost]Help with Measurements, PLEASE!
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Date: Mon, 14 Oct 2002 12:17:39 -0700
Status: RO



I'm finishing the final drafts on my men's Elizabethan patterns, and I need
help.  Modern standardized measurement charts do not  include the thigh and
knee circumferences which I need.  I've made an educated guess based on
measuring the men in my life, but I'd like to check against a larger
sampling. So, could I ask those of you on the list who are, or have handy,
men of any size, to send me their measurements? 

What I need is the measurement around the leg at the base of the knee cap,
the measurement around the leg at the midpoint between knee and crotch, and
the natural waistline measurement.  Please send these to me at
margo@margospatterns.com with the subject "men's measurements".  

Thanks so much!

Margo
"One Tough Costumer"


See the Historic Costume Patterns website at margospatterns.com
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Subject: Re: [h-cost] UK online trim store?
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Date: Mon, 14 Oct 2002 15:32:39 -0400
Status: RO

They are not in the UK that I know of, but TL Barnes has recently come
online.

I'd give the addy- but it's on another identity on the 'puter (sometimes I
feel like Sybil. . . )


Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander



----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: "H-Costume" <h-costume@indra.com>
Sent: Monday, October 14, 2002 8:07 AM
Subject: [h-cost] UK online trim store?


> Does anybody know of a UK shop that is online and sells trims and such
lovely
> things? I don't have any nice glittery things for my normal clothing
*pout* I
> love the Calontir Trim site but I can't shop there, they don't even accept
> electronic payment.
>
> Cheers for any info, can also be non-online
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> L'Age d'Or & Kirke's Lambs
> Civilian & Military  Living History Society 1660-1715
> URL: http://www.kipar.org/
> Email: marquis@kipar.org
>
> __________________________________________________
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Subject: Re: [h-cost] UK online trim store?
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Date: Mon, 14 Oct 2002 12:46:50 -0700
Status: RO

Oddly enough, it's www.tlbarnes.com

That's Lady Justina Marie of Burgundy, to those of you who may know Tammy 
Barnes under her SCA name.  Great stuff and very good prices.  Yes, she 
happens to be a personal friend of mine, but I'm also a satisfied customer 
(and beneficiary at gift-giving times!)


MaggiRos


>From: "Lyn Greaves- home" <rosamund@frontiernet.net>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: Re: [h-cost] UK online trim store?
>Date: Mon, 14 Oct 2002 15:32:39 -0400
>
>They are not in the UK that I know of, but TL Barnes has recently come
>online.
>
>I'd give the addy- but it's on another identity on the 'puter (sometimes I
>feel like Sybil. . . )
>
>
>Lyn Greaves
>Lady Rosamund d'Alwareton
>COM, COTerpsichore, COSalamander
>
>

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] [h-cos] urban legands concerning the history of fashion
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Date: Mon, 14 Oct 2002 12:39:16 -0700
Status: RO


>I'm looking for urban legands concerning the history of fashion.

In the early 1960s I heard one about a female who ratted her hair and 
didn't comb it out again till after vermin took up residence.  Later I 
heard that same story except it was about the hairstyles of the 1700s.

My pet peve urban-legend is that no woman, anywhere, ever wore underdrawers 
or underpants till the 1800s.

In my family there's a story about my grandfather, born in 1864, who didn't 
realize his mother had feet till he was about 3.  Probably not an urban legend.

Kayta

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Subject: [h-cost] Re: trimmings
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Date: Mon, 14 Oct 2002 20:47:57 +0100
Status: RO

<html><div style='background-color:'><DIV>
<P><BR><BR></P>Hi Nicole, </DIV>
<P>I'm on digest&nbsp;so please forgive me if someone has already answered your trimmings question. You could try <A href="http://www.kersen.com">www.kersen.com</A> although their site seems to be down at the moment... also <A href="http://www.creativebeadcraft.co.uk">www.creativebeadcraft.co.uk</A> is good for all sorts of sparkly things - it's worth getting&nbsp;hold of&nbsp;the paper catalogue as it has more stuff (I think) than the website. Also,&nbsp;Macculloch and Wallis have a huge selection of&nbsp;fabrics and trims, although not&nbsp;online, and the mail-order catalogue doesn't have many pictures.&nbsp;They are&nbsp;also pretty much&nbsp;always incredibly grumpy, in my limited experience, but they do have some good (if&nbsp;expensive) stuff. Their&nbsp;website is at &nbsp;<A href="http://www.macculloch-wallis.co.uk">www.macculloch-wallis.co.uk</A></P>
<P>Hope this helps a bit,</P>
<P>Kate </P>
<DIV></DIV>
<DIV></DIV>
<DIV></DIV>
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Message: 17 
<DIV></DIV>&gt;Date: Mon, 14 Oct 2002 13:07:11 +0100 (BST) 
<DIV></DIV>&gt;From: =?iso-8859-1?q?N=20Kipar?= <NICOLAS_FOUQUET@YAHOO.COM>
<DIV></DIV>&gt;To: H-Costume <H-COSTUME@INDRA.COM>
<DIV></DIV>&gt;Subject: [h-cost] UK online trim store? 
<DIV></DIV>&gt;Reply-To: h-costume@mail.indra.com 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Does anybody know of a UK shop that is online and sells trims and such lovely 
<DIV></DIV>&gt;things? I don't have any nice glittery things for my normal clothing *pout* I 
<DIV></DIV>&gt;love the Calontir Trim site but I can't shop there, they don't even accept 
<DIV></DIV>&gt;electronic payment. 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Cheers for any info, can also be non-online 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Nicole 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;===== 
<DIV></DIV>&gt;Nicole Kipar M.A. 
<DIV></DIV>&gt;L'Age d'Or &amp; Kirke's Lambs 
<DIV></DIV>&gt;Civilian &amp; Military Living History Society 1660-1715 
<DIV></DIV>&gt;URL: http://www.kipar.org/ 
<DIV></DIV>&gt;Email: marquis@kipar.org 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;__________________________________________________ 
<DIV></DIV><FONT face="Times New Roman">
<DIV></DIV></FONT></div><br clear=all><hr>Send and receive Hotmail on your mobile device: <a href='http://g.msn.com/1HM1ENUK/c152??PI=44363'>Click Here</a><br></html>
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Subject: Re: [h-cost] Re: trimmings
To: h-costume@indra.com
In-Reply-To: <F162h9VDc8hWiAUY1IM00023618@hotmail.com> from "Kate Cole" at Oct 14, 2002 08:47:57 PM
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Date: Mon, 14 Oct 2002 12:49:04 -0700 (PDT)
Status: RO

please turn off your HTML email!

just send out text, thanks.


> 
> <html><div style='background-color:'><DIV>
> <P><BR><BR></P>Hi Nicole, </DIV>
> <P>I'm on digest&nbsp;so please forgive me if someone has already answered your trimmings question. You could try <A href="http://www.kersen.com">www.kersen.com</A> although their site seems to be down at the moment... also <A href="http://www.creativebeadcraft.co.uk">www.creativebeadcraft.co.uk</A> is good for all sorts of sparkly things - it's worth getting&nbsp;hold of&nbsp;the paper catalogue as it has more stuff (I think) than the website. Also,&nbsp;Macculloch and Wallis have a huge selection of&nbsp;fabrics and trims, although not&nbsp;online, and the mail-order catalogue doesn't have many pictures.&nbsp;They are&nbsp;also pretty much&nbsp;always incredibly grumpy, in my limited experience, but they do have some good (if&nbsp;expensive) stuff. Their&nbsp;website is at &nbsp;<A href="http://www.macculloch-wallis.co.uk">www.macculloch-wallis.co.uk</A></P>
> <P>Hope this helps a bit,</P>
> <P>Kate </P>
> <DIV></DIV>
> <DIV></DIV>
> <DIV></DIV>
> <DIV></DIV>&gt; 
> <DIV></DIV>&gt;Message: 17 
> <DIV></DIV>&gt;Date: Mon, 14 Oct 2002 13:07:11 +0100 (BST) 
> <DIV></DIV>&gt;From: =?iso-8859-1?q?N=20Kipar?= <NICOLAS_FOUQUET@YAHOO.COM>
> <DIV></DIV>&gt;To: H-Costume <H-COSTUME@INDRA.COM>
> <DIV></DIV>&gt;Subject: [h-cost] UK online trim store? 
> <DIV></DIV>&gt;Reply-To: h-costume@mail.indra.com 
> <DIV></DIV>&gt; 
> <DIV></DIV>&gt;Does anybody know of a UK shop that is online and sells trims and such lovely 
> <DIV></DIV>&gt;things? I don't have any nice glittery things for my normal clothing *pout* I 
> <DIV></DIV>&gt;love the Calontir Trim site but I can't shop there, they don't even accept 
> <DIV></DIV>&gt;electronic payment. 
> <DIV></DIV>&gt; 
> <DIV></DIV>&gt;Cheers for any info, can also be non-online 
> <DIV></DIV>&gt; 
> <DIV></DIV>&gt;Nicole 
> <DIV></DIV>&gt; 
> <DIV></DIV>&gt;===== 
> <DIV></DIV>&gt;Nicole Kipar M.A. 
> <DIV></DIV>&gt;L'Age d'Or &amp; Kirke's Lambs 
> <DIV></DIV>&gt;Civilian &amp; Military Living History Society 1660-1715 
> <DIV></DIV>&gt;URL: http://www.kipar.org/ 
> <DIV></DIV>&gt;Email: marquis@kipar.org 
> <DIV></DIV>&gt; 
> <DIV></DIV>&gt;__________________________________________________ 
> <DIV></DIV><FONT face="Times New Roman">
> <DIV></DIV></FONT></div><br clear=all><hr>Send and receive Hotmail on your mobile device: <a href='http://g.msn.com/1HM1ENUK/c152??PI=44363'>Click Here</a><br></html>
> _______________________________________________
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Subject: [h-cost] Re: h-costume digest, Vol 1 #1370 - 19 msgs
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Date: Mon, 14 Oct 2002 20:50:06 +0100
Status: RO

<html><div style='background-color:'><DIV>
<DIV>I'm sure EVERYONE but me must already know this, but could&nbsp;someone possibly tell me what these books on surviving clothes from Queen Victoria's family are called? They sound VERY interesting.....</DIV>
<DIV>&nbsp;</DIV>
<DIV>Many thanks,</DIV>
<DIV>&nbsp;</DIV>
<DIV>Kate</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV></DIV>
<DIV></DIV>&gt; 
<DIV></DIV>&gt;I have seen one Victorian dress that appears to have been made of saree 
<DIV></DIV>&gt;material. It's in one of those two books about surviving clothing from 
<DIV></DIV>&gt;Queen Victoria's family. As I can't lay my hands on it at the moment, all 
<DIV></DIV>&gt;I can remember is that the dress was blue with silver or gold embroidery, 
<DIV></DIV>&gt;and it had a bustle, so it must have been 1870s or 1880s. 
<DIV></DIV>&gt; 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Kayta 
<DIV></DIV>&gt; 
<DIV></DIV>&gt; //// \\\ 
<DIV></DIV>&gt; ////-@@\\\ 
<DIV></DIV>&gt; (((( 7 ))) 
<DIV></DIV>&gt; ((( &lt;&gt; )))) 
<DIV></DIV>&gt; ) (((((( 
<DIV></DIV>&gt;/----\ /---\)) 
<DIV></DIV>&gt; 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;--__--__-- 
<DIV></DIV>&gt; 
<DIV></DIV><FONT face="Times New Roman">
<DIV></DIV></FONT></div><br clear=all><hr>MSN Photos is the easiest way to share and print your photos: <a href='http://g.msn.com/1HM1ENUK/c156??PI=44363'>Click Here</a><br></html>
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From h-costume-admin@indra.com  Mon Oct 14 16:03:45 2002
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Subject: [h-cost] Re: urban costume legends
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Date: Mon, 14 Oct 2002 21:00:55 +0100
Status: RO

<html><div style='background-color:'><DIV></DIV>
<P>Again, please forgive me if these comments have already been made. There are some&nbsp;iron 16th-century&nbsp;corsets in Corsets and Crinolines - Norah Waugh says they are "probably of foreign origin [ie not French or English] or designed for difficult or deformed figures". </P>
<P>I wouldn't have thought it's that unlikely to have had 15-20" waists in the mid-18th C - plenty of extant garments from the early 1800s have 20" waists or thereabouts, without the&nbsp;tightly laced undergarments&nbsp;of the later 1800s. Boned 18th century stays presumably still had some reducing effects. And people were a lot smaller then, in all directions!&nbsp;</P>
<P>I'm not sure about rib removal, but what is true is that girls were put into corsets at a very young age, when their bones were still soft, so as they grew the bones grew into a different position to that which our un-restricted bones take up nowadays, making the all-important tiny waist much easier to achieve than it would be today. </P>
<P>Kate</P>
<P>&nbsp;</P>
<P>&nbsp;</P>
<DIV>&gt; </DIV>
<DIV></DIV>&gt;Message: 13 
<DIV></DIV>&gt;From: "Rebecca Anderson" <LADY_ADELE@HOTMAIL.COM>
<DIV></DIV>&gt;To: h-costume@net.indra.com 
<DIV></DIV>&gt;Date: Mon, 14 Oct 2002 20:53:53 +0930 
<DIV></DIV>&gt;Subject: [h-cost] [h-cos] urban legands concerning the history of fashion 
<DIV></DIV>&gt;Reply-To: h-costume@mail.indra.com 
<DIV></DIV>&gt; 
<DIV></DIV>&gt; 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Hello 
<DIV></DIV>&gt;I'm looking for urban legands concerning the history of fashion. 
<DIV></DIV>&gt;I have found lots of information (on the net and in books) that I doubt to 
<DIV></DIV>&gt;be true. most of these sources are aimed at womens studies students (high 
<DIV></DIV>&gt;school) and so now I wandering just what these girls are learning. 
<DIV></DIV>&gt;Recently on the list was that oddity of victorian nipple piercing. 
<DIV></DIV>&gt;Other things I have read about are: 
<DIV></DIV>&gt;Iron renaissance corsets - I have only ever seen one picture of one and it 
<DIV></DIV>&gt;looks to me to be a touture device and not some thing that would have been 
<DIV></DIV>&gt;worn for fashion. 
<DIV></DIV>&gt;15"-20" waists in mid 1800's - It is my understanding that it wasn't until 
<DIV></DIV>&gt;the late 1800's that waists got that small. In the earlier times small 
<DIV></DIV>&gt;waists were an illusion caused by "big" skirts, "big" sleeves (causing 
<DIV></DIV>&gt;visual width at the shoulders) and pointed bodices. 
<DIV></DIV>&gt;Victorian women had ribs removed to gain smaller waists - Impossible, I say. 
<DIV></DIV>&gt;They didn't have the medical knowledge back then. 
<DIV></DIV>&gt;In the 1700's women wore corsets to make their waists smaller - From what I 
<DIV></DIV>&gt;can tell it is the wide skirts and pointed bodices that create an illusion 
<DIV></DIV>&gt;of a small waist. Corsets of this period are still very much "V" shaped and 
<DIV></DIV>&gt;therefore designed to smooth and lift. 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;Please correct me if my understanding is wrong. 
<DIV></DIV>&gt;Does any one else know of any more of these "urban legands concerning the 
<DIV></DIV>&gt;history of fashion", I'm beggining to find some of them rather ammusing. 
<DIV></DIV>&gt;Rebecca 
<DIV></DIV>&gt; 
<DIV></DIV>&gt;_________________________________________________________________ 
<DIV></DIV>&gt;Send and receive Hotmail on your mobile device: http://mobile.msn.com 
<DIV></DIV>&gt; 
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<DIV></DIV>&gt; 
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Date: Mon, 14 Oct 2002 13:44:27 -0700 (PDT)
Status: RO

kat@grendal.rain.com wrote:
[...] 
> > Victorian women had ribs removed to gain smaller waists -
> > Impossible, I say. They didn't have the medical knowledge back then.
> 
> Not impossible and they did have enough medical knowledge to do it. 
> It was done at least once, for an actress, who definitely survived.

Citation?  I've heard this _said_ before, but never actually been given an 
actress' name or date.  Lily Langtry did _not_ have ribs
removed, by the way (most common suspect).

> Actually, removing ribs is not as complicated as it sounds. If done 
> properly you never enter the abdominal or chest cavity, which greatly 
> reduces the chances of infection and other complications. It is more 
> on a par with removing surface tumors, which was being done 
> successfully even in the 15th and 16th C.

Again, citation?  Most of the medical texts I've seen refute this claim.
Or rather, refute that it was done _easily_.
 
> As to surgery, the Victorians were actually doing a lot of it. It's 
> why they wanted to study anatomy so much (to the point where people 
> really did steal bodies for the medical schools.) They didn't have 
> anasthesia as wonderful and safe as ours, but they still did it. 
> (Keep in mind that Nitrous oxide came along in the 18th C and was 
> used as anaesthesia. Chloroform came along for anaesthesia somewhere 
> in the mid19thC.)

The first operations to be done with anesthetic were _after_ the Civil
War.  Which really does put a much later limit on this type of procedure.
Plus, "hospital fever" was common enough that I have a hard time believing
that rib removal was done for vanity reasons.  I'm going to also point out
that a lot of the tracts on the medical dangers of tightlacing make it _sound_
as though the practices of tightlacing and rib removal were much more common
than the actual physical and photographic evidence would suggest.  There's
a particular type of tract that was was sometimes labeled "A la mode, A la
mort" that greatly exaggerated both the dangers and prevailance of both
tightlacing and rib removal. 

> Some operations were successful, others weren't. However, they were 
> even doing successful (ie the patient lived for many years after the 
> surgery) abdominal operations such as removal of ovarian tumors even 
> at the beginning of the 19th C. (Surgery advances were more common in 
> the US of the time than the rest of Europe.) (There are plenty of 
> books about the history of medicine which well document this sort of 
> thing.)

And it certainly depends on _which_ text about the history of medicine 
you read as to what you'll find.  Which is why I'm asking for citations.
Some of the older texts have since been refuted by later ones.
 
Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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, 14 Oct 2002 20:48:55 +0000
Status: RO

This was/is a common practice in Japan - make the garment up, then dye it 
afterward. Can't think of the term for it off the top of my head, but I can 
get it if anyone's interested.

Mary/Katerine
(who has dabbled in Japanese clothing, but not in the dying aspects!)

Mike T. BTW, is
>there historical evidence of dyeing completed garments, made from imported
>fabrics that come in only white?
>


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From h-costume-admin@indra.com  Mon Oct 14 17:11:16 2002
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Subject: Re: [h-cost] My latest sewing project is finally online
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Date: Mon, 14 Oct 2002 21:09:05 +0000
Status: RO

Bella -

Out of curiosity, where did you aquire the pattern? I've been whimpering 
over that style of bodice/doublet for a while, but drafting a pattern is 
something I find I still do faster when supervised!

Mary/Katerine

>Thank you so much! :) I couldn't have done it without
>a great pattern - my skills aren't up to drafting
>doublet-style bodices yet. :)
>
>
>Bella
>



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Date: Mon, 14 Oct 2002 18:05:22 -0400
Status: RO

In the early 1970's when I was in summer stock, my hair had been done up
on the top of my head in tiny braids around wire cores, which were
shaped around a roll of toilet paper for a sort of overall
torus/doughnut shape - a piece of black velvet ribbon covered the ends
of the wire where it all came together.  It took hours to put up, so I
left it up as long as possible.

When I woke up one morning, and poked at the ribbon to move it all back
into place, what I had thought was the ribbon walked off my head.   A
spider had been in my hair.

The hair came down immediately, and stayed in a plain knot from then on.

Gotta say, that summer stock was an armpit of a place!

Ann, in Georgia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Carolyn Kayta Barrows
Sent: Monday, October 14, 2002 3:39 PM
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Subject: Re: [h-cost] [h-cos] urban legands concerning the history of
fashion



>I'm looking for urban legands concerning the history of fashion.

In the early 1960s I heard one about a female who ratted her hair and 
didn't comb it out again till after vermin took up residence.  Later I 
heard that same story except it was about the hairstyles of the 1700s.


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Date: Mon, 14 Oct 2002 15:06:00 -0700
Status: RO


We went across the street to Jack-In-The-Box for
>lunch, still wearing our floral-calico farm-women Victorians (Ardenwood 
>does the 1890s).  While we were there, a teenager, old enough to drive, 
>asked us if we were from Renaissance Fair.
>
>Kayta
>
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
>/----\   /---\))
>
At least she didn't ask if you were in a play!!!  ;)


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

I wont hurt you, I just want to dress you up!!


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Subject: Re: [h-cost] My latest sewing project is finally online
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Date: Tue, 15 Oct 2002 08:56:33 +1000 (EST)
Status: RO

Thanks Nicole. :)

Bella


--- N Kipar <nicolas_fouquet@yahoo.com> wrote: >
Gorgeous Bella, absolutely gorgeous!
> 
> Nicole
> 
> > A-hem.... :)
> > 
> > You can find the page here:
> > 
> >
>
http://members.tripod.com/realm_of_venus/mygarb/index.htm
> > 
> > 
> > Bella


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Date: Tue, 15 Oct 2002 09:10:24 +1000 (EST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Hey,
lovely outfit! The competition sounds like a
> fun one, too! Gives me
> ideas for something similar in my sca area!
> --sue


Thanks Sue. :) It was definitely fun, as well as
challenging.


Bella 

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Subject: Re: [h-cost] [h-cos] urban legands concerning the history of
  fashion
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Date: Mon, 14 Oct 2002 16:07:07 -0700
Status: RO

not to be disgusting you all, but I got a flea infestation in my hair 
several years ago.  I think it was because the cat slept on my pillow.  I 
washed it a couple times a week and wore it in a braid.  when it started 
itching I thought it was lice and used the shampoo and washed it a 
gazzillion times and finally had to usse a really strong pesticide on 
it.  considering that women didn't wash their hair that often before the 
twentieth century, I think that it is likelier than not that they did 
have  infestationss.  the back of  my head itches just thinking about it. 
maryann

At 12:39 PM 10/14/2002 -0700, Carolyn Kayta Barrows wrote:

>>I'm looking for urban legands concerning the history of fashion.
>
>In the early 1960s I heard one about a female who ratted her hair and 
>didn't comb it out again till after vermin took up residence.  Later I 
>heard that same story except it was about the hairstyles of the 1700s.
>
>My pet peve urban-legend is that no woman, anywhere, ever wore 
>underdrawers or underpants till the 1800s.
>
>In my family there's a story about my grandfather, born in 1864, who 
>didn't realize his mother had feet till he was about 3.  Probably not an 
>urban legend.
>
>Kayta
>
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
>/----\   /---\))
>
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Subject: Re: Indian textiles/Washing saris/Re: [h-cost] victorian period
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Date: Mon, 14 Oct 2002 16:11:28 -0700
Status: RO

thanks a lot for the info  maryann

At 05:43 PM 10/14/2002 +0000, you wrote:

>>England imported all manner of textiles from India circa 1620 when the 
>>first Trade Post was established granting the English trade 
>>status,primarily in various types of cottons.
>>Thru' the 17thC to 19thC it snowballed and became a major money maker for 
>>the East India Co. and later the Crown.The earliest reference I've found 
>>for using Indian textiles (made as something else) to make frocks from,is 
>>1817/19 - when a number of shawls were converted into rather lovely garments.
>>I've never come across a sari that was converted into an extent Victorian 
>>gown.(But the average Indian sari measured 5 yards during the reign of 
>>the Raj.)Only puja sari's and those woven in the Karkhana's of the 
>>Reigning Houses would be longer - an extent gharghra(Indian skirt) woven 
>>in the mid to late 19thC in Bharatpur for the ruling Singh family was 106 
>>yards long but proved too heavy to wear and eventualy divided in two.
>>
>>Certainly Indian silks woven for the export market,tarlatans,mul mul and 
>>a slew of varieties of muslins and cottons were/would have been used to 
>>combat the climate for the Europeans living there and exported to the 
>>rest of the world.
>>The problem would be that after the Indian Mutiny of 1857 Indian sari 
>>decorative designs were influenced by Victorian wallpaper motifs,a 
>>fashion that continues to today in various permutations and are sold as 
>>'Mummy' saris for the older women.While lovely in them selves,I'm not 
>>certain a fashionable Victorian English woman would wear something that 
>>looked/copied current wallpaper fashions,irrespective of how lovely or 
>>exotic.Now that by no means says that there weren't exceptions,but they 
>>would be 'clever' adaptations because of the stigma of 'going native' vs 
>>the type of design on the sari and location.No colonial in India would 
>>dare wear something so obviously derivative.
>>
>>(Having worked with sari silks a good bit I can only applaud your patience!)
>>Synthrapol is absolutely vital for any washing project!!!Salt is a waste 
>>of your time and effort.I know this from bitter experience that this List 
>>got me thru' by over-dying.
>>
>>Wash with baby shampoo in luke warm water in the tub by hand (wear 
>>gloves) and let soak a spell.Add synthrapol.Rinse by soaking several 
>>times,the last with a shower-head,the detachable kind works best.Don't 
>>twist the fabric any more than you have to.I do a quick partial dry in 
>>the drier for 8 minutes,on med. to remove as much excess water as you 
>>possibly can and then you iron it dry.(Ironing is your friend!!!)
>>Depending on the woven design of the 'gilt' threads forming the butis and 
>>the border,gently tug then straight - work on the front of the fabric 
>>since the pointed tip of the iron will get caught in the threads on the 
>>reverse.The wetter the woven areas are,the more luck you will have in 
>>smoothing them out.Its time consuming,slow going,exhausting and cannot be 
>>rushed or you'll have a mess on your hands.(Wipe the iron frequently for 
>>any residual dye and cover the ironing board with something that you 
>>don't care about.Keep paper towels handy.)By the time you finish,the sari 
>>should still be plenty damp - take a few hours rest and let it air dry.Go 
>>over it if you need to once dry.Do not be tempted to spray it with water 
>>once dry to iron as its likely to 'spot' and you start from scratch.
>>Once made up and worn you will have to clean it as above separately.(For 
>>an aged period look,I over dye the modern sari - even with threads as 
>>you'll want to mellow the brashness of the gilt some and wash six or 
>>seven times in the washer after dying.Comes out looking as if it walked 
>>out of the V&A's vaults.)Best of luck and I hope that this helps you.As 
>>for China I can't help.Sorry.
>>
>>Marcus/Mangal
>>
>>On Sunday, October 13, 2002, at 03:56  am, MaryAnn Jones wrote:
>>
>>>I made a 1860s dress with the usual underskirt overskirt and bodice and 
>>>used a vintage sari for the overskirt and bodice.  the embroidered part 
>>>of the end of the sari just fit the pattern of the overskirt and there 
>>>was plenty left over for a bodice and some of the embroidered part for 
>>>the sleeves.  I am assuming that with the connection that England had 
>>>with India that this wasn't a coincidence.
>>>Did they use saris in their gowns?  If they did, when did they start?
>>>When did brocades from China show up?
>
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Book - Women who ruled
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Date: Tue, 15 Oct 2002 09:25:33 +1000 (EST)
Status: RO

 --- Shea Young <younganne@usa.net> wrote: > Greetings
list,
> This book came through today: Women who ruled,edited
> by Annette Dixon, The
> University of Michigan Museum of Art, ISBN:
> 1858941660
> 
> On the cover is the clearest reproduction I have
> ever seen of the 1545
> painting of Eleanora of Toledo.

Do you mean the one with her son? I've seen that one
attributed to circa 1550-55. Or is it an earlier one
you're speaking of?

> Inside, the painting
> shows what appears to a
> fringe of pearls at the end of her belt.

If it's the portrait I'm thinking of it's a tassel of
pearls. Trish at Raveness.com has webbed some great
clear close-ups of this portrait, including the pearl
tassel:

<http://www.raveness.com/renaissance/eleonoraoftoledo.html>

> Another
> fabulous picture of Maria
> Maddalena of Austria is offered, along with several
> woodcuts. 
> 
> It would be a good one to check out at the library!


It sure would! Thanks for posting about this book -
sounds good. :)


Bella

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Subject: Re: [h-cost] My latest sewing project is finally online
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Date: Tue, 15 Oct 2002 09:27:01 +1000 (EST)
Status: RO

 --- Mary Temple <noxcat@hotmail.com> wrote: > Bella -
> 
> Out of curiosity, where did you aquire the pattern?
> I've been whimpering 
> over that style of bodice/doublet for a while, but
> drafting a pattern is 
> something I find I still do faster when supervised!



It's from Margo's Elizabethan Lady's Wardrobe. :)


Bella

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Subject: [h-cost] Re: urban legends concerning fashion
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Date: Mon, 14 Oct 2002 20:39:54 -0400
Status: RO



The main one I hear concerns corsetry, and it's very general -- that 'in the
past' girls wore corsets from childhood, and were unable to breathe or move
in them. I find this hysterical considering how costume movies are now
common, and one can see modern women who obviously have not been corseted
all their lives wearing corsets, running around, dancing, riding horses,
etc., without any ill effects.

I think the image of the "restrictive" corset as a metaphor for restrictive
social conditions is just too good for many people to resist, no matter what
the facts are. After all, if all women in the past couldn't move in their
corsets, its a wonder any of them managed all their back-breaking work.

A few years ago on this list someone wrote in to ask if a woman could
"really" fence in a corset, the way Catherine Zeta Jones did in the Zorro
movie out at the time. I guess the evidence of his/her own eyes wasn't good
enough!

Gail Finke


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] [h-cos] urban legands concerning the history of  fashion
In-Reply-To: <5.1.0.14.2.20021014160201.009fe340@mail.attbi.com>
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Date: Mon, 14 Oct 2002 19:56:44 -0500 (CDT)
Status: RO


On Mon, 14 Oct 2002, MaryAnn Jones wrote:

> Considering that women didn't wash their hair that often before the
> twentieth century, I think that it is likelier than not that they did
> have infestationss.  the back of my head itches just thinking about
> it.

I don't think lice infestation would necessarily have been more common, at
least not for that particular reason. (We had this conversation back
during the "no-shampoo method" discussion.) Any pediatrician will confirm
that lice prefer clean hair. Oilier hair is harder for them to stay on.
Many a parent has learned this the hard way.

As for fleas: Individual flea species tend to prefer specific hosts --
that is, cat fleas don't normally like people, and people fleas don't
normally like cats ... unless their preferred host is not available when
they're hungry. People who live in close quarters with animals don't
typically pick up the animal fleas, assuming there are plenty of the
appropriate kinds of animals around for the fleas to choose from. (In your
case, you would most likely have gotten your cat's fleas if there was no
cat around when the fleas needed to feed.) But in a part of the world
where human fleas are common and people live in close quarters, they'll
spread fleas around among themselves. (I'm afraid know much more about
fleas than I have any right to know, having written articles about
plague.)

--Robin


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Date: Mon, 14 Oct 2002 18:47:10 -0700
Status: RO



-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Jadran Kale
Sent: Saturday, October 12, 2002 5:25 AM
To: h-costume@net.indra.com
Subject: [h-cost] Fwd: Archaeological Footwear



>From: "Rainer Atzbach M.A." <rainer.atzbach@ggeo.uni-bamberg.de>
>Subject: Rezension Stepping Through Time
>Date: Thu, 10 Oct 2002 15:47:03 +0200
>------------------------------------------------------------------------
>
>Olaf Goubitz /Carol van Driel-Murray/Willy Groenman-van Waateringe:
Stepping
>through Time. Archaeological Footwear from Prehistoric Times until 1800.
>Edited by the Stichting Promotie Archeologie, Zwolle 2001. 397 S., ca. 820
>s/w Abb. ISBN 90-801044-6-9. Preis: NL 55 EUR, B+D 60 EUR, GB (Oxbow) 35 £,
>übriges Europa 70 EUR, USA (Oxbow/ David Brown) 63 $.
>Infobroschüre als kostenloser Download:
>http://www.archeologie-spa.nl/pdf/pdf001.zip
>
>Summary:
>
>This book unites studies of the retired restorer Olaf Goubitz, the
>archaeologist Carol van-Driel Murray and the biologist Willy Groenman-van
>Waateringe, who belong to the most important researchers in European
>footwear. Olaf Goubitz' part deals with the medieval and postmedieval shoes
>in the Netherlands, which could be seen being paradigmatical for the whole
>of Europe. Though in some passages his text is lacking structure, it
>provides a plenty of information to the calceological history and the way
of
>recording shoes. Moreover his detailed and clear drawings are worth to be
>seen - in archaeology nothing lasts longer than a well drawn
reconstruction.
>Carol Driel-Murray gives a short overview to the Roman shoes worn in the
>former North-West provinces Gallia Belgica and Germania Inferior
considering
>typology and craftmanship as well. Willy Groenman-van Waateringe completes
>the trilogy with a very small essay on Dutch and European prehistoric finds
>also regarding their importance as archaeological source material. Although
>this compendium is not the expected well structured handbook on European
>footwear, everyone who is occupied with historical shoes and shoemaker's
>craft should study this book.


Rezensiert für H-Museum und Virtual Library Museen von
Rainer Atzbach M.A., Lehrstuhl für Archäologie des Mittelalters und der
Neuzeit, Universität Bamberg
E-mail: rainer.atzbach@ggeo.uni-bamberg.de
WWW: www.uni-bamberg.de/~ba5am1



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From h-costume-admin@indra.com  Mon Oct 14 21:58:04 2002
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Date: Mon, 14 Oct 2002 18:57:18 -0700
Status: RO

Great book,  I have a copy and got several while in Germany to sell to
friends.  You can now get a copy from the David Brown portion of Oxbow books
 http://www.oxbowbooks.com/home.cfm?Location=DBBC&CT=1197843 for $63.00.  It
is a great addition to any costume book library!

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Jadran Kale
Sent: Saturday, October 12, 2002 5:25 AM
To: h-costume@net.indra.com
Subject: [h-cost] Fwd: Archaeological Footwear



>From: "Rainer Atzbach M.A." <rainer.atzbach@ggeo.uni-bamberg.de>
>Subject: Rezension Stepping Through Time
>Date: Thu, 10 Oct 2002 15:47:03 +0200
>------------------------------------------------------------------------
>
>Olaf Goubitz /Carol van Driel-Murray/Willy Groenman-van Waateringe:
Stepping
>through Time. Archaeological Footwear from Prehistoric Times until 1800.
>Edited by the Stichting Promotie Archeologie, Zwolle 2001. 397 S., ca. 820
>s/w Abb. ISBN 90-801044-6-9. Preis: NL 55 EUR, B+D 60 EUR, GB (Oxbow) 35 £,
>übriges Europa 70 EUR, USA (Oxbow/ David Brown) 63 $.
>Infobroschüre als kostenloser Download:
>http://www.archeologie-spa.nl/pdf/pdf001.zip
>
>Summary:
>
>This book unites studies of the retired restorer Olaf Goubitz, the
>archaeologist Carol van-Driel Murray and the biologist Willy Groenman-van
>Waateringe, who belong to the most important researchers in European
>footwear. Olaf Goubitz' part deals with the medieval and postmedieval shoes
>in the Netherlands, which could be seen being paradigmatical for the whole
>of Europe. Though in some passages his text is lacking structure, it
>provides a plenty of information to the calceological history and the way
of
>recording shoes. Moreover his detailed and clear drawings are worth to be
>seen - in archaeology nothing lasts longer than a well drawn
reconstruction.
>Carol Driel-Murray gives a short overview to the Roman shoes worn in the
>former North-West provinces Gallia Belgica and Germania Inferior
considering
>typology and craftmanship as well. Willy Groenman-van Waateringe completes
>the trilogy with a very small essay on Dutch and European prehistoric finds
>also regarding their importance as archaeological source material. Although
>this compendium is not the expected well structured handbook on European
>footwear, everyone who is occupied with historical shoes and shoemaker's
>craft should study this book.


Rezensiert für H-Museum und Virtual Library Museen von
Rainer Atzbach M.A., Lehrstuhl für Archäologie des Mittelalters und der
Neuzeit, Universität Bamberg
E-mail: rainer.atzbach@ggeo.uni-bamberg.de
WWW: www.uni-bamberg.de/~ba5am1



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Date: Mon, 14 Oct 2002 18:57:18 -0700
Status: RO

Great book,  I have a copy and got several while in Germany to sell to
friends.  You can now get a copy from the David Brown portion of Oxbow books
 http://www.oxbowbooks.com/home.cfm?Location=DBBC&CT=1197843 for $63.00.  It
is a great addition to any costume book library!

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Jadran Kale
Sent: Saturday, October 12, 2002 5:25 AM
To: h-costume@net.indra.com
Subject: [h-cost] Fwd: Archaeological Footwear



>From: "Rainer Atzbach M.A." <rainer.atzbach@ggeo.uni-bamberg.de>
>Subject: Rezension Stepping Through Time
>Date: Thu, 10 Oct 2002 15:47:03 +0200
>------------------------------------------------------------------------
>
>Olaf Goubitz /Carol van Driel-Murray/Willy Groenman-van Waateringe:
Stepping
>through Time. Archaeological Footwear from Prehistoric Times until 1800.
>Edited by the Stichting Promotie Archeologie, Zwolle 2001. 397 S., ca. 820
>s/w Abb. ISBN 90-801044-6-9. Preis: NL 55 EUR, B+D 60 EUR, GB (Oxbow) 35 £,
>übriges Europa 70 EUR, USA (Oxbow/ David Brown) 63 $.
>Infobroschüre als kostenloser Download:
>http://www.archeologie-spa.nl/pdf/pdf001.zip
>
>Summary:
>
>This book unites studies of the retired restorer Olaf Goubitz, the
>archaeologist Carol van-Driel Murray and the biologist Willy Groenman-van
>Waateringe, who belong to the most important researchers in European
>footwear. Olaf Goubitz' part deals with the medieval and postmedieval shoes
>in the Netherlands, which could be seen being paradigmatical for the whole
>of Europe. Though in some passages his text is lacking structure, it
>provides a plenty of information to the calceological history and the way
of
>recording shoes. Moreover his detailed and clear drawings are worth to be
>seen - in archaeology nothing lasts longer than a well drawn
reconstruction.
>Carol Driel-Murray gives a short overview to the Roman shoes worn in the
>former North-West provinces Gallia Belgica and Germania Inferior
considering
>typology and craftmanship as well. Willy Groenman-van Waateringe completes
>the trilogy with a very small essay on Dutch and European prehistoric finds
>also regarding their importance as archaeological source material. Although
>this compendium is not the expected well structured handbook on European
>footwear, everyone who is occupied with historical shoes and shoemaker's
>craft should study this book.


Rezensiert für H-Museum und Virtual Library Museen von
Rainer Atzbach M.A., Lehrstuhl für Archäologie des Mittelalters und der
Neuzeit, Universität Bamberg
E-mail: rainer.atzbach@ggeo.uni-bamberg.de
WWW: www.uni-bamberg.de/~ba5am1



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Date: Mon, 14 Oct 2002 18:46:51 +0000
Status: RO

Ick! Is Advantage safe for people?

Folks not familiar with the name--it's flea goop. You squeeze a little
tube of it onto the nape of the neck and the rear of your pet. Works for
a month. Terrific product. Your pet may drag a flea or two in from the
wilds, but they won't last long.

				Arlys

On Mon, 14 Oct 2002 16:07:07 -0700 MaryAnn Jones <mabse@attbi.com>
writes:
> not to be disgusting you all, but I got a flea infestation in my hair 
> several years ago.  

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Date: Tue, 15 Oct 2002 17:10:54 +1300
Status: RO

> > Not impossible and they did have enough medical knowledge to do it.
> > It was done at least once, for an actress, who definitely survived.
>
> Citation?  I've heard this _said_ before, but never actually been given an
> actress' name or date.  Lily Langtry did _not_ have ribs
> removed, by the way (most common suspect).

Or Sarah Bernhardt who didn't actually have her ribs removed, but she did
have her leg removed, though much later in her life. I want to know this
supposed actresses name as each time I've heard this no one can name her:)

Studied the lives of both actresses at one stage or another:)

There certainly were burleque actresses who had *tiny* waists, but no
smaller than people are acheiving now *without* ribs removed. 13-18" while
still not being common are acheived. And I don't deny it happened in earlier
years. Just not by every fashionable figure and certainly not most women.


michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume


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Subject: Re: [h-cost] [h-cos] urban legands concerning the history of fashion
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Date: Tue, 15 Oct 2002 17:20:51 +1300
Status: RO

> > Iron renaissance corsets - I have only ever seen one picture of one and
it
> > looks to me to be a touture device and not some thing that would have
been
> > worn for fashion.
> These items are a quandary.  They do exist--a couple of them--dated to the
> 16th/17th century, but they are really wierd and no-one truly knows what
> they were used for.  People have suggested masque costume, dress dummies,
> orthopaedic devices, mannequins, forms for making leather corsets...who
> knows. I haven't seen any contemporary written reference to them.  If
> anyone has, I'd love to hear about it.


There are at least four I have seen photos of, and one was late 18thC, very
odd looking but solid (Bissonette on Fashion site has this), this is where
the shop sign theory is written down btw.. maybe others havce suggested it
but this is one instance of a museum saying it.
Two appear in Corsets and Crinolines, and these will be the two Drea refers
too(?) I feel that these are genuine... but their purpose? There are highly
decorative, especially compared to that solid thing from the 18th C.

The fourth is online... I shall hunt for my links.. as I asked about this
maybe this time or earlier last year. It's like a mesh with a sweet heart
neckline long body narrow waist and solid basque.

There *is* evidence for the orthopaedic theory, and Valerie Steele exacmines
it in her latest book... again I have a link to that to find...

But it's certainly not the *only* reason.
http://www.chron.com/cs/CDA/story.hts/ae/books/ch1/1153123 excerpts of her
book.
Including this text:
Ambroise Paré (c. 1510-90), a French army surgeon who became famous for
reforming and modernizing the practice of surgery, described these metal
corsets in his work, stating that they were used "to amend the crookednesse
of the Bodie." "In order to correct and to hide such a defect, they will be
made to wear iron corsets, which shall be full of holes so that they will
not be so heavy, and they will be well fitted and padded so as not to hurt a
t all, and will be changed often if the patient ... [is] still growing."
Paré also suggested metal boots to straighten a crooked leg. According to
him, some deformities were congenital, others the result of accidents. In
addition, he believed that some girls became "hunched and deformed from
having had their bodies too tightly bound," and he complained that mothers
put their girls in tight clothes "with the aim of making their waists
smaller." Although Paré was a critic of fashionable corsetry, which he
thought carried the risk of deformity by incorrect or excessive binding, he
was an advocate of orthopedic corsets. Metal corsets were still sometimes
recommended in the eighteenth century to correct crooked spines, although
canvas stays were more commonly used (for example, by Alexander Pope); and,
indeed, orthopedic corsetry continues to be used by doctors today as part of
the treatment for scoliosis.

http://www.washingtonmonthly.com/features/2001/0201.larson.html review of
her book
http://wwics.si.edu/OUTREACH/WQ/WQCURR/WQBKPER/PREVBOOK/S02BK2.HTM Another
review... and the note about constipation.. it certainly is more than
probable.. though again it all depends on the person wearing the corset and
perhaps the environment. Personal experience.. let's not worry too much
about that;)

And someone took notes at a lecture by her:
http://corsethome.eu.org/corhist.htm so take this as you should a 2nd hand
source.. I know my notes were often patchy while at lectures.

michaela




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Subject: Re: [h-cost] Book - Women who ruled
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Date: Mon, 14 Oct 2002 22:31:47 -0600
Status: RO

I don't need the library for this one! <weg> I bought it last month in
England, at the National Gallery.  Cool book!
--sue, smug book owner ;-P

Shea Young wrote:
> 
> Greetings list,
> This book came through today: Women who ruled,edited by Annette Dixon, The
> University of Michigan Museum of Art, ISBN: 1858941660
> 
> On the cover is the clearest reproduction I have ever seen of the 1545
> painting of Eleanora of Toledo. Inside, the painting shows what appears to a
> fringe of pearls at the end of her belt. Another fabulous picture of Maria
> Maddalena of Austria is offered, along with several woodcuts.
> 
> It would be a good one to check out at the library!
> 
> Yours truly in technical processing land,  Shea Young
>
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Date: Tue, 15 Oct 2002 00:42:12 -0400
Status: RO

A friend's daughter had severe scoliosis, and did indeed sleep in a 
corset like device for about a year to try to correct it. (It helped, 
but didn't do enough, and she did eventually have major surgery.) I 
stayed with her a couple of times, and strapped her into it. It was 
heavy plastic, looked dreadfully uncomfortable, though she said it 
wasn't too bad once she was used to it, and really did make a difference 
- I remember being able to tighten it several notches beyond where she'd 
been the previous visit. (Which meant not that she was thinner, but that 
she was straighter.)  She only wore it at night because it restricted 
movement too much for daytime.  And I've wondered if the iron ones were 
orthopedic ever since!

Anne

michaela wrote:

>
>
>There *is* evidence for the orthopaedic theory, and Valerie Steele exacmines
>it in her latest book... again I have a link to that to find...
>
>But it's certainly not the *only* reason.
>http://www.chron.com/cs/CDA/story.hts/ae/books/ch1/1153123 excerpts of her
>book.
>Including this text:
>Ambroise Paré (c. 1510-90), a French army surgeon who became famous for
>reforming and modernizing the practice of surgery, described these metal
>corsets in his work, stating that they were used "to amend the crookednesse
>of the Bodie." "In order to correct and to hide such a defect, they will be
>made to wear iron corsets, which shall be full of holes so that they will
>not be so heavy, and they will be well fitted and padded so as not to hurt a
>t all, and will be changed often if the patient ... [is] still growing."
>Paré also suggested metal boots to straighten a crooked leg. According to
>him, some deformities were congenital, others the result of accidents. In
>addition, he believed that some girls became "hunched and deformed from
>having had their bodies too tightly bound," and he complained that mothers
>put their girls in tight clothes "with the aim of making their waists
>smaller." Although Paré was a critic of fashionable corsetry, which he
>thought carried the risk of deformity by incorrect or excessive binding, he
>was an advocate of orthopedic corsets. Metal corsets were still sometimes
>recommended in the eighteenth century to correct crooked spines, although
>canvas stays were more commonly used (for example, by Alexander Pope); and,
>indeed, orthopedic corsetry continues to be used by doctors today as part of
>the treatment for scoliosis.
>
>http://www.washingtonmonthly.com/features/2001/0201.larson.html review of
>her book
>http://wwics.si.edu/OUTREACH/WQ/WQCURR/WQBKPER/PREVBOOK/S02BK2.HTM Another
>review... and the note about constipation.. it certainly is more than
>probable.. though again it all depends on the person wearing the corset and perhaps the environment. Personal experience.. let's not worry too much
>about that;)
>
>And someone took notes at a lecture by her:
>http://corsethome.eu.org/corhist.htm so take this as you should a 2nd hand
>source.. I know my notes were often patchy while at lectures.
>
>michaela
>
>
>
>
>_
>


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I do think the answer to this question will be found in records from the 
dyer's guilds.  The book Colors-The Story of Dyes and Pigments by Francois 
Delamare and Bernard Guineau talks about greater and lesser dyeworks guilds 
of the middle ages and that they were clearly two separate and distinct 
guilds.  The greater dyeworks made "luxury products of superior quality using 
only the best fabrics and colorfast dyes".  The lesser dyeworks which catered 
for the lower end of the cliental used cheaper and less stable dyes.  It 
appears from a previous section on fabrics that these lesser fabrics were of 
hemp, wool and linen and the greater dyeworks concentrated on silk and wool.

Unfortunately the authors do not site directly the evidence that lead to 
these conclusions however an extensive list of books for further reading is 
included as an appendix. I suspect this will be confirmed and if I find out 
any further evidence I shall post it.  

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I do think the answer to this question will be found in records from the dyer's guilds.&nbsp; The book Colors-The Story of Dyes and Pigments by Francois Delamare and Bernard Guineau talks about greater and lesser dyeworks guilds of the middle ages and that they were clearly two separate and distinct guilds.&nbsp; The greater dyeworks made "luxury products of superior quality using only the best fabrics and colorfast dyes".&nbsp; The lesser dyeworks which catered for the lower end of the cliental used cheaper and less stable dyes.&nbsp; It appears from a previous section on fabrics that these lesser fabrics were of hemp, wool and linen and the greater dyeworks concentrated on silk and wool.<BR>
<BR>
Unfortunately the authors do not site directly the evidence that lead to these conclusions however an extensive list of books for further reading is included as an appendix. I suspect this will be confirmed and if I find out any further evidence I shall post it.&nbsp; <BR>
<BR>
Lisa</FONT></HTML>

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and I forgot to add, the author's said the undyed clothing, or clothing dyed 
with less stable dyes (again, hemp, wool, and linen) made the crowd look 
dull, indicating outer garments.



Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">and I forgot to add, the author's said the undyed clothing, or clothing dyed with less stable dyes (again, hemp, wool, and linen) made the crowd look dull, indicating outer garments.<BR>
<BR>
<BR>
<BR>
Lisa</FONT></HTML>

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Date: Tue, 15 Oct 2002 00:33:07 -0500
Status: RO

Something quite similar happened to me several years ago coming home from
a RenFaire. I was in full RenFaire lower class kit complete with knife on
my belt, multicolored clothing, and boots. I stopped at a reststop/gas
station on the tollway and was asked by a guy who saw me get out of the
car whether I was Amish. I tried to keep a straight face while I
explained that I wasn't and I WAS from a RenFaire. Sigh. 

Karen

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Date: Tue, 15 Oct 2002 00:39:18 -0500
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I will enthusiastically add my applause to the thunderous acclaim. Really
terrific job! I wish I could see it in person.

Karen

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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Tue, 15 Oct 2002 08:15:43 +0100 (BST)
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 --- Gail & Scott Finke <gailscott@eos.net> wrote: > 
> 
> The main one I hear concerns corsetry, and it's very general -- that 'in the
> past' girls wore corsets from childhood, and were unable to breathe or move
> in them. 

I agree, while girls certainly were starting to wear sturdy linen stays and
then corded once and soon stays from earliest childhood on I think it is big
bulls' droppings to say they were unable to breathe or move. There are enough
paintings surviving showing little girls in very tight/snug looking bodices
playing and bouncing about.
Caveat Reader: There is, though, an account of John Evelyn's niece being 2 or
thereabouts who died because when she was laced into stays far too tightly her
soft ribs caved in and pierced internal organs. BUT I have to say that while
this account exist from the 17th c. we have no way of knowing how
scientifically true it is.

Nicole

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Civilian & Military  Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Tue, 15 Oct 2002 09:16:57 +0200
Status: RO

Hi,

I'm starting a new dress diary of making a loose gown.
At this point I have pictures of some sketches and the fabricks and trim.
http://home.kabelfoon.nl/~triade/Projects/Loosegown.html

Greetings,
        Deredere

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Subject: Re: [h-cost] New project loose gown
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Date: Tue, 15 Oct 2002 08:31:07 +0100 (BST)
Status: RO

 --- Deredere & Owen Iskander <triade@kabelfoon.nl> wrote: > Hi,
> 
> I'm starting a new dress diary of making a loose gown.
> At this point I have pictures of some sketches and the fabricks and trim.
> http://home.kabelfoon.nl/~triade/Projects/Loosegown.html
> 
> Greetings,
>         Deredere

Lovely Deredere, I am looking forward to watch it grow! I especially like the
dark red and rabbit fur combination. awwwww, cute lil bunny rabbits *G*

Sheesh that reminds me, I should update mine, not having done anything on the
dress, but on other projects :-)

Nicole

=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  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: trimmings
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Date: Tue, 15 Oct 2002 09:48:46 +0100 (BST)
Status: RO

Hi Kate,

Some great places you found! Thanks.

www.kersen.com</A> although their site seems to be down at the moment... 

It is up this morning and I had never heard of them before, but this is what
their web site says:
We regret to announce that due to administrative problems we cannot
   currently receive new orders. All orders received to date are being
  processed as normal. Please check again in a few days for a web site
                          update.

www.creativebeadcraft.co.uk</A> is good for all sorts of sparkly things 

Lovely, I didorder their catalogue straight away.

Macculloch and Wallis have a huge selection of fabrics and trims, although not
online, and the mail-order catalogue doesn't have many pictures.

They are indeed a problem, they mainly sell via the shop but I have never
experienced them being friendly, you are right, to me, too, they were always
grumpy. The others look great though. Thanks.

Nicole

=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  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] historical costume-funny
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Date: Tue, 15 Oct 2002 02:15:18 -0700
Status: RO


>We went across the street to Jack-In-The-Box for
>>lunch, still wearing our floral-calico farm-women Victorians (Ardenwood 
>>does the 1890s).  While we were there, a teenager, old enough to drive, 
>>asked us if we were from Renaissance Fair.

>At least she didn't ask if you were in a play!!!  ;)

An SCA-acquaintance of mine once lent his armor to a theatre company in 
Berkeley.  After the play he was loading it back into his car, and, as he 
put it, a 'freaked out Berkeley Hippie' asked him if he was in the SCA.  He 
promptly replied, "No, I've just been in a play".  He says he loves being 
able to tell that story.



Kayta

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Subject: [h-cost] another urban legend - shoulder puffing
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Date: Tue, 15 Oct 2002 03:05:52 -0700
Status: RO

Another of my pet-peve urban legends is that shoulder puffing (we see this 
in many Ren. illustrations) is necessarily the shirt.  I would believe this 
about much of Italy and the Germanies in the mid to late 1400s and early 
1500s, but not about England in the mid to late 1500s, where sleeves are 
narrower and sometimes not the same colour as the puffings.

There's a picture of Elizabeth I, in a red dress and carrying a 
three-colour fan, and another of her sometimes called the Phoenix Portrait, 
and an unknown Elizabethan woman in a red dress, with simple gold and black 
trim, and a white shirt embroidered in red roses and green leaves, and I 
have heard this one about all of those dresses, even tho the shirts are 
clearly not made of the same stuff as the puffing is.  Baloney and 
applesauce, as my grandmother, born in 1880, used to say.

Kayta

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Date: Tue, 15 Oct 2002 05:19:04 -0700 (PDT)
Status: RO

Bjarne -- I downloaded some of your embroidery images, and i'm using them
as the background desktop image on my laptop ... they are that inspiring.

.heather.

> 
>         You have every right to be pleased, with both the embroidery and
> the photos.  I wish I had a tenth of your talent.  What an honor it is to
> know you, even from a long distance.
> 
> Lalah
> Never give up, Never surrender
> _______________________________________________
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Subject: Re: [h-cost] [h-cos] urban legands concerning the history of fashion
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Date: Tue, 15 Oct 2002 08:39:40 -0400 (EDT)
Status: RO

In which case, the stock market oughta be really high right now -- saw
something on the Spring fashions in the Washington Post, which had the
hemlines at, oh, just about butt level.  Ugh!

-- Mara


On Mon, 14 Oct 2002 AnnBWass@aol.com wrote:
> How about the one that the stock market goes up as hemlines go up?  This
> actually had a basis in one very small statement of fact, which I can't
> dredge up out of the mists of the past, but got to be applied generally.
> Ann Wass

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Date: Tue, 15 Oct 2002 08:54:09 -0400 (EDT)
Status: RO

On Mon, 14 Oct 2002 kat@grendal.rain.com wrote:
> Lots of theories about this one, but it could have been an orthopedic
> device for controlling scoliosis. Unfortunately, some people *still*
> require devices which look more tortuous than that for controlling
> scoliosis. Most of them are teenage girls too.

That's very true -- and considering the absolute horror that people then
had of ricketts and other deforming diseases, I can see how some people
might put their children into these things.

There's an article from the British Costume Society called "The
Unfashionable Use of Stays", on 18th c. stays (I think most of the iron
ones predate  the 18th c., but the principle is still relevant).  It talks
about stays  being used to promote correct posture in both young boys and
girls, in an age when ricketts were very much a concern...  Some stays
were advertised as having no obvious knots on the interior, so that the
wearer's body wouldn't be deformed by trying to avoid an uncomfortable
spot.

My grandmother had polio as a child.  Her father made her wear orthopedic
boots and take ballet lessons, according to what my Mom has said, to
strenghthen her muscles.  She considered it torture at the time, but it
obviously worked, as she was later in life a very graceful and
accomplished dancer (not professionally; she was an art teacher).

I think someone noted, when these iron corsets came up before, that a few
of them have holes around the edges which might have been used for
attaching a padded lining.  Maybe some were orthopedic devices, some were
shop signs, some were guild signs, who knows...

-- Mara

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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] historical costume-funny
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Date: Tue, 15 Oct 2002 09:01:20 -0400 (EDT)
Status: RO

When I was 14 and living in Monterey, CA, I was travelling north to an SCA
event in the San Francisco area.  Both the person I was riding with and I
were in costume of a sort of 14thc./PreRaphaelite flavor.  She was asked
if we were with the Hari Krishnas.  (Snort!)  This would have been the
early 80s...

People's lack of historical knowledge never fails to astound me.  Now I'm
doing 18th c. reenacting, and get asked if a) I'm Amish (there are a lot
of Amish living in So. MD, but they don't dress anything like I do, that's
for sure!) or b) I do American Civil War reenacting.

Sigh, what's a former history major to do?

-- Mara

On Mon, 14 Oct 2002, Carolyn Kayta Barrows wrote:
> My younger daughter and I were helping out with Ardenwood's Harvest
> Festival today.  We went across the street to Jack-In-The-Box for lunch,
> still wearing our floral-calico farm-women Victorians (Ardenwood does the
> 1890s).  While we were there, a teenager, old enough to drive, asked us if
> we were from Renaissance Fair.

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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Tue, 15 Oct 2002 08:07:03 -0500 (CDT)
Status: RO


On Tue, 15 Oct 2002, Carolyn Kayta Barrows wrote:

> >At least she didn't ask if you were in a play!!!  ;)
> 
> An SCA-acquaintance of mine once lent his armor to a theatre company
> in Berkeley.  After the play he was loading it back into his car, and,
> as he put it, a 'freaked out Berkeley Hippie' asked him if he was in
> the SCA.  He promptly replied, "No, I've just been in a play".  He
> says he loves being able to tell that story.

The best "play" line I ever heard occurred when I went with a costumed SCA
friend to an all-night diner after an event. (I wasn't in costume.) The
giggly teenage girls who were waiting tables got an eyeful of his Italian
short doublet, poofy shirt, curled long hair, and multicolored tights,
and, after conferring, sent over our waitress to ask, "Are you in a play?"
"Yes," he replied. "West Side Story."

She was quite happy with the answer, which means either she doesn't know
the play, or else she was just happy to have a reason and didn't want to
think much about whether it made sense.

--Robin

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Date: Tue, 15 Oct 2002 09:05:07 -0400 (EDT)
Status: RO

Heard a joke about that...  Reply: "No, Ma'am, we're with the Stamford
Time Travel program.  We just got back from 1066 and haven't had time to
change yet."

Confused tourist: "Oh, I didn't know they could do that yet..."

-- Mara

On Mon, 14 Oct 2002, Jennifer Sena wrote:
> At least she didn't ask if you were in a play!!!  ;)

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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Tue, 15 Oct 2002 09:09:32 -0400 (EDT)
Status: RO

Yeah... That's one of the things I talk about when I'm telling tourists
about 18th c. costume.  I find it helps to point out that employees at
Home Depot and Lowe's are now wearing belts for back support, and major
sewing catalogues (Clotilde, specifically) are selling similar back
braces for sewers.  A well-fitted working class corset, NOT tight laced,
serves much the same function. <G>

-- Mara


On Mon, 14 Oct 2002, Gail & Scott Finke wrote:
> I think the image of the "restrictive" corset as a metaphor for restrictive
> social conditions is just too good for many people to resist, no matter what
> the facts are. After all, if all women in the past couldn't move in their
> corsets, its a wonder any of them managed all their back-breaking work.

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Subject: Re: [h-cost] [h-cos] urban legands concerning the history of fashion
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Date: Tue, 15 Oct 2002 09:17:32 -0400
Status: RO

Hello again. When my younger daughter acquired fleas presumably from the cat
she slept with, the pharmacist suggested Sargents Flea Soap, and it worked
just fine.  KSM---- Original Message -----
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Monday, October 14, 2002 2:46 PM
Subject: Re: [h-cost] [h-cos] urban legands concerning the history of
fashion


> Ick! Is Advantage safe for people?
>
> Folks not familiar with the name--it's flea goop. You squeeze a little
> tube of it onto the nape of the neck and the rear of your pet. Works for
> a month. Terrific product. Your pet may drag a flea or two in from the
> wilds, but they won't last long.
>
> Arlys
>
> On Mon, 14 Oct 2002 16:07:07 -0700 MaryAnn Jones <mabse@attbi.com>
> writes:
> > not to be disgusting you all, but I got a flea infestation in my hair
> > several years ago.
>
> ________________________________________________________________
> GET INTERNET ACCESS FROM JUNO!
> Juno offers FREE or PREMIUM Internet access for less!
> Join Juno today!  For your FREE software, visit:
> http://dl.www.juno.com/get/web/.
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Date: Tue, 15 Oct 2002 14:20:37 +0100
Status: RO

Mara wrote:

Kate Bunting
Library, University of Derby

>>> People's lack of historical knowledge never fails to astound me.  Now >I'm doing 18th c. reenacting, and get asked if a) I'm Amish (there are a lot
>of Amish living in So. MD, but they don't dress anything like I do, that's
>for sure!) or b) I do American Civil War reenacting.

I've more than once been walking round in costume of the English Civil War period and been asked "Are you part of the mediaeval battle?". We also often get asked if we're Morris dancers (folk dancers who wear brightly coloured costumes).




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Date: Tue, 15 Oct 2002 07:42:24 -0600
Status: RO

Or if it was even evidence of child abuse or something not remotely
related to the actual fashions of the day....
--sue's 2 euro' worth

N Kipar wrote:
> 
> Caveat Reader: There is, though, an account of John Evelyn's niece being 2 or
> thereabouts who died because when she was laced into stays far too tightly her
> soft ribs caved in and pierced internal organs. BUT I have to say that while
> this account exist from the 17th c. we have no way of knowing how
> scientifically true it is.
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Date: Tue, 15 Oct 2002 07:54:47 -0600
Status: RO

A couple of times over the years, I've had occasion to wear this one
particular red (Elizabethan) outfit for an in-town demo.  Because it's
so involved, what I did was get dressed at work, and then take the bus
to the demo in full kit.  Both times, I got asked where my flamingo
was.  <g> They were seeing this large-sized woman in a fancy, red dress,
and figured, well, she had to be the Queen of Hearts.....
I've since thought that would make a great shot for Penny's Costume Ball
if I could just borrow someone's lawn flamingo....
--sue

> On Tue, 15 Oct 2002, Carolyn Kayta Barrows wrote:
> 
> > >At least she didn't ask if you were in a play!!!  ;)
> >
> > An SCA-acquaintance of mine once lent his armor to a theatre company
> > in Berkeley.  After the play he was loading it back into his car, and,
> > as he put it, a 'freaked out Berkeley Hippie' asked him if he was in
> > the SCA.  He promptly replied, "No, I've just been in a play".  He
> > says he loves being able to tell that story.
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Subject: Re: [h-cost] New project loose gown
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Date: Tue, 15 Oct 2002 15:58:53 +0200
Status: RO

Hi,

Thanks for the link.
The pattern is to expensive for me at this moment. But it looks good,
also the other patterns.
Have you, or someone else used their shoe patterns? I would love to make
my own shoes but I find it hard to make good fitting patterns.
Greetings,
         Deredere

Elizabeth Lear wrote:

 >Looks like it will be lovely!
 >
 >If you want to avoid drafting the pattern, I recommend buying the
 >Mantua-Maker's Spanish Loose Gown pattern.  I used it last winter, and
 >I highly recommend it.  I also recommend buying it from Harper House,
 >as they have truly wonderful customer service.  Here's a link - the
 >pattern is about halfway down the page.
 >
 >	http://www.longago.com/medieval.html
 >
 >
 >Good luck!
 > 
				...eliz
 >



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Tue, 15 Oct 2002 16:58:44 +0200
Status: RO

Hi.
I have a little to say here. Not historically but when Nicole tryed on the
calico bodice for her baroque dress, she was so tightly laced, that she
could not take on her own shoes.

Bjarne


----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Tuesday, October 15, 2002 2:39 AM
Subject: [h-cost] Re: urban legends concerning fashion


>
>
> The main one I hear concerns corsetry, and it's very general -- that 'in
the
> past' girls wore corsets from childhood, and were unable to breathe or
move
> in them. I find this hysterical considering how costume movies are now
> common, and one can see modern women who obviously have not been corseted
> all their lives wearing corsets, running around, dancing, riding horses,
> etc., without any ill effects.
>
> I think the image of the "restrictive" corset as a metaphor for
restrictive
> social conditions is just too good for many people to resist, no matter
what
> the facts are. After all, if all women in the past couldn't move in their
> corsets, its a wonder any of them managed all their back-breaking work.
>
> A few years ago on this list someone wrote in to ask if a woman could
> "really" fence in a corset, the way Catherine Zeta Jones did in the Zorro
> movie out at the time. I guess the evidence of his/her own eyes wasn't
good
> enough!
>
> Gail Finke
>
>
> _______________________________________________
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>


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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Tue, 15 Oct 2002 17:12:14 +0200
Status: RO


Hi.
and now we are on this topic. I was very surprised to se Dreas pictures
taken of the pink 17th. century stays.
Dreas pictures were lovely, but i was quite surprised to se the small waist.
This is definately a tight corset body.

Bjarne


----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Tuesday, October 15, 2002 3:42 PM
Subject: Re: [h-cost] Re: urban legends concerning fashion


> Or if it was even evidence of child abuse or something not remotely
> related to the actual fashions of the day....
> --sue's 2 euro' worth
>
> N Kipar wrote:
> >
> > Caveat Reader: There is, though, an account of John Evelyn's niece being
2 or
> > thereabouts who died because when she was laced into stays far too
tightly her
> > soft ribs caved in and pierced internal organs. BUT I have to say that
while
> > this account exist from the 17th c. we have no way of knowing how
> > scientifically true it is.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: Christine Wright <ysabiau@juno.com>
Subject: [h-cost] Seeking some nice Irish linen...
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Date: Tue, 15 Oct 2002 11:55:23 -0400
Status: RO

Greetings to all, 

Sorry for cross-posting to so many, but I'm looking for some _really_
nice, very lightweight Irish linen to make a period Elizabethan shirt out
of for my husband (and Christmas is coming much too quickly!).

The fabric needs to be a lightweight evenweave, and soft, and preferably
white or soft white.  I would really love to find something for less than
$30/yard.  I would also prefer to find linen woven with longer fibers,
not chopped up short ones.

Is this possible??!!?  Help!  The linen links I have are for inexpensive
stuff, and are not what I'm looking for.

Thanks very much for any help,
Ysabiau de Mortagne

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Date: Tue, 15 Oct 2002 17:16:57 +0100
Status: RO

John England sales@johnenglandtextiles.com 
or Stephen McComb castleisland2001@aol.com
or stephen McCormack weaving@magee.iol.ie
or Jim  Murray emblem@iol.ie
 
These mills all do small orders. 

Mel

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From: kat@grendal.rain.com
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Date: Tue, 15 Oct 2002 09:29:53 -0700
Status: RO

Nicole wrote:
> I agree, while girls certainly were starting to wear sturdy linen
> stays and then corded once and soon stays from earliest childhood on I
> think it is big bulls' droppings to say they were unable to breathe or
> move. There are enough paintings surviving showing little girls in
> very tight/snug looking bodices playing and bouncing about. Caveat
> Reader: There is, though, an account of John Evelyn's niece being 2 or
> thereabouts who died because when she was laced into stays far too
> tightly her soft ribs caved in and pierced internal organs. BUT I have
> to say that while this account exist from the 17th c. we have no way
> of knowing how scientifically true it is.

The lacing of clothing can indeed do this, especially if it is done 
suddenly (like an angry caretaker trying to put a corset on a small 
recalcitrant child and pulling.yanking harder and faster than they 
should.)  Or a child who has been kicked in the ribs "to make them 
behave", then (with their little rib fractures) is laced into a 
corset.  (Child abuse was not invented in the current era. It has 
been going on probably since the beginning of time. We are just less 
tolerant of it and finding more ways of making the public aware that 
it is happening. Many people believe that because it doesn't happen 
in *their* household that it isn't really as bad as people say it is. 
What they don't realize is that sometimes it's worse.)

You betcha, it's possible.

Also, I've seen Xrays of women who had been laced since they were 
small. (Those early xray developers must have been just having a 
blast because so many of the still existing xrays from that time are 
of women such as this, with far fewer of men.) The organs get changed 
in interesting ways from it. They don't just get moved, they get 
permanently distorted even if the corset is not meant to be super 
tight. In the early medical textbooks talking about the mechanics of 
breathing, they thought that women (because of their gender, not 
realizing it was the effects of the corsetry) had a different way of 
breathing. Also, medical textbooks talk about the problems of women 
fainting (probably because they couldn't increase what doctors call 
"minute ventilation" when they were exerting or emotionally upset.)

What this says is that even if women are not doing the type of 
tightlacing which the fetishists insist was common (which I doubt was 
common), that corsets which are used to shape the figure can cause 
medical problems.

I suspect that there were women in the Victorian age who (because of 
vanity) did overlace to the point where they couldn't do active 
things. They probably used it as an excuse not to (because they 
didn't want to do so anyway.) There are a lot of people *now* who use 
what they've done to themselves as an excuse not to do something they 
don't want to do anyway.

Kat Russell
<kat@grendal.rain.com>

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Subject: [h-cost] keeping a corset in place?
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Date: Tue, 15 Oct 2002 10:28:22 -0700 (PDT)
Status: RO

GEtting ready to start on Drea's corset generator and
was wondering how a Renaissance/Elizabethan corset
stays in place without riding up or down.  Some of the
19th century ones have shoulder straps and garters
attached so there is a little tension to keep the
waist at the waist but I don't think that attached
garters are usual for that timeframe.  Also do I need
to cut the waistline a little differently as I wear a
DD cup bra but don't have a proportionate waist? ie 48
bust but 38 waist with an underbust of 38 inches. 
I've not had good luck with 19th century corsets
without the shoulder straps and garters.  Suggestions?
                                    Cassandra

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Tue, 15 Oct 2002 18:34:05 +0100 (BST)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > 
> Hi.
> and now we are on this topic. I was very surprised to se Dreas pictures
> taken of the pink 17th. century stays.
> Dreas pictures were lovely, but i was quite surprised to se the small waist.
> This is definately a tight corset body.
> 
> Bjarne

Bjarne, it is indeed, but it is a tiny set of stays in the first place, it is
everywhere very small, the proportion between shoulders and waist are not
overly excessive.

Nicole 

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

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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
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Subject: RE: [h-cost] historical costume-funny
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Date: Tue, 15 Oct 2002 13:37:51 -0400
Status: RO

Several years ago my husband and I and several friends were dining in a
restaurant while dressed in mid-nineteenth century clothing.  We could tell
by the waiter's face he was about to ask why we were dressed that way.
Anticipating his question, our friend looked solemnly in his face and said
"Our mothers dress us funny." He gave us the strangest look, handed us the
menus, and quietly walked away.

Carolann Schmitt
www.genteelarts.com
Ladies of the 1860s Conference, March 7-9, 2003


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Subject: Re:[h-cost] Seeking some nice Irish linen...
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Date: Tue, 15 Oct 2002 17:51:27 GMT
Status: RO

I have bought very nice, fine white linen from Vogue Fabrics in Chicago. I believe that they will mail if you already know what you want- they don't have a catalog online that I'm aware of. It runs about $10 a yard which is very reasonable for cloth of this quality. Unfortunately, they have several white linens at that price, so I don't know how to tell you to differentiate. The sales help is generally very helpful in person, so it might bwe owrth a call to see what they can do for you. I an, unfortunately, away from home so I don't have the number handy but if you call information and ask for Vogue Fabrics in Evanston, Illinois they should be able to help you.


Karen






---------- Christine Wright <ysabiau@juno.com> writes:

From: Christine Wright <ysabiau@juno.com>
To: SCA-Garb@yahoogroups.com, Blackwork@yahoogroups.com, h-costume@indra.com,
   TheRenaissanceTailor@yahoogroups.com
Subject: [h-cost] Seeking some nice Irish linen...
Date: Tue, 15 Oct 2002 11:55:23 -0400

Greetings to all, 

Sorry for cross-posting to so many, but I'm looking for some _really_
nice, very lightweight Irish linen to make a period Elizabethan shirt out
of for my husband (and Christmas is coming much too quickly!).

The fabric needs to be a lightweight evenweave, and soft, and preferably
white or soft white.  I would really love to find something for less than
$30/yard.  I would also prefer to find linen woven with longer fibers,
not chopped up short ones.

Is this possible??!!?  Help!  The linen links I have are for inexpensive
stuff, and are not what I'm looking for.

Thanks very much for any help,
Ysabiau de Mortagne

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] historical costume-funny
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Date: Tue, 15 Oct 2002 10:58:41 -0700
Status: RO


>Heard a joke about that...  Reply: "No, Ma'am, we're with the Stamford
>Time Travel program.  We just got back from 1066 and haven't had time to
>change yet."
>
>Confused tourist: "Oh, I didn't know they could do that yet..."

I heard the exact same story - I guess it makes that one an urban legend too.


Kayta

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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] keeping a corset in place?
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Date: Tue, 15 Oct 2002 14:21:04 -0400 (EDT)
Status: RO


Sounds like you'd definitely be better off with shoulder straps on your
corset to keep it in place. I much prefer effigy-corset type straps (wide
at the center back, and narrowing to points that tie to the front
neckline) as they are adjustable and don't dig into the armpit as much.

With such a large differential between bust and waist size, I also
recommend cutting the corset pattern at the side back to create a front
and back section, with the back center and front center on the
straight--otherwise the back center edge will be on the bias and stretch
too much.

Tying the farthingale to the corset ends up serving the same purpose as
garters on a victorian corset: the weight of the farthingale and the
skirts over it keep the corset from riding up too much.  It also keeps the
farthingale  from slipping around and helps to distribute the weight of
the dress more evenly.

Good luck with your corset,

Drea

 On Tue, 15 Oct 2002, Cascio Michael wrote:

> GEtting ready to start on Drea's corset generator and
> was wondering how a Renaissance/Elizabethan corset
> stays in place without riding up or down.  Some of the
> 19th century ones have shoulder straps and garters
> attached so there is a little tension to keep the
> waist at the waist but I don't think that attached
> garters are usual for that timeframe.  Also do I need
> to cut the waistline a little differently as I wear a
> DD cup bra but don't have a proportionate waist? ie 48
> bust but 38 waist with an underbust of 38 inches.
> I've not had good luck with 19th century corsets
> without the shoulder straps and garters.  Suggestions?
>                                     Cassandra
>
> __________________________________________________
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 <younganne@usa.net>
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Date: Tue, 15 Oct 2002 11:51:04 -0700
Status: RO

Bella <bella_lucia_da_verona@yahoo.com.au> wrote:
 
> Do you mean the one with her son? I've seen that one attributed to 
> circa 1550-55. Or is it an earlier one you're speaking of?

Yes, the ever-so-popular one with her son.  Interesting that they have chosen
a different date.

> If it's the portrait I'm thinking of it's a tassel of pearls. Trish at
Raveness.com has webbed some great clear close-ups of this portrait, including
the pearl tassel:
> <http://www.raveness.com/renaissance/eleonoraoftoledo.html>
> Thanks for posting about this book -  sounds good. :)


Thank YOU for posting the link. And congrats on your Elizabethan gown. It took
me two days of visiting the site before I was able to see it, but it was worth
the wait! You do fine work Bella!

Shea



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Subject: Re: [h-cost] My latest sewing project is finally online
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Date: Tue, 15 Oct 2002 11:52:54 -0700 (PDT)
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--0-2056351157-1034707974=:50922
Content-Type: text/plain; charset=us-ascii


 
 Bella,

I just got the chance to see your webpage, and I must say... WOW!  I love your outfit! ;-)

Moira

> A-hem.... :)
> 
> You can find the page here:
> 
> http://members.tripod.com/realm_of_venus/mygarb/index.htm
> 
> 
> Bella
> 




--0-2056351157-1034707974=:50922
Content-Type: text/html; charset=us-ascii

<P>&nbsp;
<P>&nbsp;Bella,</P>
<P>I just got the chance to see your webpage, and I must say... WOW!&nbsp; I love your outfit! ;-)</P>
<P>Moira<BR><BR>&gt; A-hem.... :)<BR>&gt; <BR>&gt; You can find the page here:<BR>&gt; <BR>&gt; http://members.tripod.com/realm_of_venus/mygarb/index.htm<BR>&gt; <BR>&gt; <BR>&gt; Bella<BR>&gt; <BR></P><BR><BR>
--0-2056351157-1034707974=:50922--
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From h-costume-admin@indra.com  Tue Oct 15 15:17:44 2002
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Date: Tue, 15 Oct 2002 21:14:58 +0200
Status: RO

Dear Bella.
I also want to congratulate you with your beautifull italian renaissance
gown. It is lovely to look at!
I hope you get a lot of fun times, when using that.

Bjarne


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Subject: Re: [h-cost] historical costume-funny
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Date: Tue, 15 Oct 2002 15:21:25 -0400
Status: RO

I have two favorite answers:

A blank look, followed by the question " Why, no...why do you ask?", which
really confuses them...

Or (and I blatantly admit I stole this from someone, though I can't remember
who)

"No..(sad sigh)...I come from a very poor family. These are hand me downs."

Dianne
----- Original Message -----
From: "Kevin & Mara Riley" <lindo@radix.net>
To: <h-costume@indra.com>
Sent: Tuesday, October 15, 2002 9:05 AM
Subject: Re: [h-cost] historical costume-funny


> Heard a joke about that...  Reply: "No, Ma'am, we're with the Stamford
> Time Travel program.  We just got back from 1066 and haven't had time to
> change yet."
>
> Confused tourist: "Oh, I didn't know they could do that yet..."
>
> -- Mara
>
> On Mon, 14 Oct 2002, Jennifer Sena wrote:
> > At least she didn't ask if you were in a play!!!  ;)
>
> _______________________________________________
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] keeping a corset in place?
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Date: Tue, 15 Oct 2002 15:43:02 -0400 (EDT)
Status: RO

Hi, Cassandra,
You can certainly add straps.  Go to the portion of Drea's site where she
gives instructions for drafting the bodice for a gown for directions on
strap placement.  Alternatively, just cut out two 1" wide strips of the
cardboard you're using for your mockup (I always draft mine out on
posterboard and then adjust that during the fitting stage) and tape the
straps on where they look right.

A tip -- I find that it helps to put the straps on stays rather close
together in the back, especially if they are widely placed in front, so
that they are less likely to slip off the shoulders.  This is probably why
the Effigy corset (also on Drea's site) has that 'v' shape at the back,
where the straps come together.  If you do this, you might want to make
the back higher, then add the straps.

cheers,
Mara


On Tue, 15 Oct 2002, Cascio Michael wrote:

> GEtting ready to start on Drea's corset generator and
> was wondering how a Renaissance/Elizabethan corset
> stays in place without riding up or down.  Some of the
> 19th century ones have shoulder straps and garters
> attached so there is a little tension to keep the
> waist at the waist but I don't think that attached
> garters are usual for that timeframe.  Also do I need
> to cut the waistline a little differently as I wear a
> DD cup bra but don't have a proportionate waist? ie 48
> bust but 38 waist with an underbust of 38 inches.
> I've not had good luck with 19th century corsets
> without the shoulder straps and garters.  Suggestions?
>                                     Cassandra

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] keeping a corset in place?
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Date: Tue, 15 Oct 2002 15:46:31 -0400 (EDT)
Status: RO

Sorry, Drea, should have read to the end of my mail queue first!

Anyway, am working on a variant of the Effigy corset for my 1630s
impression -- covering the outside with red wool, after sewing the boning
channels.  Thanks again for all your work :)  Now if I can just get it
done by this weekend...

-- Mara


On Tue, 15 Oct 2002, Drea Leed wrote:

>
> Sounds like you'd definitely be better off with shoulder straps on your
> corset to keep it in place. I much prefer effigy-corset type straps (wide
> at the center back, and narrowing to points that tie to the front
> neckline) as they are adjustable and don't dig into the armpit as much.

(snip)

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From h-costume-admin@indra.com  Tue Oct 15 15:54:57 2002
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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] keeping a corset in place?
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Date: Tue, 15 Oct 2002 15:53:38 -0400 (EDT)
Status: RO

Yummy!  What's this weekend?  I've often wished I had enough skill,
patience and insanity to recreate those red woolen stays in Fashion in
Detail...they are really something. Actually, I really want to recreate
the pink V&A stays more.  Tho it's still clinging precariously to the
bottom of my list of things to do.  :)

Drea


On Tue, 15 Oct 2002, Kevin & Mara Riley wrote:

> Sorry, Drea, should have read to the end of my mail queue first!
>
> Anyway, am working on a variant of the Effigy corset for my 1630s
> impression -- covering the outside with red wool, after sewing the boning
> channels.  Thanks again for all your work :)  Now if I can just get it
> done by this weekend...
>
> -- Mara
>
>
> On Tue, 15 Oct 2002, Drea Leed wrote:
>
> >
> > Sounds like you'd definitely be better off with shoulder straps on your
> > corset to keep it in place. I much prefer effigy-corset type straps (wide
> > at the center back, and narrowing to points that tie to the front
> > neckline) as they are adjustable and don't dig into the armpit as much.
>
> (snip)
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Angela Lazear-CRC" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] My latest sewing project
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Date: Tue, 15 Oct 2002 14:01:53 -0700
Status: RO

I've gone to look at it five or six times over quite a few days and it's
always suspended.  Am I doing something wrong, or do they just turn it off a
lot?

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
"Do you not know I am a woman?.  When I think, I must speak."
As You Like It; III, ii - W. Shakespeare
http://www.cabbagerosecostumes.com

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Tuesday, October 15, 2002 12:14 PM
Subject: [h-cost] My latest sewing project


> Dear Bella.
> I also want to congratulate you with your beautifull italian renaissance
> gown. It is lovely to look at!
> I hope you get a lot of fun times, when using that.
>
> Bjarne
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] historical costume-funny
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Date: Tue, 15 Oct 2002 22:38:05 +0100
Status: RO

One time we were coming back from an 18th century event (on foot, on a 
Saturday evening), and passed a group in Star Trek uniforms who shouted, 
in a friendly way,  various things about "look at the weirdos in funny 
clothes"

Then there was the event where another re-enactor, having learnt our 
group was from Edinburgh, complimented one chap on his Scottish outfit. 
"It's not Scottish" he replied.  "Oh.  But it's, sort of, Celtic, isn't 
it?"  It was his best Rus Viking baggies!

Jean


Kevin & Mara Riley <lindo@Radix.Net> wrote
>Heard a joke about that...  Reply: "No, Ma'am, we're with the Stamford
>Time Travel program.  We just got back from 1066 and haven't had time to
>change yet."
>
>Confused tourist: "Oh, I didn't know they could do that yet..."
>
>-- Mara
>
>On Mon, 14 Oct 2002, Jennifer Sena wrote:
>> At least she didn't ask if you were in a play!!!  ;)
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [Re: [h-cost] Book - Women who ruled]
To: h-costume@indra.com
In-Reply-To: <no.id> from "SheaYoung" at Oct 15, 2002 11:51:04 AM
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Date: Tue, 15 Oct 2002 15:00:53 -0700 (PDT)
Status: RO

I'm still waiting.. I hate tripod!

.heather.

> 
> Bella <bella_lucia_da_verona@yahoo.com.au> wrote:
>  
> > Do you mean the one with her son? I've seen that one attributed to 
> > circa 1550-55. Or is it an earlier one you're speaking of?
> 
> Yes, the ever-so-popular one with her son.  Interesting that they have chosen
> a different date.
> 
> > If it's the portrait I'm thinking of it's a tassel of pearls. Trish at
> Raveness.com has webbed some great clear close-ups of this portrait, including
> the pearl tassel:
> > <http://www.raveness.com/renaissance/eleonoraoftoledo.html>
> > Thanks for posting about this book -  sounds good. :)
> 
> 
> Thank YOU for posting the link. And congrats on your Elizabethan gown. It took
> me two days of visiting the site before I was able to see it, but it was worth
> the wait! You do fine work Bella!
> 
> Shea
> 
> 
> 
> _______________________________________________
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] My latest sewing project - page is up right now
To: h-costume@indra.com
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Date: Wed, 16 Oct 2002 08:47:35 +1000 (EST)
Status: RO

 --- Angela Lazear-CRC <cabbagerose@sbcglobal.net>
wrote: > I've gone to look at it five or six times
over quite
> a few days and it's
> always suspended.  Am I doing something wrong, or do
> they just turn it off a
> lot?


You're not doing anything wrong Angela. There have
been lots of hits on that page and Tripod are stingy
with their bandwidth allowance apparently. They also
keep my page offline longer and longer each time. I'm
looking around for a better free web host for that
section of my site. 

In the meantime the page is online *right now* if you
still want to look. :)

<http://members.tripod.com/realm_of_venus/mygarb/index.htm>


Bella

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] My latest sewing project is finally online
To: h-costume@indra.com
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Date: Wed, 16 Oct 2002 08:50:56 +1000 (EST)
Status: RO

 --- seamstrix@juno.com wrote: > I will
enthusiastically add my applause to the
> thunderous acclaim. Really
> terrific job! I wish I could see it in person.
> 
> Karen


Thank you! If all the people who told me they wish
they could see it in person turned up here in
Australia, I'd be one very happy lady in getting to
finally meet some very nice people, instead of only
having names to go by. :)


Bella

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [Re: [h-cost] Book - Women who ruled]
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Date: Wed, 16 Oct 2002 08:55:04 +1000 (EST)
Status: RO

 --- Shea Young <younganne@usa.net> wrote: 

> Bella <bella_lucia_da_verona@yahoo.com.au> wrote:
<http://www.raveness.com/renaissance/eleonoraoftoledo.html>
> > Thanks for posting about this book -  sounds good.
> :)
> 
> 
> Thank YOU for posting the link. And congrats on your
> Elizabethan gown. It took
> me two days of visiting the site before I was able
> to see it, but it was worth
> the wait! You do fine work Bella!

You're welcome, and thank you. :) I'm sorry Tripod is
such a pain. I've also got a Geocities account and
they're much better with bandwidth limits and getting
me back online. What I rally need is one free site
with about 100Mgs of space that allows me lots of
bandwidth. Will look into it. :)


Bella

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- 1,000's of jobs waiting online for you!
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Subject: Re: [h-cost] My latest sewing project is finally online
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Date: Wed, 16 Oct 2002 08:58:43 +1000 (EST)
Status: RO

 --- HEATHER CUTLER <moirabeaneoin@prodigy.net> wrote:
> 
>  
>  Bella,
> 
> I just got the chance to see your webpage, and I
> must say... WOW!  I love your outfit! ;-)
> 
> Moira


Thank so much. :) I must get around to making a proper
garb page with my other stuff on it. None of it is as
fancy as this one though. :)


Bella

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Subject: Re: [h-cost] My latest sewing project
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Date: Wed, 16 Oct 2002 09:01:26 +1000 (EST)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote: > Dear Bella.
> I also want to congratulate you with your beautifull
> italian renaissance
> gown. It is lovely to look at!
> I hope you get a lot of fun times, when using that.
> 
> Bjarne


Thank you! :) I'm going to wear it to an SCA event at
the beginning of October, and I'm sure I'll have fun.
I particularly love the brown silk/metallic gold
stripped fabric. I must go back and buy up big on that
one.


Bella

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Subject: Re: [Re: [h-cost] Book - Women who ruled]
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Date: Wed, 16 Oct 2002 09:04:00 +1000 (EST)
Status: RO

 --- Heather Meadows <alice@wonderland.com> wrote: >
I'm still waiting.. I hate tripod!
> 
> .heather.

I'm beginning to as well. Just checked again, and it's
still online *right now*, though I don't know how long
that will last.

<http://members.tripod.com/realm_of_venus/mygarb/index.htm>


Bella 

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- 1,000's of jobs waiting online for you!
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Date: Tue, 15 Oct 2002 17:00:14 -0700 (PDT)
Status: RO

kat@grendal.rain.com wrote:
[...] 
> I suspect that there were women in the Victorian age who (because of 
> vanity) did overlace to the point where they couldn't do active 
> things. They probably used it as an excuse not to (because they 
> didn't want to do so anyway.) There are a lot of people *now* who use 
> what they've done to themselves as an excuse not to do something they 
> don't want to do anyway.

Don't underestimate the effects of vanity.  I know a lot of women my
age (mid-30s) who have foot deformities from wearing extremely pointy-toed
shoes.  Winkle-pickers and extremely pointed pumps were popular when we
were in high school (1980s).  There are an awful lot of women with bunion
and tailor's toe deformities from those shoes.  

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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: [h-cost] source for ballet slipper-like shoes
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Date: Tue, 15 Oct 2002 16:43:20 -0700
Status: RO

I've always had bad luck trying to use ballet slippers for shoes for 19th 
century dress. They just don't have enough support and they really aren't 
meant to be worn outdoors.

But I just found a company called Saugus Shoes that makes every kind of 
bridal shoe you can imagine (and quite a few you can't!) and they have 
several differente types of ballet style shoes, including one with a real, 
=hard= leather sole! They also have the added benefit of being dyeable, 
since they're designed for bridal use. I'm sure there are probably many of 
you who already know about this company, but I thought I'd share it anyway, 
just in case. Here's the link to the page with the ballet slipper shoes:

http://saugusshoes.com/catalog.html?page=13&cat=shoe

The fourth one in the second row of pics is the one that's closest to a 
real 19th century slipper.

Julie


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Date: Tue, 15 Oct 2002 17:10:25 -0700
Status: RO

Do you remember that show 1900 house?  the woman in that show had to wear 
appropriate wear and she had trouble breathing and so they did tests with 
and without the corset and showed that the corset definitely interfered 
with her breathing.  you can bet she wasn't lacing tightly. of course, she 
didn't grow up with a corset.


At 09:29 AM 10/15/2002 -0700, kat@grendal.rain.com wrote:
>Nicole wrote:
> > I agree, while girls certainly were starting to wear sturdy linen
> > stays and then corded once and soon stays from earliest childhood on I
> > think it is big bulls' droppings to say they were unable to breathe or
> > move. There are enough paintings surviving showing little girls in
> > very tight/snug looking bodices playing and bouncing about. Caveat
> > Reader: There is, though, an account of John Evelyn's niece being 2 or
> > thereabouts who died because when she was laced into stays far too
> > tightly her soft ribs caved in and pierced internal organs. BUT I have
> > to say that while this account exist from the 17th c. we have no way
> > of knowing how scientifically true it is.
>
>The lacing of clothing can indeed do this, especially if it is done
>suddenly (like an angry caretaker trying to put a corset on a small
>recalcitrant child and pulling.yanking harder and faster than they
>should.)  Or a child who has been kicked in the ribs "to make them
>behave", then (with their little rib fractures) is laced into a
>corset.  (Child abuse was not invented in the current era. It has
>been going on probably since the beginning of time. We are just less
>tolerant of it and finding more ways of making the public aware that
>it is happening. Many people believe that because it doesn't happen
>in *their* household that it isn't really as bad as people say it is.
>What they don't realize is that sometimes it's worse.)
>
>You betcha, it's possible.
>
>Also, I've seen Xrays of women who had been laced since they were
>small. (Those early xray developers must have been just having a
>blast because so many of the still existing xrays from that time are
>of women such as this, with far fewer of men.) The organs get changed
>in interesting ways from it. They don't just get moved, they get
>permanently distorted even if the corset is not meant to be super
>tight. In the early medical textbooks talking about the mechanics of
>breathing, they thought that women (because of their gender, not
>realizing it was the effects of the corsetry) had a different way of
>breathing. Also, medical textbooks talk about the problems of women
>fainting (probably because they couldn't increase what doctors call
>"minute ventilation" when they were exerting or emotionally upset.)
>
>What this says is that even if women are not doing the type of
>tightlacing which the fetishists insist was common (which I doubt was
>common), that corsets which are used to shape the figure can cause
>medical problems.
>
>I suspect that there were women in the Victorian age who (because of
>vanity) did overlace to the point where they couldn't do active
>things. They probably used it as an excuse not to (because they
>didn't want to do so anyway.) There are a lot of people *now* who use
>what they've done to themselves as an excuse not to do something they
>don't want to do anyway.
>
>Kat Russell
><kat@grendal.rain.com>
>
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From h-costume-admin@indra.com  Tue Oct 15 20:38:18 2002
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Subject: Re: [h-cost] source for ballet slipper-like shoes
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Date: Tue, 15 Oct 2002 17:39:49 -0700
Status: RO

To Julie-

Pretty shoe!!  Do mean to wear it for early 19c (Regency)?  How do you
find the right shop that carries it, since they only sell to bridal shops?

Thanks, 

Theresa Eacker

Kiloran@worldnet.att.net wrote: (Pruning)
> 
> I've always had bad luck trying to use ballet slippers for shoes for 19th
> century dress.
> 
> But I just found a company called Saugus Shoes  they have
> several differente types of ballet style shoes, including one with a real,
> =hard= leather sole! 
http://saugusshoes.com/catalog.html?page=13&cat=shoe
> 
> The fourth one in the second row of pics is the one that's closest to a
> real 19th century slipper.
> 
> Julie
> 
> _______________________________________________
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From h-costume-admin@indra.com  Tue Oct 15 21:11:04 2002
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Date: Tue, 15 Oct 2002 19:15:23 -0600
Status: RO

*sigh* I'd like to do *both*!! <g> I'm keeping myself out of that
particular dilemma by just doing stuff at the moment that's
pre-corsetry.
Eventually (fall/winter projects loom ;-), I'll be making a couple of
Flemish marketwoman outfits, but I'm planning on using hemp cording in
the bodices of the undergowns.
--Sue

Drea Leed wrote:
> 
> Yummy!  What's this weekend?  I've often wished I had enough skill,
> patience and insanity to recreate those red woolen stays in Fashion in
> Detail...they are really something. Actually, I really want to recreate
> the pink V&A stays more.  Tho it's still clinging precariously to the
> bottom of my list of things to do.  :)
> 
> Drea
> 
> On Tue, 15 Oct 2002, Kevin & Mara Riley wrote:
> 
> > Sorry, Drea, should have read to the end of my mail queue first!
> >
> > Anyway, am working on a variant of the Effigy corset for my 1630s
> > impression -- covering the outside with red wool, after sewing the boning
> > channels.  Thanks again for all your work :)  Now if I can just get it
> > done by this weekend...
> >
> > -- Mara
> >
> >
> > On Tue, 15 Oct 2002, Drea Leed wrote:
> >
> > >
> > > Sounds like you'd definitely be better off with shoulder straps on your
> > > corset to keep it in place. I much prefer effigy-corset type straps (wide
> > > at the center back, and narrowing to points that tie to the front
> > > neckline) as they are adjustable and don't dig into the armpit as much.
> >
> > (snip)
> >
> > _______________________________________________
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> >
> 
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From h-costume-admin@indra.com  Tue Oct 15 21:16:02 2002
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Subject: [h-cost] Fall and Winter projects (my apologies to those cousins from the
 southern hemisphere!)
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Date: Tue, 15 Oct 2002 19:20:45 -0600
Status: RO

Something I said in a reply to another message made me wonder....Does
anyone out there (besides me) like to plan nice, long fall/winter
projects? I'm not necessarily referring to things that have to be done
for a specific winter event, but something to while away the long, dark
hours many of us are facing with oncoming winter.
I'm planning on working on lots of research (using the lovely books I
bought in Ireland and England), more lace-making, finishing my blackwork
shift, and making some 13th and 14th century dresses, just using fabric
from my stash.  Oh...and finishing some late 18th c. lower/middle class
clothes.
So, what are the rest of you planning?
--sue
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the
 southern hemisphere!)
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Date: Tue, 15 Oct 2002 18:27:49 -0700
Status: RO

This is the winter of my dream dresses beginning.  I just have to save up 
for the linen underthings and then I'm ready to get started.  Chemise, 
pantaloons, corset, hoop, flounced evening gown, and headpiece.

I've been trying to learn about glove making, but it's like some national 
secret.  I just really like gloves and want to know how to make my own out 
of whatever I want them from.  Just another new fascination.



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

I wont hurt you, I just want to dress you up!!





>From: Sue Clemenger <mooncat@in-tch.com>
>Reply-To: h-costume@indra.com
>To: "h-costume@indra.com" <h-costume@indra.com>
>Subject: [h-cost] Fall and Winter projects (my apologies to those cousins 
>from the southern hemisphere!)
>Date: Tue, 15 Oct 2002 19:20:45 -0600
>
>Something I said in a reply to another message made me wonder....Does
>anyone out there (besides me) like to plan nice, long fall/winter
>projects? I'm not necessarily referring to things that have to be done
>for a specific winter event, but something to while away the long, dark
>hours many of us are facing with oncoming winter.
>I'm planning on working on lots of research (using the lovely books I
>bought in Ireland and England), more lace-making, finishing my blackwork
>shift, and making some 13th and 14th century dresses, just using fabric
>from my stash.  Oh...and finishing some late 18th c. lower/middle class
>clothes.
>So, what are the rest of you planning?
>--sue
>_______________________________________________
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
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Date: Tue, 15 Oct 2002 14:28:22 -0700
Status: RO

At 10:58 AM -0700 10/15/02, Carolyn Kayta Barrows wrote:
>>Heard a joke about that...  Reply: "No, Ma'am, we're with the Stamford
>>Time Travel program.  We just got back from 1066 and haven't had time to
>>change yet."
>>
>>Confused tourist: "Oh, I didn't know they could do that yet..."
>
>I heard the exact same story - I guess it makes that one an urban legend too.

Possibly -- although I heard the story from several people in 
Gryphonsguard (sp?) who (when they told it) were the actual 
participants in the incident, at some restaurant in Palo Alto (the 
location of Stanford University) after a day-event there. After the 
off-hand quip, they went out and actually had "Stanford University 
Time-Travel Club" id cards printed up which I saw with my own eyes. 
My memory says that Eric Foxworthy was one of the participants, so it 
might even theoretically be possible to track down specifics. The 
event was nearly a couple decades ago, so there's plenty of time for 
it to have turned into a legend, and even for other people, having 
heard the story, to have re-used the same line on other occasions. 
All in all, the version above is astoundingly similar in detail to 
what I heard.  The main differences are that I believe the way I 
heard it they had just gotten back from the 15th century, but 
presumably at some point when the connection with Stanford University 
had become less relevant to the story, and the name got shifted to 
"Stamford", this suggested a change of venue to 1066 to give 
"Stamford" a context.

I'm absolutely fascinated by the dynamics of how modern folk-tales 
spread and evolve -- especially by the way a particularly good story 
will diversify and get attached to multiple people (either by the 
story-telling process or because the events, once known, were 
repeatable), and how particular people become "story-magnets", having 
large numbers of generic adventures attributed to them and given 
specifics.  The process gives you a good hands-on idea of how things 
like the Arthurian legend cycle developed!

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] Seeking some nice Irish linen...
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Date: Tue, 15 Oct 2002 22:16:59 -0400
Status: RO


Thanks everyone!  That gives me some good places to go.

-Ysabiau


On Tue, 15 Oct 2002 17:16:57 +0100 "Melanie Wilson"
<MelanieWilson@bigfoot.com> writes:
> John England sales@johnenglandtextiles.com 
> or Stephen McComb castleisland2001@aol.com
> or stephen McCormack weaving@magee.iol.ie
> or Jim  Murray emblem@iol.ie
>  
> These mills all do small orders. 
> 
> 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
> this message may contain personal views which are not the views of 
> the
> Company, unless specifically stated.
> 
> 
> 
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> 


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Lady Ysabiau de Mortagne, OM                             Christine Wright
Cadet to Don Donal Artur of the Silver Band                Seamstress    

Exchequer, Shire of Endewearde                               
Fleurdesigns

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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] washing suggestions
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Date: Tue, 15 Oct 2002 16:57:10 -1000 (HST)
Status: RO

Thanks for the suggestions, everyone.  I think I'll go with some
combination of slosh and spray in the shower.

annora


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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 13:21:05 +1000 (EST)
Status: RO

 --- Jennifer Sena <distantdesigns@hotmail.com> wrote:

> I've been trying to learn about glove making, but
> it's like some national 
> secret.  I just really like gloves and want to know
> how to make my own out 
> of whatever I want them from.  Just another new
> fascination.


Would this site be of any use to you?

<http://www.glove.org/getpage.asp?page=default.asp>


Bella 

http://careers.yahoo.com.au - Yahoo! Careers
- 1,000's of jobs waiting online for you!
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 13:27:43 +1000 (EST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: >
Something I said in a reply to another message made
> me wonder....Does
> anyone out there (besides me) like to plan nice,
> long fall/winter
> projects? <snip>


Well, here in the southern hemisphere it's of course
Spring heading into a long, hot, dry (in South
Australia) summer. Sewing anything heavy and time
consuming is out, but I might once again try blackwork
(I usually get impatient and put it down). Small,
light, easy projects are the best thing. 

In autumn/winter I do like to sew more
involved/fancier/heavier garments, although I don't
usually plan them, unless there's an event I want
something new for. :)


Bella

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Date: Tue, 15 Oct 2002 21:16:08 -0700
Status: RO

At 8:42 PM -0700 10/12/02, MaryAnn Jones wrote:
>thanks everyone for the advice.  I have some other things to try now 
>that are better than my original idea.  it takes a while to come up 
>to speed on these things.  Now that I have done a number of costumes 
>of this period, (ie the renn faire period) and looked at a ton of 
>pictures I have a better idea of what is actual Elizabethan and what 
>is faire Elizabethan.  All I can say is, I am glad I am not queen. 
>Maryann

I don't know about her new (red brocade) gown, but I remember hearing 
that one of the Actress-Playing-Queen's old outfits at this Faire 
weighed in at 62 pounds total, including undergarments.... <shudder>
-- 
____________________________________________________________
O  Christian Ashley, gentlewoman to Lady Stafford
|     Chris Laning  <claning@igc.org>
+   Guild of St. George, Northern California
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Date: Tue, 15 Oct 2002 22:49:04 -0600
Status: RO

No kidding!
When I first started in the SCA, the strangest/funniest stories I heard
were of some (I thought) fictional guy named Danu.  Everyone called them
"Danu stories," much in the same way/intent as you would "just so
stories" or fairy tales.  Only to find, several years later, that he was
*real,* and that some of the stories were true.
--sue

Heather Rose Jones wrote:
> 
> I'm absolutely fascinated by the dynamics of how modern folk-tales
> spread and evolve -- especially by the way a particularly good story
> will diversify and get attached to multiple people (either by the
> story-telling process or because the events, once known, were
> repeatable), and how particular people become "story-magnets", having
> large numbers of generic adventures attributed to them and given
> specifics.  The process gives you a good hands-on idea of how things
> like the Arthurian legend cycle developed!
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Date: Tue, 15 Oct 2002 21:47:15 -0700
Status: RO

> Do you remember that show 1900 house?  the woman in that show had to
> wear appropriate wear and she had trouble breathing and so they did
> tests with and without the corset and showed that the corset
> definitely interfered with her breathing.  you can bet she wasn't
> lacing tightly. of course, she didn't grow up with a corset.

But it doesn't do that with everyone.

While I've never worn a 1900's corset, I regularly wear a 16th C 
corset without any problems at all (even though I have asthma bad 
enough that it has increased the lower flair of my ribcage). 

I have also, without any breathing difficulty worn an 18th C corset 
for more than 14 hours (from 10am until at least midnight) at Costume 
Con one year (St. Louis). I had forgotten that the previous time I 
wore it I had not completely closed the lacing so that the edges were 
touching but had about 2" between. So, I was overlaced by at least 
2". Yet, no breathing problems even when I danced. (Well, not more 
than when I dance without a corset anyway.)

It is probably pretty individual.

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] source for ballet slipper-like shoes
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Date: Tue, 15 Oct 2002 22:35:54 -0700
Status: RO


>Julie-
>
>Pretty shoe!!  Do mean to wear it for early 19c (Regency)?  How do you
>find the right shop that carries it, since they only sell to bridal shops?
>
>Thanks,
>
>Theresa Eacker

Theresa -

Yes, a large portion of my costume wardrobe is Regency, and it's always 
been hard to find the right shoes.

The website has a store locator engine, and you just put in your city or 
area code and it lists all the bridal stores near you that carry their 
products. I've already seen them in one bridal store, and checking the LA 
area it seems that virtually every bridal store carries their shoes in 
stock. I would assume that if you need a pair in a certain size and/or 
style they could special order it. The one shop I saw the pair at had them 
for sale for $65 (but they're a very high end store that is in the process 
of going out of business. Everything was half off). I've also found then at 
a couple of websites, for between $25 and $30. That sounds like a good deal.

Julie




>Kiloran@worldnet.att.net wrote: (Pruning)
> >
> > I've always had bad luck trying to use ballet slippers for shoes for 19th
> > century dress.
> >
> > But I just found a company called Saugus Shoes  they have
> > several differente types of ballet style shoes, including one with a real,
> > =hard= leather sole!
>http://saugusshoes.com/catalog.html?page=13&cat=shoe
> >
> > The fourth one in the second row of pics is the one that's closest to a
> > real 19th century slipper.
> >


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 08:09:21 +0100 (BST)
Status: RO

 --- kat@grendal.rain.com wrote: > > Do you remember that show 1900 house?  the
woman in that show had to
> > wear appropriate wear and she had trouble breathing and so they did
> > tests with and without the corset and showed that the corset
> > definitely interfered with her breathing.  you can bet she wasn't
> > lacing tightly. of course, she didn't grow up with a corset.
> 
> But it doesn't do that with everyone.

When I wear Bjarne's blue dress and am nicely laced into it I can't breathe.
Any physical activity, even just walking a bit faster, is impossible, the
breathing only works on the very upper part of the lungs, nothing on the lower,
no deeper breath, and all I can do is what the guys like watching (har har
*growls*) which makes the cleavage 'jiggle'.

Nicole

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

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Date: Wed, 16 Oct 2002 00:15:35 -0700
Status: RO

To Julie-

I'm deeply into Regency as well and shoes _were_ a continual search.  I
just tried out buying a pair of flats (with a nice, solid sole) and
covering them with a period-looking silk brocade.  It's messy but does
give a nice looking result, especially for dances.

Thanks for the lead on this shoe site!!!

Theresa Eacker

Kiloran@worldnet.att.net wrote:

> 
> Theresa -
> 
> Yes, a large portion of my costume wardrobe is Regency, and it's always
> been hard to find the right shoes.
> 
> The website has a store locator engine, and you just put in your city or
> area code and it lists all the bridal stores near you that carry their
> products. I've already seen them in one bridal store, and checking the LA
> area it seems that virtually every bridal store carries their shoes in
> stock. I would assume that if you need a pair in a certain size and/or
> style they could special order it. The one shop I saw the pair at had them
> for sale for $65 (but they're a very high end store that is in the process
> of going out of business. Everything was half off). I've also found then at
> a couple of websites, for between $25 and $30. That sounds like a good deal.
> 
> Julie
> 
> >Kiloran@worldnet.att.net wrote: (Pruning)
> > >
> > > I've always had bad luck trying to use ballet slippers for shoes for 19th
> > > century dress.
> > >
> > > But I just found a company called Saugus Shoes  they have
> > > several differente types of ballet style shoes, including one with a real,
> > > =hard= leather sole!
> >http://saugusshoes.com/catalog.html?page=13&cat=shoe
> > >
> > > The fourth one in the second row of pics is the one that's closest to a
> > > real 19th century slipper.
> > >
> 
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
To: h-costume@indra.com
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Date: Wed, 16 Oct 2002 08:49:58 +0100 (BST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Something I said in a reply to
another message made me wonder....Does
> anyone out there (besides me) like to plan nice, long fall/winter
> projects? 

Just one? Gazillions, far too many, because it's the time before the next
season.. which does mean, that I make of course everything BUT the costumes
that I NEED for next season and will end up yet again stitching away like mad
*G*

I'm not necessarily referring to things that have to be done
> for a specific winter event, but something to while away the long, dark
> hours many of us are facing with oncoming winter.

Yep, that includes historicised clothes for mundane wear, I looked into my
wardrobed and realised while they are stuffed with costumes I have 'nothing'
for work. AHRGH! So I finished a black and gold justacucorps, a red silk 1700
waistcoat, just finished yesterday a peach damask Italian surcote, and am
working on a new shirt, eh, well, several. All for work of course.

Nicole

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

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Date: Wed, 16 Oct 2002 09:11:44 +0100
Status: RO

I'm envious of these people who say they can do all sorts of strenuous things in corsets. I have *no* spare flesh on my torso, so there's nothing much to cushion between my stays and my ribcage. Even though mine (1630s) don't nip my waist, they restrict the lower chest. This summer I nearly fainted while playing the shawm in a sunny room.



Kate Bunting
Library, University of Derby

>>> nicolas_fouquet@yahoo.com 10/16/02 08:09am >>>
 --- kat@grendal.rain.com wrote: > > Do you remember that show 1900 house?  the
woman in that show had to
> > wear appropriate wear and she had trouble breathing and so they did
> > tests with and without the corset and showed that the corset
> > definitely interfered with her breathing.  you can bet she wasn't
> > lacing tightly. of course, she didn't grow up with a corset.
> 
> But it doesn't do that with everyone.

>When I wear Bjarne's blue dress and am nicely laced into it I can't breathe.
>Any physical activity, even just walking a bit faster, is impossible, the
>breathing only works on the very upper part of the lungs, nothing on the >lower, no deeper breath, and all I can do is what the guys like watching >(har har *growls*) which makes the cleavage 'jiggle'.

>Nicole

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

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Date: Wed, 16 Oct 2002 09:26:33 +0100
Status: RO

Sue wrote:

>So, what are the rest of you planning?

A dark green wool 17th century petticoat to replace my shabby old one. I also intend to alter the readymade linen shift I bought in the spring, changing the drawstring wrists to cuffs tied with ribbons and doing something similar with the neckline.

Kate Bunting
Library, University of Derby


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Date: Wed, 16 Oct 2002 05:46:19 -0400
Status: RO

This weekend is the St. Mary's Militia Muster, at St. Mary's City, MD 
(early 17th c.) -- great event, I'm looking forward to it!

Oh, yeah, those stays in Fashion in Detail are gorgeous...  both sets!  Has 
anyone diagnosed a specific type of costumer's insanity called 'corset 
fever' yet, characterized by the desire to make different styles of stays 
just to see how they work? <G>

The stays I'm working on don't have the boning channels showing through to 
the outside, so they won't look quite so interesting, but I'm going for 
that boned-bodice look you see in 17th c. genre art.

Cheers,
Mara

At 03:53 PM 10/15/2002 -0400, you wrote:
>Yummy!  What's this weekend?  I've often wished I had enough skill,
>patience and insanity to recreate those red woolen stays in Fashion in
>Detail...they are really something. Actually, I really want to recreate
>the pink V&A stays more.  Tho it's still clinging precariously to the
>bottom of my list of things to do.  :)
>
>Drea
>
>
>On Tue, 15 Oct 2002, Kevin & Mara Riley wrote:
>
> > Sorry, Drea, should have read to the end of my mail queue first!
> >
> > Anyway, am working on a variant of the Effigy corset for my 1630s
> > impression -- covering the outside with red wool, after sewing the boning
> > channels.  Thanks again for all your work :)  Now if I can just get it
> > done by this weekend...
> >
> > -- Mara

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Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins
 from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 04:19:24 -0700
Status: RO


>but something to while away the long, dark
>hours many of us are facing with oncoming winter.

This winter I will probably do pretty much as I have been doing.  Those 
long winter nights around here aren't cold enough to keep most Californians 
indoors.  If this Winter is especially wet, we might get as much as 15 
inches of rain.  Last New Year's Day, for example, I went for a stroll on 
the beach in San Francisco near Cliff House, coincidentally with about 1000 
other people.  It wasn't raining, and the sun was out.  I didn't go in the 
water, but some of the dogs chasing Frisbees, and little children, 
did.  (Obligatory costume content: I wore jeans, a long-sleeved shirt, a 
jacket, and my usual shoes - no mittens, muffler, or hat.  There were maybe 
as many as 10 surfers, all wearing wet-suits.)

But seriously, many living history sites hereabouts close down in like 
October, and don't open up again till like March, on account of the 
possibility of rain.  So we spend the down-time sewing for next year.  I 
still need to start/finish my Dickens' dress, and should really finish my 
Ardenwood dress too.

Kayta

    //// \\\
   ////-@@\\\
  ((((   7 )))
   (((  <> ))))
      )   ((((((
/----\   /---\))

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Date: Wed, 16 Oct 2002 08:11:00 -0500
Status: RO

Robin Netherton wrote:
> 
> The best "play" line I ever heard occurred when I went with a costumed SCA
> friend to an all-night diner after an event. (I wasn't in costume.) The
> giggly teenage girls who were waiting tables got an eyeful of his Italian
> short doublet, poofy shirt, curled long hair, and multicolored tights,
> and, after conferring, sent over our waitress to ask, "Are you in a play?"
> "Yes," he replied. "West Side Story."

My favorite answer is "Death of a Salesman."  And no, I never actually
say that.  I'm a professional educator, so I give them as much info as
can fit into the attention-span of a slightly-interested random stranger.

Melanie Schuessler
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Date: Wed, 16 Oct 2002 06:35:13 -0600
Status: RO

Not that I know of, but they sure should, 'cuz I think I've got a
case....the ones I'm drooling at the most are outside my reenactment
time period, but that won't stop me from making them, and the
appropriate outfits as well!!
And then there were those lovely, yummy stomachers in the Costume Museum
in Bath, and those lovely, lovely 18th c. gowns.....oh, man....maybe
it's a good thing I live somewhere that *doesn't* have an 18th c. group!
<g>
--Sue

Kevin + Mara wrote:
> 
  Has
> anyone diagnosed a specific type of costumer's insanity called 'corset
> fever' yet, characterized by the desire to make different styles of stays
> just to see how they work? <G>
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Date: Wed, 16 Oct 2002 06:46:52 -0600
Status: RO

Now me, I'm squishy.  Really squishy, with lots of boobage.  So, a
well-fitting corset (I do 16th c. stuff) doesn't cause me too much
constriction/grief, although it is annoying not being able to bend at
the waist.
However, let me gain 10, 20 pounds, and then I can still technically fit
into the thing, but the lacing's that much tighter (fighting more flesh)
and *then* I've noticed breathing restriction issues.  I also notice
something similar with some of the ItalianRen dresses I've made--a
certain amount of containment seems to be okay, but not serious
compression.
What's interesting about another style I've run across (Robin's fitted
gowns) is that the boobage is definitely confined and shaped (quite
firmly), but I didn't notice any constriction/problems breathing *at
all,* and I'd not thought that possible!
So, perhaps some of our differences in experiences with breathing in
corsets or confining bodices depend on the style of the garment as well?
Would women in certain socio-economic strata, and certain time periods,
have been wearing more -or less- restrictive clothing? And the
foundation garments be correspondingly more or less restrictive as well?
That'd be interesting to compare....do a study of different
corset/stays/pairs of bodys types and how they affect movement,
breathing, etc.  Someone could walk their way right up from the 16th c.
into the 20th.....
Hmmm......maybe if I have time, someday!
--sue

Kate M Bunting wrote:
> 
> I'm envious of these people who say they can do all sorts of strenuous things in corsets. I have *no* spare flesh on my torso, so there's nothing much to cushion between my stays and my ribcage. Even though mine (1630s) don't nip my waist, they restrict the lower chest. This summer I nearly fainted while playing the shawm in a sunny room.
> 
> Kate Bunting
> Library, University of Derby
>
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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 08:35:08 -0500 (CDT)
Status: RO


On Wed, 16 Oct 2002, Sue Clemenger wrote:

> What's interesting about another style I've run across (Robin's fitted
> gowns) is that the boobage is definitely confined and shaped (quite
> firmly), but I didn't notice any constriction/problems breathing *at
> all,* and I'd not thought that possible!

You're not the first person to notice this. I've costumed a lot of
singers, who are very leery of anything constricting. They tell me (often
with some surprise) that the fitted dress actually encourages them to sing
from the diaphragm like they're supposed to. There's no restriction below
the level of the ribcage. As for the upper body, it's fit to the ribs,
with the breast tissue pushed up and out of the way. There's enough
flexibility in the fabric itself to accommodate normal breathing expansion
(and muscle motion) at the ribcage level, and when you need to breathe
deeply, you automatically do it from lower down.

This is very different from corsets that are meant to cinch the waist,
which can certainly interfere with deep breathing and singing. But the
14th-century look emphasized a belly swell. The illusion of the small
waist comes from (1) the fitted ribcage, and (2) the shaped small of the
back.

(I personally think the small of the back is underutilized in today's
fashion. It's an extremely sexy, shapely feature on nearly every woman.)

--Robin

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Subject: Re: [h-cost] keeping a corset in place?
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Date: Wed, 16 Oct 2002 15:32:41 +0200
Status: RO

Hi
Are you kitting! (sorry dont know if this is right spelled)
If i had the time, i would love to make all the corsets there are in books.
I really am very fetished about this, but not in a sexual manner, only
fascinated of the different shapes they make. And i find them very very
beautifull.

Bjarne

----- Original Message -----
From: "Kevin + Mara" <lindo@radix.net>
To: <h-costume@indra.com>
Sent: Wednesday, October 16, 2002 11:46 AM
Subject: Re: [h-cost] keeping a corset in place?


> This weekend is the St. Mary's Militia Muster, at St. Mary's City, MD
> (early 17th c.) -- great event, I'm looking forward to it!
>
> Oh, yeah, those stays in Fashion in Detail are gorgeous...  both sets!
Has
> anyone diagnosed a specific type of costumer's insanity called 'corset
> fever' yet, characterized by the desire to make different styles of stays
> just to see how they work? <G>
>
> The stays I'm working on don't have the boning channels showing through to
> the outside, so they won't look quite so interesting, but I'm going for
> that boned-bodice look you see in 17th c. genre art.
>
> Cheers,
> Mara
>
> At 03:53 PM 10/15/2002 -0400, you wrote:
> >Yummy!  What's this weekend?  I've often wished I had enough skill,
> >patience and insanity to recreate those red woolen stays in Fashion in
> >Detail...they are really something. Actually, I really want to recreate
> >the pink V&A stays more.  Tho it's still clinging precariously to the
> >bottom of my list of things to do.  :)
> >
> >Drea
> >
> >
> >On Tue, 15 Oct 2002, Kevin & Mara Riley wrote:
> >
> > > Sorry, Drea, should have read to the end of my mail queue first!
> > >
> > > Anyway, am working on a variant of the Effigy corset for my 1630s
> > > impression -- covering the outside with red wool, after sewing the
boning
> > > channels.  Thanks again for all your work :)  Now if I can just get it
> > > done by this weekend...
> > >
> > > -- Mara
>
> _______________________________________________
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Subject: [h-cost] dress stand question
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Date: Wed, 16 Oct 2002 15:44:37 +0200
Status: RO

Hello there!
I want to ask a question about dress stands. I have to go and buy a new one
because my old is worn out.
I want to have the same type like the old one where i can squeeze some
buttons and get a larger bust, waist -hip.
The one i have is a size 38 and i really want the same size because it is
very fine when i make the corsets for the costumes.
Well my latest costumer is a large woman, and i wondered dont you think i
could pad up the dress stand to the large size? If i baught some of that
quilting material you use to put inside when you quilt. I could make some
layers on top of each other and get the large meassures?
Then i could make the corset after her meassures, and put it on so that it
fits, and go on from here.

Bjarne


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From: "Kim Baird" <kbaird@cableone.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] dress stand question
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Date: Wed, 16 Oct 2002 08:48:24 -0500
Status: RO

Yes, that's what I have done.

Measure her waist length, though--from bosom to waist. Most corset
patterns are too long for me, as I am short-waisted.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Wednesday, October 16, 2002 8:45 AM
To: h-costume@indra.com
Subject: [h-cost] dress stand question

Hello there!
I want to ask a question about dress stands. I have to go and buy a new
one
because my old is worn out.
I want to have the same type like the old one where i can squeeze some
buttons and get a larger bust, waist -hip.
The one i have is a size 38 and i really want the same size because it
is
very fine when i make the corsets for the costumes.
Well my latest costumer is a large woman, and i wondered dont you think
i
could pad up the dress stand to the large size? If i baught some of that
quilting material you use to put inside when you quilt. I could make
some
layers on top of each other and get the large meassures?
Then i could make the corset after her meassures, and put it on so that
it
fits, and go on from here.

Bjarne


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <000101c2751a$b2c06d30$0201a8c0@kimathlon>
Subject: Re: [h-cost] dress stand question
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Date: Wed, 16 Oct 2002 15:53:08 +0200
Status: RO

Hello.
Yes i have ben told about this, but in her case the latter is different. I
have to make it longer.
But thanks for your advise

Bjarne
----- Original Message -----
From: "Kim Baird" <kbaird@cableone.net>
To: <h-costume@indra.com>
Sent: Wednesday, October 16, 2002 3:48 PM
Subject: RE: [h-cost] dress stand question


> Yes, that's what I have done.
>
> Measure her waist length, though--from bosom to waist. Most corset
> patterns are too long for me, as I am short-waisted.
>
> Kim
>
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
> Behalf Of Bjarne og Leif Drews
> Sent: Wednesday, October 16, 2002 8:45 AM
> To: h-costume@indra.com
> Subject: [h-cost] dress stand question
>
> Hello there!
> I want to ask a question about dress stands. I have to go and buy a new
> one
> because my old is worn out.
> I want to have the same type like the old one where i can squeeze some
> buttons and get a larger bust, waist -hip.
> The one i have is a size 38 and i really want the same size because it
> is
> very fine when i make the corsets for the costumes.
> Well my latest costumer is a large woman, and i wondered dont you think
> i
> could pad up the dress stand to the large size? If i baught some of that
> quilting material you use to put inside when you quilt. I could make
> some
> layers on top of each other and get the large meassures?
> Then i could make the corset after her meassures, and put it on so that
> it
> fits, and go on from here.
>
> Bjarne
>
>
> _______________________________________________
> 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 Oct 16 10:13:26 2002
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From: Linda Krecker-Schkred <rhianwen@optonline.net>
Subject: Re: [h-cost] dress stand question
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Date: Wed, 16 Oct 2002 10:06:02 -0400
Status: RO

I also use padding both quilting backing and towels. I try to pad 
each area separately as the person I want to replicate usually has 
different hip and ribcage proportions than my stand. I purchased a 
"C" cup bra to get a bust after covering the stand with padding. But 
the part I wanted to tell you about was to tie a piece of twill tape 
around the waist, especially with quilt batting. The waist area has a 
tendency to expand out and tying a string around it will keep the 
measurement true.


Linda K-S

At 3:53 PM +0200 10/16/02, Bjarne og Leif Drews wrote:
>Hello.
>Yes i have ben told about this, but in her case the latter is different. I
>have to make it longer.
>But thanks for your advise
>
>Bjarne
>----- Original Message -----
>From: "Kim Baird" <kbaird@cableone.net>
>To: <h-costume@indra.com>
>Sent: Wednesday, October 16, 2002 3:48 PM
>Subject: RE: [h-cost] dress stand question
>
>
>>  Yes, that's what I have done.
>>
>>  Measure her waist length, though--from bosom to waist. Most corset
>>  patterns are too long for me, as I am short-waisted.
>>
>>  Kim
>>
>>  -----Original Message-----
>>  From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>>  Behalf Of Bjarne og Leif Drews
>>  Sent: Wednesday, October 16, 2002 8:45 AM
>>  To: h-costume@indra.com
>>  Subject: [h-cost] dress stand question
>>
>>  Hello there!
>>  I want to ask a question about dress stands. I have to go and buy a new
>>  one
>>  because my old is worn out.
>>  I want to have the same type like the old one where i can squeeze some
>>  buttons and get a larger bust, waist -hip.
>>  The one i have is a size 38 and i really want the same size because it
>>  is
>>  very fine when i make the corsets for the costumes.
>>  Well my latest costumer is a large woman, and i wondered dont you think
>>  i
>>  could pad up the dress stand to the large size? If i baught some of that
>>  quilting material you use to put inside when you quilt. I could make
>>  some
>>  layers on top of each other and get the large meassures?
>>  Then i could make the corset after her meassures, and put it on so that
>>  it
>>  fits, and go on from here.
>>
>>  Bjarne
>>
>>
>>  _______________________________________________
>>  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
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From h-costume-admin@indra.com  Wed Oct 16 10:34:03 2002
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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 08:38:23 -0600
Status: RO

I hadn't thought of it in quite that way (silly me), but you're right.
So...maybe one of the differences between the constriction levels of
various corsetry/body-shaping clothing involves what particular part of
the torso is being compressed, and into what particular shape? I'm only
(personally) familiar with the early/mid 16th c. "cone" silhouette, and
not at all with the various elongated/not-elongated, bow-fronted,
pigeon-bellied, hourglassed variations that came after.  Or the light
corsets folks have described being worn under Regency stuff.
--sue, waiting for the pound cake to come out of the oven so she can go
to work ;-)

Robin Netherton wrote:
> 

> You're not the first person to notice this. I've costumed a lot of
> singers, who are very leery of anything constricting. They tell me (often
> with some surprise) that the fitted dress actually encourages them to sing
> from the diaphragm like they're supposed to. There's no restriction below
> the level of the ribcage. As for the upper body, it's fit to the ribs,
> with the breast tissue pushed up and out of the way. There's enough
> flexibility in the fabric itself to accommodate normal breathing expansion
> (and muscle motion) at the ribcage level, and when you need to breathe
> deeply, you automatically do it from lower down.
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From h-costume-admin@indra.com  Wed Oct 16 11:07:25 2002
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Date: Wed, 16 Oct 2002 07:35:13 +0000
Status: RO

I'm a singer and a friend of mine designed a barrel corset to hold up a
very heavy and gorgeous Italian Renaissance gown that I had to be able to
sing in. The thing was so well done that it held up the dress and did not
confine my floating ribs or musclature. It also did not squish the upper
part of my frontage. :)

Another thing that works for singers--another singing friend made an
Italian gown which was of the attatch your own sleeves variety, so
essentially a sleeveless dress. It had a bodice which stopped just below
the breast line, and was laced on the side. The softly gathered skirt
then dropped gracefully from the bodice to the floor. It did not require
any kind of additional support--the bodice was solidly constructed, and
did what it was supposed to without any additional help.

	Arlys 



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Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 07:40:39 +0000
Status: RO

>  --- Sue Clemenger <mooncat@in-tch.com> wrote: > Something I said in 
> a reply to another message made me wonder....Does
> > anyone out there (besides me) like to plan nice, long fall/winter
> > projects? 

Not necessarily long projects, but definately catch-up projects. I've got
a bunch of embroidery to do.

Arlys

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In-Reply-To: <no.id> from "=?iso-8859-1?q?Bella?=" at Oct 16, 2002 09:04:00 AM
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Date: Wed, 16 Oct 2002 08:36:51 -0700 (PDT)
Status: RO

I'll, uh, have to keep waiting.  

.heather.


> 
>  --- Heather Meadows <alice@wonderland.com> wrote: >
> I'm still waiting.. I hate tripod!
> > 
> > .heather.
> 
> I'm beginning to as well. Just checked again, and it's
> still online *right now*, though I don't know how long
> that will last.
> 
> <http://members.tripod.com/realm_of_venus/mygarb/index.htm>
> 
> 
> Bella 
> 
> http://careers.yahoo.com.au - Yahoo! Careers
> - 1,000's of jobs waiting online for you!
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Wed, 16 Oct 2002 09:57:35 -0600
Status: RO

Hotmail is bouncing email from this list to all hotmail.com accounts.
If you know one of these people, please contact them and ask them to
complain to hotmail.  Thanks.


----- Forwarded message from postmaster@mail.hotmail.com -----

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From h-costume-admin@indra.com  Wed Oct 16 12:04:02 2002
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 12:02:26 -0400 (EDT)
Status: RO

Speaking of shoes, I recently came across a quote -- unfortunately, I
can't remember where; Waugh maybe? -- about Victorian women's feet.  I've
often wondered how in the world they got their feet into those long, thin
shoes; they can't have all had feet that shape!  I have narrow feet, and
even mine wouldn't fit most of the period shoes I've seen.  Anyway, the
quote was something to the effect that women wore shoes that deformed
their feet into that long, thin shape.

I wore some pointy-toed shoes as a teen in the 80s, but not on a regular
basis, so don't have those foot deformities, I'm happy to say!  But the
current styles, which have a block-ish toe, all look like duck-feet to me.
My feet aren't shaped like _that_, either...

I think I'll stick with my Swedish clogs.

-- Mara

On Tue, 15 Oct 2002, Lee Thompson-Herbert wrote:
> Don't underestimate the effects of vanity.  I know a lot of women my
> age (mid-30s) who have foot deformities from wearing extremely pointy-toed
> shoes.  Winkle-pickers and extremely pointed pumps were popular when we
> were in high school (1980s).  There are an awful lot of women with bunion
> and tailor's toe deformities from those shoes.

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From h-costume-admin@indra.com  Wed Oct 16 12:20:37 2002
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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 12:18:15 -0400 (EDT)
Status: RO

However -- they should have given her TWO corsets, one that was old and
'limber' or loose, and the second one for 'fancy dress'.  I think she was
lacing too tightly, if she had that much trouble breathing.  I've made,
and worn, Victorian corsets and they don't have to be that uncomfortable.

-- Mara

On Tue, 15 Oct 2002, MaryAnn Jones wrote:

> Do you remember that show 1900 house?  the woman in that show had to wear
> appropriate wear and she had trouble breathing and so they did tests with
> and without the corset and showed that the corset definitely interfered
> with her breathing.  you can bet she wasn't lacing tightly. of course, she
> didn't grow up with a corset.

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From h-costume-admin@indra.com  Wed Oct 16 12:24:54 2002
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: "h-costume@indra.com" <h-costume@indra.com>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins
 from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 12:22:10 -0400 (EDT)
Status: RO

Hm.  Last winter I made that quilted wool petticoat...  But so far, no BIG
plans for this winter.  I have a bunch of smaller projects to work on,
though; need to make an 18th c. man's wool coat, a wool tartan jacket,
finish my hubby's wool tartan jacket and trews...  the list goes on and
on.

Your projects sound interesting!

Cheers,
Mara

On Tue, 15 Oct 2002, Sue Clemenger wrote:
> Something I said in a reply to another message made me wonder....Does
> anyone out there (besides me) like to plan nice, long fall/winter
> projects? I'm not necessarily referring to things that have to be done
> for a specific winter event, but something to while away the long, dark
> hours many of us are facing with oncoming winter.
> I'm planning on working on lots of research (using the lovely books I
> bought in Ireland and England), more lace-making, finishing my blackwork
> shift, and making some 13th and 14th century dresses, just using fabric
> from my stash.  Oh...and finishing some late 18th c. lower/middle class
> clothes.
> So, what are the rest of you planning?
> --sue

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Date: Wed, 16 Oct 2002 12:23:35 -0400 (EDT)
Status: RO

Hm, I just thought of something -- I've been meaning to make that Susannah
Fourment outfit for several years, now, and will soon (waiting for some
ribbon and findings) have all the materials I need.  That would make a
great winter project!

-- Mara



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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 11:38:44 -0500
Status: RO

I have spent a good portion of my life wearing corsets of various sorts
and I rarely have any trouble breathing in them. As Nicole has observed,
you do indeed breathe differently in a corset, but it shouldn't make you
unable to breathe. I find that my Elizabethan corset allows me to project
very well (anyone who has heard me yelling during Queen's parade can
attest that I have volume while marching briskly). In addition, I can
also do half an hour of vigorous Renaissance dance twice a day without
any trouble. And the year I worked Fright Fest at Great America, I did it
while wearing a theatrical version of a Victorian bustle dress that
included a period correct corset and I chased adolescent boys all over my
area without difficulty. No! Not for that reason!!!!! I also found that
it gave my lower back great support so that at the end of a long 10 hour
day spent on concrete, my feet were killing me but my back felt fine. Now
I need to make myself an 18th century corset and feel how that style
works!

Karen

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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 12:43:20 -0400 (EDT)
Status: RO

Mmm, pound cake ;)

Well, speaking of Victorian corsets -- I certainly _can_ lace that one too
tight for comfort/breathing, but generally don't.  The 'wasp waist'
look/feel of that corset is very different from the cone-shaped look/feel
of the 17th and 18th centuries.

The only time my 18th c. stays have been a problem was when I had an
asthma fit at a very dusty, hot event; but I think the heat was more of a
problem than the stays.  I can lace them up pretty tightly, but because
there's one long lace, you can't easily lace your waist tighter than your
rib cage, and the lacing 'slips'.  (And I generally don't lace that
tightly anyway -- snug, not tight.)

With a Victorian corset, where the bottom can be laced at a different
tension than the top part, you can definitely cinch the waist in a lot
more.

-- Mara


On Wed, 16 Oct 2002, Sue Clemenger wrote:

> I hadn't thought of it in quite that way (silly me), but you're right.
> So...maybe one of the differences between the constriction levels of
> various corsetry/body-shaping clothing involves what particular part of
> the torso is being compressed, and into what particular shape? I'm only
> (personally) familiar with the early/mid 16th c. "cone" silhouette, and
> not at all with the various elongated/not-elongated, bow-fronted,
> pigeon-bellied, hourglassed variations that came after.  Or the light
> corsets folks have described being worn under Regency stuff.
> --sue, waiting for the pound cake to come out of the oven so she can go
> to work ;-)
>
> Robin Netherton wrote:

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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 12:52:36 -0400 (EDT)
Status: RO

Yes, I tell the tourists at reenacting events that I can sit on a wooden
stool, or on the ground, all day while wearing my stays and have no back
pain.

Other medical uses for stays -- I've been known to wear them to correct
bad posture, if I'm hunched over the computer or sewing machine too long.
And last winter, while recovering from abdominal surgery, I wore them to
hold my sore muscles in (later found an elastic bandage at the drug store
that served the same purpose and was less obtrusive).  I found that if I
didn't wear my stays or the bandage, I was so tired from the muscle pain
that I was absolutely exhausted half way through the day, whereas if I
wore my stays (or, later, the bandage), I felt much better.  (Glad I don't
have to wear one every day now, but they DO have their uses!)

It's rather funny how irrational/panicked our society has gotten about
corsetry...

-- Mara

On Wed, 16 Oct 2002 seamstrix@juno.com wrote:
> I also found that
> it gave my lower back great support so that at the end of a long 10 hour
> day spent on concrete, my feet were killing me but my back felt fine. Now
> I need to make myself an 18th century corset and feel how that style
> works!
>
> Karen

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Subject: [h-cost] corset tight lacing
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Date: Wed, 16 Oct 2002 20:11:15 +0200
Status: RO

Well my two cents for this.
When i started for real to make 18th century corsets, when i made some
costumes for the hairdressers who makes historical hairstyles, i was tempted
to make the waist's as small as possible. The models were young ladies, who
really didnt mind me lacing them tightly, as a matter of fact i think they
liked it as much as i did.
This is a habit i have made from then, and perhaps i did make Nicoles bodice
two tight.
Gennerally i think that most people who asks you to make a costume, know
that the corseting is a prime priority for making a good figure, and they
have all read that ladies fainted and heard themself with corsets.
And many of the ladies, are very interrested to feel how it is to wear those
machines. And they are ready to suffer a little for it.

Bjarne



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Subject: Re: [h-cost] historical costume-funny
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Date: Wed, 16 Oct 2002 15:36:27 -0400
Status: RO

My favorite "funny costume story" was posted about a year ago on a SCA
newsgroup or e-mail list.  Unfortunately, I can't remember the lady's name
to give her credit.

The lady in question had left the site of the Pennsic War to go to the local
supermarket, a place that sees many garbed SCAdians those 2 weeks.  While
picking through the produce, she saw a calico bonnet a couple aisles over
and immediately felt irrate.  Thoughts like "Why can't some people get a
clue" and "How 19th century!" occupied her mind.  When she saw the rest of
the lady at the checkout, it still took her a minute or two to re-adjust her
mindset to realize that this was a real Amish lady rather than a badly
dressed SCAdian.

Janet

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Subject: activity while corseted (was [h-cost] Re: urban legends concerning
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Date: Wed, 16 Oct 2002 12:44:25 -0700
Status: RO


>Now me, I'm squishy.  Really squishy, with lots of boobage.  So, a
>well-fitting corset (I do 16th c. stuff) doesn't cause me too much
>constriction/grief, although it is annoying not being able to bend at
>the waist.

I too am of the squishy persuasion, which means that modern Spandex sports 
bras are useless to me.  So I have started using my 'house-wife's-model' 
Victorian corset in place of a sports bra when I Morris dance.  Mine has 
shoulder straps to prevent my bouncing right out the top, as our style 
(Cotswold, Adderbury Village, and some Border) involves a certain amount of 
jumping-up-and-down steps.  The straps help when I polka at Dickens' Fair, 
same reason.

I can't bend at the waist very well in the thing, which means I can't drive 
to and from dance events while wearing it, but it does the job of a sports 
bra very nicely.  It has three separate laces, one just for the 2 pairs of 
holes at the waist, one for all the 5 pairs above that, and one for all the 
6 pairs below that.  I don't think this is period (for any period), but it 
means that the waist lacing doesn't gap and that the abdominal lacing is 
never too tight.  It has about two inches of 'spring' in back.

The best thing about being 'of a certain age' is that nobody expects me to 
have a tiny waist.  In fact, I don't think having a tiny waist, at my age, 
is period anyway, for any period.  So while I could corset down to a 26 
inch waist in 1973, at 150 pounds, I feel fine, these days, about only 
corseting down to 40 inches comfortably.  I weigh more now, and am more 
than twice the age I was in 1973.  (My costumes are better too.)


Kayta

    //// \\\
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/----\   /---\))

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 21:20:52 +0100
Status: RO

Sue Clemenger <mooncat@in-tch.com> wrote
>Something I said in a reply to another message made me wonder....Does
>anyone out there (besides me) like to plan nice, long fall/winter
>projects? I'm not necessarily referring to things that have to be done
>for a specific winter event, but something to while away the long, dark
>hours many of us are facing with oncoming winter.
>I'm planning on working on lots of research (using the lovely books I
>bought in Ireland and England), more lace-making, finishing my blackwork
>shift, and making some 13th and 14th century dresses, just using fabric
>from my stash.  Oh...and finishing some late 18th c. lower/middle class
>clothes.
>So, what are the rest of you planning?
>--sue

Not a luxurious "something interesting to keep me busy", just all the 
stuff I need for next season.  1215 dress, 1150 dress, new braies, new 
hose, new undertunic for him, embroidery all round my best dress, 
several miles of fine braid for his best tunic.  And strip and 
redecorate the hallway - 7 doors, 4 windows.  And it's halfway through 
October already, help!

Jean

-- 
Jean Waddie
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 21:31:41 +0100
Status: RO

There was a legend/tradition at my school, which started in the 1870s, 
that sometimes some of the older girls in their corsets would start to 
faint in morning assembly, and the headmistress would bellow from the 
platform "Mary Smith (or whoever), CONTROL yourself!" - the implication 
being that they were swaying more out of affectation than real physical 
distress.

Jean



Lee Thompson-Herbert <lee@retro.com> wrote
>kat@grendal.rain.com wrote:
>[...]
>> I suspect that there were women in the Victorian age who (because of
>> vanity) did overlace to the point where they couldn't do active
>> things. They probably used it as an excuse not to (because they
>> didn't want to do so anyway.) There are a lot of people *now* who use
>> what they've done to themselves as an excuse not to do something they
>> don't want to do anyway.
>
>Don't underestimate the effects of vanity.  I know a lot of women my
>age (mid-30s) who have foot deformities from wearing extremely pointy-toed
>shoes.  Winkle-pickers and extremely pointed pumps were popular when we
>were in high school (1980s).  There are an awful lot of women with bunion
>and tailor's toe deformities from those shoes.
>
>Lee M.Thompson-Herbert        lee@retro.com          KoX 1995, SP4
>Head Muso, White Rats Morris, Faultline 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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-- 
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Date: Wed, 16 Oct 2002 15:11:09 -0700
Status: RO

I need to finish the quilted waistcoat from Sally Queen's site before
Thanksgiving. We do a primitive camp out with the extended family over the 4
day holiday. It's out in a high mesa area, with ponderosa pines and a small,
cascading stream nearby. Mt. Hood can be seen in the distance. The temperature
can range anywhere from 25 - 60 degrees (F) and I wear many layers!

I took Drea's Tudor/Elizabethan class and bought Margo's pattern and have the
idea of probably making up a Spanish loose gown - don't know if that will be
THE project for this winter because I also want to do a Flemish outfit - don't
have the stamina to do both. I think I can do either one from my current
fabric stash. Oh, and I want to make the dress on the cover of Fitting and
Proper (on the right). A close friend belongs to a Rev War group and we want
to be able to play with them. They have been invited to Williamsburg and are
busy making new clothes and practicing their military duties.

My husband wants some help in drafting and sewing a waistcoat. The fabric is a
beautiful creamy gold brocade, with small flowers - no I didn't embroider
them. My next embroidery project will be a blackwork shift. Oh, that reminds
me, this past weekend I found a 1940s heavy linen dresser scarf done up in a
simple blackwork design. Quite inspiring!

As usual, too many desires and not enough time, patience and stamina - but we
have a whole house full of fabric and trims!

Shea in Portland, OR


Sue Clemenger <mooncat@in-tch.com> wrote:
> Something I said in a reply to another message made me wonder....Does
> anyone out there (besides me) like to plan nice, long fall/winter
> projects? 


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From: Katy Bishop <vintage@shore.net>
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Subject: [h-cost] iron age
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Date: Wed, 16 Oct 2002 18:52:29 -0400 (EDT)
Status: RO


Has anyone run across this series: "Surviving the Iron Age" on PBS?  A
friend caught it last night and mentioned it to me, I missd it.  I hope
to catch the repeats.  Sort of makes "Frontier House" look like a walk
in the park.

This is the description from their website.

 Surviving the Iron Age
This program brings history to life by exploring what daily life was
like in the past. In this four-part series, 17 British "time travelers"
volunteer to live for seven weeks as their ancestors did millennia
before. They live in roundhouses in remote western Wales, cooking,
hunting and gathering, and maintaining their settlement as ancient Celts
did.

Their early optimism is quickly challenged not only by the rigorous
lifestyle, but by unexpected issues such as severe illness,
dissatisfaction with their chosen leader, and deep conflicts among group
members.

Katy Bishop, Vintage Victorian
vintage@shore.net                www.VintageVictorian.com
     Custom reproduction gowns of the Victorian Era.
      Publisher of the Vintage Dress Series books.

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Date: Wed, 16 Oct 2002 23:58:12 +0100
Status: RO

On 16 Oct 2002 at 18:52, Katy Bishop wrote:

> 
> Has anyone run across this series: "Surviving the Iron Age" on PBS?  A
> friend caught it last night and mentioned it to me, I missd it.  I
> hope to catch the repeats.

Watched the program, read the book. It's quite fun, 
but tells you far more about modern psychology and 
food hygiene than it does about the Iron Age.



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Subject: [h-cost] 14th Century Textile Prices
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Perhaps this subject was covered in your previous discussions (I'm still 
going through the archives), but I thought I would post this info anyway.  
Jeffrey L. Singman and Will McLean give a sampling of prices for goods and 
services in 14th Century England in their book "Daily Life in Chaucer's 
England" including the approx. cost for wool and linen.  Of course prices 
fluctuate by time and place so these can only be approximate.

Wool, fine (1 yard) 4s.
Wood, second grade (1 yard) 2s.
Linen (1 yard) 6d.
Canvas (12 ells) 3s. 9 1/2d.

A shilling (s.) is worth 12 pence (d.) A knight might make 2s. per day, a 
carpenter 4 1/2d per day and an Agricultural Laborer (male) 8d. at harvest or 
3-4d. at other seasons.  A Female Agricultural Laborer might make 2d. per 
day.

So linen is 25% of the cost of second grade wool and 12 1/2% of the cost of 
fine wool which certainly explains its popular choice (apart from its textile 
properties) for linings, cheap wall hangings, household linen and underwear.  


The book contains references for this data if anyone is interested.

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Perhaps this subject was covered in your previous discussions (I'm still going through the archives), but I thought I would post this info anyway.&nbsp; Jeffrey L. Singman and Will McLean give a sampling of prices for goods and services in 14th Century England in their book "Daily Life in Chaucer's England" including the approx. cost for wool and linen.&nbsp; Of course prices fluctuate by time and place so these can only be approximate.<BR>
<BR>
Wool, fine (1 yard) 4s.<BR>
Wood, second grade (1 yard) 2s.<BR>
Linen (1 yard) 6d.<BR>
Canvas (12 ells) 3s. 9 1/2d.<BR>
<BR>
A shilling (s.) is worth 12 pence (d.) A knight might make 2s. per day, a carpenter 4 1/2d per day and an Agricultural Laborer (male) 8d. at harvest or 3-4d. at other seasons.&nbsp; A Female Agricultural Laborer might make 2d. per day.<BR>
<BR>
So linen is 25% of the cost of second grade wool and 12 1/2% of the cost of fine wool which certainly explains its popular choice (apart from its textile properties) for linings, cheap wall hangings, household linen and underwear.&nbsp; <BR>
<BR>
The book contains references for this data if anyone is interested.<BR>
<BR>
Lisa</FONT></HTML>

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Date: Wed, 16 Oct 2002 20:29:40 -0500
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Bjarne og Leif Drews wrote:
> 
> Well my latest costumer is a large woman, and i wondered dont you think i
> could pad up the dress stand to the large size? If i baught some of that
> quilting material you use to put inside when you quilt. I could make some
> layers on top of each other and get the large meassures?

I usually use batting with a layer of Ace bandage wrapped over the top
(spiral wrap, like a mummy).  (Ace bandage, in case that doesn't
translate well, is a reusable, non-adhesive elastic bandage like you
would wrap around a sprained ankle. It comes in rolls of several
widths--I prefer 4" or 6" wide.)  The bandage gives a firmer outer
surface and is better to pin into if you need to.  I find it much easier
to control the measurements this way.

Melanie Schuessler
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Subject: [h-cost] Butterick's Historical Costume Patterns
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Date: Thu, 17 Oct 2002 03:45:07 +0000
Status: RO

<html><div style='background-color:'><DIV>Hi, I am new to this list, and I'm hoping some of the good people here can advise me.&nbsp; I am interested in the following Butterick patterns, and I'm wondering what I would have to change in them to make them perfectly historically-accurate</DIV>
<DIV>&nbsp;</DIV>
<DIV>#3012 - Bustle costume</DIV>
<DIV>#6693 - Civil War ball-sytle gown</DIV>
<DIV>#6694 - Civil War day gown</DIV>
<DIV>&nbsp;</DIV>
<DIV>Could someone give me some suggestions?&nbsp; Thanks!</DIV>
<DIV>&nbsp;</DIV>
<DIV>April</DIV></div><br clear=all><hr>Get faster connections -- switch to MSN Internet Access! <a href="http://g.msn.com/8HMAEN/2017">Click Here</a> </html>
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From: Jonna Hayden <jonna_hayden@yahoo.com>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
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Date: Wed, 16 Oct 2002 21:54:37 -0700 (PDT)
Status: RO

Hmmm...

I'm working on a 1561 Venetian gown--very plain, but the
sleeves!! It's all Bella's fault!  The sleeves have this
outrageous cutwork motif that I'm trying to recreate. It
should take most of winter to get the parts laid out, cut
out, and satin stiched.  Perfect project for cuddling up to
my sewing machine.

Jonna
--- Sue Clemenger <mooncat@in-tch.com> wrote:
> Something I said in a reply to another message made me
> wonder....Does
> anyone out there (besides me) like to plan nice, long
> fall/winter
> projects? I'm not necessarily referring to things that
> have to be done
> for a specific winter event, but something to while away
> the long, dark
> hours many of us are facing with oncoming winter.
> I'm planning on working on lots of research (using the
> lovely books I
> bought in Ireland and England), more lace-making,
> finishing my blackwork
> shift, and making some 13th and 14th century dresses,
> just using fabric
> from my stash.  Oh...and finishing some late 18th c.
> lower/middle class
> clothes.
> So, what are the rest of you planning?
> --sue
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The Ace bandage, what an excellent idea!!!

thx Melanie.

Lisa

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">The Ace bandage, what an excellent idea!!!<BR>
<BR>
thx Melanie.<BR>
<BR>
Lisa</FONT></HTML>

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From: "Maggie Secara" <maggiros@hotmail.com>
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Subject: Re: [h-cost] iron age
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Date: Wed, 16 Oct 2002 22:02:06 -0700
Status: RO

Basically that's true of all these "forward into the past" type shows.

We're watching "The Ship" thisd week, which while wobnderful in its way, has 
many of the same characteristics.  Thankfully the volunteers aren't in 
costume and aren't trying to recreate the life on Capt Cooks's "Endeavour" 
in painful detail. They're eating the same diet, and doing the same work, 
and attempting to navigate with period restrictions.  But that's about the 
limit.  At least 6 of the crew are professionals.  (It would be impossible 
to sail this ship with a whole crew of complete novices, after all.)

And this time the handful of middle-aged historians are working along side 
instead of observing from a distance!  In that way, it's really more honest 
that 1800 House or Frontier House or whatever.  And as always, it's kind of 
fun to watch how surprised the experts are at things which many 
re-creation/re-enactment folks would have understood without thinking.  Or 
so we believe. ;)

This one's better than average.  On the History Channel this week.



Cheers,

MaggiRos
~The Elizabethan World is at http://ren.dm.net




>From: "Jane Williams" <jane@williams.nildram.co.uk>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: Re: [h-cost] iron age
>Date: Wed, 16 Oct 2002 23:58:12 +0100
>
>On 16 Oct 2002 at 18:52, Katy Bishop wrote:
>
> >
> > Has anyone run across this series: "Surviving the Iron Age" on PBS?  A
> > friend caught it last night and mentioned it to me, I missd it.  I
> > hope to catch the repeats.
>
>Watched the program, read the book. It's quite fun,
>but tells you far more about modern psychology and
>food hygiene than it does about the Iron Age.
>
>

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From: Lee Thompson-Herbert <lee@retro.com>
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Subject: Re: activity while corseted (was [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 22:37:56 -0700 (PDT)
Status: RO

Carolyn Kayta Barrows <kayta@frys.com> wrote:
> It has three separate laces, one just for the 2 pairs of 
> holes at the waist, one for all the 5 pairs above that, and one for all the 
> 6 pairs below that.  I don't think this is period (for any period), but it 
> means that the waist lacing doesn't gap and that the abdominal lacing is 
> never too tight.  It has about two inches of 'spring' in back.

Actually, it's period for edwardian S-shaped and straight-front corsets.
Otherwise, you run the risk of having it too tight (and somewhat deformed
looking) at the hip.  I think I actually had mine laced with the four
middle pairs eyelets as the waist, as mine was a straight-front style.
Even when I was very thin, I didn't need to add padding at the hip and
ribcage, which was fairly normal for that sort of corset.  It helped create
the illusion of a tiny waist without having to be laced extremely tight.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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: Lee Thompson-Herbert <lee@retro.com>
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Subject: Re: [h-cost] Re: urban legends concerning fashion
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Date: Wed, 16 Oct 2002 22:40:29 -0700 (PDT)
Status: RO


Jean Waddie <anne@montgomerie.demon.co.uk> wrote:
> 
> There was a legend/tradition at my school, which started in the 1870s, 
> that sometimes some of the older girls in their corsets would start to 
> faint in morning assembly, and the headmistress would bellow from the 
> platform "Mary Smith (or whoever), CONTROL yourself!" - the implication 
> being that they were swaying more out of affectation than real physical 
> distress.

If they were standing, and expected to be still for more than maybe
20 minutes, they were probably fainting from circulation problems rather
than the corsets.  This is why soldiers on guard march from time to time,
otherwise they'd keel over.  

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline 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: activity while corseted (was [h-cost] Re: urban legends concerningfashion
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Date: Thu, 17 Oct 2002 07:15:07 +0100
Status: RO

>I can't bend at the waist very well in the thing, which means I can't drive
to and from dance events while wearing it, but it does the job of a sports
bra very nicely

I can drive happily in my corset & bustle, I'm a bit baffled as why do you
bend at the waist when driving ?

I've also gorge walked in mine & can do most things although there is some
lose of lung capacity if you are fit you don't tend to need to breath very
heavily anyway when walking, climbing etc.

I've yet to ride in mine one day :)

Mel

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Subject: Re: [h-cost] iron age
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Date: Thu, 17 Oct 2002 07:31:08 +0100
Status: RO

I know one of the guys who was on the program, bear in mind like all these
programs, what we see is not the whole story but the bits the producers
think would make good telly.

Having said that more often than not they reject re-enactment loons,
probably because they would not make god telly as they would find many of
the recreations quite easy

Mel
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] iron age
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Date: Thu, 17 Oct 2002 09:02:48 +0100 (BST)
Status: RO

 --- Katy Bishop <vintage@shore.net> wrote: > 
> Has anyone run across this series: "Surviving the Iron Age" on PBS?  A
> friend caught it last night and mentioned it to me, I missd it.  I hope
> to catch the repeats.  Sort of makes "Frontier House" look like a walk
> in the park.

Watched part of the programme, thought it was utterly ludicruous, but
interesting for what Jane said: modern psychology and modern people's idiocy,
particularly regarding food hygiene. I mean come on, who in their right minds
with an iota of common sense would eat a half raw chicken?

The clothing was awful, worst jubbly standard I'd say, but that's just me,
don't listen to the woman with the portable soapbox *G*

Nicole

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

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Date: Thu, 17 Oct 2002 09:21:39 +0100
Status: RO

I would second Jane's comments. The series was on British TV about 18 months ago and my reenactor friends were very sarcastic about the participants' attempts to cook a chicken (which made people ill). There was more about their personal squabbles than about Iron Age life.
I remember enjoying a similar series 20 years ago, in which the participants (including the future parents of a young girl in the new series) lived for a whole year in an Iron Age roundhouse.



Kate Bunting
Library, University of Derby

>>> jane@williams.nildram.co.uk 10/16/02 11:58pm >>>
On 16 Oct 2002 at 18:52, Katy Bishop wrote:

> 
> Has anyone run across this series: "Surviving the Iron Age" on PBS?  A
> friend caught it last night and mentioned it to me, I missd it.  I
> hope to catch the repeats.

Watched the program, read the book. It's quite fun, 
but tells you far more about modern psychology and 
food hygiene than it does about the Iron Age.



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Date: Thu, 17 Oct 2002 09:29:25 +0100
Status: RO

I didn't say I "couldn't breathe" in my corset (I've carried equipment up and down steep hills in it), but  it does restrict the deep breathing from the diaphragm that woodwind players need.



Kate Bunting
Library, University of Derby

>>> seamstrix@juno.com 10/16/02 05:38pm >>>
I have spent a good portion of my life wearing corsets of various sorts
and I rarely have any trouble breathing in them. As Nicole has observed,
you do indeed breathe differently in a corset, but it shouldn't make you
unable to breathe. 


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Date: Thu, 17 Oct 2002 09:44:35 BST
Status: RO

Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote :

> I would second Jane's comments. The series was on British TV about 18 months ago
> and my reenactor friends were very sarcastic about the participants' attempts
> to cook a chicken (which made people ill). There was more about their personal
> squabbles than about Iron Age life.


Costume content: I don't remember much about the actual clothes, they looked at least possible to someone who knows little about the period. But the shoes! They were supplied with assorted "period" shoes, which were *not* made to fit as far as I could tell, and soon swapped them for wellies on safety grounds.




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Date: Thu, 17 Oct 2002 09:51:11 +0100 (BST)
Status: RO

 --- jane@williams.nildram.co.uk wrote: > 
> Costume content: I don't remember much about the actual clothes, they looked
> at least possible to someone who knows little about the period. But the
> shoes! They were supplied with assorted "period" shoes, which were *not* made
> to fit as far as I could tell, and soon swapped them for wellies on safety
> grounds.

Wellies??? *splutters coffee with laughter* I stopped watching at that point, I
should have continued, that's just too hilarious. It would have been SO erasy
to make their own shoes, there are bog finds from the period, roughly. Lovely
lil soft and fitting sandals...
They should have just looked a tad closer at the Danish tannined (is that a
word?) finds, I am sure between those and the continental germanic one sthey
would have found some suitable clothing.

Nicole

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

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Date: Thu, 17 Oct 2002 10:23:31 +0100
Status: RO

>I mean come on, who in their right minds
with an iota of common sense would eat a half raw chicken?

People who don't cook which is plenty in modern standards, my son Alex had a
school psyco test options

If cooking a cake how do you prefer to learn

1) Somebody shows you

2) Read the instructions on the packet

3) read the instruction then somebody shows you

As he said, I prefer to use a recipe out of a recipe book, but that option
didn't exsist Crazy !


>The clothing was awful, worst jubbly standard I'd say

Well yes but the participants can't be blamed for that. I talked to the
productiopn company as they expressed an interest in my family taking part,
after I asked several practical questions, like can I take my own fire steel
what is the firewood situation, I decided it was going to be impossible to
live reaslistically so withdrew my interest

Mel

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Date: Thu, 17 Oct 2002 10:28:38 +0100
Status: RO

>I stopped watching at that point, I
should have continued, that's just too hilarious. It would have been SO
erasy
to make their own shoes, there are bog finds from the period, roughly.
Lovely
lil soft and fitting sandals...

Whilst wellies are incorrect and they could have made shoes as you describe,
I understand the wellies were on health grounds of trench foot , and turn
shoes are not good it wet weather, the winter that year was particularly
bad. In fairness modern feet generally can't take wet muddy conditions
without protection that takes years of use.

OTOH even modern sghoes don't stop the wet & mud, but you can eventually get
used to it (I use boots in such conditions in preferance as wellies get
sucked off) but you do need to dry out in between

Really mud & feet (particularly very early footwear) is an interesting
thing, which nobody addresses fully in reconstructions re-enactment or
otherwise

Mel (NOT looking forward to what looks like another wet winter)

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Date: Thu, 17 Oct 2002 10:30:36 +0100
Status: RO

>they looked at least possible to someone who knows little about the period

They could look the part to the average punter I guess & there is
parctically no British textile evidence for the period, but looking at
continental evidence they programmes clothes were of the UG the caveman
variety rather than the sophisticated weave avalible evidence suggest there
might well have been

Mel

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Date: Thu, 17 Oct 2002 05:58:14 -0600
Status: RO

Mmmmmm...Mine are mostly smaller, "gotta get done" projects, like most
of you.  If I had time enough for a major project, I really think I'd
like to work on some 18th c. stuff--a set of half-boned stays, a shift,
a quilted petticoat, and a pet-en-l'air.  I've got patterns from classes
I took through Penny's website, but I need to size them up a bit--the
pattern designer was quite generous with her size range, but I need to
nudge them some in my (large) direction.  I've got this lovely, lovely,
light, crisp peach silk that my uninformed self thinks would be just
*yummy* for the outer part of the petticoat.  And I have linen for the
shift, although I'd need to acquire linen and that nice fake whalebone
for the stays, and fabrics for the jacket.  I'm still looking for some
linen light-weight enough to make sleeve ruffles for--I've always wanted
some, so's I could do that amazing pulled-thread embroidery you see in
the 18th c. (drool, drool)
--sue

Kevin & Mara Riley wrote:
> 
> Hm.  Last winter I made that quilted wool petticoat...  But so far, no BIG
> plans for this winter.  I have a bunch of smaller projects to work on,
> though; need to make an 18th c. man's wool coat, a wool tartan jacket,
> finish my hubby's wool tartan jacket and trews...  the list goes on and
> on.
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Subject: Re: activity while corseted (was [h-cost] Re: urban legends 
 concerningfashion
References: <sdad2d63.077@CSV6.derby.ac.uk> <4.3.1.2.20021016115725.00c95b10@mail.frys.com> <006901c275a4$d5769540$2d674ed5@pavilion>
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Date: Thu, 17 Oct 2002 06:11:48 -0600
Status: RO

Right off the top of my head, I'd say it might be difficulties getting
into the car...rhe way in which my 16th c. corset stiffens my torso, I
find it difficult to get in and out, and I'm pressed all the way back
against the slightly-reclining seats, which don't bother me when
corset-free, but are awful with one on.
Also, the sheer number and weught of all the skirts I wear in such a
case all end up scooped into my lap, which makes it difficult to manuver
the steering wheel and put my seatbelt on! <g>
--sue

Melanie Wilson wrote:
> 

> I can drive happily in my corset & bustle, I'm a bit baffled as why do you
> bend at the waist when driving ?
>
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Subject: Re: activity while corseted (was [h-cost] Re: urban legends concerningfashion
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Date: Thu, 17 Oct 2002 13:17:12 +0100
Status: RO

>Right off the top of my head, I'd say it might be difficulties getting
into the car...rhe way in which my 16th c. corset stiffens my torso, I
find it difficult to get in and out, and I'm pressed all the way back
against the slightly-reclining seats, which don't bother me when
corset-free, but are awful with one on.
Also, the sheer number and weught of all the skirts I wear in such a
case all end up scooped into my lap, which makes it difficult to manuver
the steering wheel and put my seatbelt on! <g>

I've found I need to adjust my seat to a more upright position, the skirts
are OK but then I drive a big 4x4 so there is plenty of room I guess :)

Mel

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Date: Thu, 17 Oct 2002 09:26:07 -0500
Status: RO

Catherine Kinsey and I are going to work on making a corded plus size Elizabethan corset. 
  I really enjoyed the project I worked on and want to explore other corded support items.
Now all we have to do is find the spare time when we can get together.. :D
-- 

-- 
Linda Thompson

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Subject: Re: [h-cost] dress stand question
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Date: Thu, 17 Oct 2002 16:45:01 +0200
Status: RO

Hello Melanie.
This was a very good idea.
Thankyou soo much for sharing.

Bjarne


----- Original Message -----
From: "Melanie Schuessler" <melanie@faucet.net>
To: <h-costume@indra.com>
Sent: Thursday, October 17, 2002 3:29 AM
Subject: Re: [h-cost] dress stand question


> Bjarne og Leif Drews wrote:
> >
> > Well my latest costumer is a large woman, and i wondered dont you think
i
> > could pad up the dress stand to the large size? If i baught some of that
> > quilting material you use to put inside when you quilt. I could make
some
> > layers on top of each other and get the large meassures?
>
> I usually use batting with a layer of Ace bandage wrapped over the top
> (spiral wrap, like a mummy).  (Ace bandage, in case that doesn't
> translate well, is a reusable, non-adhesive elastic bandage like you
> would wrap around a sprained ankle. It comes in rolls of several
> widths--I prefer 4" or 6" wide.)  The bandage gives a firmer outer
> surface and is better to pin into if you need to.  I find it much easier
> to control the measurements this way.
>
> Melanie Schuessler
> _______________________________________________
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From h-costume-admin@indra.com  Thu Oct 17 10:57:36 2002
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Subject: [h-cost] Padding up a dress form..
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Date: Thu, 17 Oct 2002 09:54:34 -0500
Status: RO

Since most of my corsets I create are for individuals that are several sizes larger than 
the largest dress form, I upsize them all the time.

I use foam rubber sheeting for the underneath layers, and cotton batting for the last 
layer or two.

I purchased foam sheeting (it is polyurethane foam rubber you would use in cushions and 
matresses) in a variety of widths from 1/4 inch all the way up to 1 inch thick, and cotton 
quilt batting that only comes in one thickness as far as I can tell.
The different thicknesses gives me more leeway in getting the proper size.

I usually pad the dress form in sections ie.. hips, waist/trunk, breasts, shoulders.  The 
main reason for this is most larger women do not come anywhere near the industry standard 
of 10 to 12 inches from breast to waist, then waist to hips.  (36/24/36)... or some 
arbitrary amount like that.  So padding the entire form with a layer or two of stuff would 
not translate properly.

I set my adjustable dress form to its largest size and begin wrapping, measuring as I go. 
   I have foam strips that run from about 12 inches wide, to as small as 2 inches wide, to 
accomodate the shape I am working on.   I have large teardrop shapes for the breast area, 
shoulder shapes for the shoulders etc and I use foam gussets to mold it around the hips 
and cut outs to conform it to the smaller areas.When I get within one inch of the size I 
want I then wrap the form with the cotton batting.  You can sort of stretch it to make it 
go over the hips/curves of the form and sort of compress it for the smaller areas.  I have 
big elastic bands that I have made to hold the entire thing together as I work.  I then 
cover this with a tight spandex tube I made to give it a more workable surface. I have 
different sizes of them.

I also use old shoulder pads a girlfriend gave me to help mold the breast area.  Since 
dress forms only come in a size "b" cup, I do a lot of adjusting in that area to get the 
dimension I need.

I have been thinking lately of building my own dress form, a sort of basic shape with no 
breasts, and slight hips that starts at a standard size 24..and then using molds to create 
foam shapes to get what I need.  It would save me so much time in the long run from trying 
to upsize the smaller ones.

Probably more information than anyone needed... :>

Linda Thompson

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

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From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] Butterick's Historical Costume Patterns
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Date: Thu, 17 Oct 2002 08:07:19 -0700
Status: RO

Hi April and welcome to the list!

The first thing I'll say is that you will get MUCH better results if you use
some of the more historically-minded pattern lines.  For Civil War era, I'd
recommend Past Patterns (http://www.pastpatterns.com) and for bustle era,
Truly Victorian (http://www.trulyvictorian.com).

The next thing I'll say is that if you do want to stick with the Butterick
patterns (or any other major pattern line eg Vogue or Simplicity), that you
should compare the patterns with period photos and fashion plates.  An
excellent online resource is the Timeline of Costume History
(http://www.costumes.org/pages/timelinepages/timeline.htm) from the
Costumer's Manifesto.  You should also look at the following books:
_Dressed for the Photographer_ by Joan Severa, _Victorian Fashions and
Costumes from Harper's Bazar, 1867-1898_ by Stella Blum, and _Victorian and
Edwardian Fashion: A Photographic Survey_ by Alison Gernsheim.

Finally, on to the specific patterns.  The main advice I have would be to
come up with your trim/decoration ideas.  I've seen people wearing #3012
made up exactly as the pattern indicates, and it's so easy to spot that it's
a modern commercial pattern just because we've all seen it so many times!

#3012 - Bustle costume
(http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.3012=x&TI=10
013&pageNum=2&M=&UK=20243554) -- this looks to me like it's aiming to be
1880's.  The main, glaring issues with this one that I spot is the front
drapery on the skirt looks much too short to me.  Take a look at vintage
photos and fashion plates (eg
http://www.costumes.org/history/victorian/women/fashionplates/july85.jpg)
for some ideas on how you could redrape this piece.  Also, while I can't see
the pattern shapes, the back drape over the bustle looks weird to me (and
I'm wondering what the pattern tells you to use as a bustle?).  Sorry I
can't give more concrete examples.  The trim on the right hand model looks
okay to me -- they definitely used lots of ruches, again look at photos and
fashion plates for ideas.  The one on the left looks very modern bridal to
me, although they definitely did use fake flowers -- that's just a personal
preference.

#6693 - Civil War ball-style gown
(http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.6693=x&TI=10
013&pageNum=6&M=&UK=20243554) -- this is a guess which I'll defer to the
Civil War experts on the list, but my first reaction is NO RICKRACK!
Otherwise I don't spot anything too glaring with this one.  Again, look at
period photos/fashion plates for design ideas.

#6694 - Civil War day gown
(http://store.sewingtoday.com/cgi-bin/butterick/shop.cgi?s.item.6694=x&TI=10
013&pageNum=6&M=&UK=20243554) -- this photo is fuzzy, so a bit difficult to
spot any glaring errors.  What catches my eye would be:  you'd want to use
the high neckline unless this is a dinner dress, the armscye should probably
be dropped off the shoulder a bit, I'm not convinced about the shorter
oversleeves on the white dress (I've usually seen the oversleeves a bit
longer).  Otherwise looks passable to me -- CW experts?

Good luck on your projects, and keep us informed as to how they go!  This
list is a great resource so I'd encourage you to post your questions as they
come up.

- Kendra

----- Original Message -----
From: April Hala
To: h-costume@net.indra.com
Sent: Wednesday, October 16, 2002 8:45 PM
Subject: [h-cost] Butterick's Historical Costume Patterns


Hi, I am new to this list, and I'm hoping some of the good people here can
advise me.  I am interested in the following Butterick patterns, and I'm
wondering what I would have to change in them to make them perfectly
historically-accurate

#3012 - Bustle costume
#6693 - Civil War ball-sytle gown
#6694 - Civil War day gown

Could someone give me some suggestions?  Thanks!

April



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From h-costume-admin@indra.com  Thu Oct 17 11:15:06 2002
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Date: Thu, 17 Oct 2002 10:13:13 -0500
Status: RO

Catherine Kinsey and I are going to work on making a corded plus size
Elizabethan corset. 
  I really enjoyed the project I worked on and want to explore other
corded support items.
Now all we have to do is find the spare time when we can get together..
:D
-- 
Linda Thompson
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Which is to say, Linda's making it and I'm doing the handwork :).  I
*hate* fitting on myself!  Faire is over, when do you want to start :)?

I have a whole stack of projects for the hubby (Victorian/folk Santa,
Troll, New doublet) but only the Santa one has a real deadline so it
will probably get priority.  Once I have the corset I want to make
myself one of Drea's Flemish working women outfits for which I am slowly
finding the linen and wool.  I am already planning on doing one version
all linen for our humid midwestern summers but will have a  wool layer
for cooler days.

But what I really want to have time for this winter is doing bobbin
lace!!!

Catherine


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Date: Thu, 17 Oct 2002 11:53:10 -0400
Status: RO


On Thu, 17 Oct 2002 08:44:01 -0600 h-costume-request@indra.com writes:
> 
> Message: 11
> From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
> Subject: Re: [h-cost] iron age

> I understand the wellies were on health grounds of trench foot , 

    What is 'trench foot', and (costume content) what shoes were used
instead of wellies to protect against it?  Or is it a case of  the shoes
did not protect against it, and something else was done?

    Thank you!

     Elizabeth

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Date: Thu, 17 Oct 2002 12:36:20 -0400
Status: RO

I have a stranger one for you...

I have a hotmail account that was subscribed to this list until 4 years 
ago. I don't use it much any more, but keep it because every so often 
someone I know will use it...  I just received a digest from May 1998 in 
that account! They put it on my safe list, too... not in the junk mail, 
where everything is supposed to go unless vetted. But you may still be 
in my address book - have to check that out.

Well, I was subscribed then, at that address, to the digest. Has this 
been out in the ether for 4 years? I wish they'd bounce the 100 or so 
spam I get a day...

Anne



Elizabeth Lear wrote:

>Hotmail is bouncing email from this list to all hotmail.com accounts.
>If you know one of these people, please contact them and ask them to
>complain to hotmail.  Thanks.
>
>
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>
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>
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Date: Thu, 17 Oct 2002 08:02:55 +0000
Status: RO

It's also why singers are told to never lock their knees. All that
enriched breathing and standing in one place with your knees locked is an
almost sure-fire way to faint, with or without a corset.

Arlys

> If they were standing, and expected to be still for more than maybe
> 20 minutes, they were probably fainting from circulation problems 
> rather than the corsets.  This is why soldiers on guard march from time
to 
> time, otherwise they'd keel over.  
> 
> Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, 


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Date: Thu, 17 Oct 2002 20:45:04 +0100
Status: RO

Trench foot is a very unpleasant (fungal?) condition that comes from 
having feet soaking wet and unable to breathe for long periods of time. 
It gets its name from the First World War battle fields where the troops 
were stuck in muddy trenches for weeks and months in wet boots and it 
became a real problem.  I imagine it wasn't a problem in earlier periods 
because either they would have gone somewhere with shelter, or when it 
was very wet they were more likely to go barefoot - still get very sore 
feet, but maybe not the same infections and nasties.

Jean

Elizabeth A Heckert <spynnere@juno.com> wrote
>
>On Thu, 17 Oct 2002 08:44:01 -0600 h-costume-request@indra.com writes:
>>
>> Message: 11
>> From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
>> Subject: Re: [h-cost] iron age
>
>> I understand the wellies were on health grounds of trench foot ,
>
>    What is 'trench foot', and (costume content) what shoes were used
>instead of wellies to protect against it?  Or is it a case of  the shoes
>did not protect against it, and something else was done?
>
>    Thank you!
>
>     Elizabeth
>
>________________________________________________________________
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To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] iron age
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Date: Thu, 17 Oct 2002 20:38:06 +0100
Status: RO

Totally agree - Surviving the Iron Age was really dire.  Not only do 
they reject re-enactors, but they seem to have rejected anyone who was 
even a competent barbecue cook.

Interesting one we are getting at present is "Warrior School".  They 
take small groups of emergency services personnel or military, usually 
half British, half US stationed here, for 3 days, get them to live as 
per the selected period and teach them to fight in the relevant style, 
then put them in competitions (not always direct combat) against each 
other.  So far we have had Roman gladiators, Vikings and Roman soldiers.

This one is good because they are already physically fit and have some 
combat or defence training, and they kit them out so they can do what's 
expected of them.  They obviously have a good range of borrowed kit, so 
they can find things that fit at least reasonably well, and people to 
show them how to wear it and the tricks for coping with cold and wet. 
The Roman soldiers (at Hadrian's Wall) started off with only caligae, 
but then they got a delivery of socks - based on some of the letters 
they have found asking relatives to send more socks!  (They were just 
modern socks, but it was a nice touch)

Jean

Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote
>I would second Jane's comments. The series was on British TV about 18 
>months ago and my reenactor friends were very sarcastic about the 
>participants' attempts to cook a chicken (which made people ill). There 
>was more about their personal squabbles than about Iron Age life.
>I remember enjoying a similar series 20 years ago, in which the 
>participants (including the future parents of a young girl in the new 
>series) lived for a whole year in an Iron Age roundhouse.
>
>
>
>Kate Bunting
>Library, University of Derby
>
>>>> jane@williams.nildram.co.uk 10/16/02 11:58pm >>>
>On 16 Oct 2002 at 18:52, Katy Bishop wrote:
>
>>
>> Has anyone run across this series: "Surviving the Iron Age" on PBS?  A
>> friend caught it last night and mentioned it to me, I missd it.  I
>> hope to catch the repeats.
>
>Watched the program, read the book. It's quite fun,
>but tells you far more about modern psychology and
>food hygiene than it does about the Iron Age.
>
>
>
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Subject: Re: [h-cost] Re: h-costume digest/'Iron Age' question
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Date: Thu, 17 Oct 2002 20:50:52 +0100
Status: RO

>What is 'trench foot',

I'm not 100% on this but I believe it is where you foot goes soggy (like if
you swim too long ?) and eventually the skin cracks & becomes infected

>and (costume content) what shoes were used
instead of wellies to protect against it?

Well in the WWW1 trenches they tried to keep their socks dry to prevent it.
In earlier times I dome really know, but I do wonder if you get it is you go
barefoot, I know my Dad (from an Linconshire farming family was barefoot
most of his childhood)

> Or is it a case of  the shoes
did not protect against it, and something else was done?

I wish I knew I've not been able to find an answer :(

Mel



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Date: Thu, 17 Oct 2002 21:01:09 +0100
Status: RO

>I imagine it wasn't a problem in earlier periods
because either they would have gone somewhere with shelter,

How do you mean ? If you have farms to attend toi you still get wet & muddy
feet, even in my centrally heated house I need three pairs of boots on the
go to have dry boots to get into

> or when it
was very wet they were more likely to go barefoot - still get very sore
feet, but maybe not the same infections and nasties

I tend to go barefoot in re-enactment situations of mud (and from time to
time generally & don't get sore feet (they have got hard) When I had a mole
removed from my sole the surgeon complained I had skin like a rhino :)

Mel
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Subject: Re: [h-cost] Butterick's Historical Costume Patterns
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There is a great sight that has reviews of most major pattern lines.  I used 
it to weed out those I WILL NOT consider and narrow down those that I will 
look into further.

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



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

I wont hurt you, I just want to dress you up!!





>From: "April Hala" <aprilhala@hotmail.com>
>Reply-To: h-costume@indra.com
>To: h-costume@net.indra.com
>Subject: [h-cost] Butterick's Historical Costume Patterns
>Date: Thu, 17 Oct 2002 03:45:07 +0000
>


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<html><div style='background-color:'><DIV>Hi, I am new to this list, and I'm hoping some of the good people here can advise me.&nbsp; I am interested in the following Butterick patterns, and I'm wondering what I would have to change in them to make them perfectly historically-accurate</DIV>
<DIV>&nbsp;</DIV>
<DIV>#3012 - Bustle costume</DIV>
<DIV>#6693 - Civil War ball-sytle gown</DIV>
<DIV>#6694 - Civil War day gown</DIV>
<DIV>&nbsp;</DIV>
<DIV>Could someone give me some suggestions?&nbsp; Thanks!</DIV>
<DIV>&nbsp;</DIV>
<DIV>April</DIV></div><br clear=all><hr>Get faster connections -- switch to MSN Internet Access! <a href="http://g.msn.com/8HMAEN/2017">Click Here</a> </html>
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Date: Wed, 16 Oct 2002 05:46:19 -0400
Status: RO

This weekend is the St. Mary's Militia Muster, at St. Mary's City, MD 
(early 17th c.) -- great event, I'm looking forward to it!

Oh, yeah, those stays in Fashion in Detail are gorgeous...  both sets!  Has 
anyone diagnosed a specific type of costumer's insanity called 'corset 
fever' yet, characterized by the desire to make different styles of stays 
just to see how they work? <G>

The stays I'm working on don't have the boning channels showing through to 
the outside, so they won't look quite so interesting, but I'm going for 
that boned-bodice look you see in 17th c. genre art.

Cheers,
Mara

At 03:53 PM 10/15/2002 -0400, you wrote:
>Yummy!  What's this weekend?  I've often wished I had enough skill,
>patience and insanity to recreate those red woolen stays in Fashion in
>Detail...they are really something. Actually, I really want to recreate
>the pink V&A stays more.  Tho it's still clinging precariously to the
>bottom of my list of things to do.  :)
>
>Drea
>
>
>On Tue, 15 Oct 2002, Kevin & Mara Riley wrote:
>
> > Sorry, Drea, should have read to the end of my mail queue first!
> >
> > Anyway, am working on a variant of the Effigy corset for my 1630s
> > impression -- covering the outside with red wool, after sewing the boning
> > channels.  Thanks again for all your work :)  Now if I can just get it
> > done by this weekend...
> >
> > -- Mara

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Subject: Re: [h-cost] Re: h-costume digest/'Iron Age' question
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Date: Fri, 18 Oct 2002 07:46:26 -0700
Status: RO



Melanie Wilson wrote:

> > or when it
> was very wet they were more likely to go barefoot - still get very sore
> feet, but maybe not the same infections and nasties
>
> I tend to go barefoot in re-enactment situations of mud (and from time to
> time generally & don't get sore feet (they have got hard) When I had a mole
> removed from my sole the surgeon complained I had skin like a rhino :)
>

I've also found it's easier to go barefoot than wear period (mediaeval) shoes
when it's wet. You do get wet, cold feet, but feet dry a lot quicker when you
put them near the fire than shoes do, and turnshoes don't postpone cold, wet
feet for very long anyway. But then I've been going barefoot a lot since I was
a child so I have pretty tough feet too.
Plus, of course, there's nothing quite like the feeling of mud squishing up
between
your toes :-)

Claire

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Date: Thu, 17 Oct 2002 23:00:37 +0100
Status: RO

>I've also found it's easier to go barefoot than wear period (mediaeval)
shoes
when it's wet. You do get wet, cold feet, but feet dry a lot quicker when
you
put them near the fire than shoes do, and turnshoes don't postpone cold, wet
feet for very long anyway. But then I've been going barefoot a lot since I
was
a child so I have pretty tough feet too.

My thoughts exactly :)

Mel

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Date: Thu, 17 Oct 2002 15:25:22 -0700
Status: RO


> >I can't bend at the waist very well in the thing, which means I can't drive
>to and from dance events while wearing it, but it does the job of a sports
>bra very nicely
>
>I can drive happily in my corset & bustle, I'm a bit baffled as why do you
>bend at the waist when driving ?

This is more a function of the slouch-shaped car seat than anything 
else.  There's a concavity for the middle of my back to slump into, as is 
the case with most car seats, and it's not any fun even without the corset, 
as is the case with most car seats.


Kayta

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Subject: [h-cost] Trench foot - was Iron Age' question
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Date: Thu, 17 Oct 2002 19:38:49 -0400
Status: RO

Oh boy! A subject right up my alley as a Great War reenactor!

Trench foot was actually a physiological condition - a slow form of 
frostbite,  and, as Jean correctly states, caused by having cold, wet feet 
for prolonged periods of  time. The puttees which were part of the uniform 
of the time, and provided support and warrmth to the lower legs, also could 
aggravate the condition if they were wound too tightly.

Once army doctors realized it was a preventable condition, having trench 
foot could become a disciplinary matter. Commanding officers were held 
responsible for cases in their units and were supposed to conduct daily 
foot inspections. This might seem extreme, but the British Expeditionary 
Force was almost crippled by Trench foot in 1914/15- an army not only 
marches on its stomach... It was noted that it was more common amongst 
troops with bad morale - probably the men were losing their incentive to 
take care for themselves . It was combatted by oiling the feet with grease 
or whale oil, and trying to keep the feet warm and dry with frequent sock 
changes. These measures reduced the problem,  but never eliminated 
it.   Home for many soldiers was a wet trench in below sea level Flanders 
for months - rather extraordinary living conditions.

There's a photograph  of a bad trench foot case in one of our books - 
several toes are rotted off  and the rest look like little gnarled roots.....

Sheridan

At 08:45 PM 17/10/2002 +0100, you wrote:
>Trench foot is a very unpleasant (fungal?) condition that comes from 
>having feet soaking wet and unable to breathe for long periods of time. It 
>gets its name from the First World War battle fields where the troops were 
>stuck in muddy trenches for weeks and months in wet boots and it became a 
>real problem.  I imagine it wasn't a problem in earlier periods because 
>either they would have gone somewhere with shelter, or when it was very 
>wet they were more likely to go barefoot - still get very sore feet, but 
>maybe not the same infections and nasties.
>
>Jean
>
>Elizabeth A Heckert <spynnere@juno.com> wrote
>>
>>On Thu, 17 Oct 2002 08:44:01 -0600 h-costume-request@indra.com writes:
>>>
>>>Message: 11
>>>From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
>>>Subject: Re: [h-cost] iron age
>>
>>>I understand the wellies were on health grounds of trench foot ,
>>
>>    What is 'trench foot', and (costume content) what shoes were used
>>instead of wellies to protect against it?  Or is it a case of  the shoes
>>did not protect against it, and something else was done?
>>
>>    Thank you!
>>
>>     Elizabeth
>>
>>________________________________________________________________
>>GET INTERNET ACCESS FROM JUNO!
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>
>--
>Jean Waddie
>_______________________________________________
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Date: Fri, 18 Oct 2002 09:31:10 +1000
Status: RO

I was lucky enough to find a second-hand "uniquely you" dress form with
about a 42' bust, which I adapted to make a dummy of my husband.
I made a fitted body cover for him (like the one that came with the
dressform but for a male torso) and then padded the dressform to fit.
It worked very well, and by trying the body cover on him before
starting a new project, I can adjust the dummy to take account of
expanding or contracting waist measurements.
I would use this method again if I needed to make a custom model for
another woman, because with a soft form you can start with the real body
shape and then squish as necessary if you need a corsetted shape.
My problem with standard, rigid, women's dressforms is that even the
smallest has the same bust measurement as me, which means I can't put a
corset on it because the breasts and waist are not movable or
compressable.

If you are interested in how the Uniquely You dressform works, a Google
search will turn up several sites. Unfortunately they are not sold in
Australia to the best of my knowledge and they are not cheap either. I
don't know it they are available in Europe.

Have fun

Annette Wilson
(Canberra, Australia)




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Subject: [h-cost] Costume College 2003
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Date: Thu, 17 Oct 2002 16:38:46 -0700
Status: RO

To Kayta and others who wanted to know:

Costume College has been scheduled for 2003, the first weekend of August.

http://www.costumecollege.org/

Theresa Eacker
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To: h-costume@indra.com
Subject: dance boot (wasRe: [h-cost] modern ethnic garments)
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Date: Thu, 17 Oct 2002 16:45:30 -0700
Status: RO

To Kayta-

Would this be the boot you'd be looking for(scroll down about 3
pictures) to the Adelita boot?

http://www.elcharro1.com/folkloricoshoes.html

Theresa Eacker

Carolyn Kayta Barrows wrote: (Pruning)

> I am currently tracking down either a maker or an importer of the boots the
> 'Folklorico' (a Mexican folk dance style) dancers wear.  The boots are made
> in Mexico.  They look just like lace-up Victorian boots because they are
> still made from the same older patterns.  They are built for dancing and
> stomping in, out of thicker leather than 100-year-old vintage ones
> are.
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From h-costume-admin@indra.com  Thu Oct 17 19:56:54 2002
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Fall and Winter projects (my apologies to those cousins from the southern hemisphere!)
To: h-costume@indra.com
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Date: Fri, 18 Oct 2002 09:55:18 +1000 (EST)
Status: RO

 --- Jonna Hayden <jonna_hayden@yahoo.com> wrote: 
> Hmmm...
> 
> I'm working on a 1561 Venetian gown--very plain, but
> the
> sleeves!! It's all Bella's fault!  The sleeves have
> this
> outrageous cutwork motif that I'm trying to
> recreate. It
> should take most of winter to get the parts laid
> out, cut
> out, and satin stiched. <snip>

<hangs head> Mea culpa.

But when you're done make sure to take lots of photos
ok? I'm going to start a garb gallery for others who
have made Venetian garb to showcase their talents. :)




=====
Lady Bella Lucia da Verona
Innilgard, Lochac

The Realm of Venus
http://au.geocities.com/bella_lucia_da_verona
Owner, Courtesan E-mail Group
http://groups.yahoo.com/group/Courtesan

http://careers.yahoo.com.au - Yahoo! Careers
- 1,000's of jobs waiting online for you!
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Date: Thu, 17 Oct 2002 17:07:43 -0700
Status: RO

I puzzled over this but finally figured it out.  You guys are talking about 
that time of year when I can wear a sweatshirt over my short sleeved 
shirts.  I also had to think about the mud thing.  My initial response was 
just turn off the hose, but then I realized that you are talking about 
those events that happen a couple of times during my sweatshirt wearing 
season when there is enough precipitation to mix with unprotected soil and 
give mud.  What the heck, it doesn't happen very often, just take your 
shoes off and wallow in it.

As for projects, I will be making my sister a turquoise raw silk Irish 
dress and a saffron colored gauze leine.  It is bright enough fabric to 
light up a small planet.  She is going to wear it under her gown when she 
gets her PhD.  I also have to make black practice tutus for my daughters 
ballet school.

At 09:26 AM 10/17/2002 -0500, Linda J. Thompson wrote:
>Catherine Kinsey and I are going to work on making a corded plus size 
>Elizabethan corset.  I really enjoyed the project I worked on and want to 
>explore other corded support items.
>Now all we have to do is find the spare time when we can get together.. :D
>--
>
>--
>Linda Thompson
>
>Visit www.seams-to-be.com
>where Attitude is Everything
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Date: Thu, 17 Oct 2002 17:07:43 -0700
Status: RO

I puzzled over this but finally figured it out.  You guys are talking about 
that time of year when I can wear a sweatshirt over my short sleeved 
shirts.  I also had to think about the mud thing.  My initial response was 
just turn off the hose, but then I realized that you are talking about 
those events that happen a couple of times during my sweatshirt wearing 
season when there is enough precipitation to mix with unprotected soil and 
give mud.  What the heck, it doesn't happen very often, just take your 
shoes off and wallow in it.

As for projects, I will be making my sister a turquoise raw silk Irish 
dress and a saffron colored gauze leine.  It is bright enough fabric to 
light up a small planet.  She is going to wear it under her gown when she 
gets her PhD.  I also have to make black practice tutus for my daughters 
ballet school.

At 09:26 AM 10/17/2002 -0500, Linda J. Thompson wrote:
>Catherine Kinsey and I are going to work on making a corded plus size 
>Elizabethan corset.  I really enjoyed the project I worked on and want to 
>explore other corded support items.
>Now all we have to do is find the spare time when we can get together.. :D
>--
>
>--
>Linda Thompson
>
>Visit www.seams-to-be.com
>where Attitude is Everything
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


_______________________________________________
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Date: Thu, 17 Oct 2002 17:17:23 -0700
Status: RO

You guys are freaking me out.  I tried on a corset at costume college, I 
assume it was a 19th century one and it totally set off my sciatica and I 
couldn't walk for the rest of the day.  Now you tell me that I may not be 
able to breath in it either.  Considering that I can barely breath as it 
is, that isn't good news.  I asked my gyn if he had any opinion on 16th 
century corset construction.  He, surprisingly, didn't.  I am thinking that 
if I use the directions for cording it rather than using boning it might be 
better for me.  He thought that might not give me the right kind of 
support.  My bodice is boned and hasn't bothered my back.  I can usually 
breath in it, but it doesn't support, as you say, my squishiness.

I am also thinking that since I am 5"10" and saw 200 pounds about 15 years 
ago, with a bum roll, farthingale and big collar ruff, I could be extremely 
imposing.

At 03:25 PM 10/17/2002 -0700, Carolyn Kayta Barrows wrote:

>> >I can't bend at the waist very well in the thing, which means I can't drive
>>to and from dance events while wearing it, but it does the job of a sports
>>bra very nicely
>>
>>I can drive happily in my corset & bustle, I'm a bit baffled as why do you
>>bend at the waist when driving ?
>
>This is more a function of the slouch-shaped car seat than anything 
>else.  There's a concavity for the middle of my back to slump into, as is 
>the case with most car seats, and it's not any fun even without the 
>corset, as is the case with most car seats.
>
>
>Kayta
>
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Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Thu, 17 Oct 2002 17:20:52 -0700
Status: RO

puttees?

At 07:38 PM 10/17/2002 -0400, David Webb wrote:
>Oh boy! A subject right up my alley as a Great War reenactor!
>
>Trench foot was actually a physiological condition - a slow form of 
>frostbite,  and, as Jean correctly states, caused by having cold, wet feet 
>for prolonged periods of  time. The puttees which were part of the uniform 
>of the time, and provided support and warrmth to the lower legs, also 
>could aggravate the condition if they were wound too tightly.
>
>Once army doctors realized it was a preventable condition, having trench 
>foot could become a disciplinary matter. Commanding officers were held 
>responsible for cases in their units and were supposed to conduct daily 
>foot inspections. This might seem extreme, but the British Expeditionary 
>Force was almost crippled by Trench foot in 1914/15- an army not only 
>marches on its stomach... It was noted that it was more common amongst 
>troops with bad morale - probably the men were losing their incentive to 
>take care for themselves . It was combatted by oiling the feet with grease 
>or whale oil, and trying to keep the feet warm and dry with frequent sock 
>changes. These measures reduced the problem,  but never eliminated 
>it.   Home for many soldiers was a wet trench in below sea level Flanders 
>for months - rather extraordinary living conditions.
>
>There's a photograph  of a bad trench foot case in one of our books - 
>several toes are rotted off  and the rest look like little gnarled roots.....
>
>Sheridan
>
>At 08:45 PM 17/10/2002 +0100, you wrote:
>>Trench foot is a very unpleasant (fungal?) condition that comes from 
>>having feet soaking wet and unable to breathe for long periods of time. 
>>It gets its name from the First World War battle fields where the troops 
>>were stuck in muddy trenches for weeks and months in wet boots and it 
>>became a real problem.  I imagine it wasn't a problem in earlier periods 
>>because either they would have gone somewhere with shelter, or when it 
>>was very wet they were more likely to go barefoot - still get very sore 
>>feet, but maybe not the same infections and nasties.
>>
>>Jean
>>
>>Elizabeth A Heckert <spynnere@juno.com> wrote
>>>
>>>On Thu, 17 Oct 2002 08:44:01 -0600 h-costume-request@indra.com writes:
>>>>
>>>>Message: 11
>>>>From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
>>>>Subject: Re: [h-cost] iron age
>>>
>>>>I understand the wellies were on health grounds of trench foot ,
>>>
>>>    What is 'trench foot', and (costume content) what shoes were used
>>>instead of wellies to protect against it?  Or is it a case of  the shoes
>>>did not protect against it, and something else was done?
>>>
>>>    Thank you!
>>>
>>>     Elizabeth
>>>
>>>________________________________________________________________
>>>GET INTERNET ACCESS FROM JUNO!
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>>
>>--
>>Jean Waddie
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>
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From h-costume-admin@indra.com  Thu Oct 17 20:38:06 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: dance boot (wasRe: [h-cost] modern ethnic garments)
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Date: Thu, 17 Oct 2002 17:26:15 -0700
Status: RO

Thank you.  These are close, tho I've seen better (= no zipper).  There's a 
large Mexican-American population in California, especially in San Jose 
(near where I live), and I keep thinking I will run into a supplier of the 
kind I have seen locally.

>Would this be the boot you'd be looking for(scroll down about 3
>pictures) to the Adelita boot?
>
>http://www.elcharro1.com/folkloricoshoes.html
>
> > I am currently tracking down either a maker or an importer of the boots the
> > 'Folklorico' (a Mexican folk dance style) dancers wear.  The boots are made
> > in Mexico.  They look just like lace-up Victorian boots because they are
> > still made from the same older patterns.  They are built for dancing and
> > stomping in, out of thicker leather than 100-year-old vintage ones


Kayta

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Date: Thu, 17 Oct 2002 17:33:39 -0700
Status: RO


>I puzzled over this but finally figured it out.  You guys are talking 
>about that time of year when I can wear a sweatshirt over my short sleeved 
>shirts.  I also had to think about the mud thing.  My initial response was 
>just turn off the hose, but then I realized that you are talking about 
>those events that happen a couple of times during my sweatshirt wearing 
>season when there is enough precipitation to mix with unprotected soil and 
>give mud.  What the heck, it doesn't happen very often, just take your 
>shoes off and wallow in it.

I think their mud is colder than our mud.  Sometimes their mud freezes 
solid, and they can't wallow in it.

Historical costume projects - mostly dolls.  I'm considering a set of 
'fashion babies' for my own use.  I'd need a set for each living history 
site or fair I go to.  Maybe it will be easier to show docents the 
difference between what they are now wearing and what I think they should 
be wearing if I made a 'docent-period' fashion baby for each 
set.  Ardenwood recently got a volunteer who was willing to sew for the 
farm-hand docents and rangers, and they're looking much better these days.

Kayta

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Date: Thu, 17 Oct 2002 21:09:58 -0400
Status: RO

> It gets its name from the First World War battle fields where the troops
> were stuck in muddy trenches for weeks and months in wet boots and it
> became a real problem.  [snip] still get very sore
> feet, but maybe not the same infections and nasties.

    Well, trench foot was more than a nasty. My great-grandfather, who was
one of the few men to receive the Victoria Cross while still living, used to
write to my great-grandmother of his fear at times of taking off his boots
and perhaps finding his foot had come off with it. The fungal disease would
often get so bad that men would loose feeling in their feet, gangrene would
set in, and literally would loose their feet in their boots.

    More than a nasty. It was a horror.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
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Date: Thu, 17 Oct 2002 20:59:27 -0400
Status: RO

Well, the key there is that one gets it if the foot can't breathe.  In some 
early footwear it's clear the shoe was stuffed with straw, moss or other 
stuff to help keep that kind of thing from happening.  And if you're going 
barefoot, well, obviously the foot can breathe (not practical for modern, 
tender feet, of course).

-- Mara

At 08:45 PM 10/17/2002 +0100, you wrote:
>Trench foot is a very unpleasant (fungal?) condition that comes from 
>having feet soaking wet and unable to breathe for long periods of time. It 
>gets its name from the First World War battle fields where the troops were 
>stuck in muddy trenches for weeks and months in wet boots and it became a 
>real problem.  I imagine it wasn't a problem in earlier periods because 
>either they would have gone somewhere with shelter, or when it was very 
>wet they were more likely to go barefoot - still get very sore feet, but 
>maybe not the same infections and nasties.
>
>Jean

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Subject: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Thu, 17 Oct 2002 21:25:56 -0400
Status: RO

Ok, here's my dilemma:
I'm thinking about starting to make the hat in the Rubens portrait of 
Susanna Fourment next week sometime.  I have a black felt hat blank, and I 
have the ostrich feathers.
http://www.guardian.co.uk/gallery/image/0,8543,-11004295072,00.html
or
http://www.artchive.com/artchive/R/rubens/rubens_susanna_fourment.jpg.html 
for a larger view

(I actually got around to ordering some beads etc. and have some passable 
earrings like hers, already <g> -- it's hard to figure out exactly what 
she's wearing, since Rubens just used blobs of paint.)

Questions:
Should I trim the edge of this hat with a black binding, or leave it 
plain?  I have some hat braid trim from Wooded Hamlet, but looking at this 
picture again I'm not really sure that the edge is trimmed at all.

The interior of the hat -- how would this be finished out?  Petersham 
hatband, linen strip, or what?

The last time I had one of these black felt hat blanks, I wore it in damp 
weather and the whole thing ended up cone-shaped.  Would Scotchguard work 
to keep this from happening again?

Thanks,
Mara

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Subject: Re: activity while corseted (was [h-cost] Re: urban legends concerningfashion
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Date: Thu, 17 Oct 2002 18:35:59 +0000
Status: RO

You should be able to breathe just fine in a well designed corset. The
thing should keep the protruding parts of your anatomy in place and hold
up the dress.

It took a lot of convincing to get me into one, and some kicking and
screaming too. I am a lifelong singer to whom any kind of "restrictive"
garb was always a major no-no. 

There are lots of kinds of corsets. I found a barrel style worked quite
well for me and did not confine my breathing (had to sing before the
Crown with my choral group and got elevated to Laurel at the same
time--how's *that* for an evening?). My costumer did a great job.

So go for it! You'll be stunning! 8)

Arlys

On Thu, 17 Oct 2002 17:17:23 -0700 MaryAnn Jones <mabse@attbi.com>
writes:
> You guys are freaking me out.  I tried on a corset at costume 
> college, I assume it was a 19th century one and it totally set off my
sciatica 
> and I couldn't walk for the rest of the day.  Now you tell me that I
may 
> not be able to breath in it either.  Considering that I can barely
breath 
> as it is, that isn't good news.  I asked my gyn if he had any opinion
on 
> 16th century corset construction.  He, surprisingly, didn't.  I am 
> thinking that if I use the directions for cording it rather than using
boning it 
> might be better for me.  He thought that might not give me the right
kind of 
> support.  My bodice is boned and hasn't bothered my back.  I can 
> usually breath in it, but it doesn't support, as you say, my
squishiness.
> 
> I am also thinking that since I am 5"10" and saw 200 pounds about 15 
> years ago, with a bum roll, farthingale and big collar ruff, I could be

> extremely imposing.


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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
From: sylvia <sylvia@ntw.net>
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Date: Thu, 17 Oct 2002 19:19:16 -0600
Status: RO

on 10/17/02 7:25 PM, Kevin + Mara at lindo@radix.net wrote:

>
> Questions:
> Should I trim the edge of this hat with a black binding, or leave it
> plain?  I have some hat braid trim from Wooded Hamlet, but looking at this
> picture again I'm not really sure that the edge is trimmed at all.

I would wire the outside edge with hatwire and cover it with binding of some
sort.  Then get some hat sizing and spray it with a couple coats.

Sylvia R
> 
> The interior of the hat -- how would this be finished out?  Petersham
> hatband, linen strip, or what?
> 
> The last time I had one of these black felt hat blanks, I wore it in damp
> weather and the whole thing ended up cone-shaped.  Would Scotchguard work
> to keep this from happening again?
> 
> Thanks,
> Mara
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Date: Thu, 17 Oct 2002 22:29:24 -0600
Status: RO

Our water freezes solid, too! <g> Seriously, though, mud's mostly a
spring phenomenon here...snow melting before the ground's thawed, etc. 
I *do* always have to go barefoot outside during the first chinook
though, which usually happens in late January or early February....sort
of a personal encouragement for Spring to come! ;-)
--sue, whose usual concession to winter and snow is to put a pair of sox
on before she puts on her Birkenstocks....

Carolyn Kayta Barrows wrote:
> 
 
> I think their mud is colder than our mud.  Sometimes their mud freezes
> solid, and they can't wallow in it.
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Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Fri, 18 Oct 2002 05:55:47 +0100
Status: RO

>puttees?

Wooley banadages wrapped around the legs, Windigas (not sure of spelling)
are belived to be the Anglo Saxon version of putees, possibily wrapped
around the foot too in that era

Good thing with puttees they can be changed easier then the whole trouser
(pants in US speak !)

Mel
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Date: Fri, 18 Oct 2002 05:57:11 +0100
Status: RO

Sheridan

Oil & grease then could have been used in earlier times & then wiped off
perhaps to help with the wet ?That with fleece/hay/moss padding would help
considerably with the damp I think (next bit of experimental archaeology :)


Mel

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Subject: Re: activity while corseted (was [h-cost] Re: urban legendsconcerningfashion
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Date: Fri, 18 Oct 2002 06:00:06 +0100
Status: RO

>This is more a function of the slouch-shaped car seat than anything
else.  There's a concavity for the middle of my back to slump into, as is
the case with most car seats, and it's not any fun even without the corset,
as is the case with most car seats

Ah my car & every one I've driven in the last 10 years at least is convex at
the lumber region, further most have a settable lumber support there. Yes I
do set the lumber support to hard in my corset so Thanks I understand. As a
matter of interest is this a US car, it seems very odd that this has not
been address, ie the back not matching the seat ?

Mel

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Subject: Re: activity while corseted (was [h-cost] Re: urban legends concerningfashion
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Date: Thu, 17 Oct 2002 22:01:27 -0700
Status: RO

> > >I can't bend at the waist very well in the thing, which means I
> > >can't drive
> >to and from dance events while wearing it, but it does the job of a
> >sports bra very nicely
> >
> >I can drive happily in my corset & bustle, I'm a bit baffled as why
> >do you bend at the waist when driving ?
> 
> This is more a function of the slouch-shaped car seat than anything
> else.  There's a concavity for the middle of my back to slump into, as
> is the case with most car seats, and it's not any fun even without the
> corset, as is the case with most car seats.
> Kayta

I miss the old "bench seating" in vehicles. They allowed much better 
overall posture than the "bucket seats" in cars now days. The newer 
seats hunch you over and push your arms in so that you are pushed 
into a position that is very bad for the back, arms, neck and 
shoulders. It's comfortable for slouched shouldered people but they 
make my arms fall asleep as I'm driving. Also, I have trouble sitting 
in them corsetted because in my corset I can't "slouch." (It was one 
of the things that drove me nuts about the corset worn in Lady Jane 
by Helen Bonham Carter. She kept slouching oddly in it and most 
corsets which fit correctly don't let you slouch quite that way. (I 
think it was too long waisted at the sides. Very common mistake in 
corsetting.)

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: activity while corseted (was [h-cost] Re: urban legends concerningfashion
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Date: Fri, 18 Oct 2002 06:01:34 +0100
Status: RO

>You guys are freaking me out.  I tried on a corset at costume college, I
assume it was a 19th century one and it totally set off my sciatica and I
couldn't walk for the rest of the day

Trying on other peoples corsets is going to be uncomfortable in relation to
one made for you. I really have no difficulties in mine :)

Mel

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Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Fri, 18 Oct 2002 06:54:55 +0100
Status: RO

On 18 Oct 2002 at 5:57, Melanie Wilson wrote:

> Sheridan
> 
> Oil & grease then could have been used in earlier times & then wiped
> off perhaps to help with the wet ?That with fleece/hay/moss padding
> would help considerably with the damp I think (next bit of
> experimental archaeology :)

An accidental bit of experimenal archaeology I did 
years ago suggests that "period" leather boots, when 
lined with fleece, do keep you feet comfortable and 
warm even if the incompetence of the maker means 
that they leak. I wandered around in snow, mud, and 
shallow streams for a day: feet wet, but not cold.



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Date: Fri, 18 Oct 2002 07:13:55 +0100
Status: RO

>An accidental bit of experimenal archaeology I did
years ago suggests that "period" leather boots, when
lined with fleece,

Do you mean fleece as in loose bits of wool fibre or as in sheepskin ?

>do keep you feet comfortable and
warm even if the incompetence of the maker means
that they leak.

You can't really help that they leak esp pre welt, and the leather lets ythe
water in too

Mel

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Date: Fri, 18 Oct 2002 07:16:19 +0100
Status: RO

On 18 Oct 2002 at 7:13, Melanie Wilson wrote:

> >An accidental bit of experimenal archaeology I did
> years ago suggests that "period" leather boots, when
> lined with fleece,
> 
> Do you mean fleece as in loose bits of wool fibre or as in sheepskin ?

I used sheepskin bootees, furry side to the foot.

(I have no evidence for this in any period at all, 
before you ask.This was years back, and I was 
making it up as I went along.)

> >do keep you feet comfortable and
> warm even if the incompetence of the maker means
> that they leak.
> 
> You can't really help that they leak esp pre welt, and the leather
> lets ythe water in too

True, but there was a certain degree of 
incompetence as well. The original reason for the 
sheepskin was just to make them fit :(


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Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Fri, 18 Oct 2002 07:49:29 +0100
Status: RO

>I used sheepskin bootees, furry side to the foot.

>(I have no evidence for this in any period at all, 
before you ask.This was years back, and I was 
making it up as I went along.)

I wasn't going to ask ;) It is I feel a distinct possibility

>The original reason for the 
sheepskin was just to make them fit :(

Ah.....

Mel




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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Fri, 18 Oct 2002 08:30:05 +0100 (BST)
Status: RO

 --- Melanie Wilson <MelanieWilson@bigfoot.com> wrote: > >
> You can't really help that they leak esp pre welt, and the leather lets ythe
> water in too

Funnily enough, the shoes and boots (5th-9th c) that Ivor Lawton made for us
never leaked. Granted, he is a miracle and master of shoemaking. Incidentally,
he is a god of blacksmithing too, the MINDBLOWING reproduction of the Sutton
Hoo helmet in the new museum at Sutton Hoo was made by him, and done in exactly
the same way the original was. It's is sooooo beautiful. *sigh*

Anyway, I think they are also waxed and/or oiled, and have an insole made from
fleece. Actually, if you take natural fleece with the lanolin still in it and
make it a bit wet when you put it in, and just walk on it, it felts itself.

Nicole

=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  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] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Fri, 18 Oct 2002 08:40:26 +0100 (BST)
Status: RO

 --- Kevin + Mara <lindo@radix.net> wrote: > 
> Questions:
> Should I trim the edge of this hat with a black binding, or leave it 
> plain?  I have some hat braid trim from Wooded Hamlet, but looking at this 
> picture again I'm not really sure that the edge is trimmed at all.

The problem with this is one that I had encountered too making a posh hat (the
one Ben wears with his 1660s clothing and all the ostrich feathers). The
problem is that our felt hats are in no way even remorely what theirposh hats
would have been like/made from. the best hats were made of beaver and there is
no need to trim the edges like there is with the not-very-wonderful felt
blanks/hats nowadays. Even when using a super quality felt hat it just isn't
the same. I saw an original hat from the 1680s and it wasn't trimmed at the
edge, but it wasn't necessary either. Then again, you CAN still get beaver
hats, the Chelsea Pensioners wear beaver tricornes with their uniform
(fossilized 18th centurish redcoat uniform) and we called them up to ask. Yes,
we could get a blank and yes, they start at a few hundred pounds....

So my solution/advice is, take a look what it loks like without, and if it
doesn't look good enough, just trim the edge. OR get a beaver hat *G*

> The interior of the hat -- how would this be finished out?  Petersham 
> hatband, linen strip, or what?

Not a clue, te hat on display didn't show the inside *growls*. certainly from
the paintings I have studied it shows nothing inside, just darkness. I suggest
the best is perhaps to put some kind of protection inside from the hair oils.

> The last time I had one of these black felt hat blanks, I wore it in damp 
> weather and the whole thing ended up cone-shaped.  Would Scotchguard work 
> to keep this from happening again?

Ouch!!! I have never heard that/had that happen. It sounds like a bad quality
felt. Ben's hats got all DFENCHED and I mean soaking dripping wet all through,
and nothing happened (after all, you are talking re-enactment in England here
*groans*). Try scotchguarding, or try looking for a thicker felt hat, it really
shouldn't happen. Sorry I can't give you better advise on that. :-(

Nicole

=====
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L'Age d'Or & Kirke's Lambs 
Civilian & Military  Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Fri, 18 Oct 2002 09:54:17 +0200
Status: RO


--------------050804050607060901040402
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Those acrobatic shoes look good to!


Theresa Eacker wrote:

>To Kayta-
>
>Would this be the boot you'd be looking for(scroll down about 3
>pictures) to the Adelita boot?
>
>http://www.elcharro1.com/folkloricoshoes.html
>
>Theresa Eacker
>
>Carolyn Kayta Barrows wrote: (Pruning)
>
>>I am currently tracking down either a maker or an importer of the boots the
>>'Folklorico' (a Mexican folk dance style) dancers wear.  The boots are made
>>in Mexico.  They look just like lace-up Victorian boots because they are
>>still made from the same older patterns.  They are built for dancing and
>>stomping in, out of thicker leather than 100-year-old vintage ones
>>are.
>>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>


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<html>
<head>
</head>
<body>
Those acrobatic shoes look good to!<br>
<br>
<br>
Theresa Eacker wrote:<br>
<blockquote type="cite" cite="mid:3DAF4B94.8CD573AF@misc.com">
  <pre wrap="">To Kayta-<br><br>Would this be the boot you'd be looking for(scroll down about 3<br>pictures) to the Adelita boot?<br><br><a class="moz-txt-link-freetext" href="http://www.elcharro1.com/folkloricoshoes.html">http://www.elcharro1.com/folkloricoshoes.html</a><br><br>Theresa Eacker<br><br>Carolyn Kayta Barrows wrote: (Pruning)<br><br></pre>
  <blockquote type="cite">
    <pre wrap="">I am currently tracking down either a maker or an importer of the boots the<br>'Folklorico' (a Mexican folk dance style) dancers wear.  The boots are made<br>in Mexico.  They look just like lace-up Victorian boots because they are<br>still made from the same older patterns.  They are built for dancing and<br>stomping in, out of thicker leather than 100-year-old vintage ones<br>are.<br></pre>
    </blockquote>
    <pre wrap=""><!---->_______________________________________________<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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Date: Fri, 18 Oct 2002 09:22:59 +0100
Status: RO

Mara wrote:

> The last time I had one of these black felt hat blanks, I wore it in damp 
> weather and the whole thing ended up cone-shaped.  Would Scotchguard work 
> to keep this from happening again?

and Nicole replied:

>Ouch!!! I have never heard that/had that happen. It sounds like a bad >quality felt. Ben's hats got all DFENCHED and I mean soaking dripping wet >all through, and nothing happened (after all, you are talking re-enactment >in England here *groans*). Try scotchguarding, or try looking for a thicker >felt hat, it really shouldn't happen. Sorry I can't give you better advise on >that. :-(

When I was a musketeer I sometimes got my hat so wet that water collected in the brim and poured into the priming pan when I looked down to reload - but the hat never lost its shape (and it wasn't a specially expensive one).

Of course it *never* rains in Germany, Nicole! ;-)


Kate Bunting
Library, University of Derby


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Subject: Re: activity while corseted (was [h-cost] Re: urban
	legendsconcerningfashion
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Date: Fri, 18 Oct 2002 09:30:51 +0100
Status: RO

My car doesn't have an adjustable lumbar support (obviously not an expensive enough model!) but I always drive with a cushion in the small of my back. I have driven short distances in a bum-roll, but a bustle must be quite tricky, being so low down!


Kate Bunting
Library, University of Derby

>>> MelanieWilson@bigfoot.com 10/18/02 06:00am >>>
>This is more a function of the slouch-shaped car seat than anything
else.  There's a concavity for the middle of my back to slump into, as is
the case with most car seats, and it's not any fun even without the corset,
as is the case with most car seats

Ah my car & every one I've driven in the last 10 years at least is convex at
the lumber region, further most have a settable lumber support there. Yes I
do set the lumber support to hard in my corset so Thanks I understand. As a
matter of interest is this a US car, it seems very odd that this has not
been address, ie the back not matching the seat ?

Mel

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Fri, 18 Oct 2002 09:36:56 +0100 (BST)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > 
> When I was a musketeer I sometimes got my hat so wet that water collected in
> the brim and poured into the priming pan when I looked down to reload - but
> the hat never lost its shape (and it wasn't a specially expensive one).

Kate, could there be a difference then in the felt blanks we can get here and
Mara can get in the US? It's odd, isn't it, because I have never heard of
anyone's hat losing shape here, and blimey, it does rain a lot at re-enactments
(usually not when we are NOT doing re-enactment)

> Of course it *never* rains in Germany, Nicole! ;-)

Harharharhar, where I come from, in Aachen, it rained a lot MORE than ever here
in the Southeast, but I didn't do re-enactment in germany. :-)

Nicole

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

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Date: Fri, 18 Oct 2002 09:57:20 +0100
Status: RO

Could this be the work of the Bugbear virus?
We got it here at the University and it started sending copies of messages I sent to a reenactor in the Netherlands several years ago, ostensibly from him, to other people on my contact list.


Kate Bunting
Library, University of Derby

>>> afmmurphy@earthlink.net 10/17/02 05:36pm >>>
I have a stranger one for you...

I have a hotmail account that was subscribed to this list until 4 years 
ago. I don't use it much any more, but keep it because every so often 
someone I know will use it...  I just received a digest from May 1998 in 
that account! They put it on my safe list, too... not in the junk mail, 
where everything is supposed to go unless vetted. But you may still be 
in my address book - have to check that out.

Well, I was subscribed then, at that address, to the digest. Has this 
been out in the ether for 4 years? I wish they'd bounce the 100 or so 
spam I get a day...

Anne



Elizabeth Lear wrote:

>Hotmail is bouncing email from this list to all hotmail.com accounts.
>If you know one of these people, please contact them and ask them to
>complain to hotmail.  Thanks.
>
>
>----- Forwarded message from postmaster@mail.hotmail.com -----
>
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>
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>
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Subject: Re: [h-cost] Re: Fall and Winter projects
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Date: Fri, 18 Oct 2002 06:19:12 -0400
Status: RO

Having had a frost already, they are now talking about the Falling Water
being frozen solid when it falls this weekend.
   We MIGHT get a few more high daylight temps up in the 50s, but mostly
they are forecasting cold in the daytime, and at that 32 degree freezing
point or below most nights.
   Considering we have had drought conditions for more than a year, we are
trying to be thankful for the Very Cold Downpours we are getting right now.
But it feels miserable.

    Thankfully, we did not use the canvas, but used the colorful plastic
material cover for the tent for last weekend's RenFair, since  Wet descended
most of the weekend.   Of course, it poured when we had to take down  (in
the dark yet!)
It isn't even snowing yet, but wallowing in it is not what we want to do.
Rowena, in upstate New York    (and Upstate to us is at least 200 miles
above New York City).


> Our water freezes solid, too! <g> Seriously, though, mud's mostly a
> spring phenomenon here...snow melting before the ground's thawed, etc.
;-)

> > I think their mud is colder than our mud.  Sometimes their mud freezes
> > solid, and they can't wallow in it.


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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Fri, 18 Oct 2002 06:44:52 -0400 (EDT)
Status: RO

On Thu, 17 Oct 2002, sylvia wrote:
> I would wire the outside edge with hatwire and cover it with binding of some
> sort.  Then get some hat sizing and spray it with a couple coats.
>
> Sylvia R

What is hat sizing -- i.e., what does it do?  The felt hat blank I have is
pretty stiff as it is.  I'm more worried about it UN-stiffening if it gets
damp.

-- Mara

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Date: Fri, 18 Oct 2002 06:50:32 -0400 (EDT)
Status: RO

On Fri, 18 Oct 2002, [iso-8859-1] N Kipar wrote:
> So my solution/advice is, take a look what it loks like without, and if it
> doesn't look good enough, just trim the edge. OR get a beaver hat *G*

Well, if I make it up without the edge trim, that _is_ something I could
add later...

> > The interior of the hat -- how would this be finished out?  Petersham
> > hatband, linen strip, or what?
>
> Not a clue, te hat on display didn't show the inside *growls*. certainly from
> the paintings I have studied it shows nothing inside, just darkness. I suggest
> the best is perhaps to put some kind of protection inside from the hair oils.

I think I'm going to line it with linen...  Looked through Janet Arnold
yesterday night, not much help there.

> > The last time I had one of these black felt hat blanks, I wore it in damp
> > weather and the whole thing ended up cone-shaped.  Would Scotchguard work
> > to keep this from happening again?
>
> Ouch!!! I have never heard that/had that happen. It sounds like a bad quality
> felt. Ben's hats got all DFENCHED and I mean soaking dripping wet all through,
> and nothing happened (after all, you are talking re-enactment in England here
> *groans*). Try scotchguarding, or try looking for a thicker felt hat, it really
> shouldn't happen. Sorry I can't give you better advise on that. :-(
>
> Nicole

Yes, that was a fairly cheap felt hat.  This blank is thicker, but I'm
still paranoid...

-- Mara

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Date: Fri, 18 Oct 2002 05:15:53 -0600
Status: RO

Possibly.
I unsubbed to a couple of lace-related lists before I went to England in
August, and haven't gotten around to re-subbing yet.  So I shouldn't be
getting *any* mail from them.
My ISP's virus filter has caught a number of Bugbear-laden messages,
with a lace-related "address," so my guess is, someone (maybe more than
one) on the lace lists got herself infected, and happens to have both my
addy and the list addys in her address book.
--sue

Kate M Bunting wrote:
> 
> Could this be the work of the Bugbear virus?
> We got it here at the University and it started sending copies of messages I sent to a reenactor in the Netherlands several years ago, ostensibly from him, to other people on my contact list.
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> afmmurphy@earthlink.net 10/17/02 05:36pm >>>
> I have a stranger one for you...
> 
> I have a hotmail account that was subscribed to this list until 4 years
> ago. I don't use it much any more, but keep it because every so often
> someone I know will use it...  I just received a digest from May 1998 in
> that account! They put it on my safe list, too... not in the junk mail,
> where everything is supposed to go unless vetted. But you may still be
> in my address book - have to check that out.
> 
> Well, I was subscribed then, at that address, to the digest. Has this
> been out in the ether for 4 years? I wish they'd bounce the 100 or so
> spam I get a day...
> 
> Anne
> 
> Elizabeth Lear wrote:
> 
> >Hotmail is bouncing email from this list to all hotmail.com accounts.
> >If you know one of these people, please contact them and ask them to
> >complain to hotmail.  Thanks.
> >
> >
> >----- Forwarded message from postmaster@mail.hotmail.com -----
> >
> >Delivery to the following recipients failed.
> >
> >       maggiros@hotmail.com
> >       misssalchow@hotmail.com
> >       audreybmorin2@hotmail.com
> >       noxcat@hotmail.com
> >       kprack@hotmail.com
> >       alexfrazier@hotmail.com
> >       jbmcardle@hotmail.com
> >       kimie205@hotmail.com
> >       distantdesigns@hotmail.com
> >
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> _______________________________________________
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Subject: singing in corsets Re: [h-cost] Re: urban legends concerning fashion
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Date: Sat, 19 Oct 2002 00:10:07 +1300
Status: RO

> I'm a singer and a friend of mine designed a barrel corset to hold up a
> very heavy and gorgeous Italian Renaissance gown that I had to be able to
> sing in. The thing was so well done that it held up the dress and did not
> confine my floating ribs or musclature. It also did not squish the upper
> part of my frontage. :)


Now I'm going to have to look very carefully through my Girls Own Annuals as
I *know* there is an article in there not just on singing (though there is
an article by Tetrazzini:) ) but also on what to look for in a corset. Yes,
the era of the horrible s bend corset and it produced singers still
remembered today.

And then of course Patti, Melba Christine Nilson et al had to deal with
victorian corsets too...

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume




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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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In a message dated 10/17/2002 9:32:12 PM Eastern Daylight Time, 
lindo@radix.net writes:


> The last time I had one of these black felt hat blanks, I wore it in damp 
> weather and the whole thing ended up cone-shaped.  Would Scotchguard work 
> to keep this from happening again?
> 
> 

Felt hat blanks are usually treated with a special felt hat sizing.  The only 
source I know for it is Leko Millinery supplies, and you have to buy a 
gallon, and some other things, as they are wholesale only with a minimum.  
(But they have neat flowers and things, too.)  I'm not sure if several 
applications of sizing would help you hat through the rain, or not.  Does 
anyone else have a guess?
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/17/2002 9:32:12 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">The last time I had one of these black felt hat blanks, I wore it in damp <BR>
weather and the whole thing ended up cone-shaped.&nbsp; Would Scotchguard work <BR>
to keep this from happening again?<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
Felt hat blanks are usually treated with a special felt hat sizing.&nbsp; The only source I know for it is Leko Millinery supplies, and you have to buy a gallon, and some other things, as they are wholesale only with a minimum.&nbsp; (But they have neat flowers and things, too.)&nbsp; I'm not sure if several applications of sizing would help you hat through the rain, or not.&nbsp; Does anyone else have a guess?<BR>
Ann Wass</FONT></HTML>

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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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In a message dated 10/18/2002 6:45:49 AM Eastern Daylight Time, 
lindo@Radix.Net writes:


> What is hat sizing -- i.e., what does it do?  The felt hat blank I have is
> pretty stiff as it is.  I'm more worried about it UN-stiffening if it gets
> damp.
> 
> 

Mara-
I took a class with a professional milliner and she treated all the felt 
blanks with the sizing before we worked with them.  I have since bought the 
sizing to do myself.  I presume it helps condition the felt and seems to be 
necessary.  Where did you get your blank?  I suppose it is possible that it 
is already sized.

As to wiring the brim--I agree.  In the class, we just turned the felt over 
to make a casing over the millinery wire.  We stitched on a sewing machine 
with clear nylon thread.  For my period straw hats, I use a bias binding and 
sew it over the wire by hand.  If you use a binding for the felt hat, it is 
generally a special grosgrain ribbon--I think petersham would do--shape it 
first by folding in half and pressing/steaming around a dinner plate to shape 
it.  Regular grosgrain ribbon doesn't work as well because it is harder to 
get it to take the curve.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/18/2002 6:45:49 AM 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">What is hat sizing -- i.e., what does it do?&nbsp; The felt hat blank I have is<BR>
pretty stiff as it is.&nbsp; I'm more worried about it UN-stiffening if it gets<BR>
damp.<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
Mara-<BR>
I took a class with a professional milliner and she treated all the felt blanks with the sizing before we worked with them.&nbsp; I have since bought the sizing to do myself.&nbsp; I presume it helps condition the felt and seems to be necessary.&nbsp; Where did you get your blank?&nbsp; I suppose it is possible that it is already sized.<BR>
<BR>
As to wiring the brim--I agree.&nbsp; In the class, we just turned the felt over to make a casing over the millinery wire.&nbsp; We stitched on a sewing machine with clear nylon thread.&nbsp; For my period straw hats, I use a bias binding and sew it over the wire by hand.&nbsp; If you use a binding for the felt hat, it is generally a special grosgrain ribbon--I think petersham would do--shape it first by folding in half and pressing/steaming around a dinner plate to shape it.&nbsp; Regular grosgrain ribbon doesn't work as well because it is harder to get it to take the curve.<BR>
Ann Wass</FONT></HTML>

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: activity while corseted (was [h-cost] Re: urban
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Date: Fri, 18 Oct 2002 04:45:03 -0700
Status: RO


>My car doesn't have an adjustable lumbar support (obviously not an 
>expensive enough model!) but I always drive with a cushion in the small of 
>my back. I have driven short distances in a bum-roll, but a bustle must be 
>quite tricky, being so low down!

My Volvo has adjustable lumbar support, but it doesn't run right now.  I'm 
driving my daughter's Ford Festiva while she's away at college in New York 
(yes, she knows I am - I asked her first).


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: activity while corseted (was [h-cost] Re: urban legends
 concerningfashion
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Date: Fri, 18 Oct 2002 04:41:48 -0700
Status: RO


>You guys are freaking me out.

Relax.  I build my corsets probably as boned as you build your 
bodices.  While I can reach over and touch my toes in my corset, I just 
can't do the tight bend my car seat tries to make me do.  BTW, that's why 
*I* build my corsets, and not somebody else.


Kayta

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To: h-costume@indra.com
Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Fri, 18 Oct 2002 08:27:34 -0400 (EDT)
Status: RO

I hoofed it down to CVS and found a can of Kiwi Protect-All, which is a
water and stain repellant one can use on leather and fabric; it says it
can be used on hats.  This _isn't_ sizing -- just water repellant (I'm
guessing it's silicon?)...  I wonder if repelling the water from the felt
would keep the felt from deforming?

-- Mara


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From h-costume-admin@indra.com  Fri Oct 18 08:30:45 2002
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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Fri, 18 Oct 2002 08:29:10 -0400 (EDT)
Status: RO

On Fri, 18 Oct 2002 AnnBWass@aol.com wrote:
> Mara-
> I took a class with a professional milliner and she treated all the felt
> blanks with the sizing before we worked with them.  I have since bought the
> sizing to do myself.  I presume it helps condition the felt and seems to be
> necessary.  Where did you get your blank?  I suppose it is possible that it
> is already sized.

Thanks, Ann -- I suspect it is already sized, since it's pretty stiff, and
is in the shape I want.

> As to wiring the brim--I agree.  In the class, we just turned the felt over
> to make a casing over the millinery wire.  We stitched on a sewing machine
> with clear nylon thread.  For my period straw hats, I use a bias binding and
> sew it over the wire by hand.  If you use a binding for the felt hat, it is
> generally a special grosgrain ribbon--I think petersham would do--shape it
> first by folding in half and pressing/steaming around a dinner plate to shape
> it.  Regular grosgrain ribbon doesn't work as well because it is harder to
> get it to take the curve.
> Ann Wass

I've got some petersham from G Street that should do the trick!

-- Mara

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Date: Fri, 18 Oct 2002 08:31:00 -0400 (EDT)
Status: RO

Ok, now how about the interior of the hat?  Do I need a hat band, or will
a linen lining suffice to keep the hat from stretching out?

Thanks, folks, for all the advice...

-- Mara



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From h-costume-admin@indra.com  Fri Oct 18 08:48:47 2002
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Subject: [h-cost] Re: "The Ship" (OT)
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Date: Fri, 18 Oct 2002 08:45:23 -0400
Status: RO


We don't have cable so we can't watch "The Ship," but I wish I could. A few
years ago I went to see a recreation of "The Nina," one of Columbus's ships.
It was so small! But it was lovely. The crew of about 6 sails it around the
US for donations. (It has a motor and a GPS system, but it can also be
sailed traditionally -- the real ship had a crew of 30.) One of the sailors
said that they have a hard time keeping crew, because most of the people who
sign on think it will be romantic and fun, but it's really a lot of hard,
backbreaking work, so they quit. Apparently you have to really love sailing
to be a crewmember of one of those beauties! No costume content at all,
sorry.

Gail Finke

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From h-costume-admin@indra.com  Fri Oct 18 09:34:52 2002
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Subject: [h-cost] embroidery book information
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Date: Fri, 18 Oct 2002 13:33:51 +0000
Status: RO

Does anyone know anything about a little embroidery book,'Encyclopedia of 
Needlework by TH. de Dillmont please?
My Father recently had a sort out and gave me some of my late Mum's sewing 
things. This book was amongst them It's packed with informationon all kinds 
of neeedlework including needle lace. In the introduction to plain sewing it 
says 'What is the use of all this information about handsewing now that 
machine stitching has so nearly superceded work done by hand?' so I reckon 
it may be early 20th century?

thanks
Joy

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Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Fri, 18 Oct 2002 14:35:53 +0100
Status: RO

>Funnily enough, the shoes and boots (5th-9th c) that Ivor Lawton made for
us
never leaked.

Are they welted though ?

Mel


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Date: Fri, 18 Oct 2002 14:51:21 BST
Status: RO

Joy Shillaker <joyshillaker@hotmail.com> wrote :

> Does anyone know anything about a little embroidery book,'Encyclopedia of 
> Needlework by TH. de Dillmont please?
> My Father recently had a sort out and gave me some of my late Mum's sewing 
> things. This book was amongst them It's packed with informationon all kinds 
> of neeedlework including needle lace. In the introduction to plain sewing it
> 
> says 'What is the use of all this information about handsewing now that 
> machine stitching has so nearly superceded work done by hand?' so I reckon 
> it may be early 20th century?

Google is wonderful!

"The Complete DMC Encyclopedia of Needlework by Thérèse de Dillmont was originally published over a century ago. The fact that it is still in print will tell you a lot about how good it is. This needlework classic is one of the best and most complete guides to almost every form of embroidery (not to mention knitting, tatting, macramé, etc.). This should be considered a must-have book if you are interested in a number of different needlework techniques."

But it *has* been reprinted a lot. So your copy may not be as old as all that :(



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Date: Fri, 18 Oct 2002 10:48:46 -0400 (EDT)
Status: RO

I think it was published in the late 19th c.   I have a reprint of it;
it's ok, but the instructions aren't that great -- I think they assume a
certain amount of knowledge that a modern sewer might not have, and if I
wanted instructions on, say, lacemaking, I'd be better off looking in a
book specifically on that subject, rather than relying on the sketchy
instructions in Dillmont.

That being said, it's still not a bad thing to have.

-- Mara


On Fri, 18 Oct 2002, Joy Shillaker wrote:

> Does anyone know anything about a little embroidery book,'Encyclopedia of
> Needlework by TH. de Dillmont please?
> My Father recently had a sort out and gave me some of my late Mum's sewing
> things. This book was amongst them It's packed with informationon all kinds
> of neeedlework including needle lace. In the introduction to plain sewing it
> says 'What is the use of all this information about handsewing now that
> machine stitching has so nearly superceded work done by hand?' so I reckon
> it may be early 20th century?
>
> thanks
> Joy
>
> _________________________________________________________________
> Surf the Web without missing calls! Get MSN Broadband.
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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
From: sylvia <sylvia@ntw.net>
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Date: Fri, 18 Oct 2002 08:42:29 -0600
Status: RO


> 
>> As to wiring the brim--I agree.  In the class, we just turned the felt over
>> to make a casing over the millinery wire.  We stitched on a sewing machine
>> with clear nylon thread.  For my period straw hats, I use a bias binding and
>> sew it over the wire by hand.  If you use a binding for the felt hat, it is
>> generally a special grosgrain ribbon--I think petersham would do--shape it
>> first by folding in half and pressing/steaming around a dinner plate to shape
>> it.  Regular grosgrain ribbon doesn't work as well because it is harder to
>> get it to take the curve.
>> Ann Wass
> 
> I've got some petersham from G Street that should do the trick!

The petersham I've used for costuming is too stiff to use for this purpose.
Is your petersham as soft as grosgrain?

Sylvia
> 
>

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From: "Linda J. Thompson" <LindaJThompson@comcast.net>
Subject: Re: [h-cost] Hat question -
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Date: Fri, 18 Oct 2002 10:14:27 -0500
Status: RO

What you have Mara is a pre-shaped hat blank if it is already the shape you want and is 
fairly stiffened.  If you purchased it from a reputable company you shouldn't have to size 
it at all.  Now you could however Scotchgaurd it if you are going to be in downpours a 
lot, but for every day use it should hold up quite well.

A felt blank (usually a firm thick felt, but not a stiff felt)is a conical shaped thing 
that has no pre set shape to it and it is intended to be steamed and stretched over 
wooden/metal forms (hat blocks) to create the shape you want, then you would definetly 
need to size it once you have it the shape/size you want so it would keep that shape.
-- 
Linda Thompson

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

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Date: Fri, 18 Oct 2002 08:45:34 +0000
Status: RO

My edition of Dillmont says it was first printed in 1884.

I second the comments given below. I've had that problem too.

Arlys

On Fri, 18 Oct 2002 10:48:46 -0400 (EDT) Kevin & Mara Riley
<lindo@Radix.Net> writes:
> I think it was published in the late 19th c.   I have a reprint of 
> it; it's ok, but the instructions aren't that great -- I think they 
> assume a certain amount of knowledge that a modern sewer might not
have, and 
> if I wanted instructions on, say, lacemaking, I'd be better off looking

> in a book specifically on that subject, rather than relying on the 
> sketchy instructions in Dillmont.
> 
> That being said, it's still not a bad thing to have.
> 
> -- Mara
> 
> 
> On Fri, 18 Oct 2002, Joy Shillaker wrote:
> 
> > Does anyone know anything about a little embroidery 
> book,'Encyclopedia of
> > Needlework by TH. de Dillmont please?
> > My Father recently had a sort out and gave me some of my late 
> Mum's sewing
> > things. This book was amongst them It's packed with informationon 
> all kinds
> > of neeedlework including needle lace. In the introduction to plain 
> sewing it
> > says 'What is the use of all this information about handsewing now 
> that
> > machine stitching has so nearly superceded work done by hand?' so 
> I reckon
> > it may be early 20th century?
> >
> > thanks
> > Joy
> >
> > _________________________________________________________________
> > Surf the Web without missing calls! Get MSN Broadband.
> > http://resourcecenter.msn.com/access/plans/freeactivation.asp
> >
> > _______________________________________________
> > 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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> 


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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Hat question -- Rubens "Le Chapeau de Paille"
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Date: Fri, 18 Oct 2002 12:20:42 -0400 (EDT)
Status: RO

On Fri, 18 Oct 2002, sylvia wrote:
> The petersham I've used for costuming is too stiff to use for this purpose.
> Is your petersham as soft as grosgrain?
>
> Sylvia

I used some on the brim of that unfortunate hat I made a few years ago,
that got rain-soaked and bent out of shape.  Didn't wire the brim
though...  It did seem soft enough to do the job.

-- Mara

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Subject: [h-cost] Corsetted Driving Problem
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Date: Fri, 18 Oct 2002 12:22:14 -0400
Status: RO

This one I can answer.

A solution to your problem of your back being this way corsetted ( and your
seat back being this way ), for a sitting problem like this:
       () <owie!
is a back support cushion.

Stopgap (as it were) measure--fold and/or roll up a towel or three and fill in the gap,
so you don't have to strain your torso sitting up all by yourself in a reclining seat.

I need a back support cushion all the time in my car, as I have an extreme
sway back and prominent buttocks to boot.

I need no more when corsetted (mid-late nineteenth century).
I have a nineteenth century figure already, so I guess that's no big
surprise.

Price--erm, under US$30 (?).  It's been a while.


Ann in CT


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Subject: Re: [h-cost] embroidery book information
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Date: Fri, 18 Oct 2002 13:22:37 EDT
Status: RO


--part1_6e.24b633db.2ae19d5d_boundary
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There is something else you should all consider.  This book was not only 
written in 1884, but was also written for a European audience.  Most European 
countries, to my knowledge teach needlework in school. at least the fist 6 
grades.  In other words European girls will learn to knit, to crochet, to 
embroider and a little bit of sewing by the time they are 11 years old.

This book was also written for the DMC Company to promote their threads, and 
maybe most importantly it covers a whole lot of subjects.  No, I do not think 
this book is a beginner's book, or a book that will teach you how to do a 
certain technique.  If that is what you are looking for there are books on 
the market specifically designed for that. However that this book is still 
being reprinted, and I know it was about 5 years ago, should speak for 
itself. I personally think it is a must have for any needleworker's library, 
almost like an encyclopedia.

Just my opinion.  I hope I did not offend anyone.

Elisabeth


--part1_6e.24b633db.2ae19d5d_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>There is something else you should all consider. &nbsp;This book was not only written in 1884, but was also written for a European audience. &nbsp;Most European countries, to my knowledge teach needlework in school. at least the fist 6 grades. &nbsp;In other words European girls will learn to knit, to crochet, to embroider and a little bit of sewing by the time they are 11 years old.
<BR>
<BR>This book was also written for the DMC Company to promote their threads, and maybe most importantly it covers a whole lot of subjects. &nbsp;No, I do not think this book is a beginner's book, or a book that will teach you how to do a certain technique. &nbsp;If that is what you are looking for there are books on the market specifically designed for that. However that this book is still being reprinted, and I know it was about 5 years ago, should speak for itself. I personally think it is a must have for any needleworker's library, almost like an encyclopedia.
<BR>
<BR>Just my opinion. &nbsp;I hope I did not offend anyone.
<BR>
<BR>Elisabeth
<BR></FONT></HTML>

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Subject: [h-cost] RE: [treadleon] RE: Off-topic- Horse costume needed ASAP
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Date: Fri, 18 Oct 2002 14:32:26 -0400
Status: RO

I know this is rather off topic, but my stepdaughter decided that she wanted
to dress up as a horse for Halloween TODAY!.  Of course, none of the major
pattern companies have a horse costume.  Anyone know if there is ANY
commercial pattern for one?  Otherwise, I am trying to copy one of her
stuffed animals, but I'd rather start from something made to fit a human
head.  HELP!!
-Megan

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From h-costume-admin@indra.com  Fri Oct 18 14:49:24 2002
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From: Kevin & Mara Riley <lindo@Radix.Net>
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Date: Fri, 18 Oct 2002 14:47:30 -0400 (EDT)
Status: RO

Well -- when I was in kindergarten, my Mom made me a giraffe costume.  I
think she just made a regular shirt/pants out of giraffe-patterned cloth,
with a tail attached to the seat of the pants, and made a cardboard
cone-like 'hat', (it rested on my shoulders, with a cutout for my face,
actually) covered with the same fabric, with a decorated shoebox at the
top for the giraffe's head.  Maybe you could do something similar for the
horse outfit, but with a shorter 'neck'?

-- Mara


On Fri, 18 Oct 2002, Megan M. wrote:

> I know this is rather off topic, but my stepdaughter decided that she wanted
> to dress up as a horse for Halloween TODAY!.  Of course, none of the major
> pattern companies have a horse costume.  Anyone know if there is ANY
> commercial pattern for one?  Otherwise, I am trying to copy one of her
> stuffed animals, but I'd rather start from something made to fit a human
> head.  HELP!!
> -Megan
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Date: Fri, 18 Oct 2002 15:09:30 -0400 (EDT)
Status: RO

That sounds like a real challenge to make...I know there's some
(relatively) cheap horsehead masks for sale out there, for instance at
http://www.partydomain.co.uk/d-commerce/page36.html

Good luck,

Drea


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In-Reply-To: <20021018150830.Y77519-100000@shell.siscom.net> from "Drea Leed" at Oct 18, 2002 03:09:30 PM
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Date: Fri, 18 Oct 2002 13:40:10 -0700 (PDT)
Status: RO

this is the kind of costume where I would probably ask local theatre
companies if they were doing rentals... many SF theatres costume
departments rent halloween costumes to bring in some money.

.heather.


> 
> That sounds like a real challenge to make...I know there's some
> (relatively) cheap horsehead masks for sale out there, for instance at
> http://www.partydomain.co.uk/d-commerce/page36.html
> 
> Good luck,
> 
> Drea
> 
> 
> _______________________________________________
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Trench foot - was Iron Age' question
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Date: Fri, 18 Oct 2002 10:00:43 -0700
Status: RO

At 6:54 AM +0100 10/18/02, Jane Williams wrote:
>On 18 Oct 2002 at 5:57, Melanie Wilson wrote:
>
>>  Sheridan
>>
>>  Oil & grease then could have been used in earlier times & then wiped
>>  off perhaps to help with the wet ?That with fleece/hay/moss padding
>>  would help considerably with the damp I think (next bit of
>>  experimental archaeology :)
>
>An accidental bit of experimenal archaeology I did
>years ago suggests that "period" leather boots, when
>lined with fleece, do keep you feet comfortable and
>warm even if the incompetence of the maker means
>that they leak. I wandered around in snow, mud, and
>shallow streams for a day: feet wet, but not cold.

I tend to make a lot of very early-medieval /Iron age styles of 
shoes, and they really aren't designed to be waterproof.  But if you 
wearing them with enough layers of wool hose, shoe-lining, and 
whatnot, your feet stay warm even when they're wet clear through. 
(The only real trick when camping in these conditions is to make sure 
that, just before you go to bed, you can take your shoes and hose off 
before the fire and get your feet nice and dry and toasty-warm ... 
and then somehow teleport into bed while they're still in that 
condition.)  And I agree with others that -- as long as the ground 
conditions don't require physical protection -- in wet conditions, 
bare feet often can be warmer than wet shoes.

There are some interesting passages in Hald's "Primative Shoes" about 
styles of rawhide shoes used in, I believe, Ireland in the early 20th 
century, that were designed to be worn damp (working along shorelines 
and such).

I imagine that the Trench Foot problem comes not merely from having 
wet feet, but from having wet feet continually 24/7 for an extended 
period of time, and not having a chance to take your boots off for 
very long at a time.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-admin@indra.com  Fri Oct 18 18:34:51 2002
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From: "Kate Cole" <mrscakehole@hotmail.com>
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Subject: [h-cost] Re:breathing in corsets
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Date: Fri, 18 Oct 2002 23:33:53 +0100
Status: RO

I'm not so sure about this... I have a big ribcage (so I've been told) ie I 
can see my ribs, and my waist is small in comparison to, say, my hips 
(English Pear, oh that phrase was just MADE for me.. which is why I'm 
obsessed with Victorian costume.. boost the bust, emphasise the waist, 
ignore the hips. Perfect.) Anyway, to get any kind of waist reduction in a 
corset, even an inch or two, I'm restricting my breathing. My friend, on the 
other hand, who I recently made a corset for, is "squashier" than I am and 
could reduce by 3-4 inches quite happily without feeling any discomfort. I 
think it is down to individual anatomy rather than the corset construction.

Just my 2p worth.

Kate



You should be able to breathe just fine in a well designed corset. The
thing should keep the protruding parts of your anatomy in place and hold
up the dress.

It took a lot of convincing to get me into one, and some kicking and
screaming too. I am a lifelong singer to whom any kind of "restrictive"
garb was always a major no-no.

There are lots of kinds of corsets. I found a barrel style worked quite
well for me and did not confine my breathing (had to sing before the
Crown with my choral group and got elevated to Laurel at the same
time--how's *that* for an evening?). My costumer did a great job.

So go for it! You'll be stunning! 8)

Arlys

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Subject: [h-cost] banyan pattern from Deerfield
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Date: Fri, 18 Oct 2002 17:19:03 -0700 (PDT)
Status: RO

Just a quick note to the list.  One of you mentioned
getting a pamplet  with a man's banyan pattern in it
from Deerfield Village.  I e-mailed them and just got
a reply.  The pamplet with the banyan pattern in it is
2.86 plus shipping from the museum store.  If anyone
is interested you can call the museum store and order
the pattern.  The museum store is on-line so you can
look up their site if you want.
                       Cassandra

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Subject: Re: activity while corseted (was [h-cost] Re: urban legends  concerningfashion
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Date: Fri, 18 Oct 2002 19:46:41 -0500
Status: RO



> You guys are freaking me out.  I tried on a corset at costume college, 
> I assume it was a 19th century one and it totally set off my sciatica 
> and I couldn't walk for the rest of the day.  Now you tell me that I 
> may not be able to breath in it either.  Considering that I can barely 
> breath as it is, that isn't good news.  I asked my gyn if he had any 
> opinion on 16th century corset construction.  He, surprisingly, 
> didn't.  I am thinking that if I use the directions for cording it 
> rather than using boning it might be better for me.  He thought that 
> might not give me the right kind of support.  My bodice is boned and 
> hasn't bothered my back.  I can usually breath in it, but it doesn't 
> support, as you say, my squishiness.

  My 16th century corset is a wonder.  I've got plastic boning in it, so 
I can still bend, but it gives me lots of support.  As I am a 48DD, 
that's important.  But what is really nice is that I can walk, dance, 
run, yell at my kids, and never get out of breath.  I haven't tried a 
Victorian or Edwardian corset, so I can't say about them, but an 
Elizabethan is wonderful.

> I am also thinking that since I am 5"10" and saw 200 pounds about 15 
> years ago, with a bum roll, farthingale and big collar ruff, I could 
> be extremely imposing.

  Like a ship at sea.  I'm 5'11", 200 *mumble mumble* pounds, and in my full rig, doing my best Duchess impersonation, I can clear the streets!


-- 

Mama Rose
--->---{@

"Ho! Ah-ha! Guard! Turn! Parry! Dodge! Spin! Ha! Thrust!"  *bonk*

  Daffy "Robin Hood" Duck




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Subject: [h-cost] 1836 dresses
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Date: Fri, 18 Oct 2002 21:18:42 EDT
Status: RO

Hi all,
I found this list via Kendra Van Cleave's "Demode" site during an internet 
search for information and pictures of 1836, American styled cotton dresses. 
(By the way Kendra if you are around, your site is fabulous and very helpful) 
 I make custom bridal gowns for a living, and through a reference, have been 
hired to make several of these period garments to outfit a production of the 
Alamo. I was provided with a couple of old, costume house samples to 
reproduce in modern standard sizes, but as I am not familiar with the cut of 
these dresses, I have some questions that I hope some of you may be able to 
help me with. 
The shoulders are extended quite a bit which I'm assuming is design related 
as opposed to functional, but why are the armholes so small?  A couple of 
notations I've read make reference to  "restricted arm movement due to the 
tight armhole" but I haven't been able to find out why they were designed 
that way.  Did it have something to do with a general lady-like demeanor?
One of the dress samples has a slightly higher than natural waist level, 
which I have seen in the scant photos of that period that I've come across, 
but this one seems to scoop up a little at center front, instead of being the 
same horizontal depth  around the body.  How high above the waist would you 
say that the seam should be?  Is it typical for the seam to drop a little by 
the time it reaches center back?
And one petticoat question.  Was it worn at the waist, or at the same level 
on the body where the bodice ends and the skirt begins?
Any info would be much appreciated, 
Thanks much
Angela
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From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] RE: [treadleon] RE: Off-topic- Horse costume
  needed ASAP
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Date: Fri, 18 Oct 2002 19:49:56 -0700
Status: RO

I costumed an entire grammar school (K-8) production of Cinderella a few 
years ago.  For the horses, I got white sweat pants and sweat shirts (they 
were white horses).  I got one of those costumes in the pattern books that 
is for animals.  I took a head for a bear or a bunny or something and gave 
it horse looking ears.  These heads leave the child's head completely 
exposed.  I think we put big eyelashes on them and black dots on their 
noses.  Then I cut a long fringe of yarn is a slightly darker color and 
sewed it to a ribbon and cascaded it from the top of the head and loosly 
down the back for the mane.  I made a tail of the same yarn by winding a 
bunch to the right length.  I made a knot at the top and cut the ends at 
the bottom and attached everything with safety pins.  Easy and quick.  What 
is most important to them is the mane and tail.  Just keep telling her that 
what makes a horse is how you walk and snort.  I am the queen of kid 
costumes.  Just ask me.  When my kids went on to high school, the drama 
department in the grammar school fell apart.  hope this helps  Maryann

At 02:32 PM 10/18/2002 -0400, Megan M. wrote:
>I know this is rather off topic, but my stepdaughter decided that she wanted
>to dress up as a horse for Halloween TODAY!.  Of course, none of the major
>pattern companies have a horse costume.  Anyone know if there is ANY
>commercial pattern for one?  Otherwise, I am trying to copy one of her
>stuffed animals, but I'd rather start from something made to fit a human
>head.  HELP!!
>-Megan
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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From: "Anne Moeller" <ladyanne@quik.com>
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Subject: RE: [h-cost] embroidery book information
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Date: Sat, 19 Oct 2002 00:49:38 -0400
Status: RO

You are so right about this being a wonderful resource.  I am lucky
enough to have 3 copies (modern reprint, original French and miniature
French version in a sleeve). Anne

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of jane@williams.nildram.co.uk
Sent: Friday, October 18, 2002 10:51 AM
To: h-costume@indra.com
Cc: jane@williams.nildram.co.uk
Subject: Re: [h-cost] embroidery book information


Joy Shillaker <joyshillaker@hotmail.com> wrote :

> Does anyone know anything about a little embroidery book,'Encyclopedia

> of
> Needlework by TH. de Dillmont please?
> My Father recently had a sort out and gave me some of my late Mum's
sewing 
> things. This book was amongst them It's packed with informationon all
kinds 
> of neeedlework including needle lace. In the introduction to plain
sewing it
> 
> says 'What is the use of all this information about handsewing now 
> that
> machine stitching has so nearly superceded work done by hand?' so I
reckon 
> it may be early 20th century?

Google is wonderful!

"The Complete DMC Encyclopedia of Needlework by Thérèse de Dillmont was
originally published over a century ago. The fact that it is still in
print will tell you a lot about how good it is. This needlework classic
is one of the best and most complete guides to almost every form of
embroidery (not to mention knitting, tatting, macramé, etc.). This
should be considered a must-have book if you are interested in a number
of different needlework techniques."

But it *has* been reprinted a lot. So your copy may not be as old as all
that :(



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From h-costume-admin@indra.com  Sat Oct 19 03:08:50 2002
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Subject: Re: [h-cost] 1836 dresses
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Date: Sat, 19 Oct 2002 20:06:59 +1300
Status: RO

> The shoulders are extended quite a bit which I'm assuming is design
related
> as opposed to functional, but why are the armholes so small?  A couple of
> notations I've read make reference to  "restricted arm movement due to the
> tight armhole" but I haven't been able to find out why they were designed
> that way.  Did it have something to do with a general lady-like demeanor?

Actually a smaller armhole with a well designed sleeve head has a greater
range of movement than a deep one. Most of the off the rack jackets/blouses
etc now have a long armhole with a sleeve head that is very steep too.. this
means when you lift your arms the top goes up too. If you wre to have a less
step or shaped sleeve head there would be a lot of bulk under the arm. If
you make a smaller armhole and have a less shaped sleeve head you have
little bulk under the arm and good range of movement.

I found this our for myself when redesigning my replica of Christine's
wedding dress from Phantom of the Opera.
http://recital.tripod.com/costume/weddingdress.htm
The bodice has tight half length sleeves with a tight cuirasse bodice. When
I was redoing it for the last time (I hope!) I had to redo the sleeves as
I'd tightened them correctly but I had to redesign the sleeve head. I can
raise my arms above shoulder high now:) I simply made it less deep and had
the inner seam behave almost like it had a built in gusset.

The lowered shoulders are more likely to cause limited range of movement,
while sleeves are fitting at the top of the arm, they are quite full below.
Mind you there's small and there's *small*;)

I'm planning on making a dress of about this era from some silk chiffon I
have. I need to organise a good foundation fabric and stuff for the skirts,
but I think I know where I'm heading:)

Do you have Nancy Bradfield's Costume in Detail 1730-1930? There are a
number of images in there. The waist was undergoing a bit of change, not
only lowering from the 1820s but starting to have a pointed waist for the
1840s, so a bit of variation is bound to happen in a year like 1836:)

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume





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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Corsetted Driving Problem
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Date: Sat, 19 Oct 2002 01:17:22 -0700
Status: RO

Better would be to get my Volvo fixed, and not drive in the corset.

>This one I can answer.
>
>A solution to your problem of your back being this way corsetted ( and your
>seat back being this way ), for a sitting problem like this:
>        () <owie!
>is a back support cushion.
>
>Stopgap (as it were) measure--fold and/or roll up a towel or three and 
>fill in the gap,
>so you don't have to strain your torso sitting up all by yourself in a 
>reclining seat.
>
>I need a back support cushion all the time in my car, as I have an extreme
>sway back and prominent buttocks to boot.
>
>I need no more when corsetted (mid-late nineteenth century).
>I have a nineteenth century figure already, so I guess that's no big
>surprise.
>
>Price--erm, under US$30 (?).  It's been a while.
>
>
>Ann in CT
>
>
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Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re:breathing in corsets
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Date: Sat, 19 Oct 2002 01:21:02 -0700
Status: RO


>I'm not so sure about this... I have a big ribcage (so I've been told) ie 
>I can see my ribs, and my waist is small in comparison to, say, my hips 
>(English Pear, oh that phrase was just MADE for me.. which is why I'm 
>obsessed with Victorian costume.. boost the bust, emphasise the waist, 
>ignore the hips. Perfect.) Anyway, to get any kind of waist reduction in a 
>corset, even an inch or two, I'm restricting my breathing. My friend, on 
>the other hand, who I recently made a corset for, is "squashier" than I am 
>and could reduce by 3-4 inches quite happily without feeling any 
>discomfort. I think it is down to individual anatomy rather than the 
>corset construction.

Individual anatomy determines how the corset is fitted in the first 
place.  If you have trouble breathing in the corset you are wearing, (a) it 
wasn't fitted correctly, and (b) it restricts you too much.  Some people 
won't be able to get waist reduction out of their corsets.  But they will 
get the right period shape for the period of the corset.

Kayta

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Subject: [h-cost] Re: Kendra's website
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Date: Sat, 19 Oct 2002 10:25:42 +0100
Status: RO

Just wanted to second this – Kendra, I love your website!

Kate



>I found this list via Kendra Van Cleave's "Demode" site during an internet 
>search for information and pictures of 1836, American styled cotton 
>dresses. (By the way Kendra if you are around, your site is fabulous and 
>very helpful)

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] further light on renspecs discussion
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Date: Sat, 19 Oct 2002 10:56:18 +0100
Status: RO

With reference to spectacles for distance not having been used in the Renaissance era...
I heard someone say on the radio the other day that there had been a very low incidence of short-sightedness among the Inuit *until* they started teaching the children to read, suggesting that you need both a genetic predisposition for it  *and* to have been made to do close work as a child. So possibly there were few short-sighted people in Renaissance Europe except among the educated classes. 
It must have been extremely difficult for anyone who was very myopic to have managed without any correction at all, though!

Kate Bunting
Library, University of Derby


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From h-costume-admin@indra.com  Sat Oct 19 07:37:59 2002
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From: "Joy Shillaker" <joyshillaker@hotmail.com>
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Subject: [h-cost] re embroidery book
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Date: Sat, 19 Oct 2002 11:35:52 +0000
Status: RO

Thankyou for the useful comments about Mum's book. My father(who will be 100 
in 2004) said that it had belonged to his Mum,born in 1879, so I guess it's 
quite old, It certainly looks it.  Being British and almost 50, it's true 
about girls being taught to sew and knit at school. Friday afternoons the 
boys would go and play football while the girls had their sewing lesson. I 
used to love it. In Grammar school we had a 'flat' in the school where we 
practised domestic skills. I remember one of my lessons was to 'prepare my 
brother a lunch of omelette and cocoa and to wash and iron his shirt'. A 
friend kept muttering in class about how, if she had a brother, she would 
make him get his own bl**dy lunch and would strangle him with his shirt. We 
both got detentions and lost house points for that. My friend went on to 
lecture in Women's studies.(I didn't;-))
regards
Joy

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Subject: Re: [h-cost] Seeking some nice Irish linen...
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Date: Sat, 19 Oct 2002 10:02:05 -0500
Status: RO

Christine Wright wrote:
> 
> Greetings to all,
> 
> Sorry for cross-posting to so many, but I'm looking for some _really_
> nice, very lightweight Irish linen to make a period Elizabethan shirt out
> of for my husband (and Christmas is coming much too quickly!).

Have you tried Burnley & Trowbridge?  Although they do have a website
(http://www.burnleyandtrowbridge.com/), their catalog is not yet online.
 They will, however, send samples (at least they used to), and I've seen
some gorgeous hankie linen from them.  Their number is 757-253-1644 or
you can email them at info@burnleyandtrowbridge.com.

Good luck
Melanie Schuessler
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From h-costume-admin@indra.com  Sat Oct 19 13:39:24 2002
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From: "jessica stier" <jessicastier@hotmail.com>
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Subject: Re: [h-cost] Fall and Winter projects 
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Date: Sat, 19 Oct 2002 17:36:59 +0000
Status: RO



Well, living in San Diego, our "cold Winter nights" don't really get that 
cold, but that doesn't mean we don't have Winter projects!

I have a couple of plans that need to be ready by the Spring...  I just 
found out that I'm pregnant so I've got to rethink my entire Faire wardrobe. 
  I'm glad we've had so many recent discussions about this as I should be 
able to easily find them again in the archives.  I should be really huge by 
that time so it's going to be fun!

So with a new baby in the works, this brings on a lot of projects.  I've got 
to find a new place to live - hopefully a house.  I don't think I can 
subject my (apartment) neighbors to the torture of a baby living next door.  
Then there's all these baby clothes and decorating ideas that I've got 
swimming around in my head, not to mention making maternity clothes!

My husband also has a project or two for me.  He has this old leather jacket 
that he LOVES.  I can't convince him to get a new one.  Unfortunatly the 
pocket seams have ripped out and some of the other seams are on their last 
leg.  He wants me to either repair it or use it as a pattern and make one 
EXACTLY the same.  So I've got that whole mess to work with...

Then his Spring Faire clothes need revamping too.  He was scheduled for a 
new look this year and I can't let that slide.  He always chides me that I 
spend so much time on my costume that I just throw his together.  He's kind 
of right.  He doesn't look that bad, but I've been neglecting his a little 
bit.  My excuse is that he can't ever decide what he likes so I'm hesitant 
to spend time and money on making something that he doesn't want to wear...  
OK, there are some issues that we need to work out on this one.

Anyway, I'm excited to start working on these projects!  I've got a lot to 
do and don't really know when I'll be able to fit it all in between working 
full time and going to school full time...  Ay-carumba!  I'm feeling busy 
all ready!

What are the projects other people have planned?

:) jessica

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] embroidery book information
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Date: Sat, 19 Oct 2002 12:52:50 -0700
Status: RO

I keep the Reader's Digest book about embroidery for teaching me new 
embroidery stitches or techniques I am just learning.  It's a 
beginner-level book with detailed pictures of every step, and I wouldn't 
part with it.  But I have Dillmont, and others, to tell me what my 
historical needlework should look like.  It was very useful when I wanted 
to know how I should be holding my crochet hook when doing Victorian 
crochet in character (she shows it held like a pencil, over the index 
finger, by hands with 1880s cuffs at their wrists).  When I am making 
Victorian or Edwardian garments, I look in my historical needlework books 
(paperback reprints, all) to see what the lace should look like, before I 
go shopping for modern substitutes.  The books are usually specific about 
what kind of lace was for underwear and what kind was for dresses.

Godeys' needlework reprints have period examples of needlework projects I 
can be seen doing at Victorian events, with minimal instructions that are 
usually enough to give me a clue.  They show examples of little needlework 
thingies for furnishing sewing baskets, like pincushions and 
sewing-thread-spool holders.  When completed, these are period-looking 
hand-props that can use at these same events, like slip-covers for 
(paperback) books, reading-glasses cases, change purses, key cases, tote 
bags, baby bonnets, socks, etc..  The originals claim that some of these 
things items are appropriate as gifts, but that was over 100 years ago.

>My edition of Dillmont says it was first printed in 1884.
>
>I second the comments given below. I've had that problem too.

> > I think it was published in the late 19th c.   I have a reprint of
> > it; it's ok, but the instructions aren't that great -- I think they
> > assume a certain amount of knowledge that a modern sewer might not
>have, and
> > if I wanted instructions on, say, lacemaking, I'd be better off looking
> > in a book specifically on that subject, rather than relying on the
> > sketchy instructions in Dillmont.
> >
> > That being said, it's still not a bad thing to have.

> > > Does anyone know anything about a little embroidery
> > book,'Encyclopedia of
> > > Needlework by TH. de Dillmont please?


Kayta

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Subject: [h-cost] A *slightly* different dressmaker's dummy question
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Date: Sat, 19 Oct 2002 23:07:29 -0400
Status: RO

Has anyone out there had any experience in padding dummies so that 
various um... squishy lumps bumps and other areas are appropriately 
padded out on the dummy?

Just generically taking various measurements (that I can figure out) and 
padding out to those places does nothing to make the dummy actually have 
the right shape to use for me.  My family tends to have women who, even 
when relatively thin (which I'm not), have a tendency to have a tummy 
and figure that appears to be a few months into pregnancy... and then 
there's the whole after baby "apron" thing that just won't go away 
(yeah, TMI in general, but relevant to the problem).

If I pad to the straight measurements, the garment won't hang/fit right 
when actually on me, but I can't figure out how to change it so that the 
sides will be in the right places, the waist smaller as it is, but the 
other lumps and bumps put where they belong (not to mention that between 
the two kids, age and genetics so that they never were quite right, the 
bust on my dummy is just "wrong" for any period past or present for my 
shape).

I'd kinda actually like to use the dummy, since my family bought a 
decent one for me... about 15 years ago... and it's still in my parents' 
attic for lack of other use (I think it helped my mom with *one* outfit 
for my then teen-aged sister once).

Any ideas?  Or should I just give it up?

-Elisabeth

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From h-costume-admin@indra.com  Sat Oct 19 23:17:47 2002
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Subject: [h-cost] Re: Fall and Winter projects
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Date: Sat, 19 Oct 2002 19:37:16 -0700
Status: RO

At 7:20 PM -0600 10/15/02, Sue Clemenger wrote:
>Something I said in a reply to another message made me wonder....Does
>anyone out there (besides me) like to plan nice, long fall/winter
>projects? I'm not necessarily referring to things that have to be done
>for a specific winter event, but something to while away the long, dark
>hours many of us are facing with oncoming winter.

I've pretty much committed myself to making a completely new set of 
Elizabethan under-gear -- I think I'm going to be commissioning a new 
gown, and anyway the old stuff is all falling to bits after eight 
years or so. I need everything from smocks/shirts to petticoats to 
caps to a new farthingale -- fortunately I've already bought most of 
the linen for everything, but bending over tables cutting out large 
pieces of fabric is not my favorite thing to do, especially since my 
lower back doesn't like me very much at the moment.

Other than that I've got a couple of research projects and am slowly 
working on assembling web pages for several of my projects.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Sun, 20 Oct 2002 00:02:42 -0400
Status: RO

Liz / Cozit wrote:
> Has anyone out there had any experience in padding dummies so that 
> various um... squishy lumps bumps and other areas are appropriately 
> padded out on the dummy?

	yup, just padded out my second one on Friday.


> I'd kinda actually like to use the dummy, since my family bought a 
> decent one for me... about 15 years ago... and it's still in my parents' 
> attic for lack of other use (I think it helped my mom with *one* outfit 
> for my then teen-aged sister once).
	what kind of dummy (mannequin or dress form for some of the 
internationalists) do you have?


> Any ideas?  Or should I just give it up?

	I have a FAbulous Fit and an Uniquely YOu. IN both cases I 
started with wraps that of 1/5" upholstery batting (stuff 
you get off a giant roll). I shaped a skirt (conelike, like 
a christmas tree skirt) and pinned that from the waist down. 
Then I reached under and added a few pads in the appropriate 
places for my um, behind. then I took a few front 
measurements, tucked under the skirt and added a few long 
rolls for the um, stomach rolls.
	Then I moved on to the top half. I made a sort of bustier 
shape with a bit of a lower dip in the front, that fit a 
bust shape and wrapped around to the back. Pinned that all 
vaguely in place, and then added a little bits of stuffing 
for the side bust rolls. (hey, remember, I'm a 2x. YMMY). 
Mostly I was measuring around the back from side to side and 
around the front from side to side because things aren't 
always distributed evenly!
	So on top of all this, I tried a trick they just discussed 
over on h-costume, I wrapped ace bandages around the whole 
thing to even it out and smooth it and make it nicer. Looks 
good, seems to fit my shape better (think this one is a bit 
busty on top though, gotta check). Anyway, this  is what I 
did on the Uniquely You.

	The Fabulous has to be done a little differently because it 
comes with shaped foam pads and a very tight jersey that 
pulls over everything. That has to be worked from the top 
down, because you pull the really tight jersey cover down as 
you go, and just reach up underneath to tuck the pads or any 
additional  shaping you are putting in. But they are the 
ones who came up with the idea of the batting skirt and 
bustier. I just copied the design for my second dress form.

	So yes, you can pad up dressforms, you just need some sort 
of covering that will hold it tightly in place as a surface 
layer.

	-Judy

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From: "Kendra Van Cleave" <kendrav@attbi.com>
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Subject: Re: [h-cost] 1836 dresses
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Date: Sat, 19 Oct 2002 23:39:26 -0700
Status: RO

Hi Angela,

I'm glad to hear that you've enjoyed my website!  To answer your questions:

The restrictive armhole was thought to create a demure, sloping shoulder.
Look at this fashion plate:
http://www.costumes.org/history/victorian/women/fashionplates/1833a.jpg --
even the woman in the off-the-shoulder evening gown has incredibly sloping
shoulders.  It was all part of the dome shaped gothic arch that would
dominate women's fashions in the 1840s.

Next, I've always seen 1830's skirts with even waistlines (unless the front
has a V, of course).  I just glanced through Janet Arnold's _Patterns of
Fashions_ and all of the 1830's dresses have even waistlines.  I second the
recommendation of Bradfield's _Costume in Detail_ for this period, by the
way.

Finally, I believe that petticoats could be worn at the raised waistline.
I've seen some evidence for petticoats that had a bodice sewn to them, which
would allow the petticoat to be worn at the raised waistline and also give
the wearer something to which to attach her sleeve puffs.  There is a great
image of a modern model wearing c. 1825-35 underwear (corded petticoat,
chemise, bustle, sleeve puffs, pocket, and cap) on pg. 482 of Blanche
Payne's _The History of Costume_.  Interestingly, the model wears her
petticoats at her natural waist but ties her bustle higher up, just about
under the bust.  This would create bulk under the skirt back, but not the
skirt front.

Good luck with your projects!

- Kendra


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Subject: Re: [h-cost] 1836 dresses
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Date: Sun, 20 Oct 2002 22:33:23 +1300
Status: RO

> Next, I've always seen 1830's skirts with even waistlines (unless the
front
> has a V, of course).  I just glanced through Janet Arnold's _Patterns of
> Fashions_ and all of the 1830's dresses have even waistlines.  I second
the
> recommendation of Bradfield's _Costume in Detail_ for this period, by the
> way.

In Bradfield's book a few drawings do look like the waist curves up a bit at
the waist, but I'm wondering if that's from the angle of the POV.

The one that fits in this era is on page 169-170 (1837-18640 muslin).
Looking at it too it really looks like that waist section was added to give
the bodice extra length. It's not mentioned as a possibility though and the
sleeves don't look like they've been altered as they match the neckline too
much.

This is one that's inspiring my 1830s dress:) I think the pleating of the
top of the sleeves and the neckline would work well with the silk. I'm
thinking of a mix of that and a painting I've seen of a young Queen Victoria
(I think) with a softly pointed waist. And then there was a very old book of
photos and patterns with a lovely square necked linen gown that might work
too....

On page 163-164 (1836-1837 silk) though she does suggest the wide waist band
was a later insertion on that gown.

On page 137 (1827-28 cotton) looks more like is does genuinely have a slight
upward curve.
And a much later date (1868 muslin) on page 221-22 also looks like it has a
genuine up curve too.

Could these though be less of a design feature than the weight of the skirts
over time pulling the smooth waist line out of shape?


michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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Date: Sun, 20 Oct 2002 02:41:09 -0700
Status: RO







Has anyone out there had any experience in padding dummies so that
>>various um... squishy lumps bumps and other areas are appropriately padded 
>>out on the dummy?
>
>	yup, just padded out my second one on Friday.

>	So yes, you can pad up dressforms, you just need some sort of covering 
>that will hold it tightly in place as a surface layer.
>
>	-Judy


I have the motherly(mother Pear) shape too so I did a lot of comparative 
measuring to adjust all the dials etc to get as close as possible to my 
underlying body.  The part without the squishy.  Then shaped and added from 
there.

I actually found a fairly inexpensive bra that was the right shape for my 
bust and put it on my form.  Then I padded it with, I'm so embarrassed, wool 
socks.  They were handy and just the right size.  One pair per boob and 
arranged so they were shaped right.

I used a long sleeved stretch bodysuit to hold it all together and just 
reached up the leg holes to add my hips and fabric scraps from my cutting 
area to fill in the belly bag.  I can fill in the sleeves if I want to get a 
better idea of what a sleeve will look like.

Once I had eyeballed the bumps etc most of the way I kind of double checked 
by feel.  Put my hand on my hip, then on the form, and adjust so the 
distribution feels right.  Then check the next area of padding to see how it 
matches the real me.  I'm pretty tactile so it may not help everyone, but if 
something isn't "quite" right I'd be more likely to feel a smaller 
difference once the major ones are smoothed out.

It looked great in my gowns until I took it to an event as a display in my 
booth and it fell over a dozen or so times, in spite of being staked to the 
ground.  I've decided I'm going to make a bodystocking/tube thing to recover 
it and actually buy some batting or stuffing so my honey can have the socks. 
  guilty grins

Once I get it all right again I'm thinking about making duct tapes of the 
dress form and just closing them back up and foam filling it to put the 
gowns on for pictures/displays.  That way I wont have to keep readjusting 
the dress form because it got squished in the truck or the padding shifted 
in the packing/unpacking process.

Now for the question; how do those of you who sell/merchant store, 
transport, and display your wears?  I still can't find a method that works 
smoothly and efficiently.


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

I wont hurt you, I just want to dress you up!!



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Subject: [h-cost] barrel corset
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Date: Sun, 20 Oct 2002 12:56:29 +0100
Status: RO

Hi all,

An h-cost member whose name I can't find:-) wrote:

> I'm a singer and a friend of mine designed a barrel corset to hold
up a
> very heavy and gorgeous Italian Renaissance gown that I had to be
able to
> sing in. The thing was so well done that it held up the dress and
did not
> confine my floating ribs or musclature. It also did not squish the
upper
> part of my frontage. :)

This is fascinating! Due to severe lung disease I cannot wear anything
which constricts my breathing in any way, and this looks like the only
way I am going to be able to wear Elizabethan. Does anyone have
specifics on how these are made, and/or details of people able to do
it?

Best wishes
Stevie




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Subject: Re: [h-cost] 1836 dresses
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Date: Sun, 20 Oct 2002 10:09:09 EDT
Status: RO

In a message dated 10/20/02 2:41:02 AM Eastern Daylight Time, 
kendrav@attbi.com writes:

<< Next, I've always seen 1830's skirts with even waistlines >>

Yes, You must remember that when examining actual period dresses, they were 
not "ready to wear" but made for a specific person. That individual's posture 
and body type may have necessitated some not so usual lines to fit properly. 
Start with a straight waist and adjust to fit.

Having the armseye cut high up under the arm is a detail of silhouette that 
can really [though I admit subtly] clinch the "this is real" look you 
obviously want. But if it's for theatre, be sure the actress can do what she 
needs to do on stage! [As you may already know, the director may want her to 
hail a cab or to a cartwheel...at the same time!]

There used to be this great catalogue from the Kyoto museum called "The 
EVOLUTION [not revolution] in Fashion" It had lots of 1830s dresses in it. 
God, are they lovely! Fashion plates can't compare! I remember noticing that 
the skirts were not all that full. Maybe 31/2 yards at the ankle length hem. 
And the pouffy sleeves were not excessive either. These did not look 
diminished, but made the gowns delicate and exquisite. I suggest you find a 
mock up fabric as close to the real fabric's weight [most in the catalogue 
were very light] as you can and experiment with fullness. 

BTW...I think there are pictures from "The Evolution in Fashion" on Kyoto's 
web site.
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Subject: Re: [h-cost] Corset free costuming...
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Date: Sun, 20 Oct 2002 09:46:42 -0500
Status: RO

Stevie Gamble wrote:
> 
> Since I should like to defer my own need for a lung transplant for as
> long as possible I am looking for periods when corsetry was minimal or
> non-existent.
> So far I have
> late 18th early 19th, and
> Robin's period. This may not be the technical term, but everyone knows
> what I mean:-)

Well, anything pre-16th century (with the possible exception of the
ancient Minoans) or post-1960 will be corset-free.  Also the 1920s,
1930s, and 1940s (they did wear girdles, but those shouldn't impair your
lung capacity!).  If you're into the 19th century, there is always
Aesthetic dress, about which there are a couple of recent h-cost posts. 
For several links, look up Melanie Wilson's post entitled "Indian
influence in victorian costume."

> I should be most grateful for suggestions for period,  books and urls.

If you'll let us know which specific period interests you, I'm sure
you'll get plenty of suggestions for references.

Melanie Schuessler
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Date: Sun, 20 Oct 2002 13:11:33 +0100
Status: RO

Hi all,
having recently re-emerged yet again from the Royal Brompton National
Heart and Lung Hospital (usually known as the Brompton for obvious
reasons) I found the thread on corsetry and breathing of deep personal
interest. Some of the apparent anomalies relate to the fact that a
healthy human being has surplus lung capacity, which is why the
parents of children with Cystic Fibrosis can donate chunks of lung for
transplant without any measurable effect on their own lung function.
It makes a huge difference to the children, of course.
Since I should like to defer my own need for a lung transplant for as
long as possible I am looking for periods when corsetry was minimal or
non-existent.
So far I have
late 18th early 19th, and
Robin's period. This may not be the technical term, but everyone knows
what I mean:-)
I should be most grateful for suggestions for period,  books and urls.
best wishes
Stevie

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Date: Sun, 20 Oct 2002 07:04:15 -0500
Status: RO

I adjusted my dressmaker's form to my measurements as closely as possible,
then covered the whole thing with a teeshirt that fit me snugly. Then I
stuffed quilt batting and poly fill into the places that needed it. I rarely
sew anything that is extremely close fitting, so it doesn't have to be
perfect, but I did find that the batting got compressed over time and more
has to be added.

An added advantage to the teeshirt covering, is the arm hole placement. I
know the teeshirt fits me snugly, including the arms, so it's easier to
estimate a comfortable arm hole with the tee than using the form's arm. (who
decided that a plus size dress form should have an upper arm the size of a
12-year old?)

hope that helps
Denise
landofoz@netins.net


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <004001c2782f$ba148c20$205322d9@dan>
Subject: Re: [h-cost] barrel corset
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Date: Sun, 20 Oct 2002 17:45:11 +0200
Status: RO

Dear Stevie.
I am sure it would be possible to make an elizabethan corset for you, wich
didnt have any influence in your lung funktions.
This would be a corset that gives you the right shape, but dont compress
your waist- bust.
I think it would be possible to make that. It would be such a shame, that
this should prevent you from your favourite reenacting period.
The same thing shoudl be possible for all other periods.

Bjarne
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Sunday, October 20, 2002 1:56 PM
Subject: [h-cost] barrel corset


> Hi all,
>
> An h-cost member whose name I can't find:-) wrote:
>
> > I'm a singer and a friend of mine designed a barrel corset to hold
> up a
> > very heavy and gorgeous Italian Renaissance gown that I had to be
> able to
> > sing in. The thing was so well done that it held up the dress and
> did not
> > confine my floating ribs or musclature. It also did not squish the
> upper
> > part of my frontage. :)
>
> This is fascinating! Due to severe lung disease I cannot wear anything
> which constricts my breathing in any way, and this looks like the only
> way I am going to be able to wear Elizabethan. Does anyone have
> specifics on how these are made, and/or details of people able to do
> it?
>
> Best wishes
> Stevie
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Corset free costuming...
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Date: Sun, 20 Oct 2002 10:52:15 -0500 (CDT)
Status: RO


On Sun, 20 Oct 2002, Stevie Gamble wrote:

> ...I am looking for periods when corsetry was minimal or non-existent.
> So far I have late 18th early 19th, and Robin's period. This may not
> be the technical term, but everyone knows what I mean:-)

!!!

> I should be most grateful for suggestions for period, books and urls.
> best wishes

Periods: "My" period (about 1350-1480) is quite fitted, though not stiffly
restrictive. If you want something looser, there's most of the Middle
Ages, before 1330 or so (with a small period of fitting in the 12th
century, but involving less of the figure than later). Or move to Italy,
where the line is different -- still structured/contained but not
figure-manipulating to the extent you see in 14th/15th c. Western Europe.

Books: I go for art books rather than costume books, but for 14th/15th c.,
try Stella Mary Newton's "Fashion in the Age of the Black Prince" and
Margaret Scott's "Late Gothic Europe" (from the Visual History of Fashion
series) as starters. Blanche Payne for good general overview. Read all of
these with a shaker of salt, as with all costume books; all make
statements that can and will be disputed elsewhere, but there's simply a
lot we don't know and can't answer.

Naomi Tarrant and Geoffrey Squires have written useful and
thought-provoking analyses on silhouette development, but I can't remember
which books I found these in. They're somewhere in my Xeroxes.

URLs: You might find something useful in my fitting tips --
<http://www.netherton.net/robin>.

--Robin

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Date: Sun, 20 Oct 2002 08:40:22 +0000
Status: RO

Good luck Stevie! :-) I don't costume at all, but I'm sure there are
people who can tell you how to make one. Mine was actually quite
comfortable, and like most female singers, I breathe clear down to the
base of the pelvic bones.

	Arlys


> This is fascinating! Due to severe lung disease I cannot wear 
> anything
> which constricts my breathing in any way, and this looks like the 
> only
> way I am going to be able to wear Elizabethan. Does anyone have
> specifics on how these are made, and/or details of people able to do
> it?
> 
> Best wishes
> Stevie
> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Sun, 20 Oct 2002 09:28:14 -0700 (PDT)
Status: RO



I was wondering if anyone had the URL for the 
fabric store Robin works at, that has all that great wool?

I'm in need of some, and I don't have all my bookmarks
on this computer.  oops.

.heather.


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] robin's fabric store --
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Date: Sun, 20 Oct 2002 11:55:49 -0500 (CDT)
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On Sun, 20 Oct 2002, Heather Meadows wrote:

> I was wondering if anyone had the URL for the fabric store Robin works
> at, that has all that great wool?

<http://www.fashionfabricsonline.com>
<http://www.fashionfabricsclub.com>

I honestly don't know whether there's a difference in the sites; I think
they're identical.

There are a few new worsteds in. I am now lusting after the teal worsted,
which is just a shade too green for the project I'm on, but the weight is
perfect. It's a twill weave, too, and really soft. Some of the other new
worsteds are even lighter weight, including a heather grey and a very very
dark green (almost black).

--Robin


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Subject: Re: [h-cost] robin's fabric store --
To: h-costume@indra.com
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Date: Sun, 20 Oct 2002 09:52:43 -0700 (PDT)
Status: RO

I'm looking for something for a modern suit (for school - sorry not costuming).
these look pretty good! thank you

.heather.


> 
> 
> On Sun, 20 Oct 2002, Heather Meadows wrote:
> 
> > I was wondering if anyone had the URL for the fabric store Robin works
> > at, that has all that great wool?
> 
> <http://www.fashionfabricsonline.com>
> <http://www.fashionfabricsclub.com>
> 
> I honestly don't know whether there's a difference in the sites; I think
> they're identical.
> 
> There are a few new worsteds in. I am now lusting after the teal worsted,
> which is just a shade too green for the project I'm on, but the weight is
> perfect. It's a twill weave, too, and really soft. Some of the other new
> worsteds are even lighter weight, including a heather grey and a very very
> dark green (almost black).
> 
> --Robin
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Date: Sun, 20 Oct 2002 13:21:46 -0500
Status: RO

I made permanent shapes for those flabby hangovers, in my house they are called poochy 
pillows ... got them on my back, on the sides and my lower stomach area big time.
My not quite four year old grandaughter was over when I was stuffing a dress dummy this 
summer for myself, was asking what I was putting under the cover.. I said they were little 
stuffing things for my tummy, so I could make myself a dress and it would fit me 
better....She looks at me, looks at the pillow, looks at me again... says..(with all the 
wisdom a four year old can muster) .. grandmother, if those are your poochy spots, they 
are not little, your pooches are big and soft.  So she now calls them poochy pillows, and 
it is a topic of conversation when she comes over when I am sewing, wanting to know if I 
am going to use my poochy pillows or not.

-- 
Linda Thompson

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

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Subject: [h-cost] 1836 dress, thanx
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Date: Sun, 20 Oct 2002 14:42:19 EDT
Status: RO


Hi Michaela, Kendra and AlbertCat,
Thanks so much  for your input.  I just received my copy of "Costume in 
Detail", and ordered today on Amazon, a copy of Janet Arnold's book and 
"After a Fashion" as well. The Bradfield book is extremely helpful.  I am 
using info from dresses on pages 163-172 to help me draft the pattern for the 
dress I'm working on.  The actual sample was completely made by hand and is 
approximately 45 years old and in rough condition.  It is a simple enough 
design that I have been able to rub off the bodice onto muslin, and compare 
it to a contemporary fitted bodice block.  The designer wants modern standard 
sizing, and the actors are not going to wear corsets, however he wants them 
to still "look" like the period.  I've taken my rub-off and transferred the 
details to a size 8 block.  I've decided to make the waist level, all around, 
and 2" above natural waist line. The tight bodice has a lining that I'm 
making up in a light weight canvas, to sort of control the shape since no 
corsets will be worn.  The dress itself will be made from a cotton print that 
the designer has provided--similar hand to a soft muslin. The skirt, sleeve an
d some of the controlled fulness in the bodice calls for tiny cartridge 
pleating, which I'll do by hand, but the rest of the dress will be machine 
sewn.
Michaela, I've had fun fiddling with that tight sleeve versus arm mobility, 
and brides wanting to do the "Y.M.C.A." at their receptions but still look 
nice with their arms down, dilemma as well. (By the way Christine's wedding 
gown is lovely)  But my concern was the tight armhole isn't in it's normal 
position of following the armscye, but it is high under the arm at the side 
body, then curves out sharp and low as it drops from the shoulder, so it's 
being worn high on the bicep. I'm going to duplicate the armhole as is on my 
pattern, then run it by the designer and see if he wants to keep it that way. 
His original desire was to  copy it exactly except update the sizing.
These last few days have been an utter adventure!  Between hanging out at the 
library and surfing the web,  I feel like I'm cramming for a crash course in 
costuming :)   The gowns I usually make are in current fashion, although I 
make quite a few corselettes to line strapless gowns and such. Normally I 
refer out when I get requests for authentic, period clothing because I  have 
only a basic knowledge of the subject.  This current project came by way of a 
former client, and it didn't seem too out of scope, so I took it. 
Thanks again for all of your ideas, and references and I'll let you know how 
things are going, as they go!
Angela
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From: "Janet  Davis" <castle@erie.net>
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Subject: Re: [h-cost] robin's fabric store --
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Date: Sun, 20 Oct 2002 14:48:06 -0400
Status: RO

http://www.trimfabric.com/

This has no connection with Robin, but I thought their prices on wool were
pretty good.  Of course, their best deals are for large quanities and you
may not need that much for a regular suit.  (I need at least 10 yds. to make
something medieval, being both tall and wide.)  I've ordered from them and
had no problems.

Janet

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1836 dress, thanx
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Date: Sun, 20 Oct 2002 12:34:35 -0700
Status: RO


>The Bradfield book is extremely helpful.  I am
>using info from dresses on pages 163-172 to help me draft the pattern for the
>dress I'm working on.

I'm doing something like the one on pp. 165-66 (like Janet Arnold p. 64, 
1837-41, right-hand side), for my Dickens' Fair character, a household cook 
the same age as I am, who still wears it as her best dress ten or fifteen 
years later.

Kayta

    //// \\\
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/----\   /---\))

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Date: Sun, 20 Oct 2002 19:52:57 EDT
Status: RO

In a message dated 10/20/02 2:43:34 PM Eastern Daylight Time, 
Everydayele@aol.com writes:

<< The designer wants modern standard 
 sizing, and the actors are not going to wear corsets, however he wants them 
 to still "look" like the period.  >>

How does he expect that? Why can''t they wear corsets? Everyone thinks there 
this big pain in the ass...er...torso, but they don't have to be. I'd bone 
the side seams, the CB and shove a small bone into any darts in the fronts.
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From h-costume-admin@indra.com  Sun Oct 20 22:10:30 2002
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Subject: [h-cost] ISO Santina Levey
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Date: Sun, 20 Oct 2002 19:02:12 -0700
Status: RO

Do I remember that there is someone on one of these lists who knows 
Santina Levey and has a way to contact her? If so, would you please 
e-mail me privately? I have a question about one of her conclusions 
in _Lace: A History_, and I'm working on an article where it would be 
really helpful if I could ask her why she came to the conclusion she 
did, since in the book she doesn't explain it. Perhaps someone would 
be willing to relay a question and possible answer?

TIA,
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Sun, 20 Oct 2002 23:39:44 EDT
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In a message dated 10/20/02 7:55:14 PM Eastern Daylight Time, 
AlbertCat@aol.com writes:

<< Everyone thinks there 
 this big pain in the ass...er...torso, but they don't have to be. >>

Sorry...that's "They're this big pain...."

Haste Y'know.

and I meant bone the sides of the bodice you make, not a corset. Now that I 
completely think about it....
a method we used to use in school was to put a bone down the center of each 
piece of the bodice....by sewing a casing or a strip of Riglene to the flat 
lining before the fashion fabric was mounted to it. This leaves the seams and 
seam allowance free to be altered if necessary. Still shove that small bone 
into the darts though.
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Subject: [h-cost] Upcoming Lecture
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Date: Mon, 21 Oct 2002 01:51:29 -0400
Status: RO

Passing this along:

Lecture: Aglets- Fashions of the 16th and 17th Centuries: Farthingales &
Tippets
When: Nov. 21, 2002, 7:30 PM
Where: Agecroft Hall Museum & Gardens
4305 Sulgrave Rd.
Richmond, VA
804-353-4241
For more information go to http://www.agecrofthall.com/ and click on
lectures from the left menu.

If you go, arrive early and tour Agecroft.  It was featured on American's
Castles on A&E a couple of years ago.

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


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Subject: [h-cost] Weekend Seminar
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Date: Mon, 21 Oct 2002 02:30:06 -0400
Status: RO

Title: The Presence of the Past: Reuse, Revival, and Renewal in Fashion

When: Dec. 5-7, 2002
Sponsored by: New York University, School of Continuing and Professional
Studies
Seminar location: New York Academy of Medicine
To get a brochure or register call: 212-998-7171 or 7150
Fee: $335 plus $20 non-fundable registration fee.

A list of the presenters:
***Lisa Koenigsberg- Director of the conference; adjunct professor NYU.
Author of several books.
***June Weir- Former VP of Fairchild Publications and fashion editor or
editor for the following publications: WWD, W magazine, Vogue, Harper's
Bazaar, NY Times, and Mirabella.
***Abbijane-Fashion Designer
***Teri Agins-Senior special writer Wall Street Journal covering the retail
and fashion industries.  Author of several books.
***Stephen Burrows-Fashion Designer
***Brenda Cullerton-freelance writer, contributing to Harper's Bazaar,
2wice, Details, Self, and Vogue magazines.
***Annette Green-President of the Fragrance Foundation.
***Peter Halley-Artist and co-founder of Index Magazine.
***Cathy Horyn- fashion critic NY Times
***Laura Jacobs-contributing editor, Vanity Fair
***Joan Kaner-Sr. vice president/fashion director Neiman Marcus
***Pamela Clarke-Keogh-author, Audrey Style.
***Harold Koda-curator,The Costume Institute at the MET
***Francois Lesage- President, Lesage
***Pierce B. MacGuire-director, the Schlumberger Collection for Tiffany &
Co.
***Elizabeth Mason-author and owner of the Paper Bag Princess, a noted
vintage clothing store in LA
***Mary McFadden-Fashion Designer
***Chesley McLauren-Fashion designer and illustrator
***Lars Nillsson-creative director for Bill Blass.
***Ralph Rucci-Fashion designer
***Andy Spade-President and creative director "kate spade handbags" since
1996.
***Valerie Steele- Author and chief curator FIT's Museum.
***Barbara Tfank-Fashion and Costume Designer
***Margaret Walch-Director, The Color Association of the U.S.

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


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From h-costume-admin@indra.com  Mon Oct 21 07:59:45 2002
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
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Subject: [h-cost] Bath Mans & Womens Shirt
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Date: Mon, 21 Oct 2002 12:57:19 +0100 (BST)
Status: RO

Dear all,

As some may remember a few months ago I asked if anyone had any information on the Man's shirt in
the musuem of costume at Bath (UK).  Well having booked a little holiday there I tried to get an
appointment to view the item in question.  The original curator was not very helpful directing me
to the postcard photograph of the garment and informing me of the opening times.  Well I wrote
again, only to find that the lady I had originally contacted had since left.  The acting curator
was more than helpful, and while she still could not arrange for me to look at the item out of the
case I was given access to their conservation notes etc.  This turned out to be a marvel of
information.  There was so much information and this time the drawings of the embroidery were
accurate and I can be sure that they got the stitches correct after checking it against the
garment.

Well I also got time to take notes on the Lady's shift there as well but ran out of time before I
could deal with the two blackwork jackets there as well, even though they are out of my period of
interest.

Just had to have my little crow.

Rachel.

Once I have finished the reproduction of the garment I will be seeking permission to publish the
information on the website I am putting together, this will be for free as I am not allowed to
profit from the photocopies that I took.  Other than that I believe they consider the information
to be in the public domain.

=====
Rachel

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

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From h-costume-admin@indra.com  Mon Oct 21 08:38:45 2002
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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] Corset free costuming...
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Date: Mon, 21 Oct 2002 08:37:51 -0400 (EDT)
Status: RO

Well, you could also go for looks/periods where boning is minimal, and
serves mostly to shape the garments or keep it from wrinkling -- for
example, Drea's Flemish Peasant gown doesn't have a lot of boning; the
kirtle, if made with a good linen lining and with boning on the lacing
edges, can provide a fair amount of support.  The boning on the lacing
edges mostly serves to keep the edges from riding up and wrinkling; most
of your support comes from the gown itself.

And looking at that corded Italian Renn bodice (I'm sorry, I can't
remember the listmember's name -- it's lovely!) that we've discussed on
the list, that's probably not terribly confining, either.

For most periods where corsetry was worn, one can get away with a lightly
boned or corded set of stays for a lower class look.  One generally does
need some support to get a period look (just like you need a modern bra to
get the right look with most modern clothing), but the look generally
won't be as exreme as what very fashionable women were wearing.  The
problem comes when one is trying to acheive a very fashionable look
without the proper support -- the result generally resembles what my mom
would call 'an unmade bed'.  For that, you're right, you'd want to pick a
period where corsetry was at a minimum, if you don't want to wear a
corset.

I do think, however, that the whole modern fixation on tightlacing is just
wrong, wrong, wrong -- I'm sure some women did it, but how on earth did, say,
Elizabethans, Victorians, etc. dance so vigorously if they were laced that
tightly?  I just don't think the average person laced to that extreme, even
for fancy dress.

-- Mara


On Sun, 20 Oct 2002, Stevie Gamble wrote:
> Since I should like to defer my own need for a lung transplant for as
> long as possible I am looking for periods when corsetry was minimal or
> non-existent.
> So far I have
> late 18th early 19th, and
> Robin's period. This may not be the technical term, but everyone knows
> what I mean:-)
> I should be most grateful for suggestions for period,  books and urls.
> best wishes
> Stevie

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Date: Mon, 21 Oct 2002 09:08:25 -0400 (EDT)
Status: RO

Well, am back from St. Mary's City Militia Muster.  Great event!
Congrats to Mike and Leigh Tartaglio, who walked away with a bunch of
awards :)

Hat follow-up: I got my hat waterproofed (with Kiwi Protect-all), lined
(with a linen band), put a wool twill tape hat band on it, and decorated
with a few feathers.  Didn't wear it in the rain (yet), so I don't know
how the waterproofing will work.

Costume review: my 1630s "little Dutch girl" outfit worked very well; the
weather ranged from chilly and damp to sunny and mid-60s, which was
perfect for wearing several layers of wool.  It's a great camp outfit;
very versatile and comfortable, easy to work in.  A couple people told me
I looked like I'd stepped out of an early 17th c. genre painting --
thanks, folks! (blush)  I'm very happy that it worked.

One thing I wished I'd had was a woolen partlet to go over the linen one,
for when it got very chilly.  The woolen pin-on sleeves worked pretty
well; they added just enough warmth, and were easily removable as the day
heated up.  I also need to redo my stays, which weren't really snug
enough -- I could slouch in them, and found myself doing so too often, so
they were a bit uncomfortable.  I need to undo the side-back seams and
remove some boning.

Someone told me I caused a bit of conversation by wearing my partlet over
my stays, since English women wore their partlets under their stays, and
the women commenting on my partlet hadn't seen them worn over the stays
before.  Is that true?  If so, very interesting, I didn't know that!
(Dutch women did, obviously, given the frequency with which they show up
in genre art...)  One learns something new every day...

I also need to work on my leather shoes.  They're well-made (from Burnley
& Trowbridge), but I must have low ankle bones -- I have the same problem
with them that I have with a pair of modern shoes, i.e., the leather hits
my ankle bone in a painful way and I need to use a small heel lift insert
to wear them.

Has anyone seen examples of 17th or 18th c. hatpins, by the way?  I have
seen one or two 'street cries' type pictures that show some kind of pin,
but they're not very detailed, so it's hard to tell what they look like.

I probably can't get around to posting pics for a couple of weeks, since
I'm going to be on vacation starting Wednesday and away from my computer
(yay!), but will do so when I get back.  :D

Cheers,
Mara


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From: Chiara <chiara@io.com>
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Subject: Re: [h-cost] Bath Mans & Womens Shirt
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Date: Mon, 21 Oct 2002 14:47:18 -0000
Status: RO

Congratulations on a great opportunity! I look forward to your notes and update to your site with the project. Did you by any chance get to look at anything else at the Bath museum?

Chiara

On Mon, 21 Oct 2002 12:57:19 +0100 (BST), Rachel  wrote:
>Dear all,
>
>As some may remember a few months ago I asked if anyone had any information on the Man's shirt in
>the musuem of costume at Bath (UK). 
----snip-------

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Date: Mon, 21 Oct 2002 13:13:26 EDT
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Mara is too modest. That lovely Dutch outfit deservedly won first place in 
working women's clothing at the St. Mary's City Grand Muster. And she DID 
look just like she walked out of a genre painting.

Kathleen Norvell

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Mara is too modest. That lovely Dutch outfit deservedly won first place in working women's clothing at the St. Mary's City Grand Muster. And she DID look just like she walked out of a genre painting.<BR>
<BR>
Kathleen Norvell</FONT></HTML>

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Date: Mon, 21 Oct 2002 11:46:11 -0700 (PDT)
Status: RO

Please Rachel, crow as much as you please and then let
us know when you've added this info to your site,
please?
    Blackwork question.....Blackwork is geometric
designs of black on white used for necklines and
cuffs?  And blackwork is also filling stitches on
free-form naturalistic looking flowers?  How do you
know when to use which one 

on which garments and where?
                                   Cassandra

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Date: Mon, 21 Oct 2002 21:07:37 +0200
Status: RO

And what about all of us who could not come?
Dont you think we deserved to se some pictures?

Bjarne


----- Original Message ----- 
From: "Kevin & Mara Riley" <lindo@Radix.Net>
To: "Costume List" <h-costume@indra.com>
Sent: Monday, October 21, 2002 3:08 PM
Subject: [h-cost] St. Mary's City follow-up


> Well, am back from St. Mary's City Militia Muster.  Great event!
> Congrats to Mike and Leigh Tartaglio, who walked away with a bunch of
> awards :)
> 
> Hat follow-up: I got my hat waterproofed (with Kiwi Protect-all), lined
> (with a linen band), put a wool twill tape hat band on it, and decorated
> with a few feathers.  Didn't wear it in the rain (yet), so I don't know
> how the waterproofing will work.
> 
> Costume review: my 1630s "little Dutch girl" outfit worked very well; the
> weather ranged from chilly and damp to sunny and mid-60s, which was
> perfect for wearing several layers of wool.  It's a great camp outfit;
> very versatile and comfortable, easy to work in.  A couple people told me
> I looked like I'd stepped out of an early 17th c. genre painting --
> thanks, folks! (blush)  I'm very happy that it worked.
> 
> One thing I wished I'd had was a woolen partlet to go over the linen one,
> for when it got very chilly.  The woolen pin-on sleeves worked pretty
> well; they added just enough warmth, and were easily removable as the day
> heated up.  I also need to redo my stays, which weren't really snug
> enough -- I could slouch in them, and found myself doing so too often, so
> they were a bit uncomfortable.  I need to undo the side-back seams and
> remove some boning.
> 
> Someone told me I caused a bit of conversation by wearing my partlet over
> my stays, since English women wore their partlets under their stays, and
> the women commenting on my partlet hadn't seen them worn over the stays
> before.  Is that true?  If so, very interesting, I didn't know that!
> (Dutch women did, obviously, given the frequency with which they show up
> in genre art...)  One learns something new every day...
> 
> I also need to work on my leather shoes.  They're well-made (from Burnley
> & Trowbridge), but I must have low ankle bones -- I have the same problem
> with them that I have with a pair of modern shoes, i.e., the leather hits
> my ankle bone in a painful way and I need to use a small heel lift insert
> to wear them.
> 
> Has anyone seen examples of 17th or 18th c. hatpins, by the way?  I have
> seen one or two 'street cries' type pictures that show some kind of pin,
> but they're not very detailed, so it's hard to tell what they look like.
> 
> I probably can't get around to posting pics for a couple of weeks, since
> I'm going to be on vacation starting Wednesday and away from my computer
> (yay!), but will do so when I get back.  :D
> 
> Cheers,
> Mara
> 
> 
> _______________________________________________
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Date: Mon, 21 Oct 2002 12:26:20 -0700
Status: RO


>     Blackwork question.....Blackwork is geometric
> designs of black on white used for necklines and
> cuffs?  And blackwork is also filling stitches on
> free-form naturalistic looking flowers?  How do you
> know when to use which one 
> 
> on which garments and where?
>                                    Cassandra

Blackwork is actually better described as "monochrome work" since a 
single color (such as blue, green or red) can be used instead of the 
black.

Blackwork is not only geometric. Freeform varieties of blackwork 
coexisted with the geometric "counted thread" types from the late 
15th century through the early 16th century, on to the late 
16thC/early 17th C.

As to filling stitches, these seem to be found in later types (such 
as the late 16th/early 17th C ones, as opposed to the early 16th C 
ones.) My favorite time period is 1485-1552, as opposed to 
Elizabethan, so I've really had to look at the differences. 
Elizabethan stuff has a lot more than my time period.

There are a number of books which show how to do blackwork. If you 
look at the dates on the pieces/designs they show you can get a good 
idea of when and which garments to use them. (My husband wants to do 
something, so I don't have time to pull up my bibliography right now. 
If interested, I can do so later.) Also, many other people on this 
list are blackwork afficianados. 

Kat Russell
<kat@grendal.rain.com>

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Rachel/blackwork questions
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Date: Mon, 21 Oct 2002 13:34:48 -0700
Status: RO


>Please Rachel, crow as much as you please and then let
>us know when you've added this info to your site,
>please?
>     Blackwork question.....Blackwork is geometric
>designs of black on white used for necklines and
>cuffs?  And blackwork is also filling stitches on
>free-form naturalistic looking flowers?  How do you
>know when to use which one
>
>on which garments and where?

h-needlework has a lot of blackwork folks on it.  There's some overlap 
between this list and that one.

List-Subscribe: <http://www.ansteorra.org/mailman/listinfo/h-needlework>,
         <mailto:h-needlework-request@ansteorra.org?subject=subscribe>

Kayta

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In a message dated 10/14/02 6:16:29 AM Pacific Daylight Time, drea@nospam 
writes:


> forms for making leather corsets

Has anyone ever seen proof for leather corsets in historic fashion?

Kit

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/14/02 6:16:29 AM Pacific Daylight Time, drea@nospam writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">forms for making leather corsets</BLOCKQUOTE><BR>
<BR>
Has anyone ever seen proof for leather corsets in historic fashion?<BR>
<BR>
Kit</FONT></HTML>

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In a message dated 10/14/02 5:57:37 AM Pacific Daylight Time, 
AnnBWass@aol.com writes:


> How about the one that the stock market goes up as hemlines go up?  This 
> actually had a basis in one very small statement of fact, which I can't 
> dredge up out of the mists of the past, but got to be applied generally.
> Ann Wass 

Please note: this is what I remember a professor stating, and I am not even 
sure if I am remembering right...

Over simplified, it has to do with the fact that in recent years (the last 
hundred or so) when the economy takes a major dip which causes depression 
(War, famine/blight, bad worldly economics) the dresses/skirts get less 
fussy.  As the times get leaner the hems get shorter. (WW1, WW2, the Great 
Depression)  As the skirts rise, the stockmarket is slowly gaining ground as 
we are climbing out of a slump.  Really, if this theory is right, it should 
read, " As hemlines climb, so follows the stockmarket." 

Kit

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/14/02 5:57:37 AM Pacific Daylight Time, AnnBWass@aol.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">How about the one that the stock market goes up as hemlines go up?&nbsp; This actually had a basis in one very small statement of fact, which I can't dredge up out of the mists of the past, but got to be applied generally.<BR>
Ann Wass</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> </BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Please note: this is what I remember a professor stating, and I am not even sure if I am remembering right...<BR>
<BR>
Over simplified, it has to do with the fact that in recent years (the last hundred or so) when the economy takes a major dip which causes depression (War, famine/blight, bad worldly economics) the dresses/skirts get less fussy.&nbsp; As the times get leaner the hems get shorter. (WW1, WW2, the Great Depression)&nbsp; As the skirts rise, the stockmarket is slowly gaining ground as we are climbing out of a slump.&nbsp; Really, if this theory is right, it should read, " As hemlines climb, so follows the stockmarket." <BR>
<BR>
Kit</FONT></HTML>

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In a message dated 10/14/02 11:55:30 AM Pacific Daylight Time, kayta@frys.com 
writes:


> My younger daughter and I were helping out with Ardenwood's Harvest 
> Festival today.  We went across the street to Jack-In-The-Box for lunch, 
> still wearing our floral-calico farm-women Victorians (Ardenwood does the 
> 1890s).  While we were there, a teenager, old enough to drive, asked us if 
> we were from Renaissance Fair.

Can you blame her?  Removing the lack of depth to studying History in 
anything less than Avanced Placemment History; there is the fact that at most 
Ren Faires you get Xena, Hurcules, Romans, Fairies, Cavemen and my personal 
favorites Kligons.  :)

No wonder kids are so screwed up.

Kit
(who is still adjusting to officailly no longer being a kid.)

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 10/14/02 11:55:30 AM Pacific Daylight Time, kayta@frys.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">My younger daughter and I were helping out with Ardenwood's Harvest <BR>
Festival today.&nbsp; We went across the street to Jack-In-The-Box for lunch, <BR>
still wearing our floral-calico farm-women Victorians (Ardenwood does the <BR>
1890s).&nbsp; While we were there, a teenager, old enough to drive, asked us if <BR>
we were from Renaissance Fair.</BLOCKQUOTE><BR>
<BR>
Can you blame her?&nbsp; Removing the lack of depth to studying History in anything less than Avanced Placemment History; there is the fact that at most Ren Faires you get Xena, Hurcules, Romans, Fairies, Cavemen and my personal favorites Kligons.&nbsp; :)<BR>
<BR>
No wonder kids are so screwed up.<BR>
<BR>
Kit<BR>
(who is still adjusting to officailly no longer being a kid.)<BR>
</FONT></HTML>
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Date: Mon, 21 Oct 2002 19:27:20 -0400
Status: RO

I have 2 catalogs, 1931 and 1935 I am selling for one price.  The item no.
is 972170902. Does anyone know how I get the proper hyperlink so people can
just click on it?
Cordially,
Sue Shatto
401 Fairview Ave.
Frederick, MD 21701
http://www.VictorianMillinery.com


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From: kris <ionization@shaw.ca>
Subject: Re: [h-cost] Corset free costuming...
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Date: Mon, 21 Oct 2002 17:30:32 -0700
Status: RO


>I do think, however, that the whole modern fixation on tightlacing is just
>wrong, wrong, wrong -- I'm sure some women did it, but how on earth did, say,
>Elizabethans, Victorians, etc. dance so vigorously if they were laced that
>tightly?  I just don't think the average person laced to that extreme, even
>for fancy dress.

Well... not necessarily. I do Victorian, and I can get a 26" waist with 46" 
hips, and dance, and not be terribly out of breath, and not get cramping or 
anything. The trick for me is to just compress the waist, not the rib cage :]
(Does anyone know Ninepin? I've done that one.)

kris

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Date: Mon, 21 Oct 2002 21:19:15 -0500
Status: RO

Cascio Michael wrote:
> 
> >     Blackwork question.....Blackwork is geometric
> > designs of black on white used for necklines and
> > cuffs?  And blackwork is also filling stitches on
> > free-form naturalistic looking flowers?  How do you
> > know when to use which one on which garments and where?
> >                                    Cassandra

Research!  As has been stated, early blackwork tends toward geometric
bands and later blackwork towards free-form outlines with geometric
fills.  Portraits are a great place to look for who used what sort
where, but there are also some patterns online taken from period
embroidery pattern-books and portraits.  They are on Drea's site, and
were charted by the lovely Bronwen (aka Claudette Ziemann):  http://costume.dm.net/blackwork/index.html

Other online resources are:

the Blackwork Embroidery Archives 
http://www.blackworkarchives.com/
is THE site.  They have an amazing selection of patterns.

The Elizabethan Practical Companion: Blackwork Gallery
http://www.geocities.com/Athens/Crete/1581/bwgallery/
a site for links to pictures and paintings of clothing with blackwork

Blackwork--An Introduction
http://www.needlepoint.org/Archives/Blackwork/Article.htm
a short history

Stitch On Line from the Skinner Sisters
http://www.skinnersisters.com/stitch/issue1/
background and some nice pics of extant period pieces

Blackwork Designs from 16th century sources
http://infotrope.net/sca/textiles/embroidery/blackwork-sources/
charts taken from paintings

Fill-in Patterns for Blackwork Embroidery
http://aeg.atlantia.sca.org/projects/howto/blackwork/
also taken from paintings or existing pieces

16th Century Embroidery Resources
http://costume.dm.net/black-bib.html
a bibliography for both general embroidery and blackwork

Happy Stitching!
Melanie Schuessler
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Date: Mon, 21 Oct 2002 21:17:41 -0400
Status: RO

Hi, All. Mara is, of course, being modest, as she forgot to mention that she
won First Place in the Women's Working Class Dress competition, as well as
really looking like she stepped out of a 17th Cent. Dutch Genre painting.
Mike T.



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From h-costume-admin@indra.com  Mon Oct 21 21:36:12 2002
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Subject: Re: [h-cost] St. Mary's City follow-up
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Date: Mon, 21 Oct 2002 21:25:24 -0400
Status: RO

Hi, All. I didn't get to take many pictures, but I hope to post one to Penny of
my clothing, as well as some shots of the Polish troops we had there over the
weekend. I didn't get any of Mara, but I hope she might have.

Bjarne og Leif Drews wrote:

> And what about all of us who could not come?
> Dont you think we deserved to se some pictures?
>
> Bjarne
>

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Date: Mon, 21 Oct 2002 21:20:28 -0400
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Wow, that's weird. I didn't read your post, yet Kathy, and I practically
repeated you... guess great minds think alike  ;)   Mike T.

Appin1@aol.com wrote:

> Mara is too modest. That lovely Dutch outfit deservedly won first
> place in working women's clothing at the St. Mary's City Grand Muster.
> And she DID look just like she walked out of a genre painting.
>
> Kathleen Norvell

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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Wow, that's weird. I didn't read your post, yet Kathy, and I practically
repeated you... guess great minds think alike&nbsp; ;)&nbsp;&nbsp; Mike
T.
<p>Appin1@aol.com wrote:
<blockquote TYPE=CITE><font face="Arial"><font size=-1>Mara is too modest.
That lovely Dutch outfit deservedly won first place in working women's
clothing at the St. Mary's City Grand Muster. And she DID look just like
she walked out of a genre painting.</font></font>
<p><font face="Arial"><font size=-1>Kathleen Norvell</font></font></blockquote>
</html>

--------------D1278431E26FD740B95717EB--

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Date: Mon, 21 Oct 2002 21:38:19 -0400
Status: RO

At 09:07 PM 10/21/2002 +0200, you wrote:
>And what about all of us who could not come?
>Dont you think we deserved to se some pictures?
>
>Bjarne

Patience, Bjarne, I don't have the film developed yet!

-- Mara

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From h-costume-admin@indra.com  Mon Oct 21 21:48:17 2002
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Date: Mon, 21 Oct 2002 21:47:08 -0400
Status: RO

I believe McLean's Company walked away with a number of awards, too -- 
that's great, Kathy, congrats!

-- Mara

At 01:13 PM 10/21/2002 -0400, you wrote:
>Mara is too modest. That lovely Dutch outfit deservedly won first place in 
>working women's clothing at the St. Mary's City Grand Muster. And she DID 
>look just like she walked out of a genre painting.
>
>Kathleen Norvell



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From h-costume-admin@indra.com  Mon Oct 21 21:55:18 2002
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Date: Mon, 21 Oct 2002 21:42:41 -0400
Status: RO

Hi. Also in the Olaf Goubitz book just published on shoes called "Stepping
through Time", there are a few chapters in the back, one entitled Prehistoric
Footwear, and the other Footwear in the Northwestern Provinces of the Roman
Empire that give a great variety of examples of footwear of the Iron Age (at
least a portion of it).  Mike T.



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From: Kevin + Mara <lindo@radix.net>
Subject: Re: [h-cost] [h-cos] urban legands concerning the history of
  fashion
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Date: Mon, 21 Oct 2002 22:03:46 -0400
Status: RO

At 07:02 PM 10/21/2002 -0400, you wrote:
>In a message dated 10/14/02 6:16:29 AM Pacific Daylight Time, 
>drea@nospam writes:
>
>
>>forms for making leather corsets
>
>
>Has anyone ever seen proof for leather corsets in historic fashion?
>
>Kit

Yes -- they were worn in the 18th c.  They looked almost exactly like 
regular stays; the 'boning channels' were lines scored into the leather 
(heavy sole-weight leather) to help the leather bend properly.  I've seen 
stays made without this scoring and they don't work the way they 
should.  Lighter-weight leather wouldn't work, either.  I bet they're a lot 
hotter than regular stays, but since I haven't tried them myself, I can't 
say for sure.

Regards,
Mara

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Subject: [h-cost] Re: historical hem length changes
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Date: Mon, 21 Oct 2002 22:06:33 -0400
Status: RO

There's one period in the 20th century where this didn't quite happen, I 
remember hearing a comment about that in a show I was watching a week or 
two ago... but don't remember which in decade it occured.

On the current side.... if that's true, then we're in *big* trouble. 
 There are skirts out there being worn by the fashionable that really 
can't get much higher w/o showing off the g-strings below. If we have to 
wait for hemlines to climb....

-Elisabeth

>From: Kitsune242@aol.com
>
>In a message dated 10/14/02 5:57:37 AM Pacific Daylight Time, 
>AnnBWass@aol.com writes:
>
>>How about the one that the stock market goes up as hemlines go up?  This 
>>actually had a basis in one very small statement of fact, which I can't 
>>dredge up out of the mists of the past, but got to be applied generally.
>>Ann Wass 
>>    
>>
>
>Please note: this is what I remember a professor stating, and I am not even 
>sure if I am remembering right...
>
>Over simplified, it has to do with the fact that in recent years (the last 
>hundred or so) when the economy takes a major dip which causes depression 
>(War, famine/blight, bad worldly economics) the dresses/skirts get less 
>fussy.  As the times get leaner the hems get shorter. (WW1, WW2, the Great 
>Depression)  As the skirts rise, the stockmarket is slowly gaining ground as 
>we are climbing out of a slump.  Really, if this theory is right, it should 
>read, " As hemlines climb, so follows the stockmarket." 
>
>Kit
>  
>


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  fashion
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Date: Mon, 21 Oct 2002 23:03:32 -0400
Status: RO

--=====================_16549101==_.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

At 07:02 PM 10/21/02 -0400, you wrote:
>In a message dated 10/14/02 6:16:29 AM Pacific Daylight Time, 
>drea@nospam writes:
>
>
>>forms for making leather corsets
>
>
>Has anyone ever seen proof for leather corsets in historic fashion?
>
>Kit


     Yes, though it might not be what you mean.   At work we own a pair of 
18th century leather stays, I have also seen these things referred to in 
documentation within the period.  They are however a cheaper alternative to 
the regular stays rather than fashion they are a practicality.

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
         ************************************************* 
--=====================_16549101==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
At 07:02 PM 10/21/02 -0400, you wrote:<br>
<blockquote type=cite cite><font face="Arial, Helvetica" size=2>In a
message dated 10/14/02 6:16:29 AM Pacific Daylight Time, drea@nospam
writes:<br>
<br>
<br>
<blockquote type=cite cite>forms for making leather
corsets</blockquote><br>
<br>
Has anyone ever seen proof for leather corsets in historic fashion?<br>
<br>
Kit</font><font face="arial"> </font></blockquote><br>
<br>
&nbsp;&nbsp;&nbsp; Yes, though it might not be what you mean.&nbsp;&nbsp;
At work we own a pair of 18th century leather stays, I have also seen
these things referred to in documentation within the period.&nbsp; They
are however a cheaper alternative to the regular stays rather than
fashion they are a practicality.<br>
<br>
Cheers,<br>
<br>
<br>
<br>
<div>Ron Carnegie</div>
<div>r.carnegie@verizon.net</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>*************************************************</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>&quot;The
poetry of history lies in the quasi-miraculous fact that</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab> once
on this earth, on this familiar spot of ground walked</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>
other men and women as actual as we are today, thinking</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab> their own thoughts, swayed by their own passions but now</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab> all gone, vanishing after another, gone as utterly as we </div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab> ourselves shall be gone like ghosts at cockcrow.&quot;</div>
<div><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>G.M. Trevelyan</div>
<x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>*************************************************
</html>

--=====================_16549101==_.ALT--

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Date: Tue, 22 Oct 2002 00:55:41 EDT
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--part1_11b.189f9b0b.2ae6344d_boundary
Content-Type: text/plain; charset="US-ASCII"
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Bjarne -- I didn't take my camera, but I hope Mara got some photos.

Kathleen

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Bjarne -- I didn't take my camera, but I hope Mara got some photos.<BR>
<BR>
Kathleen</FONT></HTML>

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Subject: [h-cost] Storing/ironing bustle dresses?
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Date: Mon, 21 Oct 2002 22:58:50 -0700
Status: RO

Hi all,

Does anyone have any advice on storing bustle-era dresses?  I'm currently
making a dress that will have puffs in the back attached to tapes, and as
it's made of taffeta I'm worried that it will wrinkle horribly -- the tapes
are sewn in on the original, so I would assume it would be pretty impossible
to iron.  One thing I've considered is to attach all of the tapes with hooks
and eyes, so that I could let out the skirt for ironing -- any other
suggestions?

Thanks!

- Kendra


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Subject: [h-cost] Books on 1920's fashions?
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Date: Mon, 21 Oct 2002 23:06:04 -0700
Status: RO

Hi again!  A second post from me...

I'm currently working on a research article that examines on the social
debates over women's fashions of the 1920's in the U.S.  The article focuses
mainly on the perceived "meanings" of fashions rather than the fashions
themselves, but I'd like to include a footnote that covers the design
history of the period.  Does anyone have any suggestions for core books that
cover this period?  I've got Elizabeth Ewing's _History of 20th century
fashion_, Carolyn Hall's _The Twenties in Vogue_, and Stella Blum's
_Everyday Fashions of the Twenties_.  Are there any others I should look at?

Thanks!

- Kendra


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Subject: Re: [h-cost] Storing/ironing bustle dresses?
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Date: Mon, 21 Oct 2002 23:11:34 -0700
Status: RO

What I often see in original garments is pairs of tapes that are tied together
to achieve the puff  (instead of one tape sewn down at both ends)..  When the
tapes are not tied, the garment is flat and can then be pressed or stored much
more easily.

Hope this helps,

Fran

Kendra Van Cleave wrote:

> Hi all,
>
> Does anyone have any advice on storing bustle-era dresses?  I'm currently
> making a dress that will have puffs in the back attached to tapes, and as
> it's made of taffeta I'm worried that it will wrinkle horribly -- the tapes
> are sewn in on the original, so I would assume it would be pretty impossible
> to iron.  One thing I've considered is to attach all of the tapes with hooks
> and eyes, so that I could let out the skirt for ironing -- any other
> suggestions?
>
> Thanks!
>
> - Kendra
>

---------------------------------------------
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
Subject: Re: [h-cost] Bath Mans & Womens Shirt
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Date: Tue, 22 Oct 2002 08:16:06 +0100 (BST)
Status: RO


Hi Chiara

Unfortunately it too me over two hours to go through the two shirts.  Of course we went round the
museum afterwards and saw lots of wonderful costumes, but not much in my timeframe unfortunately. 


Rachel

Message: 13
Date: Mon, 21 Oct 2002 14:47:18 -0000
From: Chiara <chiara@io.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Bath Mans & Womens Shirt
Reply-To: h-costume@mail.indra.com

Congratulations on a great opportunity! I look forward to your notes and update to your site with 
the project. Did you by any chance get to look at anything else at the Bath museum?

Chiara



=====
Rachel

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

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Subject: Re: [h-cost] [h-cos] urban legands concerning the history of  fashion
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Date: Tue, 22 Oct 2002 08:48:24 +0100 (BST)
Status: RO

 --- Kevin + Mara <lindo@radix.net> wrote: > 

> should.  Lighter-weight leather wouldn't work, either.  I bet they're a lot 
> hotter than regular stays, but since I haven't tried them myself, I can't 
> say for sure.

They actually aren't, according to the neighbour who bought them. Apparently
they are very comfortable. I'll let you know next year because I'll buy some
this November market for my lower class scummy (weather) gear.

Nicole

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

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Subject: Re: [h-cost] 1836 dress, thanx
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Date: Tue, 22 Oct 2002 22:55:49 +1300
Status: RO

> Thanks so much  for your input.  I just received my copy of "Costume in
> Detail", and ordered today on Amazon, a copy of Janet Arnold's book and
> "After a Fashion" as well. The Bradfield book is extremely helpful.  I am
> using info from dresses on pages 163-172 to help me draft the pattern for
the
> dress I'm working on.

It's a wonderful sourse eh:)? I'm so pleased I did get this book.. even if I
did have a 6month wiat for my order to come in.. no I don't know why it took
that long.

> Michaela, I've had fun fiddling with that tight sleeve versus arm
mobility,
> and brides wanting to do the "Y.M.C.A." at their receptions but still look
> nice with their arms down, dilemma as well. (By the way Christine's
wedding
> gown is lovely)

Thaks:)

But my concern was the tight armhole isn't in it's normal
> position of following the armscye, but it is high under the arm at the
side
> body, then curves out sharp and low as it drops from the shoulder, so it's
> being worn high on the bicep. I'm going to duplicate the armhole as is on
my
> pattern, then run it by the designer and see if he wants to keep it that
way.

Yeah, that is the problem, the position of it (rather than simply being
tight). Have you thought about faking it? I mean if you have some dresses
with a cape collar or a deep lace trim or a pelerine you could use a more
normal position and hide it with those items.

Or I suppose you could simply shift the line to the edge of the shoulder and
use a similar idea above to draw the eye down the sleeve.

michaela
http://homepages.ihug.co.nz/~thebruce
http://recital.tripod.com/costume



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Subject: [h-cost] History of nuns' dress? Help!
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Date: Tue, 22 Oct 2002 11:27:35 +0100 (BST)
Status: RO

Hi All,

I tried an internet (google) search as well as searching the h-cost archives,
but I didn't really come up with much. I am looking for information plus, if
possible, images of nuns' habit before 1600. I know it's very vague, but
anything will do, no matter which period.
It'd be greatly appreciated!

Nicole

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

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Date: Tue, 22 Oct 2002 06:50:43 -0400
Status: RO


> case I was given access to their conservation notes etc.  This turned out
to be a marvel of
> information.  There was so much information and this time the drawings of
the embroidery were
> accurate and I can be sure that they got the stitches correct after
checking it against the
> garment.
>
> Well I also got time to take notes on the Lady's shift there as well but
ran out of time before I
> could deal with the two blackwork jackets there as well, even though they
are out of my period of
> interest.
>
> Just had to have my little crow.

Oh, a stab of envy went through me!  How very, very wonderful for you.
I am really looking forward to seeing what you had access to, and want to
thank you for such future sharing!    Rowena

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Date: Tue, 22 Oct 2002 13:22:19 +0100
Status: RO

Mara did say in her original posting that she would make photos available in due course. I'm really looking forward to seeing them!


Kate Bunting
Library, University of Derby

>>> Appin1@aol.com 10/21/02 06:13pm >>>
Mara is too modest. That lovely Dutch outfit deservedly won first place in 
working women's clothing at the St. Mary's City Grand Muster. And she DID 
look just like she walked out of a genre painting.

Kathleen Norvell


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Subject: Re: [h-cost] Books on 1920's fashions?
References: <002901c27991$1b0beb60$befc8218@hopperflop2>
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Date: Tue, 22 Oct 2002 08:23:43 -0500
Status: RO

Kendra Van Cleave wrote:
> 
> I'm currently working on a research article that examines on the social
> debates over women's fashions of the 1920's in the U.S.  The article focuses
> mainly on the perceived "meanings" of fashions rather than the fashions
> themselves, but I'd like to include a footnote that covers the design
> history of the period.  Does anyone have any suggestions for core books that
> cover this period?

Not all of these are strictly US fashion, but:

Franklin Simon Fashion Catalog for 1923 (by Franklin Simon & Co., pub.
Dover) Drawings and photos of fashions offered by this NYC clothing store

Authentic French Fashions of the Twenties (by JoAnne Olian, pub. Dover) 
Fashion plates from L'Art et La Mode

Art in Dress (1922) (by P. Clement Brown, pub. R.L. Shep)  This is
actually a how-to book from the period with scaled-down patterns drafted
out between fashion plates and instructions.

Paris Fashions:  The Art Deco Style of the 1920s (by Madeleine Ginsburg,
pub. Bracken Books)  Fashion plates from Art, Gout, Beaute'

Melanie Schuessler
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Date: Tue, 22 Oct 2002 08:37:17 -0400
Status: RO

Kendra,

I am working on this time period.  Some original sources that I am using are
some etiquette books, dress catalogs, hair styling books, and magazines.

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


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Date: Tue, 22 Oct 2002 13:51:18 +0100
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I don't know much about nuns, but I do remember  30 or 40 years ago sometimes seeing them out and about wearing a long veil with a mediaeval -style wimple. Presumably this is an example of the fossilised historic costumes we were discussing recently, and was probably virtually unchanged since before 1600?  - though nowadays a shorter veil is worn without the wimple.


Kate Bunting
Library, University of Derby

>>> nicolas_fouquet@yahoo.com 10/22/02 11:27am >>>
Hi All,

I tried an internet (google) search as well as searching the h-cost archives,
but I didn't really come up with much. I am looking for information plus, if
possible, images of nuns' habit before 1600. I know it's very vague, but
anything will do, no matter which period.
It'd be greatly appreciated!

Nicole

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

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Date: Tue, 22 Oct 2002 09:26:51 EDT
Status: RO

<PRE>The Braun and Schneider book has several pages of ecclesiastical garb from 
various eras.  Cheryl Odom
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Subject: [h-cost] Nun's Habit
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Date: Tue, 22 Oct 2002 13:35:09 +0000
Status: RO

Hi Nicole, Ruth Goodman of the Tudor Group was talking about making a 16th c 
Nun's habit, she may have finished it now.
Wolfin Textiles do the most lovely Nun's veiling in wool, lovely, lovely 
fabric.
regards
Joy

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Date: Tue, 22 Oct 2002 07:44:51 -0600
Status: RO

Hi, Nicole.  You might have bette results if you narrowed your search,
and just looked for the habits of a particular *order.*  Searching for
"Benedictine" or "Dominican" or "Poor Clares" would probably get you
their websites.....
--sue, watching the full moon through her bedroom window....

N Kipar wrote:
> 
> Hi All,
> 
> I tried an internet (google) search as well as searching the h-cost archives,
> but I didn't really come up with much. I am looking for information plus, if
> possible, images of nuns' habit before 1600. I know it's very vague, but
> anything will do, no matter which period.
> It'd be greatly appreciated!
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Date: Tue, 22 Oct 2002 10:16:32 -0400 (EDT)
Status: RO

I did, but the second roll (with the parade on Sunday) is still in the
camera, unfinished.  The first roll went to the photo shop this morning,
so I'll try to post a few this evening.  It will mostly be of the German
and Swede camps, I'm afraid!  When I get back from vacation next week I'll
get the second roll developed.

Cheers,
Mara


On Tue, 22 Oct 2002 Appin1@aol.com wrote:

> Bjarne -- I didn't take my camera, but I hope Mara got some photos.
>
> Kathleen
>

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Date: Tue, 22 Oct 2002 10:18:08 -0400 (EDT)
Status: RO

On Tue, 22 Oct 2002, [iso-8859-1] N Kipar wrote:
> They actually aren't, according to the neighbour who bought them. Apparently
> they are very comfortable. I'll let you know next year because I'll buy some
> this November market for my lower class scummy (weather) gear.
>
> Nicole

Cool, please do!  One of these days I'm gonna have to try making a pair...

-- Mara

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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] History of nuns' dress? Help!
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Date: Tue, 22 Oct 2002 10:59:26 -0400 (EDT)
Status: RO


Nicole,

Susan Carroll-Clark (nicolaa@columbus.rr.com) has done extensive research
in nun's dress and habits--she can probably direct you to the best sources
for them.

Good luck,

Drea

 >
> N Kipar wrote:
> >
> > Hi All,
> >
> > I tried an internet (google) search as well as searching the h-cost archives,
> > but I didn't really come up with much. I am looking for information plus, if
> > possible, images of nuns' habit before 1600. I know it's very vague, but
> > anything will do, no matter which period.
> > It'd be greatly appreciated!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Tue, 22 Oct 2002 13:50:54 -0400
Status: RO

There are a few pictures of medieval nuns at this site:
http://mw.mcmaster.ca/scriptorium/index.html .  Search under "cleric"

Janet

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Date: Tue, 22 Oct 2002 13:43:31 -0500
Status: RO



>I tried an internet (google) search as well as searching the h-cost archives,
>but I didn't really come up with much. I am looking for information plus, if
>possible, images of nuns' habit before 1600. I know it's very vague, but
>anything will do, no matter which period.
>It'd be greatly appreciated!
>

  From what I understand from talking to Various People, including 
costumers and nuns themselves, when most religious orders were founded 
they either had their members dress like poor people (such as the 
followers of St Francis) or they really dressed it up.  I've seen one 
portraite of a French Mother Abbess from about 1660 (a little out of 
what you are looking for, but a good example) and she looked like a 
member of the French Royal Court.  You couldn't tell she was a nun at 
all!  Don't know if this will help, but it might get you thinking in the 
right direction.


-- 

Mama Rose
--->---{@

"Ho! Ah-ha! Guard! Turn! Parry! Dodge! Spin! Ha! Thrust!"  *bonk*

  Daffy "Robin Hood" Duck




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Date: Tue, 22 Oct 2002 15:01:02 -0400
Status: RO

I'm trying to remember whether it was this list or another that we just had a
discussion on nuns' dress before 1600 within the last month or two. 

I also have quite a bit of information on this subject, including some images,
but it's all at home and I'm at work. I'll take a look this evening. Are you
looking for something in particular?

It does, BTW, seem to be an urban legend (to tie in another thread!) that
nuns' costumes are simply "fossilized" medieval garb. While some of them did,
of course, have their origins then, there HAVE been changes -- though in some
groups much more than others. I should also add a cautionary note that members
of a religious order are not necessarily the best source for the history of
that order's clothing. If there is someone in the order with an interest in
historic clothing, then of course they are in the best possible position to
gather data, but often there isn't such a person -- since prayer, not history,
is their main occupation.

There was an "explosion" of founding new religious orders, especially for
women, in the 19th century, which is one reason why there are so many
different groups today. Some of them did base their clothing on that of the
poor; others based theirs on the garb of _widows_, either of their own era or
of a generation or two before. This is especially where some of the more
extravagant and peculiar forms of pre-Vatican-II headgear come from. I think
you'll find that the older orders mostly have habits that are quite simple.

(And yes, I have some hilarious pictures of post-16th-century nuns' costumes
complete with skirt ruffles, corsets, and even a "fontange" cap..... usually
these were from convents set up specifically for the aristocracy.)

On Tue, 22 Oct 2002 10:59:26 -0400 (EDT) Drea Leed <drea@nospam> wrote:

> 
> Nicole,
> 
> Susan Carroll-Clark (nicolaa@columbus.rr.com)
> has done extensive research
> in nun's dress and habits--she can probably
> direct you to the best sources
> for them.
> 
> Good luck,
> 
> Drea
> 
>  >
> > N Kipar wrote:
> > >
> > > Hi All,
> > >
> > > I tried an internet (google) search as well
> as searching the h-cost archives,
> > > but I didn't really come up with much. I am
> looking for information plus, if
> > > possible, images of nuns' habit before
> 1600. I know it's very vague, but
> > > anything will do, no matter which period.
> > > It'd be greatly appreciated!
> >
> _______________________________________________
> > 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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0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Date: Tue, 22 Oct 2002 15:22:27 -0400
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http://homepage.mac.com/festive_attyre/feature/week12.html
    That's us as 15th c. Swedish Brdgettines

And here are more sources you can ILL.
Jessamyn


Costumi degli ordini monastici.
Ruth E Adomeit
1840s 
Italian  Book 1 sheet ([21] leaves) : chiefly col. ill. ; 11 x 159 cm.
folded to 11 x 8 cm.
Roma : Presso Battistelli,

Ordres religieux : 
femmes. 
1800-1899? 
French  Book 1 v. (25 chromolithographs (attached, folding out)) : ill. ; 17
cm. 
Paris : L. Turgis, jeune

Courte description des ordres des femmes & filles religieuses
contenant une petite relation de leur origine, de leur progrès & de leur
confirmation : avec les figures de leurs habits /
Adriaan Schoonebeek
1700 
French  Book :  Microform 194 [i.e. 184] p., 5 leaves : ill., ports.
Amsterdam : H. Desbordes, P. Scepérus, et P. Brunel






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Subject: [h-cost] Re: medieval nuns
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Date: Tue, 22 Oct 2002 20:34:30 +0100
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Sorry, slightly OT, but I just had to comment as it made me laugh – this 
really IS the joy of the internet, you can find stuff on just about 
anything, including medieval nuns..... what did we do without it?

Kate

>
>There are a few pictures of medieval nuns at this site:
>http://mw.mcmaster.ca/scriptorium/index.html .  Search under "cleric"
>
>Janet
>



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> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--B_3118147340_1893036
Content-type: text/plain; charset="ISO-8859-1"
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http://gothicgarments.atlhost.net/menu3/

Here=B9s an interesting site...
Jessamyn/Grace 

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</HEAD>
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<FONT FACE=3D"Palatino">http://gothicgarments.atlhost.net/menu3/<BR>
<BR>
Here&#8217;s an interesting site...<BR>
Jessamyn/Grace</FONT>
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</HTML>


--B_3118147340_1893036--

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Date: Tue, 22 Oct 2002 16:31:51 -0400 (EDT)
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A year or so ago, someone on the list mentioned that they knew where one
could find canvas printed with an inch-grid for sale.  Anyone remember
this, or have any idea where I could find such a thing?

Thanks,

Drea

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From h-costume-admin@indra.com  Tue Oct 22 19:18:44 2002
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Date: Tue, 22 Oct 2002 16:13:56 -0700 (PDT)
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Folks, I just changed my subscription to H-Costume to this address,
temporarily.

The pics from St. Mary's City are at:
http://www47.pair.com/lindo/Temp/StMarys2002/

By the way, Mike Tartaglio made the black triangle-chair (is there an
official name for those?) in the 'JeffD.jpg' picture.  Nice work! 
The costume Jeff is wearing is one of my works-in-progress; I just
finished the collar and the gauntlet trim, and now need to make him
some proper cuffs.  

I can't remember the name of the guy doing the Polish impression --
Mark something.  Neat costume, though!  And a really fun guy.

The cap in 'wiredcap.jpg' is my best guess at how those things were
made.  It does stay on my head, with the help of a pin at the crown.

-- Mara


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Date: Tue, 22 Oct 2002 16:48:06 -0700
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I have to say that I tried every method given here for keeping my skirt up 
and not a single one of them worked, although some were better than 
others.  I am going to cut the waist band off of them, shorten them and 
attach them to a bodice and wear it under my other bodice.  I am officially 
giving up on the idea of wearing skirts.

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Subject: Re: [h-cost] historical costume-funny
From: Marsha Hamilton <mjh@pearlandplume.com>
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Date: Tue, 22 Oct 2002 20:02:33 -0400
Status: RO

I was once in full Tudor and was asked if I was portraying Dolly Madison.
Another time the same outfit raised the question of whether I was Queen
Victoria.  

History--its just one big heap of old stuff.

Marsha H.  (Back after a few years absence--good to hear everyone again.)

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Subject: [h-cost] 1940's Hangar Dance
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Date: Tue, 22 Oct 2002 17:34:13 -0700
Status: RO

Sorry for the cross-post but this sounds like fun!  

For those in the Portland OR/ Vancouver WA area ....

-Brenna
www.robewarriors.com - Greater Portland Area Costumers' Guild
www.bsharpfabrics.com - supplying the living history re-enactor
____________________________________

The 13th Annual USO Hangar Dance

Saturday 9 Nov 2002

Pearson Air Museum
    (in the hangar - they're taking out all but one of the planes)
1115 E. 5th Street
Vancouver WA 98661
  (next to Ft. Vancouver - map on website under "About Us")

360-694-7026
www.PearsonAirMuseum.org

live music by:
Art Abrams Swing Machine Big Band

Dance Lessons start at 7pm (recorded music)
Dance runs from 8pm 'til Midnight (live music)

Cost:  $20  -  Non-Pearson Museum members
          $15  -  Pearson Museum members

Costumes:  1940's military or civilian or modern casual
   Costume Contest theme - South Pacific (the musical)

Munchies:  USO style (hot dogs, bratwursts, kraut, veggie trays, cookies,
etc. (included)




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From h-costume-admin@indra.com  Tue Oct 22 21:19:33 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] historical costume-funny
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Date: Tue, 22 Oct 2002 18:19:53 -0700
Status: RO


>>My younger daughter and I were helping out with Ardenwood's Harvest
>>Festival today.  We went across the street to Jack-In-The-Box for lunch,
>>still wearing our floral-calico farm-women Victorians (Ardenwood does the
>>1890s).  While we were there, a teenager, old enough to drive, asked us if
>>we were from Renaissance Fair.
>
>
>Can you blame her?  Removing the lack of depth to studying History in 
>anything less than Avanced Placemment History; there is the fact that at 
>most Ren Faires you get Xena, Hurcules, Romans, Fairies, Cavemen and my 
>personal favorites Kligons.  :)
>
>No wonder kids are so screwed up.
>
>Kit
>(who is still adjusting to officailly no longer being a kid.)

My 14-year-old was the daughter in question, and she knew.  She knows more 
about history than she learned in school - she must because she doesn't get 
great grades in History in school.  But then, She has a costumer for a 
mother, and we have worked Ren. Faires, Dickens' Fair, and Science Fiction 
conventions.  (The costumes may be different, but the pay's the same...)


Kayta

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From h-costume-admin@indra.com  Tue Oct 22 21:19:39 2002
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Subject: Re: [h-cost] keeping it all up
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Date: Tue, 22 Oct 2002 18:16:10 -0700
Status: RO


>I have to say that I tried every method given here for keeping my skirt up 
>and not a single one of them worked, although some were better than 
>others.  I am going to cut the waist band off of them, shorten them and 
>attach them to a bodice and wear it under my other bodice.  I am 
>officially giving up on the idea of wearing skirts.

I must have missed something.  What do you mean by 'up'?  Up out of the way 
so you won't step on it?  Up so your underskirt shows, as they did in the 
1860s?  Up so it doesn't fall down around your hips?


Kayta

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From h-costume-admin@indra.com  Tue Oct 22 21:19:57 2002
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 1940's Hangar Dance
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Date: Tue, 22 Oct 2002 18:18:15 -0700
Status: RO

Sorry - I had visions of little coat hangers doing high kicks in a 
line.  I'm making too many dolls these days, and not watching my spelling.

>The 13th Annual USO Hangar Dance
>
>Saturday 9 Nov 2002
>
>Pearson Air Museum
>     (in the hangar - they're taking out all but one of the planes)
>1115 E. 5th Street
>Vancouver WA 98661
>   (next to Ft. Vancouver - map on website under "About Us")


Kayta

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From h-costume-admin@indra.com  Tue Oct 22 21:44:21 2002
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Date: Tue, 22 Oct 2002 18:35:52 -0700
Status: RO

up so it doesn't fall down around my hips, up so it doesn't drag on the 
ground.I wrote an earlier post complaining about the problems with 
maintaining a skirt on a beaach ball figure.  I got lots of good 
suggestions and tried every one of them.  I think that between my figure 
deficiencies, the weight of the skirts and the forces of gravity, I never 
found a solution that worked.  I think a whole second bodice is the only 
way I can go.

At 06:16 PM 10/22/2002 -0700, you wrote:

>>I have to say that I tried every method given here for keeping my skirt 
>>up and not a single one of them worked, although some were better than 
>>others.  I am going to cut the waist band off of them, shorten them and 
>>attach them to a bodice and wear it under my other bodice.  I am 
>>officially giving up on the idea of wearing skirts.
>
>I must have missed something.  What do you mean by 'up'?  Up out of the 
>way so you won't step on it?  Up so your underskirt shows, as they did in 
>the 1860s?  Up so it doesn't fall down around your hips?
>
>
>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: [h-cost] History of nuns' dress? Help!
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Date: Tue, 22 Oct 2002 22:34:21 -0500
Status: RO

Peitro Lorenzetti from Siena, circa 1316:  "The Blessed Umilta' Reading
to her Companions in the Refectory" in the Uffizi shows nuns at table.
Four are wearing dun-colored loose robes (looks like they're unbelted)
with what looks like some sort of matching shoulder-cape structure that
disappears past the edge of the table they're sitting at (so it's longer
than elbow-length), plus a white wimple and a black veil with a white
border laying over the head (unstructured) and hanging to bicep-level. 
Two are wearing what looks like a darker brown robe and similar if not
the same headgear, but it's hard to tell.

On the wall of the Choir Chapel at Sant' Agostino in Tuscany, a
15th-century fresco of the Death of Saint Monica.  Don't know if the
ladies around are also saints (and thus untrustworthy), but they're in
all unbelted black with white wimple and white veil overlaid with a long
black veil (unstructured) that I can't find the end of, so it could be
any length from hip to floor (they're all standing behind the bed). 
These give the distinct impression of being two layers of veil, with the
bottom one white, whereas the previous example were definitely black
veils with a white border.

It seems to me like there's another painting of nuns standing around a
dying abbess' or saint's bed praying, but I can't find it at the moment.

Melanie Schuessler
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Date: Tue, 22 Oct 2002 23:46:24 -0400
Status: RO

Hi. Unfortunately, I didn't make that chair, David Hoffmann did. I wish I
had his skill in woodworking...oh, well.  Mike T.


> By the way, Mike Tartaglio made the black triangle-chair (is there an
> official name for those?) in the 'JeffD.jpg' picture.  Nice work!

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Subject: [h-cost] Re: History of nuns' dress?
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Date: Tue, 22 Oct 2002 19:49:54 -0700
Status: RO

Probably the best resource that I know of on medieval religious
women's garb is Desiree Koslin's PhD dissertation, _The Dress of
Monastic & Religious Women as seen in Art from the Early Middle Ages
to the Reformation_. I haven't read all of it yet, but have been
delighted with the bits I have dipped into. I was able to get a copy
of this through UMI Dissertation Services (it's UMI #9917057), who 
have this and many
other theses and dissertations on microfilm, and will print and send
a paper copy for (I think it was) something like $35. They are at :
http://www.bellhowell.infolearning.com

Other than that, it is indeed a bit difficult to find specific 
information. I'd like to teach a "Field Guide to Monks, Friars and 
Nuns" class sometime, so I'm always on the lookout for sources. 
Somewhere I have a list, too, of the most frequently committed errors 
I've seen in beginners' attempts to produce monastic garb for 
costuming purposes. (IIRC, it starts out with: "too short, too 
skimpy, too lightweight, too ragged, and the ever-lovin' use of rope 
for a belt" -- AFAIK the rope belt is pretty much confined to the 
Franciscans.)

Nicole, if you're looking for something specific, let me know what, 
and I'll see what I can find.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Tue, 22 Oct 2002 22:35:37 -0700
Status: RO


>up so it doesn't fall down around my hips, up so it doesn't drag on the 
>ground.I wrote an earlier post complaining about the problems with 
>maintaining a skirt on a beach ball figure.  I got lots of good 
>suggestions and tried every one of them.  I think that between my figure 
>deficiencies, the weight of the skirts and the forces of gravity, I never 
>found a solution that worked.  I think a whole second bodice is the only 
>way I can go.

I can't find the thread to read it, so I may be suggesting things that have 
already been found to be of no use.

Have you tried clip-on suspenders?  Many folks I know, who play courtiers 
at Ren. Faire, use clip-on suspenders to hold up various heavy 
under-layers.  These are thin enough to hide under a lined jerkin or 
bodice, and not so thick that they add to the heat of an otherwise hot 
costume. They're really cheap at thrift stores around here.  The button-on 
type would be better, the points of suspension being more numerous and 
spread out.

Failing that, you could go with straps attached to the waistband, the same 
way as overalls straps (separated in front, crossing in back).  Again, they 
wouldn't be as hot as an entire second bodice.


Kayta

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Pics from St. Mary's
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Date: Wed, 23 Oct 2002 08:19:16 +0100 (BST)
Status: RO

http://www47.pair.com/lindo/Temp/StMarys2002/wiredcap.jpg

Cool cap! I am working on one like those, because they are being worn well into
the 17th c., but as usual got stuck somewhere along the way with too many
things to do. Do you think it would be possible to ontact the lady in the
picture and ask her how she made it?

Nicole

 --- Mara Riley <corbiegirl@yahoo.com> wrote: > Folks, I just changed my
subscription to H-Costume to this address,
> temporarily.
> 
> The pics from St. Mary's City are at:
> http://www47.pair.com/lindo/Temp/StMarys2002/
> 
> By the way, Mike Tartaglio made the black triangle-chair (is there an
> official name for those?) in the 'JeffD.jpg' picture.  Nice work! 
> The costume Jeff is wearing is one of my works-in-progress; I just
> finished the collar and the gauntlet trim, and now need to make him
> some proper cuffs.  
> 
> I can't remember the name of the guy doing the Polish impression --
> Mark something.  Neat costume, though!  And a really fun guy.
> 
> The cap in 'wiredcap.jpg' is my best guess at how those things were
> made.  It does stay on my head, with the help of a pin at the crown.
> 
> -- Mara
> 
> 
> __________________________________________________
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=====
Nicole Kipar M.A.
L'Age d'Or & Kirke's Lambs 
Civilian & Military  Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Date: Wed, 23 Oct 2002 09:10:05 +0100
Status: RO



Kate Bunting
Library, University of Derby

>>> claning@igc.org 10/22/02 08:01pm >>> wrote:

>It does, BTW, seem to be an urban legend (to tie in another thread!) that
>nuns' costumes are simply "fossilized" medieval garb. While some of them >did, of course, have their origins then, there HAVE been changes -

What I actually suggested was that the habits I remembered seeing in my childhood were fossilised mediaeval garb - I know they have modernised since then.

>(And yes, I have some hilarious pictures of post-16th-century nuns' >costumes complete with skirt ruffles, corsets, and even a "fontange" >cap..... usually these were from convents set up specifically for the >aristocracy.)

I remember in about 1965 seeing two (French?) nuns on a train wearing towering starched linen headdresses (like those worn with some French "national costumes".



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 Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: 
I remember in about 1965 seeing two (French?) nuns on a train wearing towering starched linen headdresses (like those worn with some French "national costumes".




It sounds like the 'Daughters of Charity of St. Vincent De Paul' did they look like this:

http://www.blessings-catalog.com/LargeImages/BN029_BN002.jpg

Nicole


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



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<P> 
<P>&nbsp;<B><I>Kate M Bunting &lt;K.M.Bunting@derby.ac.uk&gt;</I></B> wrote: 
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">
<P>I remember in about 1965 seeing two (French?) nuns on a train wearing towering starched linen headdresses (like those worn with some French "national costumes".<BR><BR><BR></P>
<P>It sounds like the 'Daughters of Charity of St. Vincent De Paul' did they look like this:</P>
<P><A href="http://www.blessings-catalog.com/LargeImages/BN029_BN002.jpg">http://www.blessings-catalog.com/LargeImages/BN029_BN002.jpg</A></P>
<P>Nicole</P></BLOCKQUOTE><BR><BR>Nicole Kipar M.A.<br>L'Age d'Or &amp; Kirke's Lambs <br>Civilian &amp; Military  Living History Society 1660-1715<br>URL: http://www.kipar.org/<br>Email: marquis@kipar.org<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>
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Date: Wed, 23 Oct 2002 09:39:02 +0100
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Great pictures, Mara. I like the wired coif too.
Partlets are something you hardly ever see in our 17c reenactment society, for some reason. I suppose they were old-fashioned by the 1640s - though blackwork, which in my opinion is too early for our period, is  very popular.


Kate Bunting
Library, University of Derby


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I don't remember the white neckwear, but, yes, that's the sort of headdress I meant.


Kate Bunting
Library, University of Derby

>>> nicolas_fouquet@yahoo.com 10/23/02 09:33am >>>

 
 Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: 
I remember in about 1965 seeing two (French?) nuns on a train wearing towering starched linen headdresses (like those worn with some French "national costumes".




It sounds like the 'Daughters of Charity of St. Vincent De Paul' did they look like this:

http://www.blessings-catalog.com/LargeImages/BN029_BN002.jpg 

Nicole


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



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Subject: Partlets in 17th c., was Re: [h-cost] Pics from St. Mary's
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 Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote:
Great pictures, Mara. I like the wired coif too.
Partlets are something you hardly ever see in our 17c reenactment society, for some reason. I suppose they were old-fashioned by the 1640s - though blackwork, which in my opinion is too early for our period, is very popular.

Actually, they are by far not as oldfashioned as you may think. I did a study of all my 1660s and 1670s genre paintings (dozens and dozens) and I saw a lot more partlets than I would have ever thought, particularly Dutch paintings,  no matter if rural setting (admittdly mainly there) or quite well off housewives and of course market tenders. Partlets were still worn quite a lot even as late as the 1660s, and I do have to say from my studies I have found that what you see in Dutch paintings is not that far off from what was worn in England. Thankfully Holland and England are very similar in clothing.

I fully agree about the blackwork Kate, I have found absolutely nothing which is decorated with blackwork in any of my images except for the one 1660s painting of the lacemaker, where she wears a blackworked coif. Admittedly I don't focus on the first half of the 17th c but still, I noticed  a remarkable _lack_ of blackwork.

Nicole


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



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<P>&nbsp;<B><I>Kate M Bunting &lt;K.M.Bunting@derby.ac.uk&gt;</I></B> wrote:
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">
<P>Great pictures, Mara. I like the wired coif too.<BR>Partlets are something you hardly ever see in our 17c reenactment society, for some reason. I suppose they were old-fashioned by the 1640s - though blackwork, which in my opinion is too early for our period, is very popular.<BR><BR>Actually, they are by far not as oldfashioned as you may think. I did a study of all my 1660s and 1670s genre paintings (dozens and dozens) and I saw a lot more partlets than I would have ever thought, particularly Dutch paintings,&nbsp; no matter if rural setting (admittdly mainly there) or quite well off housewives and of course market tenders. Partlets were still worn quite a lot even as late as the 1660s, and I do have to say from my studies I have found that what you see in Dutch paintings is not that far off from what was worn in England. Thankfully Holland and England are very similar in clothing.</P>
<P>I fully agree about the blackwork Kate, I have found absolutely nothing which is decorated with blackwork in any of my images except for the one 1660s painting of the lacemaker, where she wears a blackworked coif. Admittedly I don't focus on the first half of the 17th c but still, I noticed&nbsp; a remarkable _lack_ of blackwork.</P>
<P>Nicole</P></BLOCKQUOTE><BR><BR>Nicole Kipar M.A.<br>L'Age d'Or &amp; Kirke's Lambs <br>Civilian &amp; Military  Living History Society 1660-1715<br>URL: http://www.kipar.org/<br>Email: marquis@kipar.org<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>
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Date: Wed, 23 Oct 2002 07:02:45 -0600
Status: RO

Hey! Nice pictures! I always enjoy seeing how other folks play! <g>
I've never seen those triangle-shaped chairs before, though....not sure
if they're cool or weird. (it's early okay? and my brain's not
functioning completely?)
The red-headed lady (is that you, Mara?) is wearing a really nifty
outfit--looks very appropriate and practical for camping.  Reminds me of
the 16th c. flemish outfits we're starting to see in my neck of the
reenactment woods.
And the Polish gentleman! <g> I think Teddy'd have like the flamboyant
touches!
--sue, putting off going to work this morning because she hates walking
to the bus stop in the dark <grump, grump>

Mara Riley wrote:
> 
> Folks, I just changed my subscription to H-Costume to this address,
> temporarily.
> 
> The pics from St. Mary's City are at:
> http://www47.pair.com/lindo/Temp/StMarys2002/
> 
> By the way, Mike Tartaglio made the black triangle-chair (is there an
> official name for those?) in the 'JeffD.jpg' picture.  Nice work!
> The costume Jeff is wearing is one of my works-in-progress; I just
> finished the collar and the gauntlet trim, and now need to make him
> some proper cuffs.
> 
> I can't remember the name of the guy doing the Polish impression --
> Mark something.  Neat costume, though!  And a really fun guy.
> 
> The cap in 'wiredcap.jpg' is my best guess at how those things were
> made.  It does stay on my head, with the help of a pin at the crown.
> 
> -- Mara
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From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: Partlets in 17th c., was Re: [h-cost] Pics from St. Mary's
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Date: Wed, 23 Oct 2002 07:09:51 -0600
Status: RO

Maybe what you guys are getting with the blackwork is a sort of reverse
of what we sometimes get in the SCA? Folks trying to push/expand (and
then justify expansion of) the time-boundary? From "my" side of the
1600-cutoff fence, I'd love to be able to wear some of that yummy lace
you see in later portraits, or one of those fitted, embroidered jackets
that always seem to be dated *just* past 1600.  And some folk I know do,
much like we've got this small, but growing, subsection of folks who
like to do rapier.
You-all've just maybe got it in reverse? Folks who love the embroidery
from *before* 1600?
Or is it people who maybe do multiple kinds of reenacting, and are
making their blackworked items "go" for more than one application?
--sue, blackwork fiend who is completely rambling so she'll go away
now....;-)
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From h-costume-admin@indra.com  Wed Oct 23 09:21:21 2002
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From: "Betsy Marshall" <betsy@softwareinnovation.com>
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Subject: RE: Partlets in 17th c., was Re: [h-cost] Pics from St. Mary's
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Date: Wed, 23 Oct 2002 08:22:44 -0500
Status: RO

repeat after me-"Oh, this? My grandmother left it to me. 
No use letting it go to waste in some storage cupboard!"
YIS Betsy

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Wednesday, October 23, 2002 8:10 AM
To: h-costume@indra.com
Subject: Re: Partlets in 17th c., was Re: [h-cost] Pics from St. Mary's


Maybe what you guys are getting with the blackwork is a sort of reverse
of what we sometimes get in the SCA? Folks trying to push/expand (and
then justify expansion of) the time-boundary? From "my" side of the
1600-cutoff fence, I'd love to be able to wear some of that yummy lace
you see in later portraits, or one of those fitted, embroidered jackets
that always seem to be dated *just* past 1600.  And some folk I know do,
much like we've got this small, but growing, subsection of folks who
like to do rapier.
You-all've just maybe got it in reverse? Folks who love the embroidery
from *before* 1600?
Or is it people who maybe do multiple kinds of reenacting, and are
making their blackworked items "go" for more than one application?
--sue, blackwork fiend who is completely rambling so she'll go away
now....;-)
_______________________________________________
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From h-costume-admin@indra.com  Wed Oct 23 09:25:42 2002
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: Partlets in 17th c., was Re: [h-cost] Pics from St. Mary's
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Date: Wed, 23 Oct 2002 14:22:59 +0100
Status: RO

Sue, I think your first suggestion is the correct one, since ECW reenactment is much bigger in the UK than Elizabethan. Some lady members can't resist decorating all their families' linen with bits of black embroidery, even though that look went out of fashion in the very early 17th century.


Kate Bunting
Library, University of Derby

>>> mooncat@in-tch.com 10/23/02 02:09pm >>>
Maybe what you guys are getting with the blackwork is a sort of reverse
of what we sometimes get in the SCA? Folks trying to push/expand (and
then justify expansion of) the time-boundary? From "my" side of the
1600-cutoff fence, I'd love to be able to wear some of that yummy lace
you see in later portraits, or one of those fitted, embroidered jackets
that always seem to be dated *just* past 1600.  And some folk I know do,
much like we've got this small, but growing, subsection of folks who
like to do rapier.
You-all've just maybe got it in reverse? Folks who love the embroidery
from *before* 1600?
Or is it people who maybe do multiple kinds of reenacting, and are
making their blackworked items "go" for more than one application?
--sue, blackwork fiend who is completely rambling so she'll go away
now....;-)
_______________________________________________
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h-costume@mail.indra.com 
http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-admin@indra.com  Wed Oct 23 10:45:31 2002
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Subject: [h-cost] famous 16th c. bumroll picture
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Date: Wed, 23 Oct 2002 10:46:25 -0400 (EDT)
Status: RO

Dear List,

Here's another question for y'all...I'm putting together an article on
bumrolls, and am looking for the actual, honest-to-god real location and
source for that c. 1600 Flemish print that shows several women trying on
bumrolls.  It's in Corsets & Crinolines by Norah Waugh, Queen Elizabeth's
Wardrobe Unlock'd by Janet Arnold, and others.  Unfortunately, the source
is always cited as "from a Private Collection".  Nowhere in the
bibliography or citations or "thanks-for-letting-us-use-this-picture"
sections is anything further mentioned.

I do have a Dutch book from the 1930s that has a redrawing of it and
mentions the last name of the owner, but i have a feeling that the owner's
no longer around.  :)

Any clues?  Has anyone else ever tried to hunt this particular picture
down?

Thanks,

Drea

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From h-costume-admin@indra.com  Wed Oct 23 11:42:01 2002
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From: Chiara <chiara@io.com>
To: h-costume@indra.com
Subject: Re: [h-cost] famous 16th c. bumroll picture
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Date: Wed, 23 Oct 2002 15:42:46 -0000
Status: RO

I communicate with a few of the auction houses around the US and abroad. If you can provide me with that name that you have I can at least rule out that their estate passed through their hands in the last 50 years or so. Will that help?

If you have already done this then try a search of 16c Flemish art in the various catalogs you may have to see if you can narrown down a different publication that may have a better citation of where the image is now. :)

Chiara

On Wed, 23 Oct 2002 10:46:25 -0400 (EDT), Drea Leed wrote:
>Dear List,
>
>Here's another question for y'all...I'm putting together an article on
>bumrolls, and am looking for the actual, honest-to-god real location and
>source for that c. 1600 Flemish print that shows several women trying on
>bumrolls.  It's in Corsets & Crinolines by Norah Waugh, Queen Elizabeth's
>Wardrobe Unlock'd by Janet Arnold, and others.  Unfortunately, the source
>is always cited as "from a Private Collection".  Nowhere in the
>bibliography or citations or "thanks-for-letting-us-use-this-picture"
>sections is anything further mentioned.
>
>I do have a Dutch book from the 1930s that has a redrawing of it and
>mentions the last name of the owner, but i have a feeling that the owner's
>no longer around.  :)
>
>Any clues?  Has anyone else ever tried to hunt this particular picture
>down?
>
>Thanks,
>
>Drea
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>

-- 
Chiara

-- 
XS2Mail: Check your mail anywhere                     http://www.xs2mail.com/
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From h-costume-admin@indra.com  Wed Oct 23 12:08:35 2002
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Subject: [h-cost] Mara's Kit
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Date: Wed, 23 Oct 2002 16:07:44 +0000
Status: RO



Lovely costume Mara, and the coif is fantastic!

I'd agree with Kate and Nicole about the partletts and blackwork.
While searching for references to partlets I came across 'tuckers' going 
from 1600 right up to 1700ish. This might explain how the partlet was 
worn,tucked in instead of worn out. I'm sure I've seen in a Dutch painting 
somewhere a young woman wearing the partlet tied over what appear to be 
bodies, and she's about to put a 'jacket' on.
I came across a probate reference to partellette/tuker, in the Hampshire 
record office.
The other thing we don't see very much of are forehead cloths/cross cloths, 
there are literally hundreds of references to them mid 16th century right up 
to 18th,(Refs from Court sessions, they were a popular item to steal!), but 
I think they may be indoor/housework/pregnancy/sickbed/childs wear.

What is a real problem is the shortage of pictures other than Hollar and 
woodcuts showing working class English costume during the 17th century, oh 
for an English le Nain!.

regards
Joy

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From h-costume-admin@indra.com  Wed Oct 23 13:21:14 2002
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] famous 16th c. bumroll picture
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Date: Wed, 23 Oct 2002 12:26:05 -0500 (CDT)
Status: RO


On Wed, 23 Oct 2002, Drea Leed wrote:

> Here's another question for y'all...I'm putting together an article on
> bumrolls, and am looking for the actual, honest-to-god real location and
> source for that c. 1600 Flemish print that shows several women trying on
> bumrolls.  It's in Corsets & Crinolines by Norah Waugh, Queen Elizabeth's
> Wardrobe Unlock'd by Janet Arnold, and others.

It's also in Linthicum, "Costume in the Drama of Shakespeare," plate VI.
Maybe a better credit line there? I don't have a copy of the book handy,
just a footnote reference from my own papers.

--Robin

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From h-costume-admin@indra.com  Wed Oct 23 13:39:10 2002
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Subject: [h-cost] Blackwork cap
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Date: Wed, 23 Oct 2002 12:33:46 -0500
Status: RO

I fully agree about the blackwork Kate, I have found absolutely nothing
which is decorated with blackwork in any of my images except for the one
1660s painting of the lacemaker, where she wears a blackworked coif.
Admittedly I don't focus on the first half of the 17th c but still, I
noticed  a remarkable _lack_ of blackwork.

Nicole
>>>>>>>>>>>>>>>>>>>>
I wondered about this myself.  The lacemakers cap really stands out
when you look at other paintings contemporary to it.  Anyone seen a
theory on this?  Was the painter perhaps trying to emphasize the
domestic arts?  I don't know enough about the painting conventions of
this period to hazard more than a guess.

Wasn't the period just before the ECW when samplers were taught in the
girls schools and they went on to do the padded (now called stumpwork)
work frames and boxes?  I think Kathleen Epstein did a book on this. 
This would probably be a better type of needlework to steer folks
toward, altho when you are hooked on counting blackwork it is a poor
substitute :).

Ok, anyone got directions/pattern for the wired cap, it is so RIGHT :).
 Thanks for the pics!

Catherine
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Subject: [h-cost] Off With Their Corsets !
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Date: Wed, 23 Oct 2002 19:33:30 +0100
Status: RO

Here is a link to a news item which might amuse you:-

http://abc.net.au/news/newsitems/s708442.htm

I wonder what the corsets looked like before they went ?

Linda Walton.
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From h-costume-admin@indra.com  Wed Oct 23 15:16:39 2002
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 23 Oct 2002 21:14:46 +0200
Status: RO

Dear Nadine.
I am very shamefull because i did not send you any thanks at all for finding
this picture for me.
It was very generously done.
Thanks a lot!

Bjarne who blushes all over...........

----- Original Message -----
From: "Nadine Pelikan" <crlace@earthlink.net>
To: <h-costume@indra.com>
Sent: Monday, October 07, 2002 12:39 AM
Subject: Re: [h-cost] Maria Theresia Dress


> Bjarne,
> Here is a URL for Meyten's, the lace dress portrait is the fourth down.
> Nadine
>
> http://gallery.euroweb.hu/html/m/meytens/
>
> _______________________________________________
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From h-costume-admin@indra.com  Wed Oct 23 15:22:53 2002
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Subject: Re: [h-cost] Pics from St. Mary's
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Date: Wed, 23 Oct 2002 21:12:33 +0200
Status: RO

Hi Mara,
Thanks for your generosity in showing us those pictures from St. Mary.
Is it to be the reenacting of a soldiers camp?
It looks lovely, where are you having this even`t? Isnt it very cold in the
nights in the tents? It must be great to feel how they lived their lifes in
those days, very primitive and also a little romantic perhaps, at least when
it just is a coupple of days, and you know you can go home later to have a
bath and watch the tv ;-)
Thanks for sharing

Bjarne

----- Original Message -----
From: "Mara Riley" <corbiegirl@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, October 23, 2002 1:13 AM
Subject: [h-cost] Pics from St. Mary's


> Folks, I just changed my subscription to H-Costume to this address,
> temporarily.
>
> The pics from St. Mary's City are at:
> http://www47.pair.com/lindo/Temp/StMarys2002/
>
> By the way, Mike Tartaglio made the black triangle-chair (is there an
> official name for those?) in the 'JeffD.jpg' picture.  Nice work!
> The costume Jeff is wearing is one of my works-in-progress; I just
> finished the collar and the gauntlet trim, and now need to make him
> some proper cuffs.
>
> I can't remember the name of the guy doing the Polish impression --
> Mark something.  Neat costume, though!  And a really fun guy.
>
> The cap in 'wiredcap.jpg' is my best guess at how those things were
> made.  It does stay on my head, with the help of a pin at the crown.
>
> -- Mara
>
>
> __________________________________________________
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> Y! Web Hosting - Let the expert host your web site
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Subject: [h-cost] Dutch painting Exhibition (was Pics from St. Mary's)
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Date: Wed, 23 Oct 2002 16:19:43 -0400
Status: RO

Subject: Re: [h-cost] Pics from St. Mary's


> Hey! Nice pictures! I always enjoy seeing how other folks play! <g>
> I've never seen those triangle-shaped chairs before, though....not sure
> if they're cool or weird. (it's early okay? and my brain's not
> functioning completely?)


Currently on Exhibition in Albany, NY, are a lot of paintings, etc., of
Dutch life.    I am a bit over an hour west of there, but would be happy to
host anyone who would like to see this exhibition but might need to spend a
night.   This is off the web page, without the pictures:
http://www.albanyinstitute.org/exhibits/current.htm
Rowena
----------------------------------------------------------------------------
----

This fall AIHA has a feast of Dutch treats for you as part of the 2002
Albany Heritage Year, celebrating Albany's Dutch heritage and the 350th
anniversary of the founding of the Dutch village of Beverwijck (later to
become Albany).
The centerpiece exhibition:    Matters of Taste  (09/21/02-12/08/02)

Related exhibitions:
Albany Underfoot: Archeology in Albany (09/21/02-03/02/03)
Dutch Tiles (09/21/02-03/02/03)
Traders and Culture (ongoing)

--------------------------------------------------
MATTERS OF TASTE:   Food and Drink in Seventeenth-Century Dutch Art and Life
 September 21-December 8, 2002
    This unique exhibition presents 55 extraordinary Dutch and Flemish
paintings together for the first time ever and exclusively on view at the
Albany Institute. You will see stunning still lifes and lively genre scenes
offering a feast for the eyes, food for thought and a sampling of Dutch
foodways.

    Guest curators Donna R. Barnes and Peter Rose bring together
perspectives from art history and culinary history. Still lifes, tavern
scenes, market scenes, kitchen scenes and scenes of festive occasions by
more than 30 artists such as Jan Steen, Clara Peeters, Adriaen van Ostade,
Jan Davidsz. de Heem, Pieter Claesz., and Willem Claesz. Heda will be
featured.
    Matters of Taste is the first exhibition to explore the role of food and
drink in the art and life of Holland in the 17th century and their
influences in the New World, especially in New Netherland, and in American
traditions that last to the present day.
    The paintings are on loan from some of the most prestigious public and
private collections in the US, including the Metropolitan Museum of Art,
Worcester Museum of Art, Wadsworth Athenaeum, and the National Gallery or
Art. Many of the paintings belonging to private collectors have never been
exhibited before.
A book to accompany this exhibition can be purchased from the AIHA shop

Events:
Complete list of programs and events on all things Dutch at AIHA
How Matters of Taste relates to Albany:

Albany Underfoot -   September 21-March 2, 2003

    This exhibition explores Albany's past through a selection or artifacts
recently unearthed at four archeological excavations in downtown Albany.
    The landscape of Albany keeps changing as succeeding generations of
residents have left their mark on the city.  Archeological excavations
conducted during recent construction projects in downtown Albany have added
to our understanding of Albany's past. Albany Underfoot examines a selection
of artifacts and the stories they tell from four local sites.

    The Vereberg Tavern was an 18th -19th century rural tavern/homesite that
served as a stopping point between Albany and Schenectady.  It was excavated
in the 1950s by an amateur archaeologist.  Among the findings: fragments of
a black transfer printed earthenware saucer, a handless pearlware teacup
with pink freehand floral decoration, pipe fragments, flint arrowheads and
bone and metal buttons.

    The Fondey site was an urban warehouse that was destroyed in a fire in
1797, located in downtown Albany on Broadway.  Because merchant John Fondey,
Jr. specialized in the sale of ceramics, glassware and mirrors, there was a
tremendous inventory that was destroyed.  Much of the archaeological record
consists of millions of fragments of burned pearlware imported from England.

    The third site was a boarding house at 40 Howard Street from the
mid-19th century that hosted middle- and lower-class temporary residents in
an urban residential setting.  Among the typical ceramics and glass shards
found in the archaeological record, the findings also included fragrance
bottles, window glass, toothbrush, coins and a mid-19th century bone hairpin
with the figure of Queen Victoria in profile.

The Yates-Lansing site was the urban homesite of Abraham Yates, Jr., the
great political leader of late 18th century Albany, and his daughter's
family.  Excavations of a privy yielding the information from this
post-Revolutionary War site, also located on Broadway in downtown Albany.
Imported ceramics and glassware were among the findings from this family
home.
----------------------------------------------------------------------------
----
Dutch Delft tiles      September 21-March 2, 2003

    This exhibition features a selection of eighteenth and nineteenth
century Delft tiles from the Albany Institute's collection.
    Home interiors in the Netherlands (the present-day Benelux nations) and
throughout the world were decorated with Delft wall tiles from the end of
the 16th century.  Since many Dutch houses were built near canals, these
waterproof squares of glazed and fired clay were often used as baseboards to
prevent rising damp.  They also decorated walls and were popularly placed
around fireplaces for easier cleaning.
    During the first half of the eighteenth century, Delft tiles were
imported to New York from the Netherlands.  Although Delft tiles are
primarily blue and white, purple and white tiles were also found in New York
colonial houses.
    The tiles in AIHA's collection were acquired by either gift or purchase.
In a few examples, we know the name of the Albany home from which they were
removed.  Of the more than 90 Delft tiles in the collection, all were
produced in the Netherlands.  The exact city or tileworks is not known.
    The majority of the tiles are 5 1/8 inches square and the "traditional"
blue and white, created when cobalt aluminate was added to the tin glaze.
If manganese oxide was added to the tin glaze, the result was purple and
white tiles.  Delft tiles were also polychromed.
    Biblical scenes from the Old and New Testaments were popular motifs but
early Delft tiles were also decorated with landscapes, flowers, animals and
people at work and play.
----------------------------------------------------------------------------
----
Traders and culture    = ongoing

This exhibition explores Colonial Albany with AIHA's renowned collection of
material culture.
This exhibition is part of AIHA's continuing exhibitions.

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Date: Wed, 23 Oct 2002 22:51:05 +0200
Status: RO

Hi Drea,
Was there something about you were looking after a colour picture of the
portrait of Elizabeth Vernon, Countess of Southhampton. The picture where
she is wearing a pink corset.
Did you find it online?
Otherwise i have found a fine picture in colours.
Let me know if you are interrested.

Bjarne


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From h-costume-admin@indra.com  Wed Oct 23 16:57:56 2002
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Subject: Re: [h-cost] historical costume-funny
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Date: Wed, 23 Oct 2002 22:59:09 +0200
Status: RO

Oh god! You really made my day with this. I have not laughed that much for a
looong time.
thanks a lot!
----- Original Message -----
From: "Marsha Hamilton" <mjh@pearlandplume.com>
To: <h-costume@indra.com>
Sent: Wednesday, October 23, 2002 2:02 AM
Subject: Re: [h-cost] historical costume-funny


> I was once in full Tudor and was asked if I was portraying Dolly Madison.
> Another time the same outfit raised the question of whether I was Queen
> Victoria.
>
> History--its just one big heap of old stuff.
>
> Marsha H.  (Back after a few years absence--good to hear everyone again.)
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-admin@indra.com  Wed Oct 23 17:22:39 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Blackwork cap
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Date: Wed, 23 Oct 2002 22:22:01 +0100 (BST)
Status: RO

 --- Catherine Kinsey <Ckinsey@kumc.edu> wrote: > > I wondered about this
myself.  The lacemakers cap really stands out
> when you look at other paintings contemporary to it.  Anyone seen a
> theory on this?  Was the painter perhaps trying to emphasize the
> domestic arts?  I don't know enough about the painting conventions of
> this period to hazard more than a guess.

As far as I know there isn't anyone who has 'bothered' to form a theory about
this, because I wonder if anyone else is as baffled as we are! *laughs*
Your guess is as good as mine, BUT I have to say when you look at her shoes
(one lying sideways on the floor) they are totally out of fashion too, they are
cut-outs and not closed ones. I keep also wondering about the print she has
haphazardly pinned onto the wall.

> Wasn't the period just before the ECW when samplers were taught in the
> girls schools and they went on to do the padded (now called stumpwork)
> work frames and boxes?  I think Kathleen Epstein did a book on this. 
> This would probably be a better type of needlework to steer folks
> toward, altho when you are hooked on counting blackwork it is a poor
> substitute :).

Lots and lots of stumpwork in my period, but the problem is none of this
decorates the clothes (and certainly not easily). Oh yes you can have LOTS of
mebroidery on your clothes, but only on very posh clothes and who is able to do
raised goldwork or bothers with real spangles? Not many... People want pretty
things to wear, and blackwork is a relatively 'easily' achievable option. (no,
I don't mean blackwork is easy, how would I know, I haven't even ever done it -
'course not, I can't wear it in my period *G*)

> Ok, anyone got directions/pattern for the wired cap, it is so RIGHT :).
>  Thanks for the pics!

Yes, yes, PHUUULEEEEZE!

Nicole - who has an appointment tomorrow in the Canterbury Cathedral archives
to study 17th c wills. wheehee.

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

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Subject: Re: [h-cost] For Drea Elizabeth Vernon
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Date: Wed, 23 Oct 2002 23:52:02 +0200
Status: RO

Hi.
Yes it is almost a A4 size. I have it in a book about embroidery from Royal
School of Needlework.

Bjarne


----- Original Message -----
From: "Drea Leed" <drea@nospam>
To: <h-costume@indra.com>
Sent: Wednesday, October 23, 2002 11:32 PM
Subject: Re: [h-cost] For Drea Elizabeth Vernon


> I didn't find it online; I believe I have it in a book, but the picture is
> small.  Do you have a large picture of it?
>
> Thanks,
>
> Drea
>
> On Wed, 23 Oct 2002, Bjarne og Leif Drews wrote:
>
> > Hi Drea,
> > Was there something about you were looking after a colour picture of the
> > portrait of Elizabeth Vernon, Countess of Southhampton. The picture
where
> > she is wearing a pink corset.
> > Did you find it online?
> > Otherwise i have found a fine picture in colours.
> > Let me know if you are interrested.
> >
> > Bjarne
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
> h-costume mailing list
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Date: Thu, 24 Oct 2002 00:04:14 +0200
Status: RO

Hi,
I dont want to interrup with anything serious about this, because it is not
a period
 i know much about.
But i have read a lot about the cirkumstances conserning lacemakers.
Their wages were lousy, they earned very very little.
Perhaps it was very common that those lacemakers who lived alone was living
very poorly. Perhaps they used worn out clothes because they could not
afford
to buy new ones, and they sertainly had no time to sew new clothes. They had
to
make lace all day long till long time in the evening, using only one candle
light.
Perhaps The painter wanted to tell how lousy they lived by showing they used
old
clothes.
Often the dealer they made lace for, provided them with thread and patterns
and he
practically owned them. They had no way out. If they wanted to emigrate to
another
provnse, the dealer was very upset, and tryed to stop this by all
means.......
This is one of my favourite topics, the story of lace makers. I have read
all their is to
find about the lacemakers at Tonder in Denmark.

Bjarne

----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, October 23, 2002 11:22 PM
Subject: Re: [h-cost] Blackwork cap


> --- Catherine Kinsey <Ckinsey@kumc.edu> wrote: > > I wondered about this
> myself.  The lacemakers cap really stands out
> > when you look at other paintings contemporary to it.  Anyone seen a
> > theory on this?  Was the painter perhaps trying to emphasize the
> > domestic arts?  I don't know enough about the painting conventions of
> > this period to hazard more than a guess.
>
> As far as I know there isn't anyone who has 'bothered' to form a theory
about
> this, because I wonder if anyone else is as baffled as we are! *laughs*
> Your guess is as good as mine, BUT I have to say when you look at her
shoes
> (one lying sideways on the floor) they are totally out of fashion too,
they are
> cut-outs and not closed ones. I keep also wondering about the print she
has
> haphazardly pinned onto the wall.
>
> > Wasn't the period just before the ECW when samplers were taught in the
> > girls schools and they went on to do the padded (now called stumpwork)
> > work frames and boxes?  I think Kathleen Epstein did a book on this.
> > This would probably be a better type of needlework to steer folks
> > toward, altho when you are hooked on counting blackwork it is a poor
> > substitute :).
>
> Lots and lots of stumpwork in my period, but the problem is none of this
> decorates the clothes (and certainly not easily). Oh yes you can have LOTS
of
> mebroidery on your clothes, but only on very posh clothes and who is able
to do
> raised goldwork or bothers with real spangles? Not many... People want
pretty
> things to wear, and blackwork is a relatively 'easily' achievable option.
(no,
> I don't mean blackwork is easy, how would I know, I haven't even ever done
it -
> 'course not, I can't wear it in my period *G*)
>
> > Ok, anyone got directions/pattern for the wired cap, it is so RIGHT :).
> >  Thanks for the pics!
>
> Yes, yes, PHUUULEEEEZE!
>
> Nicole - who has an appointment tomorrow in the Canterbury Cathedral
archives
> to study 17th c wills. wheehee.
>
> =====
> Nicole Kipar M.A.
> L'Age d'Or & Kirke's Lambs
> Civilian & Military  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 Oct 23 18:34:09 2002
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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] For Drea Elizabeth Vernon
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Date: Wed, 23 Oct 2002 17:32:57 -0400 (EDT)
Status: RO

I didn't find it online; I believe I have it in a book, but the picture is
small.  Do you have a large picture of it?

Thanks,

Drea

On Wed, 23 Oct 2002, Bjarne og Leif Drews wrote:

> Hi Drea,
> Was there something about you were looking after a colour picture of the
> portrait of Elizabeth Vernon, Countess of Southhampton. The picture where
> she is wearing a pink corset.
> Did you find it online?
> Otherwise i have found a fine picture in colours.
> Let me know if you are interrested.
>
> Bjarne
>
>
> _______________________________________________
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From h-costume-admin@indra.com  Wed Oct 23 19:55:26 2002
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Subject: [h-cost] artistic conventions
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Date: Wed, 23 Oct 2002 13:54:11 -1000 (HST)
Status: RO

	A few years back there was mention of several sources that
discussed medieval artistic conventions in relation to clothing.  E.g.,
tipoffs that someone was foreign, associated with ___, or exotic in some
other way.  One of them was Signs of Otherness by Ruth Mellinkoff.  Does
anyone remember or know of any others?

--annora

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From h-costume-admin@indra.com  Wed Oct 23 21:48:16 2002
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Subject: [h-cost] Kate -- Re: History of nuns' dress? Help!
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Date: Wed, 23 Oct 2002 07:09:04 -0700
Status: RO

At 9:10 AM +0100 10/23/02, Kate M Bunting wrote:
>  >>> claning@igc.org 10/22/02 08:01pm >>> wrote:
>
>>It does, BTW, seem to be an urban legend (to tie in another thread!) that
>>nuns' costumes are simply "fossilized" medieval garb. While some of 
>>them >did, of course, have their origins then, there HAVE been 
>>changes -
>
>What I actually suggested was that the habits I remembered seeing in 
>my childhood were fossilised mediaeval garb - I know they have 
>modernised since then.

Apologies -- I know you did, and I didn't mean you -- just that this 
is another urban legend I'd like to head off before it starts :)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From h-costume-admin@indra.com  Wed Oct 23 23:36:20 2002
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Blackwork cap
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Date: Thu, 24 Oct 2002 13:33:33 +1000 (EST)
Status: RO

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote:<snip>
> Lots and lots of stumpwork in my period..<snip>


Apologies if this is a question best suited to a
needlework list, but I was wondering whether anyone
could give me a brief explanation of what stumpwork
is? A pic of an example would be cool too, if there's
one online to be had. Thanks. :)



Bella

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From h-costume-admin@indra.com  Wed Oct 23 23:42:03 2002
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Subject: [h-cost] Stumpwork (was Blackwork cap)
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Date: Thu, 24 Oct 2002 13:33:47 +1000 (EST)
Status: RO

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote:<snip>
> Lots and lots of stumpwork in my period..<snip>


Apologies if this is a question best suited to a
needlework list, but I was wondering whether anyone
could give me a brief explanation of what stumpwork
is? A pic of an example would be cool too, if there's
one online to be had. Thanks. :)



Bella

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From h-costume-admin@indra.com  Thu Oct 24 00:13:43 2002
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Date: Thu, 24 Oct 2002 00:11:34 -0400
Status: RO

At Wed, 23 Oct 2002 10:46:25 -0400 (EDT), Drea Leed wrote:

>Here's another question for y'all...I'm putting together an article on
>bumrolls, and am looking for the actual, honest-to-god real location and
>source for that c. 1600 Flemish print that shows several women trying on
>bumrolls.  It's in Corsets & Crinolines by Norah Waugh, Queen Elizabeth's
>Wardrobe Unlock'd by Janet Arnold, and others.  Unfortunately, the source
>is always cited as "from a Private Collection".  Nowhere in the
>bibliography or citations or "thanks-for-letting-us-use-this-picture"
>sections is anything further mentioned.

I saw this one a couple of months ago at the Metropolitan Museum of Art's 
Costume Institute exhibit, "Extreme Beauty: The Body Transformed". It's 
copied in the collection catalog in a double-page spread (pp. 106-107). The 
info on it is:

"After Maarten de Vos, _The Vanity of Women: Masks and Bustles_, engraving, 
ca. 1600. The Metropolitan Museum of Art, The Costume Institute. Purchase, 
Irene Lewisohn Trust, 2001 (2001.341.1)."

Hope this helps.


Brenda F. Bell
webwarren@earthlink.net


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Subject: Re: [h-cost] Kate -- Re: History of nuns' dress? Help!
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Date: Thu, 24 Oct 2002 08:04:36 +0100 (BST)
Status: RO

 --- Chris Laning <claning@igc.org> wrote: >
> Apologies -- I know you did, and I didn't mean you -- just that this 
> is another urban legend I'd like to head off before it starts :)

That was an urban legend? Never knew that, because I had never heard claimed
what you warned of. Maybe I just don't hear/know urban legends. Yeah right.

Nicole

=====
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L'Age d'Or & Kirke's Lambs 
Civilian & Military  Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: Picture: Re: [h-cost] Stumpwork (was Blackwork cap)
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Date: Thu, 24 Oct 2002 08:15:07 +0100 (BST)
Status: RO

 --- Bella <bella_lucia_da_verona@yahoo.com.au> wrote: >  --- N Kipar
<nicolas_fouquet@yahoo.com> wrote:<snip>
> > Lots and lots of stumpwork in my period..<snip>
> 
> 
> Apologies if this is a question best suited to a
> needlework list, but I was wondering whether anyone
> could give me a brief explanation of what stumpwork
> is? A pic of an example would be cool too, if there's
> one online to be had. Thanks. :)

There you are Bella, a lovely stumpwork panel of Charles II and Catherine from
Braganza:

http://www.kipar.org/embroidery/maidstone_beadwork.jpg

The info to the panel is here:
http://www.kipar.org/costumes_embroidery.html

Nicole

=====
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L'Age d'Or & Kirke's Lambs 
Civilian & Military  Living History Society 1660-1715
URL: http://www.kipar.org/
Email: marquis@kipar.org

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Subject: lacemaker (picture) Re: [h-cost] Blackwork cap
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Date: Thu, 24 Oct 2002 08:19:30 +0100 (BST)
Status: RO

Wow, thank you Bjarne, that was really interesting. I have to say about the
painting though that although she is wearing old fashioned clothes, they are
very neat and don't look worn. Let's try to find the pic online...

Ha! I knew I had it scanned and up on my site, it's in the Dutch galleries:

http://www.kipar.org/paintings/dutch/spitze.jpg

I am actually wondering if the paintings hasn't been dated wrong. Well, hm,
unless he signed it with a date of course *L*

Nicole

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Hi,
> I dont want to interrup with anything serious about this, because it is not
> a period
>  i know much about.
> But i have read a lot about the cirkumstances conserning lacemakers.
> Their wages were lousy, they earned very very little.
> Perhaps it was very common that those lacemakers who lived alone was living
> very poorly. Perhaps they used worn out clothes because they could not
> afford
> to buy new ones, and they sertainly had no time to sew new clothes. They had
> to
> make lace all day long till long time in the evening, using only one candle
> light.
> Perhaps The painter wanted to tell how lousy they lived by showing they used
> old
> clothes.
> Often the dealer they made lace for, provided them with thread and patterns
> and he
> practically owned them. They had no way out. If they wanted to emigrate to
> another
> provnse, the dealer was very upset, and tryed to stop this by all
> means.......
> This is one of my favourite topics, the story of lace makers. I have read
> all their is to
> find about the lacemakers at Tonder in Denmark.
> 
> Bjarne


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

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Subject: Re: [h-cost] Re: History of nuns' dress?
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Date: Thu, 24 Oct 2002 09:39:09 +0100 (BST)
Status: RO

 --- Chris Laning <claning@igc.org> wrote: > Probably the best resource that I
know of on medieval religious
> women's garb is Desiree Koslin's PhD dissertation, _The Dress of
> Monastic & Religious Women as seen in Art from the Early Middle Ages
> to the Reformation_. I haven't read all of it yet, but have been
> delighted with the bits I have dipped into. I was able to get a copy
> of this through UMI Dissertation Services (it's UMI #9917057), who 
> have this and many
> other theses and dissertations on microfilm, and will print and send
> a paper copy for (I think it was) something like $35. They are at :
> http://www.bellhowell.infolearning.com

Cheers! I ordered it straight away, amazingly enough the price is the same for
shipping to the UK, 34 dollars. It'll take 2-3 weeks, but nevermind. I also
checked with my ILL and they don't get dissertations from the US anymore, the
British Library stopped buying them and because this is from 1999 i have to buy
it. Still, it is pretty good service to get a dissertation to me doorstep. :-)

Nicole

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

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Date: Thu, 24 Oct 2002 04:39:07 -0700
Status: RO

www.patternstudio.com

I know nothing about these people, having just followed a link somebody 
else posted.  I don't even know if the glove patterns come in sizes.  But 
they do seem to come in several shapes, including men's, and 
women's-very-long (one pattern for leather and the other pattern for Spandex).

Kayta

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Date: Thu, 24 Oct 2002 13:35:03 -0000
Status: RO

Her patterns are all modern, non of them are from any of the periods that most of those on this list use or need.

I have several of them myself cause that is what I do, make gloves. :)

She is wonderful and I think she is just great!! Her pattern can be traced to the patterns used from 1950's on. That is pretty much when they started to make the thumb pattern that we see in all our modern day gloves. It really did not catch on at first. It was not until Jackie O in the 60's that they really took off. So that is the pattern that she uses.

She loves to talk about her work and her patterns. She has a kit and will stay on the phone with you while you try to work through it which is a rare gift. I highly recommend that everyone try her patterns if they fit into your period. She is the closet thing we have here in the U.S. to a master glove maker. There are about 2 others in this country that in my eyes have that status, the rest, well, I do not recommend them at all. They are in it for the money only an not the art and their work is horrible.

Chiara
http://www.glove.org/ (uploading new code tonight...and pictures)

On Thu, 24 Oct 2002 04:39:07 -0700, Carolyn Kayta Barrows wrote:
>www.patternstudio.com
>
>I know nothing about these people, having just followed a link somebody 
>else posted.  I don't even know if the glove patterns come in sizes.  But 
>they do seem to come in several shapes, including men's, and 
>women's-very-long (one pattern for leather and the other pattern for Spandex).
>
>Kayta
>
>    //// \
>   ////-@@\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
>/----   /---))
>
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-- 
Chiara

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Date: Thu, 24 Oct 2002 08:11:48 -0600
Status: RO

*sigh* If I didn't already want to hate you for your lovely clothes, I
sure could for your research opportunities! <g>
--sue, going off to look at her bookshelves to remind herself that she
has new, kewl books she can read, so she doesn't get to be *too* grumpy!

N Kipar wrote:
> 
> Yes, yes, PHUUULEEEEZE!
> 
> Nicole - who has an appointment tomorrow in the Canterbury Cathedral archives
> to study 17th c wills. wheehee.
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From: Jonna Hayden <jonna_hayden@yahoo.com>
Subject: Re: [h-cost] For Drea Elizabeth Vernon
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Date: Thu, 24 Oct 2002 07:27:19 -0700 (PDT)
Status: RO

Drea-

There's a large picture of this portrait in "The Treasure
Houses of Britian" Five Hundred Years of Private Patronage
and Art Collecting, edited by Gervase Jackson-Stops. 
ISBN:0-300-03504-7, page 129.  The reproduction is so good
you can see she's wearing a sheer petticoat over her
skirt--and the waistline of the petticoat follows the line
of the bottom of the corset!

Jonna
--- Drea Leed <drea@nospam> wrote:
> I didn't find it online; I believe I have it in a book,
> but the picture is
> small.  Do you have a large picture of it?
> 
> Thanks,
> 
> Drea
> 
> On Wed, 23 Oct 2002, Bjarne og Leif Drews wrote:
> 
> > Hi Drea,
> > Was there something about you were looking after a
> colour picture of the
> > portrait of Elizabeth Vernon, Countess of Southhampton.
> The picture where
> > she is wearing a pink corset.
> > Did you find it online?
> > Otherwise i have found a fine picture in colours.
> > Let me know if you are interrested.
> >
> > Bjarne
> >
> >
> > _______________________________________________
> > 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 Oct 24 10:32:38 2002
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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] For Drea Elizabeth Vernon
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Date: Thu, 24 Oct 2002 10:32:38 -0400 (EDT)
Status: RO

Wow!  I may have to get that book, too.

:)

Thanks,

Drea


On Wed, 23 Oct 2002, Bjarne og Leif Drews wrote:

> Hi.
> Yes it is almost a A4 size. I have it in a book about embroidery from Royal
> School of Needlework.
>
> Bjarne
>
>
> ----- Original Message -----
> From: "Drea Leed" <drea@nospam>
> To: <h-costume@indra.com>
> Sent: Wednesday, October 23, 2002 11:32 PM
> Subject: Re: [h-cost] For Drea Elizabeth Vernon
>
>
> > I didn't find it online; I believe I have it in a book, but the picture is
> > small.  Do you have a large picture of it?
> >
> > Thanks,
> >
> > Drea
> >
> > On Wed, 23 Oct 2002, Bjarne og Leif Drews wrote:
> >
> > > Hi Drea,
> > > Was there something about you were looking after a colour picture of the
> > > portrait of Elizabeth Vernon, Countess of Southhampton. The picture
> where
> > > she is wearing a pink corset.
> > > Did you find it online?
> > > Otherwise i have found a fine picture in colours.
> > > Let me know if you are interrested.
> > >
> > > Bjarne
> > >
> > >
> > > _______________________________________________
> > > 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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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] famous 16th c. bumroll picture (Drea Leed)
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Date: Thu, 24 Oct 2002 10:40:14 -0400 (EDT)
Status: RO

Brenda,

Thanks so much!  This is exactly what I was looking for. The internet is
truly a wonderful thing.

Yours,

Drea


On Thu, 24 Oct 2002, Brenda Bell wrote:

> At Wed, 23 Oct 2002 10:46:25 -0400 (EDT), Drea Leed wrote:
>
> >Here's another question for y'all...I'm putting together an article on
> >bumrolls, and am looking for the actual, honest-to-god real location and
> >source for that c. 1600 Flemish print that shows several women trying on
> >bumrolls.  It's in Corsets & Crinolines by Norah Waugh, Queen Elizabeth's
> >Wardrobe Unlock'd by Janet Arnold, and others.  Unfortunately, the source
> >is always cited as "from a Private Collection".  Nowhere in the
> >bibliography or citations or "thanks-for-letting-us-use-this-picture"
> >sections is anything further mentioned.
>
> I saw this one a couple of months ago at the Metropolitan Museum of Art's
> Costume Institute exhibit, "Extreme Beauty: The Body Transformed". It's
> copied in the collection catalog in a double-page spread (pp. 106-107). The
> info on it is:
>
> "After Maarten de Vos, _The Vanity of Women: Masks and Bustles_, engraving,
> ca. 1600. The Metropolitan Museum of Art, The Costume Institute. Purchase,
> Irene Lewisohn Trust, 2001 (2001.341.1)."
>
> Hope this helps.
>
>
> Brenda F. Bell
> webwarren@earthlink.net
>
>
> _______________________________________________
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Research, was Re: [h-cost] Blackwork cap
To: h-costume@indra.com
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Date: Thu, 24 Oct 2002 16:42:16 +0100 (BST)
Status: RO

Awwwww.. Sue... it isn't as exciting as it sounds, I sat two hours pinning down
numbers from indexes, and am only on page 50 of index no one. So, that means I
have to do that for many more days to come to then go to the microfiche to
actually take a look at the wills and inventories themselves, and THEN I get to
go to Maidstone and continue the whole shebang (but on Saturdays) in the county
archives.
*G*

Nicole - who finds trawling through indexes therapeutic

--- Sue Clemenger <mooncat@in-tch.com> wrote: > *sigh* If I didn't already want
to hate you for your lovely clothes, I
> sure could for your research opportunities! <g>
> --sue, going off to look at her bookshelves to remind herself that she
> has new, kewl books she can read, so she doesn't get to be *too* grumpy!
> 
> N Kipar wrote:
> > 
> > Yes, yes, PHUUULEEEEZE!
> > 
> > Nicole - who has an appointment tomorrow in the Canterbury Cathedral
> archives
> > to study 17th c wills. wheehee.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] Journal Fashion Theory
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Date: Thu, 24 Oct 2002 17:37:11 +0100 (BST)
Status: RO

Is anyone here subscribed the the journal 'Fashion Theory' which started back
in 1997 and comes out quarterly?

It doeshave some bits on historical fashion, and I wondered if anyone here can
vouch for its quality. Aileen Ribeiro is one of the editors, so that's hopeful.

Cheers, I wouldn't ask if I didn't know that this list is a gold mine of
information

Nicole

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Subject: [h-cost] Re: History of nuns' dress? Help!
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Date: Thu, 24 Oct 2002 15:08:46 -0400
Status: RO

On Thu, 24 Oct 2002 Nicole <nicolas_fouquet@yahoo.com> wrote:

>  --- Chris Laning  wrote: >
> > Apologies -- I know you did, and I didn't
> mean you -- just that this 
> > is another urban legend I'd like to head off
> before it starts :)
> 
> That was an urban legend? Never knew that,
> because I had never heard claimed
> what you warned of. Maybe I just don't
> hear/know urban legends. Yeah right.

Well, it seems to me that every time someone asks about medieval nuns'
clothing, the #1 piece of advice they get is to go ask some modern nuns. (Or
else their own parish priest....) Makes me grit my teeth, because while
occasionally you WILL find modern nuns who know about the history of the
old-fashioned clothing (which, of course, they don't always wear any more),
usually they don't -- and they don't always KNOW that they don't know, so they
will often give helpful, well-meaning comments about what they THINK the
history must have been.

One reason people get referred to modern nuns for this question is that there
definitely *is* a myth out there that nuns' clothing has not changed since the
Middle Ages. Like other "urban legends," it has an element of truth to it --
but  I keep having to point out that as the statement stands, this is highly
unlikely. Like any other costume, you will find isolated "survivals" here and
there -- but the business of nuns is prayer and service, not historical
re-enactment, and most of them will not hesitate to make changes in their
clothing for practical reasons. (This was true even before Vatican II.)

BTW, I was on a retreat at a monastery of the Order of the Visitation once,
and when I was sent to help fold laundry, I was tickled to discover that while
the nuns wear modern-looking street-length dresses now, their _nightgowns_ are
still cut like a Renaissance shirt, complete with square underarm gussets!

Also BTW, _Textile Conservation & Research_ (from the Abegg Institute) has
pictures of a tunic that belonged to St. Francis of Assisi and a mantle that
belonged to St. Clare.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From h-costume-admin@indra.com  Thu Oct 24 15:13:28 2002
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Subject: [h-cost] Lacemaker and blackwork cap
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Date: Thu, 24 Oct 2002 14:09:57 -0500
Status: RO

Ha! I knew I had it scanned and up on my site, it's in the Dutch
galleries:

http://www.kipar.org/paintings/dutch/spitze.jpg 

I am actually wondering if the paintings hasn't been dated wrong. Well,
hm,
unless he signed it with a date of course *L*

Nicole
>>>>>>>>>>>>>>>>>>>>>>>
Thanks!  Looking closer at this picture again I noticed the broom
leaning in the corner.  Could this be another message, along with the
less-than-fashionable shoes, that this is a working class girl as Bjarne
suggests?  Could the cap be a leftover from better times?  What about
her bodice, how uptodate is it?

Catherine
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Subject: Re: [h-cost] Off With Their Corsets !
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In-Reply-To: <no.id> from "Linda Walton" at Oct 23, 2002 07:33:30 PM
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Date: Thu, 24 Oct 2002 13:14:40 -0700 (PDT)
Status: RO

here's a photo from the same story

http://www.sfgate.com/news/pictures/2002/10/23/unveiled8.jpg



> 
> Here is a link to a news item which might amuse you:-
> 
> http://abc.net.au/news/newsitems/s708442.htm
> 
> I wonder what the corsets looked like before they went ?
> 
> Linda Walton.
> _______________________________________________
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Date: Thu, 24 Oct 2002 15:38:11 -0500 (CDT)
Status: RO

Hello!  I'm new to the list and have been lurking a bit.  My interest was
peaked enough by the discussion of the 17th century portrait of the
lacemaker.  I primarily do 16th century garb, but I'm an art history major
and have an interest in all periods (even if I don't do recreations for
other periods.)  I was wondering if anyone had the artists name on that
painting so I could find it on-line...?  If I think of it, I'll ask one of
my professors, who specialized in 17th century art, for his spin on the
meaning...

Thanks!
Sandy

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Caspar Netscher, was Re: [h-cost] Re:Blackwork Cap
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Date: Thu, 24 Oct 2002 21:54:03 +0100 (BST)
Status: RO

Hello and welcome Sandy!

 --- Sandra Catherine Kaye <sckaye@csd.uwm.edu> wrote: > Hello!  I'm new to the
list and have been lurking a bit.  My interest was
> peaked enough by the discussion of the 17th century portrait of the
> lacemaker.  I primarily do 16th century garb, but I'm an art history major
> and have an interest in all periods (even if I don't do recreations for
> other periods.) 

Whoohoo, an extra-welcome then :-) even more expertise in this list, don't
think we can ever have enough.

 I was wondering if anyone had the artists name on that
> painting so I could find it on-line...?

Caspar Netscher, Dutch painter from the Hague, I saw several different dates,
all around the beginning of the 1660s. Actually, there is a date on the print
on the wall and a signature, and it does look like 1662. Here is one:

http://www.kfki.hu/~arthp/art/n/netscher/lacemake.jpg

and the same scan but on a different site:
http://www.gbacg.org/images/lacemake.jpg

Lovely lovely coif!

  If I think of it, I'll ask one of
> my professors, who specialized in 17th century art, for his spin on the
> meaning...

Oh yes please! do ask about the meaning of the two mussels on the floor, it has
been driving me mad, because I couldn't find their meaning, and I don't believe
that there isn't one. :-)

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Thu, 24 Oct 2002 21:58:23 +0100 (BST)
Status: RO

 --- Catherine Kinsey <Ckinsey@kumc.edu> wrote: > Thanks!  Looking closer at
this picture again I noticed the broom
> leaning in the corner.  Could this be another message, along with the
> less-than-fashionable shoes, that this is a working class girl as Bjarne
> suggests?  Could the cap be a leftover from better times?  What about
> her bodice, how uptodate is it?

Of course she is productive class, so much is clear, but her bodice is well
kept, and look, it even has fancy gold lacing! The cut of the bodice is
perfectly fashionable for the period. Could be from the 1650s but is fine for
the 60stoo. Bodice and skirt are from wool, and spotless.
Furthermore, you see brooms very often in Dutch paintings, signifying
housewives/chores and domesticity.
I am most intrigued by the whole composition, why is she sitting in a seemingly
empty place against a threadvare wall facing nothing, with that print slapped
onto the wall.

Nicole

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: History of nuns' dress? Help!
To: h-costume@indra.com
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Date: Thu, 24 Oct 2002 22:04:40 +0100 (BST)
Status: RO

 --- claning@igc.org wrote: > > Well, it seems to me that every time someone
asks about medieval nuns'
> clothing, the #1 piece of advice they get is to go ask some modern nuns. (Or
> else their own parish priest....) Makes me grit my teeth, because while
> occasionally you WILL find modern nuns who know about the history of the
> old-fashioned clothing (which, of course, they don't always wear any more),
> usually they don't -- and they don't always KNOW that they don't know, so
> they
> will often give helpful, well-meaning comments about what they THINK the
> history must have been.

Okay, well, I have to say that I have NEVER heard that advice before, so, uhm,
'always' and #1 piece of advice is perhaps, well, a tad of a generalisation and
exaggeration.

> BTW, I was on a retreat at a monastery of the Order of the Visitation once,
> and when I was sent to help fold laundry, I was tickled to discover that
> while
> the nuns wear modern-looking street-length dresses now, their _nightgowns_
> are
> still cut like a Renaissance shirt, complete with square underarm gussets!

How sweet! Actually, go and take a look at teh latest past times catalogue and
for years they have been selling their nightgowns, as far as I remember they
come completely with gussets too (some styles at least).

Looking forward to receiving the dissertation now. What a shame their search
function constantly gave an internal server error. Oh well, will try again
tomorrow. What I really like is that UMI charges as much for Europe shipping as
for within the US. That's fair.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
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Subject: Re: [h-cost] Lacemaker and blackwork cap
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Date: Thu, 24 Oct 2002 19:11:55 -0500 (CDT)
Status: RO


Another question about this same portrait:  What is in her hair, just
forward of the cap?

Emma

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Subject: Re: [h-cost] Journal Fashion Theory
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Date: Thu, 24 Oct 2002 17:26:06 -0700
Status: RO

Hi Nicole,

We subscribe to this journal at the library I work at, and it's an excellent
source for scholarly research in fashion.  I highly recommend it!

- Kendrda

----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
Subject: [h-cost] Journal Fashion Theory


> Is anyone here subscribed the the journal 'Fashion Theory' which started
back
> in 1997 and comes out quarterly?
>
> It doeshave some bits on historical fashion, and I wondered if anyone here
can
> vouch for its quality. Aileen Ribeiro is one of the editors, so that's
hopeful.


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From h-costume-admin@indra.com  Fri Oct 25 02:34:46 2002
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Subject: Re: [h-cost] Off With Their Corsets !
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Date: Fri, 25 Oct 2002 07:34:55 +0100
Status: RO

Thank you for this link.  It's a pleasure to see the ladies as the sculptor
intended.

Is it possible that there is a picture from before their corsets were
removed ?  My mind was still running on the debate about the uses of
surviving metal corsets when I saw this item, and I've been wondering how
they looked.  (And whether the article got the date right.)

Linda Walton.


----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Thursday, October 24, 2002 9:14 PM
Subject: Re: [h-cost] Off With Their Corsets !


> here's a photo from the same story
>
> http://www.sfgate.com/news/pictures/2002/10/23/unveiled8.jpg
>
> >
> > Here is a link to a news item which might amuse you:-
> >
> > http://abc.net.au/news/newsitems/s708442.htm
> >
> > I wonder what the corsets looked like before they went ?
> >
> > Linda Walton.

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Subject: Re: [h-cost] Lacemaker and blackwork cap
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Date: Fri, 25 Oct 2002 08:11:54 +0100 (BST)
Status: RO

 --- Emma Elizabeth Lehman <00217146@bigred.unl.edu> wrote: > 
> Another question about this same portrait:  What is in her hair, just
> forward of the cap?
> 
> Emma

They seem to be little beads, dangling at the temple, it's seen in quite a few
paintings of the period.

Nicole

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Date: Thu, 24 Oct 2002 23:37:33 -0700
Status: RO


>Her pattern can be traced to the patterns used from 1950's on. That is 
>pretty much when they started to make the thumb pattern that we see in all 
>our modern day gloves. It really did not catch on at first. It was not 
>until Jackie O in the 60's that they really took off. So that is the 
>pattern that she uses.

Maybe you're the one to ask about Victorian glove thumbs.  How are they 
different from modern ones?  Davenport's book has Diderot's glove pattern, 
the one from his 18th century encyclopedia.  Are Victorian ones like 
that?  I am very interested in making my own gloves, as my hand is very 
wide.  I have made a couple of pairs already, using modern gloves taken 
apart for patterns.


Kayta

    //// \\\
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Subject: Re: [h-cost] Blackwork cap
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Date: Thu, 24 Oct 2002 09:14:48 -0400
Status: RO

Bella asked:
> Apologies if this is a question best suited to a
> needlework list, but I was wondering whether anyone
> could give me a brief explanation of what stumpwork
> is? A pic of an example would be cool too, if there's
> one online to be had. Thanks. :)

Stumpwork is an embroidery technique of the 17th century, in which
detached buttonhole stitch is used to make three-dimensional figures.
You will often see boxes and other household items covered in it,
especially with garden-like scenes of a man and woman with trees,
flowers, animals, etc.  It's not much used on clothing.

K.

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Date: Fri, 25 Oct 2002 09:05:11 -0400
Status: RO

I thought this normally busy list was very quiet. When I received my #1402
digest last night, I noticed I hadn't received the six prior to this -- none
since #1396!  Wonder where they went -- floating out into cyberspace no
doubt....

Connie E. Fairchild 
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Subject: [h-cost] leather doublet
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Date: Fri, 25 Oct 2002 08:06:47 -0500
Status: RO

I am working on recreating the doublet and pluderhosen worn by Nils Sture
that is Janet Arnold. However, I have not worked with leather before and was
wondering if there are any tips, hints, quirks, etc. that I should be aware
of before starting to cut.

Also, it looks like the lining and outer layers are made seperately, and
then a strip of leather is used to bind them together, rather than sewing
right sides together like I would do with fabric. How would I do this part?
Do I need to tuck the "raw" edges under, or can I leave them out? Do I need
to sew this all down by hand, or is there a way to use a sewing machine? (If
by hand, I need to get working! This is a Christmas present for my brother).

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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Date: Fri, 25 Oct 2002 09:21:23 -0400
Status: RO

Did anyone get to this exhibit while it was in Detroit?  I'm planning to
attend in Nov. while it's in Chicago and I'd like to find out more about
what pieces are being shown, so that I can read up on them. I consider it a
once in a lifetime opportunity to see some of these pieces, since they are
billed as being rarely loaned.  I want to be well informed before I see them
so I don't come back wishing I'd looked more closely at something, or
totally missed what the artist was trying to convey.  I'm familiar with some
of the the ones mentioned through Art History, but what else is included?
Any suggestions? 

Connie E. Fairchild 
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Date: Fri, 25 Oct 2002 14:46:24 -0400
Status: RO

At 11:46 PM 10/22/02 -0400, you wrote:
>Hi. Unfortunately, I didn't make that chair, David Hoffmann did. I wish I
>had his skill in woodworking...oh, well.  Mike T.
>
>
> > By the way, Mike Tartaglio made the black triangle-chair (is there an
> > official name for those?) in the 'JeffD.jpg' picture.  Nice work!
>
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  Mike,

                 How can I contact Mr. Hoffmann to purchase such a thing?

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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Date: Fri, 25 Oct 2002 13:49:51 -0500
Status: RO

Mussels?  I hadn't even noticed these :).  I'm getting quite intriqued
by this portrait and the discussion.  She is a little out of my favorite
period but I have always like this picture because it was of a
bobbinlacer.  Sandy; if you can shed any more light on this please do!

My current favorite theory; she is the daughter of a wealthy merchant
or noble family, fallen on hard times.  Ok, so I read to many romances
in my youth....my majority....my rapidly approaching middle age :) :)
:).

Catherine
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Subject: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit
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Date: Fri, 25 Oct 2002 12:59:36 -0700 (PDT)
Status: RO

Hi Constance.

Do you mean this exhibit--"The Medici, Michelangelo,
and the Art of Late Renaissance Florence?" If so, it
has yet to open in Chicago (November 9, 2002 through
February 2, 2003)and will not be in Detroit until
mid-March 2003 (through June 8).

For more information, please go to:
http://www.artic.edu/aic/visitor_info/medici_release.html

I'm hoping to go to Detroit to see it during spring
break in March assuming that the weather cooperates!
Whenever I've been to Michigan in the winter, the
weather's been absolutely horrid. The last time I
ventured into Michigan in the winter, the van's tires
froze to the parking lot...

kate
who's saving her pennies so I can afford to go *and*
to buy the catalog (There will be an English-language
version of the Italian-language catalog, published by
the Yale University Press and the Detriot Institute of
Art.)

  
--- "Fairchild, Connie E."
<Connie.Fairchild@alcoa.com> wrote:
> Did anyone get to this exhibit while it was in
> Detroit?  I'm planning to
> attend in Nov. while it's in Chicago and I'd like to
> find out more about
> what pieces are being shown, so that I can read up
> on them. I consider it a
> once in a lifetime opportunity to see some of these
> pieces, since they are
> billed as being rarely loaned.  I want to be well
> informed before I see them
> so I don't come back wishing I'd looked more closely
> at something, or
> totally missed what the artist was trying to convey.
>  I'm familiar with some
> of the the ones mentioned through Art History, but
> what else is included?
> Any suggestions? 
> 
> Connie E. Fairchild 
> _______________________________________________
> 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:  Renaissance Art Exhibit in Chicago and Detroit
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Date: Fri, 25 Oct 2002 13:20:53 -0700 (PDT)
Status: RO

A link from the exhibit at the Palazzo Strozzi:
http://www.italica.rai.it/eng/principal/topics/art/michelangelo_genio.htm

This shows 3 pieces included in the exhibit:
http://www.italica.rai.it/eng/principal/topics/art/michelangelo_genio/works.htm

And the catalog is shipping next week (11/1). It's
available from Amazon for 30% off, so it's $42 and has
free shipping!
http://www.amazon.com/exec/obidos/tg/detail/-/0300094957/qid=1035576978/sr=1-1/ref=sr_1_1/002-6511067-6901639?v=glance

kate

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Date: Fri, 25 Oct 2002 18:02:43 -0400
Status: RO



Nicole:

Well, I've heard the advice to check modern orders with questions about
medieval clothes before, even if you haven't! And if you check the archives
here, you'll find it.

It may be good advice if you can contact a chapter house and if they have
documents about the habits in their archives, but I have no idea whether
that's common or not.

BTW, I am getting a masters degree at our local Catholic seminary, and the
very large library has three books on church vestments. Total. One was on
the historical development of vestments, which I looked at, and the other
two were of no interest to me so I don't remember what they were about. I
saw a very interesting book for sale in a bookstore (and of course I don't
remember what it was called) about current ideas and styles of church
vestments, altar cloths, hangings, etc. But the seminary doesn't have it --
or anything else on vestments published since before Vatican II.

I guess they're just not interested.

Gail Finke


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Subject: [h-cost] cotton netting & velour
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Date: Fri, 25 Oct 2002 15:34:08 -0700
Status: RO

Hi,

Does anyone know where I can find inexpensive cotton netting and cotton
velour?  In Velour I mean the knit stuff, not the woven.  I want white so I
can dye it.

tia
susan

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Subject: Re: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit
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Date: Fri, 25 Oct 2024 18:41:07 -0400
Status: RO

I don't suppose anyone knows where I could find a list of which paintings
exactly will be part of the exhibition? I'm still looking for that elusive
Laudomia de Medici portrait...

----- Original Message -----
From: "kate" <macailith@yahoo.com>
To: <h-costume@indra.com>
Sent: Friday, October 25, 2002 3:59 PM
Subject: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit


> Hi Constance.
>
> Do you mean this exhibit--"The Medici, Michelangelo,
> and the Art of Late Renaissance Florence?" If so, it
> has yet to open in Chicago (November 9, 2002 through
> February 2, 2003)and will not be in Detroit until
> mid-March 2003 (through June 8).
>
> For more information, please go to:
> http://www.artic.edu/aic/visitor_info/medici_release.html
>
> I'm hoping to go to Detroit to see it during spring
> break in March assuming that the weather cooperates!
> Whenever I've been to Michigan in the winter, the
> weather's been absolutely horrid. The last time I
> ventured into Michigan in the winter, the van's tires
> froze to the parking lot...
>
> kate
> who's saving her pennies so I can afford to go *and*
> to buy the catalog (There will be an English-language
> version of the Italian-language catalog, published by
> the Yale University Press and the Detriot Institute of
> Art.)
>
>
> --- "Fairchild, Connie E."
> <Connie.Fairchild@alcoa.com> wrote:
> > Did anyone get to this exhibit while it was in
> > Detroit?  I'm planning to
> > attend in Nov. while it's in Chicago and I'd like to
> > find out more about
> > what pieces are being shown, so that I can read up
> > on them. I consider it a
> > once in a lifetime opportunity to see some of these
> > pieces, since they are
> > billed as being rarely loaned.  I want to be well
> > informed before I see them
> > so I don't come back wishing I'd looked more closely
> > at something, or
> > totally missed what the artist was trying to convey.
> >  I'm familiar with some
> > of the the ones mentioned through Art History, but
> > what else is included?
> > Any suggestions?
> >
> > Connie E. Fairchild
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
>
> __________________________________________________
> Do you Yahoo!?
> Y! Web Hosting - Let the expert host your web site
> http://webhosting.yahoo.com/
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
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Date: Fri, 25 Oct 2002 23:48:03 +0000
Status: RO

The painting is in the Wallace Collection in London.
Nicole, I think the mussels are something to do with virginity or loss of 
it. The shoes on the floor are something to do with house keeping or a sign 
of bad housekeeping.
I must dig out  a book I have on symbolism in Dutch genre art.
regards
Joy


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Subject: Re: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit
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Date: Fri, 25 Oct 2002 22:55:19 -0500
Status: RO

I'm not sure which portraits they will be showing, but they will have an
extant dress on exhibit- I think it's one from Isabella D'Este but I
might not have the name right. A group of us from Bristol have been hired
to do Renaissance dance at two performances in conjunction with the
exhibit. Goody!


Karen




On Fri, 25 Oct 2024 18:41:07 -0400 "Audrey Bergeron-Morin"
<audreybmorin2@hotmail.com> writes:
> I don't suppose anyone knows where I could find a list of which 
> paintings
> exactly will be part of the exhibition? I'm still looking for that 
> elusive
> Laudomia de Medici portrait...

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Subject: Re: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit
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Date: Sat, 26 Oct 2002 11:09:48 -0500
Status: RO

Karen - when are you going to be dancing?

**********************
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: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Friday, October 25, 2002 10:55 PM
Subject: Re: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit


> I'm not sure which portraits they will be showing, but they will have an
> extant dress on exhibit- I think it's one from Isabella D'Este but I
> might not have the name right. A group of us from Bristol have been hired
> to do Renaissance dance at two performances in conjunction with the
> exhibit. Goody!
>
>
> Karen
>
>
>
>
> On Fri, 25 Oct 2024 18:41:07 -0400 "Audrey Bergeron-Morin"
> <audreybmorin2@hotmail.com> writes:
> > I don't suppose anyone knows where I could find a list of which
> > paintings
> > exactly will be part of the exhibition? I'm still looking for that
> > elusive
> > Laudomia de Medici portrait...
>
> ________________________________________________________________
> Sign Up for Juno Platinum Internet Access Today
> Only $9.95 per month!
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From h-costume-admin@indra.com  Sat Oct 26 12:26:29 2002
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Subject: [h-cost] Re: leather doublet
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Date: Sat, 26 Oct 2002 11:24:35 -0500
Status: RO

I sew with garment grade leather and here are the things I have found out.
  The reason you have a leather binding along the edge is unless you have an extremely 
lightweight leather hide or split (plonge 1.5 oz.), you really can't successfully sew the 
lining to the leather right sides together and turn them to the inside without a lot of 
bulk along the seams.  You construct your lining then sew the lining to the leather all 
along the outer perimeter seam allowance edge, inside where your binding will be attached. 
  The raw edges are fine, since you will be covering them up with the binding.
	If the leather is light enough for the side seams I sew it right sides together, then lay 
the seam open on the inside and use a rubber cement to glue it to that position to reduce 
the bulk as much as possible.  If it is a bit heavier leather that does not want to lay 
flat, I either use a rubber mallet to pound it into position (breaks the cell structure at 
the bend, sort of tenderizing it)... or do an overlap seam instead.
	For binding I cut strips that are about 1/4" wider than I need, wrap the edges as I sew 
with the machine (topstitch) keeping it as balanced and even as I can, then trim the 
excess leather off along the seam line.  Nice and neat... Or you can do it the original 
way, and cut it to the exact finished size you want and with a leather needle sew it.  (Do 
not know if that would be with a stab stitch or a whip stitch?)
	My sewing machine is rated to sew light leathers and it does a fine job,with a walking 
foot. I just use a leather needle and regular thread.  But even at that there is a lot of 
hand sewing and shaping at the ends of things etc.


> From: <lotsofteapots@charter.net>
> 
> I am working on recreating the doublet and pluderhosen worn by Nils Sture
> that is Janet Arnold. However, I have not worked with leather before and was
> wondering if there are any tips, hints, quirks, etc. that I should be aware
> of before starting to cut.
> 
> Also, it looks like the lining and outer layers are made seperately, and
> then a strip of leather is used to bind them together, rather than sewing
> right sides together like I would do with fabric. How would I do this part?
> Do I need to tuck the "raw" edges under, or can I leave them out? Do I need
> to sew this all down by hand, or is there a way to use a sewing machine? (If
> by hand, I need to get working! This is a Christmas present for my brother).
> 
> 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
> **********************
> 
> 
> 
> --__--__--
> 
> Message: 16
> From: "Fairchild, Connie E." <Connie.Fairchild@alcoa.com>
> To: "'h-costume@indra.com'" <h-costume@indra.com>
> Date: Fri, 25 Oct 2002 09:21:23 -0400
> Subject: [h-cost] Renaissance Art Exhibit in Chicago and Detroit
> Reply-To: h-costume@mail.indra.com
> 
> Did anyone get to this exhibit while it was in Detroit?  I'm planning to
> attend in Nov. while it's in Chicago and I'd like to find out more about
> what pieces are being shown, so that I can read up on them. I consider it a
> once in a lifetime opportunity to see some of these pieces, since they are
> billed as being rarely loaned.  I want to be well informed before I see them
> so I don't come back wishing I'd looked more closely at something, or
> totally missed what the artist was trying to convey.  I'm familiar with some
> of the the ones mentioned through Art History, but what else is included?
> Any suggestions? 
> 
> Connie E. Fairchild 
> 
> 
> --__--__--
> 
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 
> End of h-costume Digest
> 
> 


-- 
Linda Thompson

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

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From h-costume-admin@indra.com  Sat Oct 26 12:48:37 2002
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Subject: Re: [h-cost] Re: Renaissance Art Exhibit in Chicago and Detroit
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Date: Sat, 26 Oct 2002 11:34:16 -0500
Status: RO

Tuesday November 19 from 4:30-6:30. That one is an open house for
teachers. The other one is the Friday or Saturday after Thanksgiving for
the official 'wreathing' of the Art Institute lions. Apparently it's
going to be a little ceremony of some sort.


Karen

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From h-costume-admin@indra.com  Sat Oct 26 15:44:48 2002
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From: Gail & Scott Finke <gailscott@eos.net>
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Subject: [h-cost] medieval exhibit in baltimore
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Date: Sat, 26 Oct 2002 15:42:50 -0400
Status: RO



I just read today that an exhibit begins Oct. 27 at the Pierpont Morgan in
Baltimore. Unbound pages from a medieval manuscript (it's a famous one, but
I don't have the citation) showing pictures illustrating the Old Testament
will be displayed with artifacts from the era (the page showed a mail shirt
and a helm). I wish I lived anywhere near there! But some of you may . . .

Gail Finke
all the way in Cincinnati

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From h-costume-admin@indra.com  Sat Oct 26 16:22:38 2002
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Date: Sat, 26 Oct 2002 16:22:13 EDT
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Gail -- A far as I know there is no Pierpont Morgan in Baltimore (I'm from 
there). Could it be the Walters?

Kathleen Norvell

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Gail -- A far as I know there is no Pierpont Morgan in Baltimore (I'm from there). Could it be the Walters?<BR>
<BR>
Kathleen Norvell</FONT></HTML>

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Date: Sat, 26 Oct 2002 16:30:52 -0500
Status: RO

> For binding I cut strips that are about 1/4" wider than I need, wrap the
edges as I sew
> with the machine (topstitch) keeping it as balanced and even as I can,
then trim the
> excess leather off along the seam line.  Nice and neat... Or you can do it
the original
> way, and cut it to the exact finished size you want and with a leather
needle sew it.  (Do
> not know if that would be with a stab stitch or a whip stitch?)

So, do you have the raw edges of the binding showing, or do you fold them
under? If folded under, then that's 4 layers from the binding (2 each side
folded over) and 2 from the garment?

**********************
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: Sat, 26 Oct 2002 16:31:58 -0500
Status: RO

Phewy, I can't make either of them. Get good pictures, OK?

**********************
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 Rice" <vmaa2@cox.net>
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Subject: RE: [h-cost] medieval exhibit in baltimore
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Date: Sat, 26 Oct 2002 16:40:40 -0400
Status: RO

This was sent to another list I'm on, I think it covers all the details
about this exhibit:

The Walters Art Museum in Baltimore opens an exhibit next week on the 
"Crusader Bible" which is a 13th century illuminated manuscript.
Actually 
some of the pictures are the 'standard' pictures that seem to show up in

all the picture books.
Information on the exhibit can be found here:
http://www.thewalters.org/html/exhibit_future_detail_simp.asp?ID=53


Information on the preview party can be found here:
http://www.thewalters.org/html/calendar_event.asp?ID=406

HTH,

Linda
Virginia Beach, Va

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Gail & Scott Finke
Subject: [h-cost] medieval exhibit in baltimore

I just read today that an exhibit begins Oct. 27 at the Pierpont Morgan
in
Baltimore. Unbound pages from a medieval manuscript (it's a famous one,
but
I don't have the citation) showing pictures illustrating the Old
Testament
will be displayed with artifacts from the era (the page showed a mail
shirt
and a helm). I wish I lived anywhere near there! But some of you may . .
.

Gail Finke
all the way in Cincinnati




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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: RE: [h-cost] medieval exhibit in baltimore
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Date: Sat, 26 Oct 2002 20:46:19 -0500 (CDT)
Status: RO


On Sat, 26 Oct 2002, Linda Rice wrote:

> The Walters Art Museum in Baltimore opens an exhibit next week on the
> "Crusader Bible" which is a 13th century illuminated manuscript.
...
> Information on the exhibit can be found here:
> http://www.thewalters.org/html/exhibit_future_detail_simp.asp?ID=53

Oh my GAWD. This is the Maciejowski Bible. I've never heard it called the
Crusader Bible before, but that's definitely easier to spell ;-) It
belongs to the Pierpont Morgan (New York) and is apparently on loan to the
Walters. This is probably the best single source I know for images of
Western European 13th century costume, in that it shows men and women of
various classes in reasonably realistic contexts, and shows many views and
angles of specific styles.

It exists in facsimile under the title "Old Testament Miniatures." Copies
(used) typically run about $120. I got mine for $65 because the binding
was broken, and boy did I feel lucky at that. I use it frequently.

It's of special interest to manuscript scholars because the Latin text is
glossed in Arabic and Hebrew, reflecting the hands of various owners over
the centuries.

I used to be within easy errand distance of the Walters and visited
frequently. No longer. Sigh. The show runs from 10/27 through 12/29. I
doubt I will be in the area in that time.

Someone, please go see it for me. OK?

--Robin

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From: "chiara" <chiara@io.com>
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Subject: Re: [h-cost] glove patterns
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Date: Sat, 26 Oct 2002 21:24:12 -0500
Status: RO

There were two schools of thought from what I have seen. The high end made
by hand gloves continued to use the original thumb pattern while the mass
produced gloves were of the new style.

Uniformity was important in cutting costs. There was less waste this way.
There are documents where manufactures boasted that they could now get 7
pairs of gloves out of a section of hide where they used to be only able to
get 3 or 4 at the most.

Today that thumb is called the keystone thumb. It goes by various names but
this is the most recognizable name today. The hand made glove would have a
set-in thumb with or without the tiniest gusset at the stress point of the
base or welting along that part of the seam. The Keystone thumb always has
welting at this point.

Making either for your gloves should be fine. But the mark of how one
recognizes if the gloves are custom made for you specifically and those made
by a manufacturer will be apparent to the eye of those in full persona who
specifically look for status symbols. *giggle*

Unless of course they were made for you by the glovers in Grenoble. Then you
would have to work into the persona conversation about your trip abroad and
how you came to get your latest fashion glove from the creator of the glove
industry.

My period is not Victorian. So I would encourage you to actually get with
someone that has more knowledge on the persona bit from someone who is. :)

Sincerely,
Chiara
Ansteorra, Steppes

----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Friday, October 25, 2002 1:37 AM
Subject: Re: [h-cost] glove patterns


>
> >Her pattern can be traced to the patterns used from 1950's on. That is
> >pretty much when they started to make the thumb pattern that we see in
all
> >our modern day gloves. It really did not catch on at first. It was not
> >until Jackie O in the 60's that they really took off. So that is the
> >pattern that she uses.
>
> Maybe you're the one to ask about Victorian glove thumbs.  How are they
> different from modern ones?  Davenport's book has Diderot's glove pattern,
> the one from his 18th century encyclopedia.  Are Victorian ones like
> that?  I am very interested in making my own gloves, as my hand is very
> wide.  I have made a couple of pairs already, using modern gloves taken
> apart for patterns.
>
>
> Kayta
>
>     //// \\\
>    ////-@@\\\
>   ((((   7 )))
>    (((  <> ))))
>       )   ((((((
> /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Date: Sat, 26 Oct 2002 23:23:14 -0400
Status: RO

Hi, All. This topic came up before, and the term "Cross-cloth" was mentioned in
relation to headgear, yet in the references I have seen, the crosscloth was the
piece of apparel that was worn, partlet-like, across the bodice, and
occasionally tucked into the belt or apron. It was sometimes edged with lace,
and was, for a while over here in the US 17th Cent. reenactment community,
referred to as a fichue, which I believe is a later term for a similar clothing
item. You can see crosscloths in Hollars illos. John Taylor in his poem "In
Praise of the Needle" (1631), on line 43 mentions crosscloths with aprons,
handerkerchiefs and falls (falling bands), and mentions "Kerchiefes, Quoyfes,
Chin-Clowtes or marry-Muffes" on a previous line. ("In Praise of the Needle;
John Taylor's Poem of 1631" with annotations, by Kathleen Epstein Curious Works
Press 1995 ISBN 0-9633331-6-X) One of the major problems with our costuming
language is that modern costume historians, especially in the previous century,
have given us a list of words that we are now beginning to question the sources
for. I am curious as to where the source for the use of the word crosscloth
referring to a piece of headgear comes from. If anyone could point me to a
primary source such as the one mentioned above, I would appreciate it. Thanks,
Mike T.



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Subject: Re: [h-cost] Mara's Kit
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Date: Sat, 26 Oct 2002 22:51:30 -0500
Status: RO

HI Mike,

Funny you should mention them.  I've found references to them in some 16th 
century English wills but, the definition I had was they appear to be 
another name for forehead cloths.  Off the top of my head I don't remember 
where I found the reference but you might want to try either Arnold or the OED.

Cheers,
Danielle

At 11:23 PM 10/26/2002 -0400, you wrote:
>Hi, All. This topic came up before, and the term "Cross-cloth" was 
>mentioned in
>relation to headgear, yet in the references I have seen, the crosscloth 
>was the
>piece of apparel that was worn, partlet-like, across the bodice, and
>occasionally tucked into the belt or apron. It was sometimes edged with lace,
>and was, for a while over here in the US 17th Cent. reenactment community,
>referred to as a fichue, which I believe is a later term for a similar 
>clothing
>item. You can see crosscloths in Hollars illos. John Taylor in his poem "In
>Praise of the Needle" (1631), on line 43 mentions crosscloths with aprons,
>handerkerchiefs and falls (falling bands), and mentions "Kerchiefes, Quoyfes,
>Chin-Clowtes or marry-Muffes" on a previous line. ("In Praise of the Needle;
>John Taylor's Poem of 1631" with annotations, by Kathleen Epstein Curious 
>Works
>Press 1995 ISBN 0-9633331-6-X) One of the major problems with our costuming
>language is that modern costume historians, especially in the previous 
>century,
>have given us a list of words that we are now beginning to question the 
>sources
>for. I am curious as to where the source for the use of the word crosscloth
>referring to a piece of headgear comes from. If anyone could point me to a
>primary source such as the one mentioned above, I would appreciate it. Thanks,
>Mike T.
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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Date: Sun, 27 Oct 2002 00:31:55 -0400
Status: RO

I have been purchasing up beauty school textbooks, to find out how to make
period hairstyles, hair care, products, grooming, makeup, and wig-making.
In a 1911 textbook, I came across recipes for personal care.  Some are for
sunburns, freckle fading, black heads, etc.  I was sitting in our
pediatrician's office yesterday and showed her some of the recipes.
Needless to say she was shocked too, like me, and wondered how these women
lived.  Some of the principle ingredients, mercury, lead, petroleum
(kerosene), Vaseline, and lard.

I knew lead paint or powder was used in the Elizabethan period but I was
stunned that it was used this late in history for facial products.

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


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Subject: Re: [h-cost] How did they live?????
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Date: Sun, 27 Oct 2002 00:28:25 -0500 (CDT)
Status: RO


On Sun, 27 Oct 2002, Penny Ladnier wrote:

> I have been purchasing up beauty school textbooks, to find out how to make
> period hairstyles, hair care, products, grooming, makeup, and wig-making.
> In a 1911 textbook, I came across recipes for personal care.  Some are for
> sunburns, freckle fading, black heads, etc.  I was sitting in our
> pediatrician's office yesterday and showed her some of the recipes.
> Needless to say she was shocked too, like me, and wondered how these women
> lived.  Some of the principle ingredients, mercury, lead, petroleum
> (kerosene), Vaseline, and lard.
> 
> I knew lead paint or powder was used in the Elizabethan period but I was
> stunned that it was used this late in history for facial products.

But after enough of that, you wouldn't have much problem with blackheads,
right?

Seriously ... a lot of those toxins take a long time to work, particularly
if absorbed through the skin rather than internally. I'll bet enough of
these women died of natural causes or childbirth before lead poisoning or
mercury poisoning kicked in, so that the link would not be particularly
obvious.

Is there something wrong with Vaseline? I thought that was pretty inert.

--Robin

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From: Danielle Nunn-Weinberg <dannw@attbi.com>
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Date: Sun, 27 Oct 2002 01:44:14 -0500
Status: RO

At 12:28 AM 10/27/2002 -0500, you wrote:
>On Sun, 27 Oct 2002, Penny Ladnier wrote:

<snip>

> > Needless to say she was shocked too, like me, and wondered how these women
> > lived.  Some of the principle ingredients, mercury, lead, petroleum
> > (kerosene), Vaseline, and lard.
> >
> > I knew lead paint or powder was used in the Elizabethan period but I was
> > stunned that it was used this late in history for facial products.

<snip>

>Is there something wrong with Vaseline? I thought that was pretty inert.
>
>--Robin

It don't know but when I was in the military and working in the hazardous 
materials depot the range of things kept there was astonishing.  Besides 
the obvious, they also kept Vaseline, lip balm, and sunscreen.  No one 
could tell me why....

Cheers,
Danielle

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Date: Sun, 27 Oct 2002 06:48:04 -0800
Status: RO

I believe that vaseline, etc are pretty much inert.  The reason that you 
would put them in a hazardous materials storage area is that they are 
petroleum based and any thing that is petroleum based is probably listed as 
requiring that kind of handling.  While it may not be hazardous to you, it 
is a different thing in the soil and water where it can affect much smaller 
organisms.  just an explanation from a water quality wog

At 01:44 AM 10/27/2002 -0500, Danielle Nunn-Weinberg wrote:
>At 12:28 AM 10/27/2002 -0500, you wrote:
>>On Sun, 27 Oct 2002, Penny Ladnier wrote:
>
><snip>
>
>> > Needless to say she was shocked too, like me, and wondered how these women
>> > lived.  Some of the principle ingredients, mercury, lead, petroleum
>> > (kerosene), Vaseline, and lard.
>> >
>> > I knew lead paint or powder was used in the Elizabethan period but I was
>> > stunned that it was used this late in history for facial products.
>
><snip>
>
>>Is there something wrong with Vaseline? I thought that was pretty inert.
>>
>>--Robin
>
>It don't know but when I was in the military and working in the hazardous 
>materials depot the range of things kept there was astonishing.  Besides 
>the obvious, they also kept Vaseline, lip balm, and sunscreen.  No one 
>could tell me why....
>
>Cheers,
>Danielle
>
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Subject: Re: [h-cost] How did they live?????
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Date: Sun, 27 Oct 2002 10:05:10 -0500
Status: RO

petroleum by-products. You should see the absurd MSW sheets out 
on common products.
margali

Danielle Nunn-Weinberg wrote:


> It don't know but when I was in the military and working in the 
> hazardous materials depot the range of things kept there was 
> astonishing.  Besides the obvious, they also kept Vaseline, lip balm, 
> and sunscreen.  No one could tell me why....
> 
> Cheers,
> Danielle



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Date: Sun, 27 Oct 2002 07:26:00 -0800
Status: RO


> I have been purchasing up beauty school textbooks, to find out how to
> make period hairstyles, hair care, products, grooming, makeup, and
> wig-making. In a 1911 textbook, I came across recipes for personal
> care.  Some are for sunburns, freckle fading, black heads, etc.  I was
> sitting in our pediatrician's office yesterday and showed her some of
> the recipes. Needless to say she was shocked too, like me, and
> wondered how these women lived.  Some of the principle ingredients,
> mercury, lead, petroleum (kerosene), Vaseline, and lard.

Well, except for the Vaseline and lard, they often *didn't* live. 
They had all sorts of problems with cancers, liver failure, kidney 
failure, skin problems (which then necessitated *more* skin 
products), etc. Heavy metal poisoning and cancers were amazingly 
common. (You just have to read the medical books of the time to find 
this out. And you have to be able to "translate" the medical lingo of 
the time and recognize the symptoms of these diseases to be able to 
recognize modern problems in their terms.)

Kat Russell
<kat@grendal.rain.com>

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Subject: [h-cost] Cross cloths
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Date: Sun, 27 Oct 2002 16:00:54 +0000
Status: RO

Yes Mike, I thought the cross cloth was similar to a fichu. (I was hoping it 
was an item worn by breast feeding women.) Pat Poppy said that the cross 
cloth was a forehead cloth. I have numerous references to cross cloths from 
probate inventories in both the Essex and Hampshire records offices. I keep 
meaning to type them up. Pat is on this list I think. There was a discussion 
on the ECWS discussion forum about the term.
Anne Buck, 'Clothes and the Child' refers to cross clothes too.
I think I'll check my references and see if I can find a list which has both 
forehead cloth and cross cloth in the same inventory.
regards
Joy

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Date: Sun, 27 Oct 2002 11:14:40 -0500
Status: RO

I can tell you that a lot of products people put on their hair is extremely
flammable.  I never realized this until working with my daughter's massive
curly hair and trying to find products that would tame it.  Look at the
labels... many say that they are flammable.  I choose to not use the
products because she wanted to where here hair down and it would bounce
everywhere.  She was so little and I was scared she would pass a stove and
her hair would go poof!!!

I remember one witness from the Bali incident last week describing the
women's hair on fire.  Hairspray on hair makes it extremely flammable.

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


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Subject: Re: [h-cost] How did they live?????
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Date: Sun, 27 Oct 2002 11:27:38 -0500
Status: RO

Robin,

Vaseline has a petroleum base.  I remember when I was a kid the commercials
on TV called Vaseline "petroleum jelly."

My mom is a depression era baby said *back then* when a product said that it
contained petroleum, it was kerosene.

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


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Date: Sun, 27 Oct 2002 11:44:47 -0500
Status: RO

Here are *some* of the ingredients recipes from the Manual of Beauty Culture
1911:

Freckles:
Jamaica rum
lemon juice
glycerine

Blackheads:
bismuth sub-nitrate
ammoniated mercury
ichthyol
OR
acetic acid
peroxide of hydrogen
lanoline
vaseline

Sunburn:
mercury
lead
water
OR
mercury
acetic acid
water

Depilatory:
barium sulphide
powdered starch
orris root

Acne:
lead
water
zinc oxide
tincture of benzoin
benzoated lard

Corn Salve
beeswax
sweet oil
turpentine

Chillblains
petroleum
aqua ammonia
brandy

Ulcers (open wounds) and Chillblains
Spirits of rosemary
laudanum
lead water

There are several more recipes.  I only sent you all a few of them.

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


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] How did they live?????
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Date: Sun, 27 Oct 2002 12:05:19 -0600 (CST)
Status: RO


On Sun, 27 Oct 2002, Penny Ladnier wrote:

> Vaseline has a petroleum base.  I remember when I was a kid the
> commercials on TV called Vaseline "petroleum jelly."

Yes, it's still called that -- Vaseline is a brand name for petroleum
jelly. But I don't believe it's harmful to people. Heck, we still put it
on babies. And on lips.

--Robin

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Subject: Re: [h-cost] How did they live?????
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Date: Sun, 27 Oct 2002 12:12:40 -0600
Status: RO

> Vaseline is a brand name for petroleum
> jelly. But I don't believe it's harmful to people. Heck, we still put it
> on babies. And on lips.
>

right, in small quantities.

Can you imagine the mess and environmental issues if industrial/military
sized containers were broken/melted/spilled, etc?

On a much more costume related note: would anyone like to comment on the
Dover Publication of Sears Catalog Fashion illustrations by decade?  Any
good?

Denise
landofoz@netins.net

Denise

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From: "Melanie Wilson" <MelanieWilson@bigfoot.com>
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Date: Sun, 27 Oct 2002 18:20:49 -0000
Status: RO

Petroleum Jelly is a petroleum by product. It is a sealant eg seals chapped
lips, battery terminals from the damp etc etc

Is isn't flammable.

Mel


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Subject: [h-cost] Re: Leather Doublet
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Date: Sun, 27 Oct 2002 12:33:51 -0600
Status: RO

> 
> So, do you have the raw edges of the binding showing, or do you fold them
> under? If folded under, then that's 4 layers from the binding (2 each side
> folded over) and 2 from the garment?
> 
> **********************
> Rebecca Schmitt
> aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
> Bristol,
> BRF FOF


The only time I fold under the leather binding is if it is a VERY light weight, like 
1.5oz. and then only rarely.  It creates way to much bulk to do this with a thick piece of 
leather.
Leather will not fray, so it would be like taking a piece of twill tape or ribbon and 
using that as binding.  You simply lay it on the piece and sew.  I then trim the leather 
closely to the line of stitching if it was topstitched (since machine sewing can stretch 
the leather I give myself that extra 1/4" for the Ooops factor)
  If it was hand stitched, then no trimming would be necessary since it was cut to the 
exact dimension to begin with.  If the leather is dyed a color, and the dye did not 
penetrate to the center of the skin, then I usually find a permanent marker and touch up 
the cut edge of the leather binding to hide the imperfections.
If done neatly (sewing well, touching up well) then having the raw edge of the leather 
binding is acceptable.
-- 
Linda Thompson

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

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Date: Sun, 27 Oct 2002 13:18:13 -0600 (CST)
Status: RO


This one isn't so bad:

> Blackheads:
> acetic acid
> peroxide of hydrogen
> lanoline
> vaseline

Acetic acid is just vinegar, and most modern acne medications use hydrogen
peroxide.


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Date: Sun, 27 Oct 2002 13:59:16 -0600
Status: RO

Great - thanks!


----- Original Message -----
From: "Linda J. Thompson" <LindaJThompson@comcast.net>
To: <h-costume@indra.com>
Sent: Sunday, October 27, 2002 12:33 PM
Subject: [h-cost] Re: Leather Doublet


> >
> > So, do you have the raw edges of the binding showing, or do you fold
them
> > under? If folded under, then that's 4 layers from the binding (2 each
side
> > folded over) and 2 from the garment?
> >
> > **********************
> > Rebecca Schmitt
> > aka Mistress Agnes Cabot, wife of Master Peter Cabot, cod merchant of
> > Bristol,
> > BRF FOF
>
>
> The only time I fold under the leather binding is if it is a VERY light
weight, like
> 1.5oz. and then only rarely.  It creates way to much bulk to do this with
a thick piece of
> leather.
> Leather will not fray, so it would be like taking a piece of twill tape or
ribbon and
> using that as binding.  You simply lay it on the piece and sew.  I then
trim the leather
> closely to the line of stitching if it was topstitched (since machine
sewing can stretch
> the leather I give myself that extra 1/4" for the Ooops factor)
>   If it was hand stitched, then no trimming would be necessary since it
was cut to the
> exact dimension to begin with.  If the leather is dyed a color, and the
dye did not
> penetrate to the center of the skin, then I usually find a permanent
marker and touch up
> the cut edge of the leather binding to hide the imperfections.
> If done neatly (sewing well, touching up well) then having the raw edge of
the leather
> binding is acceptable.
> --
> Linda Thompson
>
> Visit www.seams-to-be.com
> where Attitude is Everything
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: [h-cost] VCR ALERT: 20th Century Hair
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Date: Sun, 27 Oct 2002 15:59:15 -0500
Status: RO

A&E Sunday (today) 5-7:00 PM

Uncut: The True Story of Hair
120 min.
Bo Derek narrates a fast-paced and campy history of hair as a fashion,
cultural and political statement.
The documentary, which relies on photo-and-video montages and comments from
celebrities and stylists, focuses mainly on women. There is, however, a
brief examination of how Elvis Presley and the Beatles spawned a revolution
in men's styles in the 1950s and '60s. There's also a segment on
African-American hair that recalls the afro as a symbol of “black power”
rather than fashion. Other topics include “rock hair,” hair-care products
and medieval barber-surgeons. Among those commenting are Patti LaBelle, Pam
Grier, Bob Mackie, Kate Pierson (the B-52s), Dolly Parton and Deborah Harry.

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


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Subject: [h-cost] Re: VCR ALERT: 20th Century Hair
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Date: Sun, 27 Oct 2002 16:07:03 -0500
Status: RO

That is 5-7:00 PM East Coast time.  Check www.tvguide.com for what time it
comes on in your area.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com
http://www.onlinecostumeball.com
----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Sunday, October 27, 2002 3:59 PM
Subject: [h-cost] VCR ALERT: 20th Century Hair


> A&E Sunday (today) 5-7:00 PM
>
> Uncut: The True Story of Hair
> 120 min.
> Bo Derek narrates a fast-paced and campy history of hair as a fashion,
> cultural and political statement.
> The documentary, which relies on photo-and-video montages and comments
from
> celebrities and stylists, focuses mainly on women. There is, however, a
> brief examination of how Elvis Presley and the Beatles spawned a
revolution
> in men's styles in the 1950s and '60s. There's also a segment on
> African-American hair that recalls the afro as a symbol of “black power”
> rather than fashion. Other topics include “rock hair,” hair-care products
> and medieval barber-surgeons. Among those commenting are Patti LaBelle,
Pam
> Grier, Bob Mackie, Kate Pierson (the B-52s), Dolly Parton and Deborah
Harry.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
> 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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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] How did they live?????
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Date: Sun, 27 Oct 2002 13:08:54 -0800
Status: RO


>I have been purchasing up beauty school textbooks, to find out how to make
>period hairstyles, hair care, products, grooming, makeup, and wig-making.
>In a 1911 textbook, I came across recipes for personal care.  Some are for
>sunburns, freckle fading, black heads, etc.  I was sitting in our
>pediatrician's office yesterday and showed her some of the recipes.
>Needless to say she was shocked too, like me, and wondered how these women
>lived.  Some of the principle ingredients, mercury, lead, petroleum
>(kerosene), Vaseline, and lard.
>
>I knew lead paint or powder was used in the Elizabethan period but I was
>stunned that it was used this late in history for facial products.

My guess is that not everyone used that stuff, and wasn't, therefore, 
subject to the toxic side-effects.

I guess I just don't come from a family of big-time makeup wearers.  I 
don't remember anyone in my family who wore much makeup at all.  And they 
were relatively healthy, so they wouldn't have had much need for home 
remedies.  And no home remedies have come down thru the family either, 
except hot lemonade with honey, for sore throats, or cold compresses (wet 
towel around the neck) for the same.  I inherited a metal hot water bottle, 
in a flannel bag, from someone in the family (sorry - that's as h-costumey 
as I can get here).

Kayta

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Subject: [h-cost] Cross cloths
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Date: Sun, 27 Oct 2002 21:55:38 +0000
Status: RO


Henry Best in 1642 (The Farming and Memorandum Book of Henry Best, pages 
175-176) Shorte Rememberances for Buying All sorts of Linnen, "...14d or 15d 
the yard, being in breadth yard and a half quarter, which our mayd servants 
usually buy for holyday aprons, crosse cloths, neck cloths." And later in 
the same piece referring to holland or slezy holland..."It is a strong cloth 
and much used for men's bands, gentle womans handkerchers and cross cloathes 
and half shirts etc."
Best also mentions 'handkerchers for the neck.

And from Chelmsford


Item
Reference Code  T/A 418/103/55
Scope and Content Indictment of William Steward labourer and Elizabeth 
Steward spinster, both of Theydon Grnon, there about 11 p.m. broke into the 
house of Nicholas Wright clerk, and stole a cloak worth£3., "a kertle" 
(ventralem) worth 5s., a doublet worth 20s., a pair of hose worth 10s., a 
woman's gown worth 10s., a cloak worth 6s.8d., belonging to the said 
Nicholas Wright, a woman's gown worth£5.10s., " petty coate" 9tunicam) worth 
50s., a pair of "stockinges" worth 4s., a pair of "garters" worth 5s., two 
"wastcoates" (indusia) worth 5s., two aporns worth 3s., a waistcoat worth 
18d., "a ruff band" worth 2s., three aprons (ventrales) worth 10s., a pair 
of shoes worth 2s., two "coifes" (crinalem) worth 8d., two "crosse clothes" 
(reticules) wroth 8d., two "strips" of lsilk worth 6d., foru "neck clothes" 
worth 12d., two pairs of "cuffs" worth 8d., belonging to Robert Odam gent., 
two hats worth 12d. and a cloak worth 5s., belonging to Sidrac Bennett. 
William in gaol in Surrey. Elizabeth pleads not guilty; acquitted. Witness. 
Sidrake Bennett. [ASS 35/70/1/55]
Accumilation Dates 20 April 1627
Acquisition Date From 1627
Acquisition Date To 1627

Cross cloths are again mentioned as different to neck cloths.

Hope this is helpful
regards
Joy


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Date: Sun, 27 Oct 2002 15:22:01 -0800
Status: RO


> On Sun, 27 Oct 2002, Penny Ladnier wrote:
> 
> > Vaseline has a petroleum base.  I remember when I was a kid the
> > commercials on TV called Vaseline "petroleum jelly."
> 
> Yes, it's still called that -- Vaseline is a brand name for petroleum
> jelly. But I don't believe it's harmful to people. Heck, we still put
> it on babies. And on lips.
> --Robin

And unlike "Bag Balm", pediatricians are told that it's ok to 
recommend petroleum jelly for little bottoms (and other places). (We 
had to stop recommending Bag Balm a few years back because of some 
sort of problem which they didn't explain other than to say "it is 
not appropriate to use the product for infant skin problems." I had 
the feeling it was the lack of FDA approval for some component of the 
stuff.)

Petroleum jelly is safe enough to use for the mouth and lips. That's 
pretty safe!

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 27 Oct 2002 15:22:01 -0800
Status: RO


> This one isn't so bad:
> 
> > Blackheads:
> > acetic acid
> > peroxide of hydrogen
> > lanoline
> > vaseline
> 
> Acetic acid is just vinegar, and most modern acne medications use
> hydrogen peroxide.

While this is a safe recipe, it is benzoyl peroxide, not hydrogen 
peroxide which is the acne medicine. They are completely different 
types of ingredients (even if they share a part of their name. It's 
kind of like the difference between acetic acid/vinegar and sulfuric 
acid. Both are acids but one is a food substance and the other is a 
highly dangerous substance. They just share the "acid" part of the 
name.) Benzoyl peroxide is more closely related to some types of 
sunscreens (those containing PABA.)

Hydrogen peroxide is used for bleaching hair, disinfecting mouths 
(especially in people with gum disease) and general disinfecting. It 
kills bacteria by giving it oxygen poisoning (as many of the bacteria 
are not fond of oxygen, unlike us.) When you see it start to foam, it 
is converting from hydrogen peroxide to water and oxygen (by way of 
free radicals.)

It probably works by bleaching out the top of the blackhead (as 
opposed to dissolving or otherwise removing it.)

Kat Russell
<kat@grendal.rain.com>

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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] VCR ALERT: 20th Century Hair
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Date: Sun, 27 Oct 2002 19:07:23 -0500
Status: RO

Bummer.  I just got the email and only caught the last 20 minutes.  Anyone
tape it?  Willing to share?
-Megan

Penny wrote:
Subject: [h-cost] VCR ALERT: 20th Century Hair


A&E Sunday (today) 5-7:00 PM

Uncut: The True Story of Hair
120 min.
Bo Derek narrates a fast-paced and campy history of hair as a fashion,
cultural and political statement.
The documentary, which relies on photo-and-video montages and comments from
celebrities and stylists, focuses mainly on women. There is, however, a
brief examination of how Elvis Presley and the Beatles spawned a revolution
in men's styles in the 1950s and '60s. There's also a segment on
African-American hair that recalls the afro as a symbol of “black power”
rather than fashion. Other topics include “rock hair,” hair-care products
and medieval barber-surgeons. Among those commenting are Patti LaBelle, Pam
Grier, Bob Mackie, Kate Pierson (the B-52s), Dolly Parton and Deborah Harry.


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Date: Sun, 27 Oct 2002 19:09:21 -0500
Status: RO

I taped it but have all the commercials in it.

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

----- Original Message -----
From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Sent: Sunday, October 27, 2002 7:07 PM
Subject: RE: [h-cost] VCR ALERT: 20th Century Hair


> Bummer.  I just got the email and only caught the last 20 minutes.  Anyone
> tape it?  Willing to share?
> -Megan
>
> Penny wrote:
> Subject: [h-cost] VCR ALERT: 20th Century Hair
>
>
> A&E Sunday (today) 5-7:00 PM
>
> Uncut: The True Story of Hair
> 120 min.
> Bo Derek narrates a fast-paced and campy history of hair as a fashion,
> cultural and political statement.
> The documentary, which relies on photo-and-video montages and comments
from
> celebrities and stylists, focuses mainly on women. There is, however, a
> brief examination of how Elvis Presley and the Beatles spawned a
revolution
> in men's styles in the 1950s and '60s. There's also a segment on
> African-American hair that recalls the afro as a symbol of "black power"
> rather than fashion. Other topics include "rock hair," hair-care products
> and medieval barber-surgeons. Among those commenting are Patti LaBelle,
Pam
> Grier, Bob Mackie, Kate Pierson (the B-52s), Dolly Parton and Deborah
Harry.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
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>
>


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Subject: Re: [h-cost] VCR ALERT: 20th Century Hair
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Date: Sun, 27 Oct 2002 19:45:21 -0500
Status: RO

I was looking for the museum mention in the show, Museum of Hair.  I found
their website at http://www.hairshow.biz/museum.htm .  But I also found an
unusual site at http://www.chez-galip.com/hair-museum1.htm... read about
this one!!!!!!!!  Some people collect the strangest things!

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


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From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] VCR ALERT: 20th Century Hair
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Date: Sun, 27 Oct 2002 21:09:47 -0500
Status: RO

Are you willing to send me a copy to view?  I can send it back after I see
it, to avoid that copywrite/bootleg issue.
-Megan

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Penny Ladnier
Sent: Sunday, October 27, 2002 7:09 PM
To: h-costume@indra.com
Subject: Re: [h-cost] VCR ALERT: 20th Century Hair


I taped it but have all the commercials in it.

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

----- Original Message -----
From: "Megan M." <mmchugh@starpower.net>
To: <h-costume@indra.com>
Sent: Sunday, October 27, 2002 7:07 PM
Subject: RE: [h-cost] VCR ALERT: 20th Century Hair


> Bummer.  I just got the email and only caught the last 20 minutes.  Anyone
> tape it?  Willing to share?
> -Megan
>
> Penny wrote:
> Subject: [h-cost] VCR ALERT: 20th Century Hair
>
>
> A&E Sunday (today) 5-7:00 PM
>
> Uncut: The True Story of Hair
> 120 min.
> Bo Derek narrates a fast-paced and campy history of hair as a fashion,
> cultural and political statement.
> The documentary, which relies on photo-and-video montages and comments
from
> celebrities and stylists, focuses mainly on women. There is, however, a
> brief examination of how Elvis Presley and the Beatles spawned a
revolution
> in men's styles in the 1950s and '60s. There's also a segment on
> African-American hair that recalls the afro as a symbol of "black power"
> rather than fashion. Other topics include "rock hair," hair-care products
> and medieval barber-surgeons. Among those commenting are Patti LaBelle,
Pam
> Grier, Bob Mackie, Kate Pierson (the B-52s), Dolly Parton and Deborah
Harry.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
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>
>


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Date: Sun, 27 Oct 2002 21:38:51 -0500
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> From: "Penny Ladnier" <penny@costumegallery.com>
> Subject: Re: [h-cost] How did they live?????

> Blackheads:
> acetic acid
> peroxide of hydrogen
> lanoline
> vaseline

Two are inert ingredients with mild soothing and/or protecting qualities, one is astringent,
and one is used to clear up blemishes to this day.
Imagine that.

Actually, if you want to be really horrified, check out 19th century food additives,
especially colorings.
Heavy metal salts have lovely colors.

Ann in CT


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Subject: [h-cost] Pre-1600 stitches?
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Date: Sun, 27 Oct 2002 19:05:50 -0700
Status: RO

I'm planning a series of articles for my Needleworkers Guild's 
newsletter, titled "Is This Stitch Period?" (i.e. is it reasonably 
well known and used before 1600)

What does everyone think are the stitches people ask this question 
about the most often?

I should hasten to add that we _do_ have cross stitch in the article 
lineup already, and we have just this month done an article on 
"bargello" -- these being the two I have heard asked about the most. 
What else should we be including?

I'm planning the next few issues right now, so all ideas are welcome. TIA --
-- 
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|     <claning@igc.org>
+    Davis, California
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From: Cascio Michael <rosenau5@yahoo.com>
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Subject: [h-cost] Elizabethan blackwork shift
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Date: Sun, 27 Oct 2002 20:28:53 -0800 (PST)
Status: RO

I am progressing slowly on my shift using Drea's smock
generator.  How do I finish the neck edges.  I am
intending to embroider around the square neck opening
with a geometric blackwork design and then cut the
neck opening so I can fudge the size to match up with
the embroidery, thus getting smooth corners on the
embroidery without having to adjust the motif size and
placement.  Would the neck opening edges be bound with
bias strips, straight strips or faced to the inside,
faced to the outside with embroidery on the facings,
roll hemmed, whipped with a frill or what?  If I faced
the neck opening with a little drawn thread work where
I stitch the facing down I would get all the
unfinished edges covered and the embroidery would have
some support behind it.  The unknown girl/Helena
Snakenborg portrait doesn't seem to have a frill on
the shift that shows just above the gown.  Am I being
inaccurate to have the blackwork all the way around
the square neckline and it would be better to just
work a band across the front and back neck where it
might show and not do the sides over the shoulders?
     Also looking at the Italian shift in Cut My
Cote...Is that on-line anywhere?  Are the spot motifs
in the line drawing embroidered on or are they woven
into the fabric?  If embroidered then are they colored
or white on white?  I'm getting ready to start my cold
weather projects and that tends to be embroidery where
I can sit under a quilt and catch up on all my telly. 
I may have central heat but this is a rather old
farmhouse so I like to sit in one place as opposed to
sit at the sewing machine and work on the later period
stuff.  (Sewing machine work is for the front porch
during the summer when I appreciate the breeze.)
                              Cassandra (who is just
getting woke up to start the day)

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Date: Sun, 27 Oct 2002 21:05:17 -0800 (PST)
Status: RO

As I am new to pre-19th century clothing and have been
following all the stitch discussions here you might
consider an article on plain sewing for the visible
hand-work that should be done by hand as it shows from
the outside of a garment.  There appears to be a
difference in the stitches used for linen and those
used for wool.  Recently here on h-costume someone
pointed out that a flat-felled seam was stitched
differently then as now.  The older method more like
hemming two edges to each other as opposed to
stitching wrong side together and then trimming one
edge and folding the remaining edge over and
topstitching down.  I just posted a question about
edge finishing necklines when this digest came
through.  Since I am very new to medieval and
Elizabethan sewing I would love to see articles with
good drawings of the appropriate hand stitches with
explicit advice on when to use which stitches.  How
about an article on adding trim to necklines and
sleeve edges?  How to get trims to lie flat depending
on the shape of the neckline.  How to figure repeats
to get Celtic knotwork or blackwork designs to fit
neatly and turn corners on square necklines without
using half- or quarter-motifs.  Where on which
garments would embroidery be appropriate.  Someone
mentioned that trimming the bottom of a lady's gown
would be impractical and was probably not done in
reality as the edges would get bedraggled.  What about
the embroidey or trimmings on the bottom of the cors
of a bliaut?
      You could do an article on the meanings of
different flowers when used in embroidery or give
drawings (for those of us that cannot draw at all)
with stitch diagrams suitable for the novice to add a
little embroidery to a gown.  What about something on
how to trim with fur?  I think I remember seeing
sideless surcoats with fur trimming.
      As you can see I have lots of embroidery and
needlework questions, at least 10 questions for every
project I intend to do and even more questions about
the paintings and drawings I see but can't understand
well enough to figure out what questions to ask. 
Granted, I'm new enough to this time period that your
guild may be more interested in more advanced projects
and information while I'm still figuring out the
basics.  And the more I do learn the less I feel I
know.  My period of choice had sewing machines so I'm
still learning the basic handsewing but I wish you
good hunting on your quest for ideas.  :)
                                Cassandra 

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Elizabethan blackwork shift
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Date: Mon, 28 Oct 2002 16:32:32 +1100 (EST)
Status: RO

 --- Cascio Michael <rosenau5@yahoo.com> wrote: 
> I am progressing slowly on my shift using Drea's
> smock
> generator.  How do I finish the neck edges.  I am
> intending to embroider around the square neck
> opening<snipped>

I haven't made the square neck opening style of
chemise yet, so unfortunately I can't help with that
part of your question....

> Also looking at the Italian shift in Cut My
> Cote...Is that on-line anywhere?

A pic of the chemise itself isn't online as far as I'm
aware, but I do have the V&A's description of it
online on my page on Italian camicias...

<http://members.tripod.com/realm_of_venus/venusseamstress/camicia.htm#ExtantItalianCamicias>
(about half way down) If that link doesn't work go to

<http://members.tripod.com/realm_of_venus/venusseamstress/camicia.htm>
and hit the "Extant Camicias" link.

>  Are the spot
> motifs
> in the line drawing embroidered on or are they woven
> into the fabric?  If embroidered then are they
> colored
> or white on white?

Polychrome embroidery: "embroidered with brightly
coloured silks partly in satin stitch, and applied
yellow silk cord"...."Vertical pattern all round of
detached blossoms arranged in eight double rows. Close
repeating rows of floral sprigs cover the sleeves."



Bella



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Subject: Re: [h-cost] History of nuns' dress? Help!
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Date: Mon, 28 Oct 2002 00:50:20 -0500
Status: RO

Hi. There is a chapter on Monks and Nuns clothing in the recent book "Medieval
Manner of Dress" by Else Marie Gutarp Gotlands Fornsals forlag Visby 2001 ISBN
91-88036-43-X. I got my copy through a member of the list, Fred Struthers. I
don't remember his e-mail addy offhand. Fred, are you out there?  Mike T.

N Kipar wrote:

> Hi All,
>
> I tried an internet (google) search as well as searching the h-cost archives,
> but I didn't really come up with much. I am looking for information plus, if
> possible, images of nuns' habit before 1600. I know it's very vague, but
> anything will do, no matter which period.
> It'd be greatly appreciated!
>
> Nicole
>

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Date: Mon, 28 Oct 2002 01:16:35 -0500
Status: RO

Hi. Danielle, I checked the Arnold books, but the clothing reference seems to be
too late for her work. I'll try the OED. BTW, Kathleen Epstein in her editing of
Taylor's poem defines crosscloths as those worn across the breast. If she is out
there, I would like to hear her thoughts.  Cheers, Mike T.



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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] History of nuns' dress? Help!
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Date: Mon, 28 Oct 2002 00:34:07 -0600 (CST)
Status: RO


On Mon, 28 Oct 2002, leigh tartaglio wrote:

> Hi. There is a chapter on Monks and Nuns clothing in the recent book
> "Medieval Manner of Dress" by Else Marie Gutarp Gotlands Fornsals
> forlag Visby 2001 ISBN 91-88036-43-X. I got my copy through a member
> of the list, Fred Struthers. I don't remember his e-mail addy offhand.
> Fred, are you out there?  Mike T.

Fred Struthers has it? I got my copy from the American translator (Desiree
Koslin) some time ago, and after I mentioned it on this list back in June
lots of people asked me where to find it. I kicked the question back to
Desiree, and when she finally got back to me, she said she didn't know of
any U.S. distributor yet (she asked me if I wanted to be one!). If
Struthers does have it, I've got a long list of people who want it.

For those who are interested, my comments on the book are in a post dated
June 20, 2002, with the subject line of "Scandinavian clothing, was
Women's headgear, medieval Norway?" It should be easy enough to find in
the archives.

--Robin




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From h-costume-admin@indra.com  Mon Oct 28 03:09:20 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Pre-1600 stitches?
To: h-costume@indra.com
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Date: Mon, 28 Oct 2002 08:10:31 +0000 (GMT)
Status: RO

 --- Chris Laning <claning@igc.org> wrote: > I'm planning a series of articles
for my Needleworkers Guild's 
> newsletter, titled "Is This Stitch Period?" (i.e. is it reasonably 
> well known and used before 1600)
> 
> What does everyone think are the stitches people ask this question 
> about the most often?

Any of these fancy bubbly ones like French knots (sorry don't know any other
terms/names in English). I ALWAYS get asked about French knots when I sit and
do my Anglo-Saxon embroidery.

Also, are you going to add those that are well documented? Liek tailor's
stitch, buttonhole stitch, split stitch, stem stitch, etc.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From h-costume-admin@indra.com  Mon Oct 28 04:25:20 2002
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Date: Mon, 28 Oct 2002 09:26:07 +0000
Status: RO

IIRC, the Cunnington 17th century book refers to a forehead cloth or cross-cloth as a triangular piece worn in conjunction with the early style of coif (but doesn't give any further explanation). Of course, later researchers may have formed different ideas. I think forehead cloths are ignored by reenactors because no-one quite knows how to wear them.

Kate Bunting
Library, University of Derby


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From h-costume-admin@indra.com  Mon Oct 28 04:31:13 2002
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Date: Mon, 28 Oct 2002 04:31:40 -0500
Status: RO

Susan and I have completed another section of The Gallery's  "A Year in
Fashion: 1920s" series of  websites.
http://www.costumegallery.com/1923/Uniforms/ This site includes Band
Uniforms and Accessories from 1923.  This is an entire catalog from a
company, D. Klein from Philadelphia that had been in business since 1854.
The site is large, so please take your time to look at the various
categories of band uniforms, regular band, military, Shriners, band
directors, and drum majors.  We also have three sections of band uniform
accessories: caps & hats, braids, & misc. accessories.

Even if band uniforms really isn't your thing, all the different styles are
really interesting.

I hope you enjoy the site!

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


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Date: Mon, 28 Oct 2002 07:55:24 -0700
Status: RO

Bella, thanks for the great pics!
Question about the second one (from the Met).  Any idea on how the
neckline is finished? It *looks* like it just might be a more
gathered/higher version of the Venetian camicias.
I know you specialize primarily in Venetian costume, but you might know
anyways...I'm looking for sources of good mid-century (16th) Italian
women's clothing.  After I get my blackworked shift done (yeah, Robin,
I'm still working on it), I'm going to need a dress to wear it with! The
only portrait I've seen that has something similar in it has a
distinctly unflattering, satin dress (one of those dresses that even on
the wearer in the portrait looks a size or two too small).  My usual
sources (so far) have come up pretty dry.  Everything either seems to be
very renaissance-y (lots of Florentine), or later-16th c.  I'm looking
for mid-century.
--sue

Bella wrote:
> 
> A pic of the chemise itself isn't online as far as I'm
> aware, but I do have the V&A's description of it
> online on my page on Italian camicias...
> 
> <http://members.tripod.com/realm_of_venus/venusseamstress/camicia.htm#ExtantItalianCamicias>
> (about half way down) If that link doesn't work go to
> 
> <http://members.tripod.com/realm_of_venus/venusseamstress/camicia.htm>
> and hit the "Extant Camicias" link.
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From h-costume-admin@indra.com  Mon Oct 28 11:21:26 2002
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Date: Mon, 28 Oct 2002 07:50:23 +0000
Status: RO

What's a crosse cloth?

Arlys

On Sun, 27 Oct 2002 21:55:38 +0000 "Joy Shillaker"
<joyshillaker@hotmail.com> writes:
> 
> Henry Best in 1642 (The Farming and Memorandum Book of Henry Best, 
> pages 
> 175-176) Shorte Rememberances for Buying All sorts of Linnen, 
> "...14d or 15d 
> the yard, being in breadth yard and a half quarter, which our mayd 
> servants 
> usually buy for holyday aprons, crosse cloths, neck cloths." And 
> later in 
> the same piece referring to holland or slezy holland..."It is a 
> strong cloth 
> and much used for men's bands, gentle womans handkerchers and cross 
> cloathes 
> and half shirts etc."
> Best also mentions 'handkerchers for the neck.
> 
> And from Chelmsford
> 
> 
> Item
> Reference Code  T/A 418/103/55
> Scope and Content Indictment of William Steward labourer and 
> Elizabeth 
> Steward spinster, both of Theydon Grnon, there about 11 p.m. broke 
> into the 
> house of Nicholas Wright clerk, and stole a cloak worth£3., "a 
> kertle" 
> (ventralem) worth 5s., a doublet worth 20s., a pair of hose worth 
> 10s., a 
> woman's gown worth 10s., a cloak worth 6s.8d., belonging to the said 
> 
> Nicholas Wright, a woman's gown worth£5.10s., " petty coate" 
> 9tunicam) worth 
> 50s., a pair of "stockinges" worth 4s., a pair of "garters" worth 
> 5s., two 
> "wastcoates" (indusia) worth 5s., two aporns worth 3s., a waistcoat 
> worth 
> 18d., "a ruff band" worth 2s., three aprons (ventrales) worth 10s., 
> a pair 
> of shoes worth 2s., two "coifes" (crinalem) worth 8d., two "crosse 
> clothes" 
> (reticules) wroth 8d., two "strips" of lsilk worth 6d., foru "neck 
> clothes" 
> worth 12d., two pairs of "cuffs" worth 8d., belonging to Robert Odam 
> gent., 
> two hats worth 12d. and a cloak worth 5s., belonging to Sidrac 
> Bennett. 
> William in gaol in Surrey. Elizabeth pleads not guilty; acquitted. 
> Witness. 
> Sidrake Bennett. [ASS 35/70/1/55]
> Accumilation Dates 20 April 1627
> Acquisition Date From 1627
> Acquisition Date To 1627
> 
> Cross cloths are again mentioned as different to neck cloths.
> 
> Hope this is helpful
> regards
> Joy
> 
> 
> _________________________________________________________________
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From h-costume-admin@indra.com  Mon Oct 28 11:21:52 2002
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Subject: Re: [h-cost] Pre-1600 stitches?
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Date: Mon, 28 Oct 2002 07:23:49 +0000
Status: RO

Greetings all.

Chris, as far as my own modest researches into the area have been able to
tell, "bargello" is actually a fairly modern term for the stitch, term
being post-1700. It was called Florentine before 1600. Other names for
similar-type stitches are flame point, Hungarian stitch, and Irish
stitch. Yes? No?

On Sun, 27 Oct 2002 19:05:50 -0700 Chris Laning <claning@igc.org> writes:
> I'm planning a series of articles for my Needleworkers Guild's 
> newsletter, titled "Is This Stitch Period?" (i.e. is it reasonably 
> well known and used before 1600)
> 
> What does everyone think are the stitches people ask this question 
> about the most often?

Blackwork, split stitch, Bayeux Tapestry stitch (the name of which is
completely escaping me at the moment), blanket stitch, single and double
running. Or nue--style or stitch?

Might anyone know--someone I talked to in our area says it is impossible
to do or nue properly because the gold materials or passable substitutes
for it are not available anymore. Being completely ignorant in this area,
I would like to know what, if anything, can be used. It sounds
wonderfully intriguing to learn. Any good sources on it?
 
> I should hasten to add that we _do_ have cross stitch in the article 
> lineup already, and we have just this month done an article on 
> "bargello" -- these being the two I have heard asked about the most. 

Thank you for your help,

Arlys, novice stitcher in An Tir
 


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Subject: [h-cost] Bishop Bob online
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Date: Mon, 28 Oct 2002 11:40:31 -0500
Status: RO

I've received permission to post online Nancy Spies' photos of "Bishop Bob" --
the doll she created to demonstrate 13th-century ecclesiastical vestments and
the use of tablet-woven bands to trim them. 

They're in the photos section of the Paternosters group at Yahoo --
http://photos.groups.yahoo.com/group/paternosters/lst?.dir=/&.src=gr&.view=t
(Click on "Bishop Bob")

I had the good fortune (along with several others on this list) to be at the
International Congress for Medieval
Studies in Kalamazoo, Michigan, in May 2001 when Nancy presented her paper on
brocaded
tablet-weaving. She had all the pattern bands she'd woven for the cover of her
book (Ecclesiastical Pomp and Aristocratic Circumstance: 1000 years of Tablet
Woven Bands) on display at the front of the room, which we were all drooling
over because they're gorgeous :)

However she kept "Bishop Bob" out of sight until she needed him to illustrate
a few points. When you see the photos you'll understand why -- he's very cute.

And when she put up the slide of Bishop Bob in his shoes and stockings, we
just _howled_. <g>

Nancy can be contacted at <SNSpies@aol.com> for more information about Bishop
Bob (and about ordering her books).

Enjoy!

(P.S. Feel free to forward this to other people who might be interested...)


____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From h-costume-admin@indra.com  Mon Oct 28 18:20:28 2002
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Elizabethan blackwork shift
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Date: Tue, 29 Oct 2002 09:20:35 +1100 (EST)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: 
<http://members.tripod.com/realm_of_venus/venusseamstress/camicia.htm>
> Bella, thanks for the great pics!<<<<

You're welcome. :)

> Question about the second one (from the Met).  Any
> idea on how the
> neckline is finished? It *looks* like it just might
> be a more
> gathered/higher version of the Venetian camicias.

Without a much better pic it's difficult to say for
sure, but the construction looks about the same, only
that it seems to have the addition of a seperate bit
around the neckline - it looks like it may be smocked,
but it could also be simply an embroidered strip of
linen. How they could get it to curve so neatly I'm
not too sure about.

> I know you specialize primarily in Venetian costume,
> but you might know
> anyways...I'm looking for sources of good
> mid-century (16th) Italian
> women's clothing. <snipped>

Hmmm...I don't know if you're looking for inspiration
or patterns. For inspiration, you may have already
checked out my Venetian pages, but if not, here's the
mid 16th century gallery.....

<http://au.geocities.com/bella_lucia_da_verona/thelook3.htm>

If it's patterns you're after, I'm afraid I haven't
seen anything commercial that's really suitable for
mid 16thC - I drafted the bodice pattern for my mid
16th century and later stuff.


Bella

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- 1,000's of jobs waiting online for you!
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From h-costume-admin@indra.com  Tue Oct 29 04:16:47 2002
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Bishop Bob online
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Date: Tue, 29 Oct 2002 08:25:32 +0000 (GMT)
Status: RO

Oh goodness, not only was this fascinatingly interesting, but I ADORE Bob :-)))

Nicole

 --- claning@igc.org wrote: > I've received permission to post online Nancy
Spies' photos of "Bishop Bob"
> --
> the doll she created to demonstrate 13th-century ecclesiastical vestments and
> the use of tablet-woven bands to trim them. 
> 
> They're in the photos section of the Paternosters group at Yahoo --
> http://photos.groups.yahoo.com/group/paternosters/lst?.dir=/&.src=gr&.view=t
> (Click on "Bishop Bob")
> 
> I had the good fortune (along with several others on this list) to be at the
> International Congress for Medieval
> Studies in Kalamazoo, Michigan, in May 2001 when Nancy presented her paper on
> brocaded
> tablet-weaving. She had all the pattern bands she'd woven for the cover of
> her
> book (Ecclesiastical Pomp and Aristocratic Circumstance: 1000 years of Tablet
> Woven Bands) on display at the front of the room, which we were all drooling
> over because they're gorgeous :)
> 
> However she kept "Bishop Bob" out of sight until she needed him to illustrate
> a few points. When you see the photos you'll understand why -- he's very
> cute.
> 
> And when she put up the slide of Bishop Bob in his shoes and stockings, we
> just _howled_. <g>
> 
> Nancy can be contacted at <SNSpies@aol.com> for more information about Bishop
> Bob (and about ordering her books).
> 
> Enjoy!
> 
> (P.S. Feel free to forward this to other people who might be interested...)
> 
> 
> ____________________________________________________________
> 0  Chris Laning
> |  <claning@igc.org>
> +  Davis, California
> ____________________________________________________________
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 28 Oct 2002 22:36:43 -0700
Status: RO

Ugh.  It's snowing.  The leaves aren't even all off the trees and it's
snowing, to the tune of 1-4 inches by morning.
Colder and darker months always seem to lead me to think of warmer
clothing, both in my mundane life, and with my historical costumes
(especially this year, as I no longer have use of my old cloak, which
developed too many holes to be useful as a cloak).  This, in turn, made
me think that it might be fun to discuss what our various times/cultures
of chosen interest used for cold weather gear (assuming that it was
needed!). I've been looking for medieval ideas, being in the SCA, but
most of what I've been finding in my various illustrated books, books of
hours, etc., are men in cloaks, men in mantles, etc.  Women seem to add
a hood/cowl combination, but I'm not seeing cloaks. Rarely, there's a
ceremonial cloak/mantle, and sometimes something that's probably part of
a habit (drapey cloak things on nuns, for instance).  It's
interesting--in the depictions of winter activities, they aren't wearing
as little clothing as during haying/harvest (no skirts hiked up, for
instance), but they don't seem to be wearing tons more...maybe they just
added a layer? 
What would the personas/characters of the rest of you have worn?
--sue, curious
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From: Drea Leed <drea@nospam>
To: "h-costume@indra.com" <h-costume@indra.com>
Subject: Re: [h-cost] Timely topic
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Date: Tue, 29 Oct 2002 08:43:05 -0500 (EST)
Status: RO

Let's see...my persona (later 16th c. English/Flemish) would have worn her
normal duds (shift, either a petticoat bodies or a corset & petticoat
skirt, gown with sleeves) and add to that a heavy jacket over the gown.
Or a cassock (loose, hip-length item with sleeves).  And of course, heavy
stockings, and probably an extra petticoat or two.  When everything's made
of wool, four layers can keep one nice and toasty.

Drea

On Mon, 28 Oct 2002, Sue Clemenger wrote:

> Ugh.  It's snowing.  The leaves aren't even all off the trees and it's
> snowing, to the tune of 1-4 inches by morning.
> Colder and darker months always seem to lead me to think of warmer
> clothing, both in my mundane life, and with my historical costumes
> (especially this year, as I no longer have use of my old cloak, which
> developed too many holes to be useful as a cloak).  This, in turn, made
> me think that it might be fun to discuss what our various times/cultures
> of chosen interest used for cold weather gear (assuming that it was
> needed!). I've been looking for medieval ideas, being in the SCA, but
> most of what I've been finding in my various illustrated books, books of
> hours, etc., are men in cloaks, men in mantles, etc.  Women seem to add
> a hood/cowl combination, but I'm not seeing cloaks. Rarely, there's a
> ceremonial cloak/mantle, and sometimes something that's probably part of
> a habit (drapey cloak things on nuns, for instance).  It's
> interesting--in the depictions of winter activities, they aren't wearing
> as little clothing as during haying/harvest (no skirts hiked up, for
> instance), but they don't seem to be wearing tons more...maybe they just
> added a layer?
> What would the personas/characters of the rest of you have worn?
> --sue, curious
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Tue, 29 Oct 2002 13:48:09 +0000
Status: RO

Very timely for me. A couple of weeks ago I attended a "Living History training day" organised by my reenactment society at an open-air museum. One of the talks was by Jane Huggett (whom some UK list members may know) on 17th century costume, and she said the same thing - that she had seen few contemporary illustrations of women wearing cloaks. This provoked much discussion afterwards, especially as the weather was cold and wet and most of us were wearing our cloaks at the time. 
Of course our more usual concern is keeping cool in woollens in summer, but it can get pretty cold during the reenactment season. I'd like to make myself a jacket, and I know they wore hoods as a separate garment, and muffs for the hands. It's hard to imagine not using a cloak if you had to go out in the rain, though.


Kate Bunting
Library, University of Derby

>>> mooncat@in-tch.com 10/29/02 05:36am >>>
Ugh.  It's snowing.  The leaves aren't even all off the trees and it's
snowing, to the tune of 1-4 inches by morning.
Colder and darker months always seem to lead me to think of warmer
clothing, both in my mundane life, and with my historical costumes
(especially this year, as I no longer have use of my old cloak, which
developed too many holes to be useful as a cloak).  This, in turn, made
me think that it might be fun to discuss what our various times/cultures
of chosen interest used for cold weather gear (assuming that it was
needed!). I've been looking for medieval ideas, being in the SCA, but
most of what I've been finding in my various illustrated books, books of
hours, etc., are men in cloaks, men in mantles, etc.  Women seem to add
a hood/cowl combination, but I'm not seeing cloaks. Rarely, there's a
ceremonial cloak/mantle, and sometimes something that's probably part of
a habit (drapey cloak things on nuns, for instance).  It's
interesting--in the depictions of winter activities, they aren't wearing
as little clothing as during haying/harvest (no skirts hiked up, for
instance), but they don't seem to be wearing tons more...maybe they just
added a layer? 
What would the personas/characters of the rest of you have worn?
--sue, curious
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Date: Tue, 29 Oct 2002 14:19:20 +0000
Status: RO


Arlys wrote

Kate Bunting
Library, University of Derby

>>> cley@juno.com 10/28/02 07:50am >>>
>What's a crosse cloth?

This is what we have been trying to establish! The OED defines it as "a linen cloth worn across the forehead", and quotes a couple of references from the 1580s to babies wearing them; also from Moryson in 1617 "Many weare such cross-clothes or forehead clothes as our women use when they are sicke." So it does seem to be headgear and not neckwear, though its exact function is unclear.




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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Timely topic
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Date: Tue, 29 Oct 2002 15:51:54 +0000 (GMT)
Status: RO

In my period, from 1660 onwards, I have never ever seena  cloak other than a
half circle that is slung over the shoulders and then down the front. They
appear in different lengths in images, this is my first one, a small one:

http://www.kipar.org/members/louise/1660s_louise14.jpg

I made another one, twice as big, it does look, when worn, like the
contemporary images. I also made a black woolen hood to go when outdoors and
raining and cold, to go over the linen hood. Together with gloves, it all works
remarkably well, probably because I wear a linen petticoat under the silk one.
Silk is terrible for insulation.

Nicole

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > Very timely for me. A
couple of weeks ago I attended a "Living History
> training day" organised by my reenactment society at an open-air museum. One
> of the talks was by Jane Huggett (whom some UK list members may know) on 17th
> century costume, and she said the same thing - that she had seen few
> contemporary illustrations of women wearing cloaks. This provoked much
> discussion afterwards, especially as the weather was cold and wet and most of
> us were wearing our cloaks at the time. 
> Of course our more usual concern is keeping cool in woollens in summer, but
> it can get pretty cold during the reenactment season. I'd like to make myself
> a jacket, and I know they wore hoods as a separate garment, and muffs for the
> hands. It's hard to imagine not using a cloak if you had to go out in the
> rain, though.
> 
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> mooncat@in-tch.com 10/29/02 05:36am >>>
> Ugh.  It's snowing.  The leaves aren't even all off the trees and it's
> snowing, to the tune of 1-4 inches by morning.
> Colder and darker months always seem to lead me to think of warmer
> clothing, both in my mundane life, and with my historical costumes
> (especially this year, as I no longer have use of my old cloak, which
> developed too many holes to be useful as a cloak).  This, in turn, made
> me think that it might be fun to discuss what our various times/cultures
> of chosen interest used for cold weather gear (assuming that it was
> needed!). I've been looking for medieval ideas, being in the SCA, but
> most of what I've been finding in my various illustrated books, books of
> hours, etc., are men in cloaks, men in mantles, etc.  Women seem to add
> a hood/cowl combination, but I'm not seeing cloaks. Rarely, there's a
> ceremonial cloak/mantle, and sometimes something that's probably part of
> a habit (drapey cloak things on nuns, for instance).  It's
> interesting--in the depictions of winter activities, they aren't wearing
> as little clothing as during haying/harvest (no skirts hiked up, for
> instance), but they don't seem to be wearing tons more...maybe they just
> added a layer? 
> What would the personas/characters of the rest of you have worn?
> --sue, curious
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com 
> http://mail.indra.com/mailman/listinfo/h-costume 
> 
> ________________________________________________________________________
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=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Tue, 29 Oct 2002 11:13:04 -0500
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        Since I have been in SCA only a year and live in central Florida,
I haven't found the need for any cold weather gear.  I have a piece of
very heavy upholstery velvet that I planned to make a cape from, but just
haven't gotten around to it.  Mostly, I just try not to melt in the heat.

Lalah
Never give up, Never surrender
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From: kris <ionization@shaw.ca>
Subject: Re: [h-cost] Timely topic
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Date: Tue, 29 Oct 2002 10:03:39 -0800
Status: RO

I tend to do 14th century when it's cold. I just layer all of my tunics 
(two short linen, one long linen, and one long wool), and put my coif and 
hood on, and make sure I'm wearing both linen and woolen stockings. It 
usually works. If I'm sitting near a fire and I'm still cold, I wrap a 
woolen blanket around me.

My preferred time period is 1490s Italy, but I've discovered that if my 
neck and shoulders aren't totally covered, and I don't have anything on my 
head, I can be wearing as many layers as I want and I'll still freeze. Does 
anyone have any tips on cold weather clothing from Italy?

:] kris

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Timely topic
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Date: Tue, 29 Oct 2002 11:06:24 -0800
Status: RO


>What would the personas/characters of the rest of you have worn?

Each one of the several of them would have worn either cloaks or coats.


Kayta

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Subject: [h-cost] Sherborne Missal online
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Date: Tue, 29 Oct 2002 20:02:31 +0000
Status: RO

Medievalists may like to view illuminations from this 14th century missal courtesy of the British Library. Go to www.bl.uk and click on "Turning the pages" for some charming bird pictures as well as portraits of clerics and Biblical scenes.

Kate Bunting
Library, University of Derby


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Date: Wed, 30 Oct 2002 06:18:25 -0800
Status: RO



Sue Clemenger wrote:

>
> What would the personas/characters of the rest of you have worn?
> --sue, curious
>

That depends on when I'm doing. When I'm doing twelfth century I wear
a mantle. When I'm doing 13th I pile on the layers, plus I have a hood and
a couple of surcoats especially for cold weather ( I love my garde-corps).
The
hood and the garde-corps also get used when I do 14th century stuff. I find
I
don't need much in the way of cold protection when I'm wearing early 15th
(mmmm houppelandes), and so far my later 15th stuff is all indoors only
gear.
For lower class 16th I start off by putting sleeves on, and if that isn't
enough on
goes the jacket.
Of course, it helps that it doesn't really get that cold here....

Claire


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Timely topic II
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Date: Tue, 29 Oct 2002 16:06:21 -0800
Status: RO


>         Since I have been in SCA only a year and live in central Florida,
>I haven't found the need for any cold weather gear.  I have a piece of
>very heavy upholstery velvet that I planned to make a cape from, but just
>haven't gotten around to it.  Mostly, I just try not to melt in the heat.

I live in California.  While my personae would have worn various capes and 
coats, depending on when and where they were, I stopped making outer-wear 
for them when I realized I wasn't wearing it.  I made a burnous/cape for my 
Dickens' Fair character, for when I was pregnant with my 14-year-old.  It's 
made of a striped cotton India bedspread, not the wool it should be made 
of, and even unlined it's too hot to wear.  Dolmans are 'cool' garments, so 
I made a thin corduroy dolman for my 1880s character.  It's lined with 
shirt-weight cotton, and it's way too hot to wear.  I haven't bothered 
making outer-wear garments for anybody else.  But I am slowly building up a 
supply of sun parasols and rain umbrellas for them.

My personae don't have any wool garments either, tho I have some thin 
suit-weight wool for 1890s-1900s walking skirts.

Kayta

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--0-127572634-1035936486=:30251
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I was just perusing the Costume Society of America website, and they were advertising a 2003 calendar entitled  Underwear: Beneath Historic Fashions by Sally Queen (Editor) which is available now through Amazon.  Carol
 
 


Carol Mitchell CoChair CostumeCon 21 www.jennifarse.com/cc2003
Check out costumemidwest at yahoogroups.com
Chicagoland Costumer's Guild www.enteract.com/~ccg


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<P>I was just perusing the Costume Society of America website, and they were advertising a 2003 calendar entitled&nbsp;&nbsp;<FONT face=Verdana><STRONG>Underwear: Beneath Historic Fashions </STRONG><FONT size=-1>by <A href="http://www.amazon.com/exec/obidos/search-handle-url/index=books&amp;field-author=Queen%2C%20Sally/104-2749873-9651926">Sally Queen</A> (Editor) which is available now through Amazon.&nbsp; Carol</FONT></FONT>
<P><FONT face=Verdana></FONT>&nbsp;
<P>&nbsp;</P><BR><BR>Carol Mitchell CoChair CostumeCon 21 www.jennifarse.com/cc2003<br>Check out costumemidwest at yahoogroups.com<br>Chicagoland Costumer's Guild www.enteract.com/~ccg<p><br><hr size=1>Do you Yahoo!?<br>
<a href="http://rd.yahoo.com/careers/mailsig/*http://www.hotjobs.com ">HotJobs</a> - Search new jobs daily now
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Date: Wed, 30 Oct 2002 12:33:47 +1100 (EST)
Status: RO

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

> What would the personas/characters of the rest of
> you have worn?


For later 16thC Venice - thicker, heavier veils;
surcoats/ropas, usually fur-lined; velvet clothing,
more petticoats, and muffs. :)


Bella...who is heading into summer and stupidly got
herself sunburnt at a picnic last weekend....

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Date: Tue, 29 Oct 2002 19:31:34 -0700
Status: RO

I've also heard it referred to as "brick stitch," but that's when it
looks more like a counted-thread satin stitch, and doesn't have that
distinctive, sort of abstract flame-y pattern I associate with bargello
(rightly or wrongly).
I also remember seeing some examples of this stitch in the textile rooms
at the V&A....
--sue, returning to hibernation mode (it's bloody well *way* below
freezing out there, with the wind chill! brrrrrr....)

Cynthia J Ley wrote:
> 
> Greetings all.
> 
> Chris, as far as my own modest researches into the area have been able to
> tell, "bargello" is actually a fairly modern term for the stitch, term
> being post-1700. It was called Florentine before 1600. Other names for
> similar-type stitches are flame point, Hungarian stitch, and Irish
> stitch. Yes? No?
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Date: Tue, 29 Oct 2002 22:03:46 EST
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All of Sally's calendars have been great, and this one is no exception.  She 
was even interviewed on NPR's Weekend Edition.  The piece aired Sept. 14.  
(It was available on the NPR website.  I'm not sure how long they keep things 
up.)

Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">All of Sally's calendars have been great, and this one is no exception.&nbsp; She was even interviewed on NPR's Weekend Edition.&nbsp; The piece aired Sept. 14.&nbsp; (It was available on the NPR website.&nbsp; I'm not sure how long they keep things up.)<BR>
<BR>
Ann Wass</FONT></HTML>

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Date: Wed, 30 Oct 2002 00:13:34 -0500
Status: RO

Hi. Since I do many periods, my winter gear would vary. I'll go with my 17th
Cent. Barber-Surgeon, though. As the weather gets colder, Michael Graham adds
layers to his clothing. First, a soldier's coat over his doublet, and a hooded
Spanish Riders Cloak (3/4 round with a hood) when it rains/snows. He may wear
a one pound Monmouth cap, knitted in the style of the fashionable beaver hats
of the wealthy, a Montero, or English Fog Hat or a simple Monmouth Cap. He has
been thinking of having a Cassock or a Soldier's greatcoat made, the latter in
the style of those worn by officers on the Continent in the wars there. He has
knitted gloves, fashionably made with gauntletted cuffs, as well as sheepskin
mittens, and he is taken to wearing riding boots with large uppers, well
oiled, when walking distances in the muck, or riding. He also owns a few pair
of heavily fulled knitted stockings which provide good padding in the
abovementioned boots.  He is thinking of having winter shoes with cork soles
made. At home, he has his woolen gown and indoor shoes in which he sits before
the fire, as well as his nightcap and a second nightshirt. His practice has
not done well of late, due to disturbances at home, so furred gowns are not
planned for his future wear. His practice at St. Thomas Hospital, Southwark,
may soon come to an end as London, a Parliamentarian bastion, is beginning to
become too unbearable for his politics. Perhaps he will wait for spring before
the move to Oxford...   Mike T.



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Subject: [h-cost] winter woolies :)
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Date: Wed, 30 Oct 2002 07:37:44 +0000
Status: RO

hi

welll, my persona is burgundian, and all my outer robes are supposed to be 
of heavy fabric lined with fur, with an inner kirtle of wool. and a linen 
chemise. i'm in south africa, and even in cape town winter it barely gets 
below 5 degrees C at night. so i have to make my outfits totally 
inaccurately, out of satin, or linen, and try to achieve the look without 
melting. i can sympathise with people in florida. we have pretty much the 
same setup here. in summer it can get to 40 degrees C, so i usually ditch 
all semblances of accuracy. *bad re-enactor*

i've been thinking of making a silk burgundian. not really period, i think, 
but it'll be comfy. i'd love a velvet burgundian with fur trim, and a soft 
wool kirtle. but unless i attend an even in greenland, it just doesn't seem 
likely.

just my 2 rands worth from sunny s.a. (it's warm, sunny, about 25 C outside) 
:P

Jo


-Ameline de Leeuwe, Shire of Adamastor, South Africa
"per bend azure and gules, a bear rampant ermine, maintaining a book or"



>Message: 2
>Date: Mon, 28 Oct 2002 22:36:43 -0700
>From: Sue Clemenger <mooncat@in-tch.com>
>To: "h-costume@indra.com" <h-costume@indra.com>
>Subject: [h-cost] Timely topic
>Reply-To: h-costume@mail.indra.com
>
>Ugh.  It's snowing.  The leaves aren't even all off the trees and it's
>snowing, to the tune of 1-4 inches by morning.
>Colder and darker months always seem to lead me to think of warmer
>clothing, both in my mundane life, and with my historical costumes
>(especially this year, as I no longer have use of my old cloak, which
>developed too many holes to be useful as a cloak).  This, in turn, made
>me think that it might be fun to discuss what our various times/cultures
>of chosen interest used for cold weather gear (assuming that it was
>needed!). I've been looking for medieval ideas, being in the SCA, but
>most of what I've been finding in my various illustrated books, books of
>hours, etc., are men in cloaks, men in mantles, etc.  Women seem to add
>a hood/cowl combination, but I'm not seeing cloaks. Rarely, there's a
>ceremonial cloak/mantle, and sometimes something that's probably part of
>a habit (drapey cloak things on nuns, for instance).  It's
>interesting--in the depictions of winter activities, they aren't wearing
>as little clothing as during haying/harvest (no skirts hiked up, for
>instance), but they don't seem to be wearing tons more...maybe they just
>added a layer?
>What would the personas/characters of the rest of you have worn?
>--sue, curious




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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Timely topic
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Date: Wed, 30 Oct 2002 08:18:33 +0000 (GMT)
Status: RO

You say 17th c. Which specific years? The 17th c lasts 100 years.

Nicole

 --- leigh tartaglio <mikes@dandy.net> wrote: > Hi. Since I do many periods, my
winter gear would vary. I'll go with my 17th
> Cent. Barber-Surgeon, though. As the weather gets colder, Michael Graham adds
> layers to his clothing. First, a soldier's coat over his doublet, and a
> hooded
> Spanish Riders Cloak (3/4 round with a hood) when it rains/snows. He may wear
> a one pound Monmouth cap, knitted in the style of the fashionable beaver hats
> of the wealthy, a Montero, or English Fog Hat or a simple Monmouth Cap. He
> has
> been thinking of having a Cassock or a Soldier's greatcoat made, the latter
> in
> the style of those worn by officers on the Continent in the wars there. He
> has
> knitted gloves, fashionably made with gauntletted cuffs, as well as sheepskin
> mittens, and he is taken to wearing riding boots with large uppers, well
> oiled, when walking distances in the muck, or riding. He also owns a few pair
> of heavily fulled knitted stockings which provide good padding in the
> abovementioned boots.  He is thinking of having winter shoes with cork soles
> made. At home, he has his woolen gown and indoor shoes in which he sits
> before
> the fire, as well as his nightcap and a second nightshirt. His practice has
> not done well of late, due to disturbances at home, so furred gowns are not
> planned for his future wear. His practice at St. Thomas Hospital, Southwark,
> may soon come to an end as London, a Parliamentarian bastion, is beginning to
> become too unbearable for his politics. Perhaps he will wait for spring
> before
> the move to Oxford...   Mike T.
> 
> 
> 
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I have to agree there.  Living in Tampa myself, it was 81* at 8am.  Even when it gets "really cold" down here, a light cloak or blanket seems to be more than enough, even for those with less, um... padding than I do.;-)
MoiraSince I have been in SCA only a year and live in central Florida,
I haven't found the need for any cold weather gear. I have a piece of
very heavy upholstery velvet that I planned to make a cape from, but just
haven't gotten around to it. Mostly, I just try not to melt in the heat.

Lalah
Never give up, Never surrender

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<P>I have to agree there.&nbsp; Living in Tampa myself, it was 81* at 8am.&nbsp; Even when it gets "really cold" down here, a light cloak or blanket seems to be more than enough, even for those with less, um... padding than I do.;-)
<P>Moira
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">Since I have been in SCA only a year and live in central Florida,<BR>I haven't found the need for any cold weather gear. I have a piece of<BR>very heavy upholstery velvet that I planned to make a cape from, but just<BR>haven't gotten around to it. Mostly, I just try not to melt in the heat.<BR><BR>Lalah<BR>Never give up, Never surrender<BR></BLOCKQUOTE>
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Subject: Re: [h-cost] Timely topic
From: Grace Morris <gmorris@providenceday.org>
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Date: Wed, 30 Oct 2002 09:40:10 -0500
Status: RO

> This message is in MIME format. Since your mail reader does not understand
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When I moved from lllinois to Austin, Texas, I sold my cloak and my
=B3way-below-12th night=B2 Elizabethan coat.  Never missed them.  My favorites
these days are 13th c. Spanish outer garments which include tunic/coats and
=B3ponchos=B2 (almexia, aljuba, etc..). I=B9m anti-cloak myself.  The wind blows
them open,  I never have enough hands to hold them closed and carry all my
stuff...I trip on them...

Jessamyn/Grace=20

On 10/30/02 9:10 AM, "HEATHER CUTLER" <moirabeaneoin@prodigy.net> wrote:

> I have to agree there.  Living in Tampa myself, it was 81* at 8am.  Even =
when
> it gets "really cold" down here, a light cloak or blanket seems to be mor=
e
> than enough, even for those with less, um... padding than I do.;-)
>=20
> Moira=20
>> Since I have been in SCA only a year and live in central Florida,
>> I haven't found the need for any cold weather gear. I have a piece of
>> very heavy upholstery velvet that I planned to make a cape from, but jus=
t
>> haven't gotten around to it. Mostly, I just try not to melt in the heat.
>>=20
>> Lalah
>> Never give up, Never surrender
>>=20
>>=20


--B_3118815611_521851
Content-type: text/html; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>Re: [h-cost] Timely topic</TITLE>
</HEAD>
<BODY>
<FONT FACE=3D"Palatino">When I moved from lllinois to Austin, Texas, I sold m=
y cloak and my &#8220;way-below-12th night&#8221; Elizabethan coat. &nbsp;Ne=
ver missed them. &nbsp;My favorites these days are 13th c. Spanish outer gar=
ments which include tunic/coats and &#8220;ponchos&#8221; (almexia, aljuba, =
etc..). I&#8217;m anti-cloak myself. &nbsp;The wind blows them open, &nbsp;I=
 never have enough hands to hold them closed and carry all my stuff...I trip=
 on them...<BR>
<BR>
Jessamyn/Grace <BR>
<BR>
On 10/30/02 9:10 AM, &quot;HEATHER CUTLER&quot; &lt;moirabeaneoin@prodigy.n=
et&gt; wrote:<BR>
<BR>
</FONT><BLOCKQUOTE><FONT FACE=3D"Palatino">I have to agree there. &nbsp;Livin=
g in Tampa myself, it was 81* at 8am. &nbsp;Even when it gets &quot;really c=
old&quot; down here, a light cloak or blanket seems to be more than enough, =
even for those with less, um... padding than I do.;-) <BR>
<BR>
Moira <BR>
</FONT><BLOCKQUOTE><FONT FACE=3D"Palatino">Since I have been in SCA only a ye=
ar and live in central Florida,<BR>
I haven't found the need for any cold weather gear. I have a piece of<BR>
very heavy upholstery velvet that I planned to make a cape from, but just<B=
R>
haven't gotten around to it. Mostly, I just try not to melt in the heat.<BR=
>
<BR>
Lalah<BR>
Never give up, Never surrender<BR>
<BR>
</FONT></BLOCKQUOTE></BLOCKQUOTE><FONT FACE=3D"Palatino"><BR>
</FONT>
</BODY>
</HTML>


--B_3118815611_521851--

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Subject: Re: [h-cost] Pre-1600 stitches?
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Date: Wed, 30 Oct 2002 07:19:04 +0000
Status: RO

Except it's not really--it's related to it, and some of the authors I
read suggested that it was an outgrowth of satin stitch as well. The
flame-type pattern is apparently usually referred to as flame-point or
Hungarian stitch. I don't know how old that one is--I study English
embroideries as opposed to Continental, and so far I haven't found any c.
1600 pieces in that particular pattern. There's also an arches and spires
pattern which survives in Elizabethan and Stuart pieces (bedcovers and
bed curtains).

I didn't want to crawl out of my warm bed this morning either--dropped
into the low 30's last night, which is COLD for this temperate part of
the Pacific Northwest. :)

Arlys

On Tue, 29 Oct 2002 19:31:34 -0700 Sue Clemenger <mooncat@in-tch.com>
writes:
> I've also heard it referred to as "brick stitch," but that's when it
> looks more like a counted-thread satin stitch, and doesn't have that
> distinctive, sort of abstract flame-y pattern I associate with 
> bargello (rightly or wrongly).
> I also remember seeing some examples of this stitch in the textile 
> rooms at the V&A....
> --sue, returning to hibernation mode (it's bloody well *way* below
> freezing out there, with the wind chill! brrrrrr....)


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Date: Wed, 30 Oct 2002 10:58:08 -0600
Status: RO

I've become a coat convert too.  I always used a cape at faire for years
and wondered why I would still get cold.  I was very anemic one year
(makes you more sensitive to cold) and made myself a loose, unlined coat
from some Pendelton wool scrapes (more a suit-weight than coat-weight
fabric).  The front edges overlapped and I would just belt it on.  The
difference was amazing!  I now use it for most of my other events with
the cape as a back-up for wind protection, altho I'm thinking a chaperon
would do just as well.  Where is my scrap bin again.....

Dealing with the weather is always a last minute event for some
participants at our faire.  We usually start out at 100 degrees plus :).
 No one wants to think about planning for freezing weather (it's
happened!) when they are sweating so capes tend to be the quick
solution.  Slowly we are teaching the regulars to layer, layer, layer.

Catherine
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] 18th. century dress supports.
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Date: Wed, 30 Oct 2002 18:11:36 +0100
Status: RO

Hello.
I am going to make an 18th c. panier for my client, and i have done this a
coupple of times.
However this time i want to make a different one, and i have studyed all
those frames there are in all my books, and there are quite a few. I think
it was about time that someone made some research for this, and i have
therefore desided that i want to draw every kind of dress support there is
to find in books and post them on my homepage. Then it would be a kind of
database for this topic.
For the new panier i am going to make, i have desided i want to make one
like the farthingale frame there is in Carl Köhler's book. It is with
collapsible side hoops. Tape tied.
This is much easyer to make such a one, compared to the fabric covered
hoops. And then i will make a petticoat in some heavy fabric, wich will hide
all the hoop frames.
Well until now, i think i have found 10 different kinds of supports, and
when i have posted to my homepage, i would be very glad, if some of you
could help me. Because if there are others i dont know of, perhaps you would
be so kind as to send me a copy, so that i could make a drawing of it.
I think it is quite legal, that i use some of my drawings to post on the
web, even that i have drawn them from books. As i understand it, it is only
the photos, wich you may not use.
In Dangerous Liasions, Glen Close is wearing such a collapsible panier
frame, so i think it is autentic to use it.

Many greetings

Bjarne


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Date: Wed, 30 Oct 2024 12:28:06 -0500
Status: RO

On the other hand, you're able to hold outdoor events all year long. We have
camping events from April to September, and even the beginning and end of
the camping season are usually good ways to freeze to death!

It makes for a nice change usually. Camping/outdoor in the summer (war
camps, usually) and more "serious" events in the winter, indoors. That's
when you get your fancy garb out of the closet. Although fighters sometimes
go outside to practice when it's above freezing (and sometimes even below if
it's sunny enough), even if that means they don't have a public :-)

----- Original Message -----
From: HEATHER CUTLER
To: h-costume@indra.com
Sent: Wednesday, October 30, 2002 9:10 AM
Subject: Re: [h-cost] Timely topic


I have to agree there.  Living in Tampa myself, it was 81* at 8am.  Even
when it gets "really cold" down here, a light cloak or blanket seems to be
more than enough, even for those with less, um... padding than I do.;-)
Moira
Since I have been in SCA only a year and live in central Florida,
I haven't found the need for any cold weather gear. I have a piece of
very heavy upholstery velvet that I planned to make a cape from, but just
haven't gotten around to it. Mostly, I just try not to melt in the heat.

Lalah
Never give up, Never surrender
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Date: Thu, 31 Oct 2002 06:01:18 -0800
Status: RO



Audrey Bergeron-Morin wrote:

> On the other hand, you're able to hold outdoor events all year long. We have
> camping events from April to September, and even the beginning and end of
> the camping season are usually good ways to freeze to death!
>

Not necessarily. In Australia there are very few events in December and January
because it's just too hot, and we go camping in winter, because it's not that
cold.

Claire

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Date: Wed, 30 Oct 2002 15:11:30 -0600
Status: RO

I have been outside in my Elizabethans on quite a few occasions when the
weather was rather brisk and I can report that with a few additions such
as a muff or a short shoulder cloak, my Elizabethan kit is quite warm and
toasty. And I have made my Elizabethans with the expectation of wearing
them during the broiling summers at the Renfaire so they aren't as heavy
and they don't have as many layers as real Elizabethans would probably
have had. I think that wearing a long cloak over a farthingale is pretty
pointless, the fabric would be much better put into a nice flannel
petticoat or two, the hip length wool cloak that I made keeps my neck and
shoulders warm and the bodice and skirts keep the rest of me warm. As a
matter of fact, I think that a nice wool surcoat lined with fur would be
the best possible wrap to wear on a cold day. 

Karen

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Subject: [h-cost] Flying with a Parasol?
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Date: Wed, 30 Oct 2002 16:26:04 -0500
Status: RO

No, not like Mary Poppins. :-)

I just spent the last two weeks in San Juan, Puerto Rico on a business trip and am
looking at spending another couple weeks there again before February.  Walking
around, I saw a fair number of women walking around with umbrellas or parasols as
protection against the sun.  It occurred to me that I might bring one of mine
along on my return trip, but I have no idea if such a thing is allowed on
airplanes these days.  (I don't have one that's small enough to fit in a suitcase,
so would have to bring it along as a carry-on.)  Does anyone have any experience
travelling with a parasol?

Thanks!

--jen

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Date: Wed, 30 Oct 2002 17:22:30 -0500
Status: RO

Hi. Michael Graham lives in London in the early 1640s. He later on joined the
King's Army at Oxford and served with Blackwell's Regt. as a Surgeon. I forget
sometimes that not everyone will get the references to Parliament, Oxford and the
"disturbances" except those doing the specific period. The gloves (woolen knit,
gauntletted) are copies of the Gunnister finds which are dated late in the century,
but others of their type are extant for the period, including mitten types from
Sweden. The Montero is a hat seen both in Continental and English illos. It folds
down to form a neck protector. (A reasonable facsimile is seen being worn by Lady
DeWinter in the 1970s Three Musketeers movie as a fashion accessory) The soldier's
greatcoat evolved from the hongreline, or Eastern European coat, which in turn
evolved from the caftan-like garments of the Ottoman Turks. It later became the
long coats of the 1660s and later. Mike T.

N Kipar wrote:

> You say 17th c. Which specific years? The 17th c lasts 100 years.
>

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In a message dated 10/30/2002 12:10:29 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:


> In Dangerous Liasions, Glen Close is wearing such a collapsible panier
> frame, so i think it is autentic to use it.
> 

Having worked with James Acheson, the designer of "DL", on "Last of the 
Mohicans", the cage version of panniers is probably supported by research. He 
made us show him some kind of research for any garments we made on "Mohicans".

Later, I made up a pair in a cage version but just used the dimensions found 
in the pair in Waugh's Corsets and Crinolines. They work better if you use 
narrow tapes. I used 3 double rows of commercial hoop wire encased in striped 
linen and 1/2" twill tape [but I'd use narrower if I were you]. I cut the 
hoop casings long...leaving unhooped sections a both ends with the wires 
centered in each. Then, while flat, I pinned the tapes to them, one in the 
middle [use this as your fixed starting point with the hoops at a right angle 
to the tape], one at each end of the hoops [they get shorter as you go up 
y'know], and one in-between these, at what looked like the correct angles. 
Then I put a 3/4" grosgrain tape on the dummy's waist and pinned the tapes in 
place. Then bring the ends of the casings around so the hoops bow out and pin 
in place. You can then adjust the lengths and angles of the tapes, even them 
up [so they're the same on both sides], take the grosgrain off the waist and 
sew it all up. TAH DAH!

Mine close with a buckle CF and I made a small sausage pad that I tacked to 
the back between the 2 side hoops.

Have fun!

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=3>In a message dated 10/30/2002 12:10:29 PM Eastern Standard Time, drewscph@post12.tele.dk 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">In Dangerous Liasions, Glen Close is wearing such a collapsible panier
<BR>frame, so i think it is autentic to use it.
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR>Having worked with James Acheson, the designer of "DL", on "Last of the Mohicans", the cage version of panniers is probably supported by research. He made us show him some kind of research for any garments we made on "Mohicans".
<BR>
<BR>Later, I made up a pair in a cage version but just used the dimensions found in the pair in Waugh's Corsets and Crinolines. They work better if you use narrow tapes. I used 3 double rows of commercial hoop wire encased in striped linen and 1/2" twill tape [but I'd use narrower if I were you]. I cut the hoop casings long...leaving unhooped sections a both ends with the wires centered in each. Then, while flat, I pinned the tapes to them, one in the middle [use this as your fixed starting point with the hoops at a right angle to the tape], one at each end of the hoops [they get shorter as you go up y'know], and one in-between these, at what looked like the correct angles. Then I put a 3/4" grosgrain tape on the dummy's waist and pinned the tapes in place. Then bring the ends of the casings around so the hoops bow out and pin in place. You can then adjust the lengths and angles of the tapes, even them up [so they're the same on both sides], take the grosgrain off the waist !
and sew it all up. TAH DAH!
<BR>
<BR>Mine close with a buckle CF and I made a small sausage pad that I tacked to the back between the 2 side hoops.
<BR>
<BR>Have fun!</FONT></HTML>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <127.198b1c4d.2af1c25d@aol.com>
Subject: Re: [h-cost] 18th. century dress supports.
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Date: Thu, 31 Oct 2002 00:36:14 +0100
Status: RO

This is a multi-part message in MIME format.

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Dear AlbertCat.
Thanks a lot for your wonderfull informations.
I have tryed to make these before, and i also used narrow strips to hold =
the frames together.
There is one difference between those cage paniers and the sewed ones.
The skirt wawes much easyer in a cage panier than in a sewed panier. But =
perhaps i could prevent this if i sewed a heavy pleated frill to the =
last hoop, it would make it more heavy, and then it would not wawe so =
much.
Sorry of the word wawe, but i hope you get my mening.
There is a picture of a panier in Gallerie des Modes et Costumes =
francaise where a milliner is delivering her goods.
She carries a panier on her left arm. This is a sewed one, and it seems =
to me that it has been padded as well.=20
This is the type, i would really like to try to make, but i think it =
would be very difficult to make it. It only has 3 hoops, and the cut of =
such a panier would be quite difficult to figure out.
It dont look like Norah Waughs panier, and Hunnisets neither.
Perhaps one could try to tape the hoops together to a waistband first, =
and then try to drape some fabric to fit the hoops this way,,,,,,,,,
Oh i wish i had more time, there are so many things i would like to =
try.............
Thanks for your wonderfull informations, it was very generous of you.
Now i really must se that movie, such a shame on me, that i did not se =
it yeat.
Bjarne
  ----- Original Message -----=20
  From: AlbertCat@aol.com=20
  To: h-costume@indra.com=20
  Sent: Thursday, October 31, 2002 12:16 AM
  Subject: Re: [h-cost] 18th. century dress supports.


  In a message dated 10/30/2002 12:10:29 PM Eastern Standard Time, =
drewscph@post12.tele.dk writes:=20



    In Dangerous Liasions, Glen Close is wearing such a collapsible =
panier=20
    frame, so i think it is autentic to use it.=20



  Having worked with James Acheson, the designer of "DL", on "Last of =
the Mohicans", the cage version of panniers is probably supported by =
research. He made us show him some kind of research for any garments we =
made on "Mohicans".=20

  Later, I made up a pair in a cage version but just used the dimensions =
found in the pair in Waugh's Corsets and Crinolines. They work better if =
you use narrow tapes. I used 3 double rows of commercial hoop wire =
encased in striped linen and 1/2" twill tape [but I'd use narrower if I =
were you]. I cut the hoop casings long...leaving unhooped sections a =
both ends with the wires centered in each. Then, while flat, I pinned =
the tapes to them, one in the middle [use this as your fixed starting =
point with the hoops at a right angle to the tape], one at each end of =
the hoops [they get shorter as you go up y'know], and one in-between =
these, at what looked like the correct angles. Then I put a 3/4" =
grosgrain tape on the dummy's waist and pinned the tapes in place. Then =
bring the ends of the casings around so the hoops bow out and pin in =
place. You can then adjust the lengths and angles of the tapes, even =
them up [so they're the same on both sides], take the grosgrain off the =
waist ! and sew it all up. TAH DAH!=20

  Mine close with a buckle CF and I made a small sausage pad that I =
tacked to the back between the 2 side hoops.=20

  Have fun!=20

------=_NextPart_000_0006_01C28075.84B971F0
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	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 6.00.2719.2200" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Dear AlbertCat.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Thanks a lot for your wonderfull=20
informations.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I have tryed to make these before, and =
i also used=20
narrow strips to hold the frames together.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>There is one difference between those =
cage paniers=20
and the sewed ones.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>The skirt wawes much easyer in a cage =
panier than=20
in a sewed panier. But perhaps i could prevent this if i sewed a heavy =
pleated=20
frill to the last hoop, it would make it more heavy, and then it would =
not wawe=20
so much.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Sorry of the word wawe, but i hope you =
get my=20
mening.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>There is a picture of a panier in =
Gallerie des=20
Modes et Costumes francaise where a milliner is delivering her=20
goods.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>She carries a panier on her left arm. =
This is a=20
sewed one, and it seems to me that it has been padded as well. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>This is the type, i would really like =
to try to=20
make, but i think it would be very difficult to make it. It only has 3 =
hoops,=20
and the cut of such a panier would be quite difficult to figure=20
out.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>It dont look like Norah Waughs panier, =
and=20
Hunnisets neither.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Perhaps one could try to tape the hoops =
together to=20
a waistband first, and then try to drape some fabric to fit the hoops =
this=20
way,,,,,,,,,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Oh i wish i had more time, there are so =
many things=20
i would like to try.............</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Thanks for your wonderfull =
informations, it was=20
very generous of you.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Now i really must se that movie, such a =
shame on=20
me, that i did not se it yeat.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Bjarne</FONT></DIV>
<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=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> Thursday, October 31, =
2002 12:16=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] 18th. =
century dress=20
  supports.</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT size=3D3>In a =
message dated=20
  10/30/2002 12:10:29 PM Eastern Standard Time, <A=20
  href=3D"mailto:drewscph@post12.tele.dk">drewscph@post12.tele.dk</A> =
writes:=20
  <BR><BR></FONT><FONT lang=3D0 face=3DArial color=3D#000000 size=3D2=20
  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">In Dangerous Liasions, Glen Close is wearing such a =
collapsible=20
    panier <BR>frame, so i think it is autentic to use it. =
<BR></FONT><FONT=20
    lang=3D0 face=3DArial color=3D#000000 size=3D3=20
  FAMILY=3D"SANSSERIF"></BLOCKQUOTE><BR><BR>Having worked with James =
Acheson, the=20
  designer of "DL", on "Last of the Mohicans", the cage version of =
panniers is=20
  probably supported by research. He made us show him some kind of =
research for=20
  any garments we made on "Mohicans". <BR><BR>Later, I made up a pair in =
a cage=20
  version but just used the dimensions found in the pair in Waugh's =
Corsets and=20
  Crinolines. They work better if you use narrow tapes. I used 3 double =
rows of=20
  commercial hoop wire encased in striped linen and 1/2" twill tape [but =
I'd use=20
  narrower if I were you]. I cut the hoop casings long...leaving =
unhooped=20
  sections a both ends with the wires centered in each. Then, while =
flat, I=20
  pinned the tapes to them, one in the middle [use this as your fixed =
starting=20
  point with the hoops at a right angle to the tape], one at each end of =
the=20
  hoops [they get shorter as you go up y'know], and one in-between =
these, at=20
  what looked like the correct angles. Then I put a 3/4" grosgrain tape =
on the=20
  dummy's waist and pinned the tapes in place. Then bring the ends of =
the=20
  casings around so the hoops bow out and pin in place. You can then =
adjust the=20
  lengths and angles of the tapes, even them up [so they're the same on =
both=20
  sides], take the grosgrain off the waist ! and sew it all up. TAH DAH! =

  <BR><BR>Mine close with a buckle CF and I made a small sausage pad =
that I=20
  tacked to the back between the 2 side hoops. <BR><BR>Have fun!</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] Timely Topic
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Date: Wed, 30 Oct 2002 16:35:51 -0800
Status: RO

when do sweaters appear as outerwear?

At 10:58 AM 10/30/2002 -0600, Catherine Kinsey wrote:
>I've become a coat convert too.  I always used a cape at faire for years
>and wondered why I would still get cold.  I was very anemic one year
>(makes you more sensitive to cold) and made myself a loose, unlined coat
>from some Pendelton wool scrapes (more a suit-weight than coat-weight
>fabric).  The front edges overlapped and I would just belt it on.  The
>difference was amazing!  I now use it for most of my other events with
>the cape as a back-up for wind protection, altho I'm thinking a chaperon
>would do just as well.  Where is my scrap bin again.....
>
>Dealing with the weather is always a last minute event for some
>participants at our faire.  We usually start out at 100 degrees plus :).
>  No one wants to think about planning for freezing weather (it's
>happened!) when they are sweating so capes tend to be the quick
>solution.  Slowly we are teaching the regulars to layer, layer, layer.
>
>Catherine
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From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] Timely Topic
To: h-costume@indra.com
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Date: Wed, 30 Oct 2002 17:17:09 -0800 (PST)
Status: RO

Coming late to the topic -- I just got back in town:

My personal feeling about cloaks is that they are NOT for keeping
warm (in a European climate, that is) -- they are for keeping off the
rain.  I wear mine once it gets in the 50s or lower, over a coat. 
The cloak keeps me, along with my purse and sewing bag, a lot dryer
than any umbrella, and is a lot less awkward to deal with.  So think
of (woolen) cloaks as basically raincoats, not used for warmth per
se, and they'll make a lot more sense.  Purely decorative cloaks are,
of course, another matter ;)  One can never have too many of them, or
too many excuses to wear them!

Cheers,
Mara


> Date: Wed, 30 Oct 2002 10:58:08 -0600
> From: "Catherine Kinsey" <Ckinsey@kumc.edu>
> To: <h-costume@indra.com>
> Subject: [h-cost] Timely Topic
> Reply-To: h-costume@mail.indra.com
> 
> I've become a coat convert too.  I always used a cape at faire for
> years
> and wondered why I would still get cold.  (snip)

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From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] Pics from St. Mary's
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Date: Wed, 30 Oct 2002 18:24:13 -0800 (PST)
Status: RO


> Date: Wed, 23 Oct 2002 08:19:16 +0100 (BST)
> From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
> Subject: Re: [h-cost] Pics from St. Mary's
> To: h-costume@indra.com
> Reply-To: h-costume@mail.indra.com
> 
> http://www47.pair.com/lindo/Temp/StMarys2002/wiredcap.jpg
> 
> Cool cap! I am working on one like those, because they are being
> worn well into
> the 17th c., but as usual got stuck somewhere along the way with
> too many
> things to do. Do you think it would be possible to ontact the lady
> in the
> picture and ask her how she made it?
> 
> Nicole

Yep, that would be me :D  How I made it: I took some copier paper and
tissue paper; cut out a shape for the brim that looked right, held it
up to my face, adjusted it, and then made the caul till it looked
right.  I'm now wondering if the caul is just a touch too big, but am
not sure it'd stay on my head if it were any smaller.

The brim is wired with millinery wire.  This was the biggest pain in
the butt of the whole project, becaues the wire kept springing out of
shape.  I made the brim about 3/4" wider all the way around, then
folded it over the millinery wire and whip-stitched it down, and
shaped the brim into its final shape.  When that was done, I stitched
the caul to the brim.

>  Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote:
> Great pictures, Mara. I like the wired coif too.

Thanks!

> Partlets are something you hardly ever see in our 17c reenactment
> society, for some reason. I suppose they were old-fashioned by the
> 1640s - though blackwork, which in my opinion is too early for our
> period, is very popular.

A woman at St. Mary's City told me that I'd caused a fuss about
partlets, because the English were wearing them under their stays,
jackets, etc., whereas mine was quite visible.  Not sure if that's
true or not, but I certainly was able to find documentation for using
it in a Dutch costume ca. 1630...

> Actually, they are by far not as oldfashioned as you may think. I
> did a study of all my 1660s and 1670s genre paintings (dozens and
> dozens) and I saw a lot more partlets than I would have ever
> thought, particularly Dutch paintings,  no matter if rural setting
> (admittdly mainly there) or quite well off housewives and of course
> market tenders. Partlets were still worn quite a lot even as late
> as the 1660s, and I do have to say from my studies I have found
> that what you see in Dutch paintings is not that far off from what
> was worn in England. Thankfully Holland and England are very
> similar in clothing.

And actually Alexa (www.marquise.de) has some prints of fashions in
Augsburg, Germany, that show partlets as late as 1730; I think I also
saw one on a German print elsewhere on her site at the end of the
18th century.  Go figure!  

I've been wondering how close -- or far apart -- Dutch and English
clothing was...

> Message: 8
> Date: Wed, 23 Oct 2002 07:02:45 -0600
> From: Sue Clemenger <mooncat@in-tch.com>
> To: h-costume@indra.com
> Subject: Re: [h-cost] Pics from St. Mary's
> Reply-To: h-costume@mail.indra.com
> 
> Hey! Nice pictures! I always enjoy seeing how other folks play! <g>
> I've never seen those triangle-shaped chairs before, though....not
> sure
> if they're cool or weird. (it's early okay? and my brain's not
> functioning completely?)

They show up in Dutch genre art in the 16th/early 17th c. -- yes, an
odd shape, but they do work on uneven ground!  (Tripods are much
better on uneven ground than four-legged stools, tables, etc.)

> The red-headed lady (is that you, Mara?) is wearing a really nifty
> outfit--looks very appropriate and practical for camping.  Reminds
> me of
> the 16th c. flemish outfits we're starting to see in my neck of the
> reenactment woods.

Thank you! 
And it is definitely very practical for camping.

> And the Polish gentleman! <g> I think Teddy'd have like the
> flamboyant
> touches!

Oh, yeah... :D  Really great costume!  Especially the hat ;D  And I
want one of those caftans, or whatever the name is in Polish!

-- Mara

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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] Pre-1600 stitches?
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Date: Wed, 30 Oct 2002 19:25:04 -0800
Status: RO

Arlys,

	In a quick zoom off topic (slightly).  Did you know that the BIG 2 volume
Schuette embroidery book (2' x 1' x 3") was in the Multnomah County Library?
Naturally it is in the vaults, but they were happy to bring it up for me
when I went to see it.  It doesn't lend itself to copying of any kind, worse
luck, but dear heaven!  what a resource for period embroideries on the
continent, or at least medieval Germany!

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Cynthia J Ley
Sent: Tuesday, October 29, 2002 11:19 PM
To: h-costume@indra.com
Cc: Cley@juno.com
Subject: Re: [h-cost] Pre-1600 stitches?


Except it's not really--it's related to it, and some of the authors I
read suggested that it was an outgrowth of satin stitch as well. The
flame-type pattern is apparently usually referred to as flame-point or
Hungarian stitch. I don't know how old that one is--I study English
embroideries as opposed to Continental, and so far I haven't found any c.
1600 pieces in that particular pattern. There's also an arches and spires
pattern which survives in Elizabethan and Stuart pieces (bedcovers and
bed curtains).

I didn't want to crawl out of my warm bed this morning either--dropped
into the low 30's last night, which is COLD for this temperate part of
the Pacific Northwest. :)

Arlys

On Tue, 29 Oct 2002 19:31:34 -0700 Sue Clemenger <mooncat@in-tch.com>
writes:
> I've also heard it referred to as "brick stitch," but that's when it
> looks more like a counted-thread satin stitch, and doesn't have that
> distinctive, sort of abstract flame-y pattern I associate with
> bargello (rightly or wrongly).
> I also remember seeing some examples of this stitch in the textile
> rooms at the V&A....
> --sue, returning to hibernation mode (it's bloody well *way* below
> freezing out there, with the wind chill! brrrrrr....)


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From h-costume-admin@indra.com  Wed Oct 30 23:03:49 2002
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Date: Wed, 30 Oct 2002 20:05:24 -0800
Status: RO

	Suggestion for someone who wants a cape, but still gets cold.  Don't put
the opening down the center.  Many capes depicted show the opening front the
point of the shoulder down with buttons or some type of closure along the
shoulder line.  I've used mine that way several times, and it allows you to
have the arm where the opening is free to do stuff while the rest of your
body is completely covered.  If you need both hands you simply scoop up the
other side of the cape and let it drape over your arm.  Assuming you have a
big enough cape (mine is a full circle) it will then drape in a big U down
your front and back still keeping you warm.
	For an example of what I mean by buttoning/fastening on the shoulder go to:
http://www.mbs-brasses.co.uk/pic_lib/Picture_Library-Wool_and_Cloth_Trades.h
tm and look at the first and second figures.
	All I can tell you is that this works.  It is comfortable.  You are covered
at all times and shielded from the harsh environment.  Best of all, in my
opinion (your mileage will vary) it's a period solution for a fairly wide
time period.

	A short period coat option (by the way, why do you belt your coat?) is
illustrated by a Guardcorps (?):
http://www.tempora-nostra.de/index_f_neu.shtml?manesse0-9 in the Manesse
Lieder Handschrift.  It also has the built in hood if you want one and
sleeves (at least I think those are sleeves that can be worn as such or not
depending on the mood of the wearer).  Personally I like a separate hood and
capelet because I can choose to wear it or not, and the capelet adds warmth
to my upper body if it is cold, or raining (I'm in AnTir) enough to need
something.

Regina Romsey


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Catherine Kinsey
Sent: Wednesday, October 30, 2002 8:58 AM
To: h-costume@indra.com
Subject: [h-cost] Timely Topic


I've become a coat convert too.  I always used a cape at faire for years
and wondered why I would still get cold.  I was very anemic one year
(makes you more sensitive to cold) and made myself a loose, unlined coat
from some Pendelton wool scrapes (more a suit-weight than coat-weight
fabric).  The front edges overlapped and I would just belt it on.  The
difference was amazing!  I now use it for most of my other events with
the cape as a back-up for wind protection, altho I'm thinking a chaperon
would do just as well.  Where is my scrap bin again.....

Dealing with the weather is always a last minute event for some
participants at our faire.  We usually start out at 100 degrees plus :).
 No one wants to think about planning for freezing weather (it's
happened!) when they are sweating so capes tend to be the quick
solution.  Slowly we are teaching the regulars to layer, layer, layer.

Catherine


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Date: Thu, 31 Oct 2002 08:52:52 +0000 (GMT)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > Hi. Michael Graham lives in
London in the early 1640s. He later on joined the

Ah, okay, 1640s then.

> King's Army at Oxford and served with Blackwell's Regt. as a Surgeon. I
> forget
> sometimes that not everyone will get the references to Parliament, Oxford and
> the
> "disturbances" except those doing the specific period. 

Exactly. I am not interested in the ECW, so saying '17th c' is rather vague,
because you do 17th c and I do 17th c, but our periods are very different I
should say. (Imagines a fontange worn in the Civil War *LOL*) 

The gloves (woolen
> knit,
> gauntletted) are copies of the Gunnister finds which are dated late in the
> century,

actually, the national museum in copenhagen, denmark, has knitted mittens,
gloves, also gauntletted (have to check the photo).

> but others of their type are extant for the period, including mitten types
> from
> Sweden. The Montero is a hat seen both in Continental and English illos. It

yes i know about that, who doesn't, particularly in England. Merchant ventures
has a good pattern for a montero cap, they also have a very nice web site,
fantastic glassware and are just plain sweet people.

> soldier's
> greatcoat evolved from the hongreline, or Eastern European coat, which in
> turn
> evolved from the caftan-like garments of the Ottoman Turks. It later became
> the
> long coats of the 1660s and later. Mike T.

That's not quite true and a tad simplified. We did research into the occurence
of the greatcoat, but I do admit that I don't have time to write all of that
down here. Sorry. 

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Thu, 31 Oct 2002 11:26:39 +0100
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It is in German, but someone translated some of it.

"Textile Treasures from Renaissance and Baroque"
at the 'Bayerisches Nationalmuseum' until February 16th, 2003, from
Tuesdays to Sundays 10 - 17, Thursdays 10 - 20. Mondays closed

There are several
tapestries, two male doublets, a female doublet, as linen shirt with
blackwork on it, 2 pairs of knitted gloves and a knitted jacket. velvet and
brokate fabrics, several clerical dresses. pouches, collars. And some real
curiositys like a wire construction with silver on it to get a collars
standing!

There is also a wounderfull publication for the exhibiton. The fotos are
well done, you can see the colors and details better than in the dark
exhibition room! It costs EUR 25,00.
(I'll try to get more information aboud this book)

Special offer is a workshop by the restorer of all the
wonderful objects! Sew a male doublet (1630-40) with the authentic
pattern he took from the original!
Dates: November 21st, 23rd and 24th, 2003
or Jan. 30th,  February 01st and 2nd 2003
Unfortionally this is in German



http://www.bayerisches-nationalmuseum.de/Win/e/e.htm
Sonderausstellung:
"Mit grossen Freuden, Triumph und Köstlichkeit" -
Textile Schätze aus Renaissance und Barock
10. Oktober 2002 bis 16. Februar 2003 
<http://www.bayerisches-nationalmuseum.de/Win/e/IMAGES/nix.gif>
In einer Sonderausstellung zeigt das Bayerische Nationalmuseum vom 10. 
Oktober 2002 bis 16. Februar 2003 Schätze der Textilkunst des 16. und 
17. Jahrhunderts aus seinen Sammlungen.

Rund 70 Objekte, darunter Kleidungsstücke aus Stoff und Leder, modische 
Accessoires wie Krägen, Handschuhe, Krawatten, Fächer und Beutel, aber 
auch Tapisserien und orientalische Teppiche, vermitteln einen Eindruck 
von der Originalität und Vielfalt der kostbaren Bestände. Auf 
anschauliche Weise belegen sie darüber hinaus, dass luxuriöse, aufwändig 
und raffiniert gearbeitete Textilien bereits im 16. und 17. Jahrhundert 
als Statussymbole eine wichtige Rolle spielten.

Bildstickereien, Strickwaren, Quasten, Leder, Leinen-, Seiden-, Samt- 
und Wollstoffe wurden aus ganz Europa nach Bayern geliefert und zu 
eleganten Gewändern oder Ausstattungen für fürstliche ebenso wie für 
bürgerliche Auftraggeber verarbeitet.

Nur selten können derartig rare und überaus empfindliche Kostbarkeiten 
präsentiert werden. Die Ausstellung bietet in diesem Herbst Gelegenheit, 
noch nie öffentlich gezeigte Meisterwerke der Textilkunst zu entdecken.


Schneiderei à la mode
Leitung: Johannes Pietsch
In einem Wochenend-Workshop wird ein Herrenwams nach dem Originalmodell 
eines Lederkollers (um 1630 - 40) aus der Sammlung des Bayerischen 
Nationalmuseums geschneidert.

Greetings,
        Deredere

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<body>
It is in German, but someone translated some of it.<br>
<br>
<pre wrap="">"Textile Treasures from Renaissance and Baroque"
at the 'Bayerisches Nationalmuseum' until February 16th, 2003, from
Tuesdays to Sundays 10 - 17, Thursdays 10 - 20. Mondays closed</pre>
<pre wrap="">There are several
tapestries, two male doublets, a female doublet, as linen shirt with
blackwork on it, 2 pairs of knitted gloves and a knitted jacket. velvet and
brokate fabrics, several clerical dresses. pouches, collars. And some real
curiositys like a wire construction with silver on it to get a collars
standing!<br><br>There is also a wounderfull publication for the exhibiton. The fotos are
well done, you can see the colors and details better than in the dark
exhibition room! It costs EUR 25,00.<br>(I'll try to get more information aboud this book)<br><br>Special offer is a workshop by the restorer of all the
wonderful objects! Sew a male doublet (1630-40) with the authentic
pattern he took from the original!
Dates: November 21st, 23rd and 24th, 2003
or Jan. 30th,  February 01st and 2nd 2003<br>Unfortionally this is in German<br></pre>
<br>
<br>
<a class="moz-txt-link-freetext" href="http://www.bayerisches-nationalmuseum.de/Win/e/e.htm">http://www.bayerisches-nationalmuseum.de/Win/e/e.htm</a><br>
<font color="#000033" face="Arial, Helvetica, sans-serif"><b><span class="head">
Sonderausstellung: <br>
                  "Mit grossen Freuden, Triumph und K&ouml;stlichkeit"       
          &#8211; <br>
                  Textile Sch&auml;tze aus Renaissance und Barock<br>
                  10. Oktober 2002 bis 16. Februar 2003</span></b></font><font face="Arial, Helvetica, sans-serif"><font face="Arial, Helvetica, sans-serif"><img align="Top" height="15" src="http://www.bayerisches-nationalmuseum.de/Win/e/IMAGES/nix.gif" width="100">
</font></font><br>
<font face="Arial, Helvetica, sans-serif">In einer Sonderausstellung    
               zeigt das Bayerische Nationalmuseum vom 10. Oktober 2002 bis
                   16. Februar 2003 Sch&auml;tze der Textilkunst des 16. und 17.
                   Jahrhunderts aus seinen Sammlungen. <br>
<br>
                    Rund 70 Objekte, darunter Kleidungsst&uuml;cke aus Stoff und 
                   Leder, modische Accessoires wie Kr&auml;gen, Handschuhe, Krawatten, 
                   F&auml;cher und Beutel, aber auch Tapisserien und orientalische 
                   Teppiche, vermitteln einen Eindruck von der Originalit&auml;t 
                   und Vielfalt der kostbaren Best&auml;nde. Auf anschauliche Weise
                   belegen sie dar&uuml;ber hinaus, dass luxuri&ouml;se, aufw&auml;ndig 
                  und raffiniert gearbeitete Textilien bereits im 16. und 
17.                    Jahrhundert als Statussymbole eine wichtige Rolle spielten.
                   <br>
<br>
                    Bildstickereien, Strickwaren, Quasten, Leder, Leinen-, 
Seiden-,                    Samt- und Wollstoffe wurden aus ganz Europa nach 
Bayern geliefert                    und zu eleganten Gew&auml;ndern oder Ausstattungen 
f&uuml;r                    f&uuml;rstliche ebenso wie f&uuml;r b&uuml;rgerliche Auftraggeber 
                   verarbeitet.<br>
<br>
                    Nur selten k&ouml;nnen derartig rare und &uuml;beraus empfindliche 
                   Kostbarkeiten pr&auml;sentiert werden. Die Ausstellung bietet 
                   in diesem Herbst Gelegenheit, noch nie &ouml;ffentlich gezeigte 
                   Meisterwerke der Textilkunst zu entdecken.<br>
<br>
<br>
</font><font face="Arial, Helvetica, sans-serif"><b>Schneiderei &agrave; la mode
</b><br>
                   Leitung: Johannes Pietsch<br>
                   In einem Wochenend-Workshop wird ein Herrenwams nach dem
Originalmodell                    eines Lederkollers (um 1630 - 40) aus der
Sammlung des Bayerischen                    Nationalmuseums geschneidert.</font><br>
<br>
Greetings,<br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Deredere<br>
</body>
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Date: Thu, 31 Oct 2002 11:29:03 +0100
Status: RO


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  It is in German, but someone translated some of it.

"Textile Treasures from Renaissance and Baroque"
at the 'Bayerisches Nationalmuseum' until February 16th, 2003, from
Tuesdays to Sundays 10 - 17, Thursdays 10 - 20. Mondays closed

There are several
tapestries, two male doublets, a female doublet, as linen shirt with
blackwork on it, 2 pairs of knitted gloves and a knitted jacket. velvet and
brokate fabrics, several clerical dresses. pouches, collars. And some real
curiositys like a wire construction with silver on it to get a collars
standing!

There is also a wounderfull publication for the exhibiton. The fotos are
well done, you can see the colors and details better than in the dark
exhibition room! It costs EUR 25,00.
(I'll try to get more information aboud this book)

Special offer is a workshop by the restorer of all the
wonderful objects! Sew a male doublet (1630-40) with the authentic
pattern he took from the original!
Dates: November 21st, 23rd and 24th, 2003
or Jan. 30th,  February 01st and 2nd 2003
Unfortionally this is in German



http://www.bayerisches-nationalmuseum.de/Win/e/e.htm
Sonderausstellung:
"Mit grossen Freuden, Triumph und Köstlichkeit" -
Textile Schätze aus Renaissance und Barock
10. Oktober 2002 bis 16. Februar 2003 
<http://www.bayerisches-nationalmuseum.de/Win/e/IMAGES/nix.gif>
In einer Sonderausstellung zeigt das Bayerische Nationalmuseum vom 10. 
Oktober 2002 bis 16. Februar 2003 Schätze der Textilkunst des 16. und 
17. Jahrhunderts aus seinen Sammlungen.

Rund 70 Objekte, darunter Kleidungsstücke aus Stoff und Leder, modische 
Accessoires wie Krägen, Handschuhe, Krawatten, Fächer und Beutel, aber 
auch Tapisserien und orientalische Teppiche, vermitteln einen Eindruck 
von der Originalität und Vielfalt der kostbaren Bestände. Auf 
anschauliche Weise belegen sie darüber hinaus, dass luxuriöse, aufwändig 
und raffiniert gearbeitete Textilien bereits im 16. und 17. Jahrhundert 
als Statussymbole eine wichtige Rolle spielten.

Bildstickereien, Strickwaren, Quasten, Leder, Leinen-, Seiden-, Samt- 
und Wollstoffe wurden aus ganz Europa nach Bayern geliefert und zu 
eleganten Gewändern oder Ausstattungen für fürstliche ebenso wie für 
bürgerliche Auftraggeber verarbeitet.

Nur selten können derartig rare und überaus empfindliche Kostbarkeiten 
präsentiert werden. Die Ausstellung bietet in diesem Herbst Gelegenheit, 
noch nie öffentlich gezeigte Meisterwerke der Textilkunst zu entdecken.


Schneiderei à la mode
Leitung: Johannes Pietsch
In einem Wochenend-Workshop wird ein Herrenwams nach dem Originalmodell 
eines Lederkollers (um 1630 - 40) aus der Sammlung des Bayerischen 
Nationalmuseums geschneidert.

Vorbereitungstreffen: Donnerstag, 21.11.2002, 18 - 20 Uhr
Workshop: Samstag/Sonntag, 23. / 24.11.2002,
jeweils 10 - 17 Uhr; max. 12 Teilnehmer
Teilnahmegebühr: 150.- Euro, zuzügl. Materialkosten
Wiederholungstermin:
Donnerstag, 30.1. und Samstag/Sonntag 1. / 2.2.2003

Greetings,
        Deredere


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<html>
<head>
</head>
<body>
   It is in German, but someone translated some of it.<br>
<br>
<pre wrap="">"Textile Treasures from Renaissance and Baroque"
at the 'Bayerisches Nationalmuseum' until February 16th, 2003, from
Tuesdays to Sundays 10 - 17, Thursdays 10 - 20. Mondays closed</pre>
<pre wrap="">There are several
tapestries, two male doublets, a female doublet, as linen shirt with
blackwork on it, 2 pairs of knitted gloves and a knitted jacket. velvet and
brokate fabrics, several clerical dresses. pouches, collars. And some real
curiositys like a wire construction with silver on it to get a collars
standing!<br><br>There is also a wounderfull publication for the exhibiton. The fotos are
well done, you can see the colors and details better than in the dark
exhibition room! It costs EUR 25,00.<br>(I'll try to get more information aboud this book)<br><br>Special offer is a workshop by the restorer of all the
wonderful objects! Sew a male doublet (1630-40) with the authentic
pattern he took from the original!
Dates: November 21st, 23rd and 24th, 2003
or Jan. 30th,  February 01st and 2nd 2003<br>Unfortionally this is in German<br></pre>
<br>
<br>
<a class="moz-txt-link-freetext" href="http://www.bayerisches-nationalmuseum.de/Win/e/e.htm">
http://www.bayerisches-nationalmuseum.de/Win/e/e.htm</a>
<br>
<font color="#000033" face="Arial, Helvetica, sans-serif"><b><span class="head">
 Sonderausstellung: <br>
                   "Mit grossen Freuden, Triumph und K&ouml;stlichkeit"      
           &#8211; <br>
                   Textile Sch&auml;tze aus Renaissance und Barock<br>
                   10. Oktober 2002 bis 16. Februar 2003</span></b></font><font face="Arial, Helvetica, sans-serif"><font face="Arial, Helvetica, sans-serif"><img align="Top" height="15" src="http://www.bayerisches-nationalmuseum.de/Win/e/IMAGES/nix.gif" width="100">
</font></font><br>
<font face="Arial, Helvetica, sans-serif">In einer Sonderausstellung     
              zeigt das Bayerische Nationalmuseum vom 10. Oktober 2002 bis 
                   16. Februar 2003 Sch&auml;tze der Textilkunst des 16. und 17. 
                   Jahrhunderts aus seinen Sammlungen. <br>
<br>
                     Rund 70 Objekte, darunter Kleidungsst&uuml;cke aus Stoff
und                     Leder, modische Accessoires wie Kr&auml;gen, Handschuhe,
Krawatten,                     F&auml;cher und Beutel, aber auch Tapisserien und
orientalische                     Teppiche, vermitteln einen Eindruck von
der Originalit&auml;t                     und Vielfalt der kostbaren Best&auml;nde.
Auf anschauliche Weise                    belegen sie dar&uuml;ber hinaus, dass
luxuri&ouml;se, aufw&auml;ndig                    und raffiniert gearbeitete Textilien
bereits im 16. und  17.                    Jahrhundert als Statussymbole
eine wichtige Rolle spielten.                    <br>
<br>
                     Bildstickereien, Strickwaren, Quasten, Leder, Leinen-,
 Seiden-,                    Samt- und Wollstoffe wurden aus ganz Europa
nach  Bayern geliefert                    und zu eleganten Gew&auml;ndern oder
Ausstattungen  f&uuml;r                    f&uuml;rstliche ebenso wie f&uuml;r b&uuml;rgerliche
Auftraggeber                     verarbeitet.<br>
<br>
                     Nur selten k&ouml;nnen derartig rare und &uuml;beraus empfindliche
                    Kostbarkeiten pr&auml;sentiert werden. Die Ausstellung bietet
                    in diesem Herbst Gelegenheit, noch nie &ouml;ffentlich gezeigte
                    Meisterwerke der Textilkunst zu entdecken.<br>
<br>
<br>
</font><font face="Arial, Helvetica, sans-serif"><b>Schneiderei &agrave; la mode 
</b><br>
                    Leitung: Johannes Pietsch<br>
                    In einem Wochenend-Workshop wird ein Herrenwams nach
dem Originalmodell                    eines Lederkollers (um 1630 - 40) aus
der Sammlung des Bayerischen                    Nationalmuseums geschneidert.</font><br>
<br>
<font face="Arial, Helvetica, sans-serif">                   Vorbereitungstreffen:
Donnerstag, 21.11.2002, 18 - 20 Uhr <br>
                   Workshop: Samstag/Sonntag, 23. / 24.11.2002, <br>
                   jeweils 10 - 17 Uhr; max. 12 Teilnehmer<br>
                   Teilnahmegeb&uuml;hr: 150.- Euro, zuz&uuml;gl. Materialkosten<br>
                   Wiederholungstermin: <br>
                   Donnerstag, 30.1. und Samstag/Sonntag 1. / 2.2.2003</font><br>
<br>
 Greetings,<br>
 &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Deredere<br>
<br>
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From: "Linda Rice" <vmaa2@cox.net>
To: <h-costume@indra.com>
Subject:  [h-cost] Gothic Cape/ (was Timely Topic)
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Date: Thu, 31 Oct 2002 04:56:09 -0500
Status: RO

Thanks for the great suggestion and illos, Wanda. I noticed that while
the cape is buttoned down the right shoulder, the hood arrangement is
situated correctly on the head. Do you think that the cape and hood are
separate items, (thus the hoodless cape is simply rotated to open
off-center) or is this an integral feature of a one-piece garment?

Also, the brasses show this treatment for men's capes. Do you think it's
appropriate for women's capes as well? The brass of John Lyndewode and
his wife shows something completely different for her.

Thank you, I appreciate any insight anyone may have.

Linda R.

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Wanda Pease
Sent: Wednesday, October 30, 2002 11:05 PM
To: h-costume@indra.com
Subject: RE: [h-cost] Timely Topic

	Suggestion for someone who wants a cape, but still gets cold.
Don't put
the opening down the center.  Many capes depicted show the opening front
the
point of the shoulder down with buttons or some type of closure along
the
shoulder line.  I've used mine that way several times, and it allows you
to
have the arm where the opening is free to do stuff while the rest of
your
body is completely covered.  If you need both hands you simply scoop up
the
other side of the cape and let it drape over your arm.  Assuming you
have a
big enough cape (mine is a full circle) it will then drape in a big U
down
your front and back still keeping you warm.
	For an example of what I mean by buttoning/fastening on the
shoulder go to:

http://www.mbs-brasses.co.uk/pic_lib/Picture_Library-Wool_and_Cloth_Trad
es.htm

 and look at the first and second figures.
	All I can tell you is that this works.  It is comfortable.  You
are covered
at all times and shielded from the harsh environment.  Best of all, in
my
opinion (your mileage will vary) it's a period solution for a fairly
wide
time period.



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Subject: Re: [h-cost] Gothic Cape/ (was Timely Topic)
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Date: Fri, 01 Nov 2002 05:58:18 -0800
Status: RO



Linda Rice wrote:

> Thanks for the great suggestion and illos, Wanda. I noticed that while
> the cape is buttoned down the right shoulder, the hood arrangement is
> situated correctly on the head. Do you think that the cape and hood are
> separate items, (thus the hoodless cape is simply rotated to open
> off-center) or is this an integral feature of a one-piece garment?
>
> Also, the brasses show this treatment for men's capes. Do you think it's
> appropriate for women's capes as well? The brass of John Lyndewode and
> his wife shows something completely different for her.
>
> Thank you, I appreciate any insight anyone may have.
>

I'm afriad that I can't recall off the top of my head any instance of women
with cloaks or mantles from this period that didn't open at the front. All
the funky openings seem to be reserved for men.
Claire
(which isn't to say that a) I've seen every picture there is, or b) women
didn't
borrow their husbands cloaks sometimes)


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Just a reminder to take photos of yourself today for the Online Costume
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Date: Thu, 31 Oct 2002 16:53:42 -0500
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> Hi. I agree, but I was writing a simplified version. I know that the transition
> was somewhat more complicated, but I was trying to be brief. At your leisure,
> please let us know about what you have found on the subject. I would be
> interested in your findings. Cheers, Mike T.  PS What is the latest date that you
> have seen the Montero in use? I know that there are versions still in use today,
> but I suppose that, stylistically, it died out only to reappear later.  MJT
>
> That's not quite true and a tad simplified. We did research into the occurence
> of the greatcoat, but I do admit that I don't have time to write all of that
> down here. Sorry.
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
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Date: Thu, 31 Oct 2002 16:58:19 -0500
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Hi. That seems to nail it down pretty well. I guess then neckcloth is the proper term for the linen item. I would be curious to know how it crosses the head, if in fact that is the meaning.  Thanks, Mike T.


> also from Moryson in 1617 "Many weare such cross-clothes or forehead clothes as our women use when they are sicke." So it does seem to be headgear and not neckwear, though its exact function is unclear.
>

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Date: Thu, 31 Oct 2002 23:57:23 +0100
Status: RO

I am not sure if i have understood this topic correct, but if it is some
white head covers you are talking about, isnt it a kind of "puritan fashion"
where women are not allowed to show their hair, and therefore hides all the
hairstyle with white cloth? I have seen many examples here in Denmark in
some churches, where there are some paintings of reverents with their wifes
and dead widows. They are usually dressed in fashionable dress, but all
black, and then they have some strange outfits for their heads made of white
linen?
Or have i just taken a bad path in the forrest here?

Bjarne
----- Original Message -----
From: "leigh tartaglio" <mikes@dandy.net>
To: <h-costume@indra.com>
Sent: Thursday, October 31, 2002 10:58 PM
Subject: Re: [h-cost] Cross cloths


> Hi. That seems to nail it down pretty well. I guess then neckcloth is the
proper term for the linen item. I would be curious to know how it crosses
the head, if in fact that is the meaning.  Thanks, Mike T.
>
>
> > also from Moryson in 1617 "Many weare such cross-clothes or forehead
clothes as our women use when they are sicke." So it does seem to be
headgear and not neckwear, though its exact function is unclear.
> >
>
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Date: Thu, 31 Oct 2002 19:41:44 EST
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Greetings All!

I was just reading some of the older messages in my box about cloaks and 
such.  Does anyone know if the caped cloaks/great coats existed before the 
1800's?

Kit

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Greetings All!<BR>
<BR>
I was just reading some of the older messages in my box about cloaks and such.&nbsp; Does anyone know if the caped cloaks/great coats existed before the 1800's?<BR>
<BR>
Kit</FONT></HTML>

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Subject: Re: [h-cost] Cross cloths
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Date: Thu, 31 Oct 2002 22:53:52 -0500
Status: RO

Hi. If you can refer us to the illos or something, I would be curious. The
crosscloths that are being mentioned in the previous postings are, apparently,
those clothing accessories predominantly seen with embroidered caps (but are,
seemingly evident with the plain variant) that appear to be triangular, but
no-one seems to have any pictorial evidence as to how they were worn. If you
have anything, Bjarne, please let us know, it would do a great deal to solve
this mystery.  Mike T.

Bjarne og Leif Drews wrote:

> I am not sure if i have understood this topic correct, but if it is some
> white head covers you are talking about, isnt it a kind of "puritan fashion"
> where women are not allowed to show their hair, and therefore hides all the
> hairstyle with white cloth? I have seen many examples here in Denmark in
> some churches, where there are some paintings of reverents with their wifes
> and dead widows. They are usually dressed in fashionable dress, but all
> black, and then they have some strange outfits for their heads made of white
> linen?
> Or have i just taken a bad path in the forrest here?
>
> Bjarne

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Date: Fri, 01 Nov 2002 01:54:08 -0500
Status: RO

At 05:17 PM 10/30/02 -0800, you wrote:
>Coming late to the topic -- I just got back in town:
>
>My personal feeling about cloaks is that they are NOT for keeping
>warm (in a European climate, that is) -- they are for keeping off the
>rain.  I wear mine once it gets in the 50s or lower, over a coat.
>The cloak keeps me, along with my purse and sewing bag, a lot dryer
>than any umbrella, and is a lot less awkward to deal with.  So think
>of (woolen) cloaks as basically raincoats, not used for warmth per
>se, and they'll make a lot more sense.  Purely decorative cloaks are,
>of course, another matter ;)  One can never have too many of them, or
>too many excuses to wear them!
>
>Cheers,
>Mara


      This is how I use mine at work.  I have a great coat for really cold 
weather, but often when I am just trying to stay dry a wear a cloak to shed 
the water, without providing to much warmth.

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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Date: Fri, 01 Nov 2002 09:05:22 +0000
Status: RO

That's what I meant when I said I couldn't believe women didn't use cloaks in wet weather. I know we shouldn't be biased by modern assumptions, but in the absence of waterproofs or umbrellas, how else would you keep the rain off?


Kate Bunting
Library, University of Derby

>>> r.carnegie@verizon.net 11/01/02 06:54am >>>
At 05:17 PM 10/30/02 -0800, you wrote:
>Coming late to the topic -- I just got back in town:
>
>My personal feeling about cloaks is that they are NOT for keeping
>warm (in a European climate, that is) -- they are for keeping off the
>rain.  I wear mine once it gets in the 50s or lower, over a coat.
>The cloak keeps me, along with my purse and sewing bag, a lot dryer
>than any umbrella, and is a lot less awkward to deal with.  So think
>of (woolen) cloaks as basically raincoats, not used for warmth per
>se, and they'll make a lot more sense.  Purely decorative cloaks are,
>of course, another matter ;)  One can never have too many of them, or
>too many excuses to wear them!
>
>Cheers,
>Mara


      This is how I use mine at work.  I have a great coat for really cold 
weather, but often when I am just trying to stay dry a wear a cloak to shed 
the water, without providing to much warmth.

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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Date: Fri, 01 Nov 2002 09:19:42 +0000
Status: RO

Bjarne,
We are talking about a triangular piece of linen that was sometimes worn with the 17th century coif, or cap. A few examples survive (see http://costume.dm.net/headwear/coifpics.html ) but it's not clear just why and how they were used. It was normal at this time for women, not just Puritans or widows, to cover their heads, but the cross cloth seems to have been an additional item.

Kate Bunting
Library, University of Derby

>>> drewscph@post12.tele.dk 10/31/02 10:57pm >>>
I am not sure if i have understood this topic correct, but if it is some
white head covers you are talking about, isnt it a kind of "puritan fashion"
where women are not allowed to show their hair, and therefore hides all the
hairstyle with white cloth? I have seen many examples here in Denmark in
some churches, where there are some paintings of reverents with their wifes
and dead widows. They are usually dressed in fashionable dress, but all
black, and then they have some strange outfits for their heads made of white
linen?
Or have i just taken a bad path in the forrest here?

Bjarne
-


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Date: Fri, 01 Nov 2002 09:31:12 +0000
Status: RO

One of Hollar's 1640s women (http://www.costumes.org/pages/hollar.htm ) seems to be wearing one.

Kate Bunting
Library, University of Derby

>>> Kitsune242@aol.com 11/01/02 12:41am >>>
Greetings All!

I was just reading some of the older messages in my box about cloaks and 
such.  Does anyone know if the caped cloaks/great coats existed before the 
1800's?

Kit


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Date: Fri, 1 Nov 2002 13:33:05 +0100
Status: RO

I wished i had more time to draw better, but i have so much work to do right
now. But i hope it can be someone a little help.
If some of you sees other examples of paniers or whatever, dress support for
18th century, please let me know, so that i can add all there is.

Many greetings

Bjarne


http://www.my-drewscostumes.dk/dress_supports_in_18th.htm


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Subject: Short lives?Re: [h-cost] How did they live?????
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Date: Mon, 28 Oct 2002 00:53:47 +0000
Status: RO

They lived very short lives.

But cheap isn't always 'bad' for the beauty routine.
Crisco has long been used in the NYC Dermalogical world of Specialists 
post cosmetic surgery and in the Burn Units for serious skin burns.It 
does do amazing things to the dermis as a moisturiser.The same for old 
fashioned Vaseline.Won't do what the current crop of 'pharmaceutical 
cosmetics' in anti aging/reverting damage but its a top of the list 
moisturiser when massaged in on top of wet skin.But the feel is yucky 
when compared to today's arsenal products.

Still,many of those period ideas were on the right track with their use 
of wine,sugar or buttermilk - the acids therein would exfoliate the 
surface skin very mildly.

Marcus.

> I have been purchasing up beauty school textbooks, to find out how to 
> make
> period hairstyles, hair care, products, grooming, makeup, and 
> wig-making.
> In a 1911 textbook, I came across recipes for personal care.  Some are 
> for
> sunburns, freckle fading, black heads, etc.  I was sitting in our
> pediatrician's office yesterday and showed her some of the recipes.
> Needless to say she was shocked too, like me, and wondered how these 
> women
> lived.  Some of the principle ingredients, mercury, lead, petroleum
> (kerosene), Vaseline, and lard.
>
> I knew lead paint or powder was used in the Elizabethan period but I was
> stunned that it was used this late in history for facial products.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners 
> (http://www.plugit.com)]
>
> _______________________________________________
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From: "Cynthia Abel" <brujne@creighton.edu>
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Subject: [h-cost] Late Colonial-Early Federal U.S. Costume
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Date: Thu, 31 Oct 2002 16:46:29 -0600
Status: RO

For Devotees of 18th-early 19thc costume, you may want to spring(or ask
Santa) for "What Clothes Reveal: the Language of Clothing in Colonial and
Federal America" by Linda Baumgarten. This is the companion book to an
exhibition at Williamsburg Decorative Arts Museum.  I got my copy today from
Amazon.com and I've only had a brief lunchtime look(with two co-workers very
interested in it too!) but all the mostly color pictures are simply yummy
and it was well worth the $65 odd with 30% off via Amazon since a visit to
Colonial Williamsburg isn't in the personal budget.

I will be doing an in-depth cover to cover(if I can get past some of the
beautiful photos of actual clothing)tonight!!

Cindy Abel
ILL Coordinator
Health Sciences Library
Creighton University
1912 CALIFORNIA ST
OMAHA NE 68178-0210
VOICE: 402.280.5144
FAX: 402.280.5134
brujne@creighton.edu


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